Improvisation
- Dr. Bob Lawrence
- Sep 28
- 4 min read
The Mastery of Harmony.
Improvisation: The Mastery of Harmony
Every month at Jazz Piano Skills, I like to remind students of our simple but powerful rhythm:
Week One is all about harmony.
Week Two is about melody.
Week Three? That’s when we roll up our sleeves and tackle improvisation.
This structure has been a steady compass for me as a teacher, and for many students, it’s a game-changer. Instead of improvisation feeling like a leap into the unknown, it becomes the natural outgrowth of what we’ve already studied.
And this month, our tune of choice—Kenny Dorham’s Blue Bossa—has been a perfect playground for this journey.
The Word “Improvisation”
I’ll be honest: the word “improvisation” has intimidated more students than I can count. I still remember the first time a student sat across from me, eyes wide, almost whispering:“Dr. Lawrence, I just don’t know how to improvise. It feels like magic.”
And I get it. The word carries a certain mystery, like you’re supposed to close your eyes and conjure something from thin air. But here’s the truth I always circle back to: improvisation is not magic. It’s music. And music is built on truths—what I call the Seven Musical Facts.
The first time I share those facts with a student, I usually see shoulders relax. Suddenly, improvisation doesn’t seem like an uncharted ocean. It feels like a map.
The Seven Musical Facts
Let me walk you through them, because they shape everything we do in improvisation:
Music is sound and silence.
Sound is produced both harmonically and melodically.
Harmony is chords and voicings.
Melody is arpeggios and scales.
Arpeggios and scales move in two directions: up or down.
We decorate them with tension and chromaticism.
Rhythm is what brings them to life.
When I remind myself of these truths, I realize improvisation isn’t about being clever or flashy. It’s about telling a story with these raw materials, just like a writer uses words.
A Student’s First Step
If you walked into my studio this week, you would have heard me working with students on something that might surprise you: improvising with nothing but thirds. That’s it—just thirds.
At first, it feels restrictive. “That’s not improvising,” some students protest. “That’s just moving up and down!”
But then something happens. They hear how thirds outline the harmony. They notice how the rhythm changes the feel. They realize that within this tiny frame, they can create something that sounds…well, like music, like jazz!
And that’s the point. Restriction breeds creativity.
Adding Layers
From there, we layer in passing tones—suddenly, those rigid thirds start to sing. Add an internal neighboring tone, and the line tugs with tension. Add an external neighbor, and the harmony stretches even further.
Each step is small, deliberate. But each step also builds confidence. By the time we reach connecting harmonic zones, students begin to recognize something profound: They aren’t “making up notes.” They’re navigating a harmonic landscape with intention.
It’s like the first time you realize you can drive across town without a GPS. You know the roads, you know the turns, and suddenly the city feels smaller.
Why Recording Matters
I always tell my students, “Record yourself.” There’s something about hitting play and listening back that changes everything. In real time, improvisation feels like a blur—you’re too busy playing. But when you listen back, you can hear it for what it is: a conversation with harmony.
Sometimes it’s clumsy. Sometimes it’s surprisingly beautiful. Always, it’s revealing.
Melody Flows from Harmony
The biggest lesson of all? Melody flows from harmony. I’ve said this countless times, and yet it never loses its impact. Without harmony, melody is just wandering notes. With harmony, melody has purpose, direction, and emotion.
That’s why our improvisation practice never begins with random scales—it begins with harmonic shapes. Once you hear and feel those shapes under your fingers, improvisation stops being a mystery. It becomes the natural next step.
A Personal Reflection
I still remember my own breakthrough moment with improvisation. I was practicing late one night, looping a ii–V–I progression. I wasn’t trying to be clever—I was just playing thirds, connecting them, adding little neighboring tones. Somewhere in that repetition, it happened: I heard a line that sounded like jazz. It wasn’t fancy. It wasn’t long. But it was mine.
That’s the feeling I want every student to experience. That first spark where you realize: I can do this.
Moving Forward
If you’re reading this and thinking, “Where do I start?”—start small. Pick Zone 1, root position of a chord. Play thirds (Root to 3rd, 3rd to 5th, 5th to 7th). Add a passing tone. Add an internal neighbor tone (tension).
Don’t try to swallow the whole thing at once. One zone at a time. One sound at a time.
And remember: improvisation isn’t about perfection. It’s about exploration. The more you explore, the more fluent you become.
Your Invitation
If you’re a Jazz Piano Skills member, you already have the resources to walk through this process with lead sheets, play-alongs, and illustrations. If you’re not yet a member, consider joining. The materials don’t just support the podcast—they give you a structured path to grow.
But membership or not, the invitation is the same: Sit down at your piano. Choose a chord. Start with thirds. Let the harmony guide you.
Improvisation isn’t a destination. It’s a journey. And with every step, you’ll discover, learn, and play more deeply.
So let’s get busy. It’s time to master harmony—and in doing so, discover the joy of improvisation.
🎧 Listen Now: [Jazz Piano Skills Podcast: “Improvisation, The Mastery of Harmony Episode] 📝 Become a Member: JazzPianoSkills.com 📺 Subscribe on YouTube: Jazz Piano Skills
Warm Regards, Dr. Bob Lawrence
Jazz Piano Skills
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