JAM: October/November 2006 Issue: Storyville

Wayne Goins
The Wise Improviser
/ A Jazz Method for
Instrumentalists
Illustrations by Richard Smith
KS Publishing, Inc., Manhattan, Kansas
www.kspublishinginc.com

Wayne Goins has written this text for three distinct audiences: music educators, the college-level instrumental student, and the general public who would like to increase their theoretical knowledge and increase their enjoyment of the music. This
spiral-bound text should work for all three purposes.

Many years ago I was a clarinet and saxophone student, the later with the purpose of being able to play a little; I could read well, but had no idea how to approach improvisation, and playing the
head to St. Thomas for months ceases to be fun at some point. Would The Wise Improviser have been of assistance? Absolutely!

It helps to have some basic understanding of scales, reading skills, and some instrumental proficiency to use this text. Mr. Goins starts out by reviewing the parts of your training that are key: major scales, the cycle of fourths and fifths, and quickly stresses the need to have a full vocabulary of the key signatures. He moves to the essential chord structures, again stressing the need to be able to work these in all keys.

After a quick stop in the modes, we start in jazz harmony, starting with the ii-V-I progression; you guessed it, it’s again in all keys. As in most sections of the book, access to a keyboard makes it possible to translate this from paper to ears, and enhances understanding for the dedicated fan.

With these fundamentals in place, we are ready to start analyzing simple jazz tunes. A CD has been provided with the book with a piano trio working through some changes on 14 different tracks. The first exercises involve the analysis, being able to develop a roadmap for a solo excursion. We then
start to construct solos over these chord changes.

Throughout this text there are numerous exercises to test the student’s readiness for the next level. For example, it is clear that it is important to memorize some basic tunes. So after working
through the changes on the four tunes being analyzed, we have an exercise to see if you memorized the chord structures.

The text continues by having the student develop licks to use in solos. Goins provides some starter licks, and then encourages the student to work on their own, “steal” some from favorite
recordings, etc.

The text continues by introducing more advanced concepts: more complicated scales chord structures, etc. The pattern is the same as the more elementary material: introduce the concept, provide examples, reinforce with written exercises,
then applying them to real tunes.

Ear training is key for a jazz musician. It is essential to be able to hear a song, be able to dissect the chord structure, and then have the tools in place so that you can play with the piece. Wayne Goins’ text provides a logical process for the development of these skills.

So, would I have been able to get over the improvisational hump 30 years ago if I had been working with a teacher and this text? I dare say that I would have had a chance. I have been listening
to jazz for most of my life, and felt fairly knowledgeable, but this text clarified much for me: the vocabulary, scale and chord relationships, what is really going on in a chord progression. I
love melody and solo lines, but now am better able to hear beyond that and into the song’s harmonic structure. These were missing pieces in my toolbox 30 years ago. With the thorough guidance included in The Wise Improviser, the answers to the mysteries of music are in reach.

Of course, no text can replace the discipline needed to really learn music. This book is only 167 pages, but is meant to be used for up to three formal semesters. The book moves quickly, and must be taken in slowly and deliberately to turn into everyday language.

The book will be available in B-flat, E-flat, and a bass clef version, in addition to the C version that I was provided. A teacher’s manual is also being developed, as well as other enhancements. All should be available in Spring 2007.
—Roger Atkinson






	Search our site:		Wayne Goins The Wise Improviser / A Jazz Method for Instrumentalists Illustrations by Richard Smith KS Publishing, Inc., Manhattan, Kansas www.kspublishinginc.com Wayne Goins has written this text for three distinct audiences: music educators, the college-level instrumental student, and the general public who would like to increase their theoretical knowledge and increase their enjoyment of the music. This spiral-bound text should work for all three purposes. Many years ago I was a clarinet and saxophone student, the later with the purpose of being able to play a little; I could read well, but had no idea how to approach improvisation, and playing the head to St. Thomas for months ceases to be fun at some point. Would The Wise Improviser have been of assistance? Absolutely! It helps to have some basic understanding of scales, reading skills, and some instrumental proficiency to use this text. Mr. Goins starts out by reviewing the parts of your training that are key: major scales, the cycle of fourths and fifths, and quickly stresses the need to have a full vocabulary of the key signatures. He moves to the essential chord structures, again stressing the need to be able to work these in all keys. After a quick stop in the modes, we start in jazz harmony, starting with the ii-V-I progression; you guessed it, it’s again in all keys. As in most sections of the book, access to a keyboard makes it possible to translate this from paper to ears, and enhances understanding for the dedicated fan. With these fundamentals in place, we are ready to start analyzing simple jazz tunes. A CD has been provided with the book with a piano trio working through some changes on 14 different tracks. The first exercises involve the analysis, being able to develop a roadmap for a solo excursion. We then start to construct solos over these chord changes. Throughout this text there are numerous exercises to test the student’s readiness for the next level. For example, it is clear that it is important to memorize some basic tunes. So after working through the changes on the four tunes being analyzed, we have an exercise to see if you memorized the chord structures. The text continues by having the student develop licks to use in solos. Goins provides some starter licks, and then encourages the student to work on their own, “steal” some from favorite recordings, etc. The text continues by introducing more advanced concepts: more complicated scales chord structures, etc. The pattern is the same as the more elementary material: introduce the concept, provide examples, reinforce with written exercises, then applying them to real tunes. Ear training is key for a jazz musician. It is essential to be able to hear a song, be able to dissect the chord structure, and then have the tools in place so that you can play with the piece. Wayne Goins’ text provides a logical process for the development of these skills. So, would I have been able to get over the improvisational hump 30 years ago if I had been working with a teacher and this text? I dare say that I would have had a chance. I have been listening to jazz for most of my life, and felt fairly knowledgeable, but this text clarified much for me: the vocabulary, scale and chord relationships, what is really going on in a chord progression. I love melody and solo lines, but now am better able to hear beyond that and into the song’s harmonic structure. These were missing pieces in my toolbox 30 years ago. With the thorough guidance included in The Wise Improviser, the answers to the mysteries of music are in reach. Of course, no text can replace the discipline needed to really learn music. This book is only 167 pages, but is meant to be used for up to three formal semesters. The book moves quickly, and must be taken in slowly and deliberately to turn into everyday language. The book will be available in B-flat, E-flat, and a bass clef version, in addition to the C version that I was provided. A teacher’s manual is also being developed, as well as other enhancements. All should be available in Spring 2007. —Roger Atkinson RETURN TO OCTOBER/NOVEMBER 2006 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2006. All rights reserved.