improvisation category

Mix ♭9, ♯9, ♭5/♯5, ♯11 colors; pivot between altered, diminished, whole-tone. more

Use arps of extensions/upper-structures to imply richer harmony. more

Add a passing diminished scale to harmonize and voice-lead between diatonic chords. more

Add passing tone to dominant/major scales to place chord tones on strong beats. more

Timed rests between phrases; sing lines to enforce natural breathing. more

Stock resolutions (tritone sub, backdoor, deceptive) cataloged per key. more

Question/answer phrases; interact with band and audience. more

Match scale choices to functions; avoid over-theorizing in performance. more

Symmetric third-cycle key centers around dominant pillars; outline guide-tones to avoid getting lost. more

Surround a target note with chromatic/diatonic neighbors before landing. more

Mark and announce chorus tops, turnarounds, bridges with clear phrases. more

Connect 3rds↔7ths through changes; forms the harmonic backbone of solos. more

Six-note scales from two triads (e.g., C & D triads) or augmented collections for modern lines. more

Focus on color tones and drone centers; fewer changes, deeper development. more

Curate 8–12 reusable rhythmic/melodic cells for fast composition in solos. more

Repeat/transform short ideas via sequence, rhythm change, inversion. more

Build mirrored scales/chords around an axis; pre-plan mirrored guide-tone lines. more

Temporary dissonance via side-slipping, triad pairs, or altered/tonal shifts. more

Use minor pents a half-step above/below root to capture ♭9/♯9/♯11 colors. more

Stack non-diatonic pentatonics for modern colors over static harmony. more

Reusable rhythmic motifs displaced or permuted to build narrative. more

Compress/expand motif note-values to develop ideas across sections. more

Shift motif up/down a semitone or tritone briefly, then resolve back for tension/release. more

Plan arc: motif intro → development → climax → release; outline form landmarks. more

Leave rests; breathe like a singer; phrase in sentences not run-ons. more

Switch between straight, swing, double-time feel to lift sections. more

Soloists and drummer exchange short improvised passages; builds dialogue. more