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We've all heard Jazz musicians such as Thelonius Monk, Chick Corea or Miles Davis play a flurry of notes that don't seem to fit, yet still work. Somehow they tickle your ear into believing that the notes fit. How do they do that?
Jazz musicians use a technique called sequencing to move “outside” the chord changes. A sequence starts with a set of notes that follow a pattern. Sequencing is repeating this pattern with a different starting note. For example, C, E, G – up a major third, up a minor third. For example, Db, F, Ab.
A sequence may also be loosely defined. For example, up a third, up a third, where the type of third is not specified. So C, E, G to Db, E, Ab, would also be acceptable.
A Jazz musician will generally begin the sequence with notes that belong to the chord or the scale the chord is derived from. This is referred to as playing “inside”. At some point along the way, the musician will start the pattern on a note that doesn't belong to the chord or the scale the chord is derived from. At this point she is playing “outside”. She may remain “outside” or return “inside” at the tail end as if to say, “See, I knew what I was doing”.
Here are some ideas to get you started:
Start with two note patterns. Obviously these are just intervals. Practice ascending or descending intervals with the starting notes moving along the chromatic scale. Then try starting notes that belong to the Major scale or the Minor scale. Get creative with what scale you use. Don't forget to practice both defined and loose patterns. A loose pattern will allow you to stick with notes in the given scale, while a defined pattern will include “outside” notes.
Next, move to three note patterns. There are the obvious triads discussed in “Improvising With Triads”. What other three note patterns can you devise?
Lastly, four note, five note, etc. patterns
It is easy to get lost in the middle of a pattern and twist up your fingering. Sometimes it's easier to think of the pattern in terms of what finger numbers are used (if you are a keyboardist). For example, a basic triadic pattern is a 1-3-5 pattern (and in reverse is 5-3-1). Other patterns could be 1-2-4, 5-2-1, or 1-5-4. This also works even if you aren't a keyboardist as it at least provides reference points for the notes in relation to one another.
Sequencing patterns can provide a lot of mileage to the improviser and really draw the listener in. The listener is able to catch something and in some sense understand and follow what the improvisor is doing. Sequencing provides an intellectual connection that is easily lost between the improviser and the listener.
