Originating from the need of outlining a practical method for improvisation (not only intended for jazz performers), this book is designed for those who can already master the basics.
Jazz classes most of the times primarily focus on theory as well as on its application, often neglecting or putting aside practice. But the theoretical framework can sometimes be perceived as overwhelming by students to such an extent that they may find it hard to get the major element of improvisation, that is the creation of a personal language which must include an appropriate assimilation.
Knowing what to do (or not to do) is not enough.
In order to perform a true improvisation one must first of all know a large number of pieces, but also be good enough as to forget them - in a sort of brainstorming so as to avoid any remains of seduction left behind and create an empty space to be filled with their own creativity.
In the following pages we are therefore going to explain in detail the procedures allowing a student to be introduced to the pragmatic of creativity.
