Jazz Improvisation Techniques: Should Pianists Practice with Oliver Nelson's 'Patterns for Improvisation'?

The latest debate in the jazz community is whether pianists should dive into Oliver Nelson's 'Patterns for Improvisation' or if the book is more tailored towards saxophonists. If you're a pianist looking to expand your improvisational skills, understanding this discussion is crucial. This article explores the nuances of practicing with this book, the fingerings involved, and alternative ways to improve your jazz playing.

The Challenges of Translating Saxophone Patterns to Piano

The book is invaluable for jazz pianists who wish to diversify their approach and not sound like every other player. However, it comes with its unique set of challenges, particularly in terms of fingerings. Saxophones, due to their design, allow for some fingerings that feel natural and comfortable, but when translated to a piano, these same patterns can become less intuitive.

For example, one common frustration among pianists is that their little finger can get overused with certain patterns. Additionally, the thumb position can become uncomfortable, often requiring a 'side slipping' technique to adapt the fingerings to the piano's layout. While these patterns are indeed valid and essential skills for any jazz pianist, it's crucial to prioritize comfort and efficiency over forcing the patterns. If your hands feel uncomfortable, take a break and return to it later with a fresh perspective.

Practicing Oliver Nelson's Book on Saxophone Versus Piano

Many jazz pianists find that they can practice the patterns more comfortably on a saxophone before translating them to the piano. I've personally noticed a significant difference in comfort levels and ease of execution when playing these patterns on a saxophone compared to a piano. While the patterns remain valid and important, pianists often find them more challenging due to the physical differences between the two instruments.

One reason for this is that saxophones allow for a more natural hand and finger positioning, which can be challenging to replicate on a piano. As a result, many jazz pianists opt to master these patterns on a saxophone first and then gradually transfer their knowledge to the piano. This approach ensures that the essential skills are learned without the physical constraints that can limit performance on a piano.

Exploring Alternative Improvisation Techniques

While Oliver Nelson's book offers a wealth of valuable patterns, there are other resources and methods that can help jazz pianists develop their improvisational skills. Transcribing solos from other instruments, particularly the saxophone, can provide a rich source of musical inspiration and practice material. By studying the phrasing and techniques used by saxophonists like Charlie Parker, pianists can gain new insights into improvisation.

One effective method is to take phrases from these transcriptions and build exercises around them. For instance, you can create your own improvisational lines by drawing inspiration from these solos. This technique not only enhances your playing but also allows you to develop a unique voice as a jazz pianist.

Conclusion

In summary, while Oliver Nelson's 'Patterns for Improvisation' is a valuable resource for jazz pianists looking to diversify their skills, it is important to approach the book with a balanced perspective. While the piano and saxophone share many similarities in terms of fingerings and musical patterns, the piano's layout presents unique challenges. By experimenting with different methods and resources, such as practicing on a saxophone and transcribing solos, pianists can develop a comprehensive and versatile approach to jazz improvisation.

Whether you decide to practice these patterns on the piano, on a saxophone, or through transcribing saxophone solos, the key is to find the method that works best for you and allows you to express your unique musical voice.