Motivic Playing on the first 8 bars of "Take the A Train"

D7

D -7

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G7

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G7

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This 8 measure example illustrates the application of a simple four note motive. The
initial motive begins on the root of the chord and ends on the note D (9th of the C Maj
chord). The 9th of the chord not only adds color over the C Maj chord, but is also
emphasized, since it is approached from a leap and sustained. It would have been less
effective if the sustained note were the root of the chord. When applying and transposing
motives, consideration should be given to how the notes function over the underlying
harmony. When creating lines, it is good to improvise with a horizontal as well as
vertical perspective.
Note: when transposing motives, it can be effective to slightly alter the rhythm of the
motive in order for the transposition not to sound "too perfect" and like an exercise. In
the following example, notice the rhythmic variations of the motive as well as how the
transpositions of the motive cross the bar line. The motive can first begin on a downbeat
and then be transposed starting on an upbeat. The motive can also be sounded in the
beginning of the measure and sounded again at the end of the measure in its transposition.
The application of rhythmic variations during motive transposition allows the improvisor
the ability to create interesting phrasing possibilities in the line.
The motive is now transposed in the C Maj scale beginning on the note G. Notice how
the note F is sounded on beat 1 of the 2nd measure. The note F is the 4th degree of the C
Maj scale and creates tension that is subsequently resolved with the sounding of the note
E. Notice the sustained A note (13th of the C Maj chord). Also notice how the
transposition of the motive crosses the bar line. The motive is now sounded beginning on
the note D (9th of the C Maj chord) and then crosses the bar line ending on the note E
(9th of the D7 chord). The motive is now transposed to two points in the D Lydian b7
scale, also crossing the bar line. Notice how a tension is sounded in the last note of each
of the motives over the D7 chord (13, #11 respectively).

In measure 5 the motive is played with retrograde over the D-7 chord. This involves
sounding the initial motive backwards. Consequently, the motive now begins with a leap
down a perfect 4th and then proceeds up in the scale. Notice that the motive ends on the
9th of the chord. Note: when choosing motives, it can be effective to select a simple
motive that can be easily manipulated with the use of retrograde, inversion and retrograde
inversion. Also, keep in mind the listener when creating motives. If a motive is
unnecessarily complicated, it might be too vague and less interesting to the listener.
Non-motivic connecting material: non-motivic material can be used to connect the
transposition of a motive. This will help avoid mechanical "too perfect" motivic lines
and allow for a more "organic" and spontaneous solo. While doing this, it is important to
have a clear and focused motive that is not obscured by the addition of non-motivic
material. The non-motivic material can simply be a single note or groups of notes. Back
to measure 5, the note A on the and of 4 is non-motivic connecting material that links the
subsequent motive transposition in the G7 measure.
The motive in the G7 measure is derived from the G Altered scale. It begins on the note
Bb (#9 of the G7 chord) and ends on the note Ab (b9 of the G7 chord). Once again,
notice the Bb on the and of beat 4 is non-motivic connecting material.
The transposition of the motive now continues on the C Maj measure and includes the
note F#, which is not in the typical Ionian scale used for the I chord. In this case, the F#
creates more color and is resolved up to the G. The strong identity of the motive allows
the improvisor to utilize more interesting notes and chord scales. A motive can even be
transposed to points out of any specific chord scale of the underlying chord. Notice the
inclusion of non-motivic material (the notes B, C and E), which connects to the motive in
the 8th measure. The 8th measure sounds the motive based upon the G Altered scale.
Again, notice the emphasis of tensions over the G7 chord. Tensions b13 and #11 are
prominently sounded.
The application and transposition of a simple motive is an important and fundamental
technique for the improvisor. Used in conjunction with other improv techniques, motivic
playing can help to make a solo interesting and spontaneous. When the transposition of
the motive is applied with rhythmic variation and phrasing in mind, it can be the basis of
an engaging improvisation. Moreover, the addition of subtle nuances, such as ghost
notes, accents and dynamics can make the motives much more effective.