Bill McBirnie

A Folkloric Approach to Improvising

(NFA Convention—New Orleans—August 2013)

This clinic will be of interest to beginning as well as advanced flutists who wish to cultivate a plain and simple—but relevant—means of understanding the process of improvising.

We will examine a folkloric rumba from Cuba in order to develop a broad grasp of what is really required, and our survey will be grounded on listening for the most of fundamental musical principles (rather than focusing narrowly on technical aspects which can often detract from the essence of the process).

This clinic will be pertinent to beginners in terms of encouraging and enabling them to begin the process of improvising, but also to advanced players in terms of refreshing their overall outlook about improvisation.

With an illustrative authentic Cuban rumba track (about 5 minutes in length) and two play-along demonstration tracks (about 3 minutes each), we will examine how a very plain, non-technical approach can, by reference to just a couple of key musical principles, enable us to focus on what is really important in producing meaningful results, no matter what the playing context.

What Are We Listening To?

We are going to listen to a track from the album, Vacanuo (released in 1995 on qbadisc), by the longstanding and legendary Cuban rumba band, Los Munequitos de Matanzas, which has been in existence since 1952. The piece, “El Tahonero”, is a yambu (the slowest form of Cuban rumba). [NOTE: In passing, here are just a couple of braod “technical” points with regard to Cuban rumba: (1) There are essentially only two other forms of Cuban rumba; guaguanco (which is faster) and columbian (which is faster yet). (2) Also, the clave in Cuban rumba is African (not son) and it is typically forward—not reverse (i.e., 3-2 rather than 2-3).]

Why Are We Listening To This?

- The format consists of voice (melody) and percussion (rhythm)—and nothing more!

- There is (i) NO bass and there is (ii) NO chordal instrument (because neither is musically necessary).

- Any harmonic movement is implied (first, because there is no chordal instrument but, more importantly, because harmony is ultimately subservient to melody); e.g., chords come from scales—not the other way around!

- The melodies and the voicings are simple and uncluttered.

- The percussion rests on a solid “pulse” and the ensemble, as a whole, exploits every “nook-and-cranny” of the quarter beat!

- The vocal phrases are short and uncomplicated (making it easy for everyone to participate).

- The music is highly interactive (e.g., with lots of “call-and-response”)—and, what we cannot see here, dancing is an integral part of it.

- The musical results are interesting and coherent because there are elements of both

(i) – change/improvisation (e.g., in the “calls” and the quinto phrases);

(ii) – stability/repetition (e.g., in the pulse/clave and the “responses”).

- This idiom is African-based, so it is a primary source of all Latin music, notably Cuban and Brazilian—not to mention jazz itself.

- This music is of—and for—the people (i.e., it takes place in the street) and everyone in the community—the players, the dancers and the listeners—participate!

The most important thing to recognize about any folkloric idiom (and especially this one) is that only what is necessary to the music (indeed, EVERYTHING that is necessary) is present and—NOTHING MORE; i.e., (1) melody (voice), (2) rhythm (percussion) and, something equally important, (3) a sense of “inclusion” in the process. It follows that, no matter how complex your playing situations may become, you must exploit these three fundamental musical elements in your improvising in order to say something that is musically meaningful, regardless of idiom or style. Furthermore, you should never be afraid to SIMPLIFY whatever you are doing in order to underscore these three fundamental musical elements—because nothing else really matters! In summary, you should ensure that these three aspects of your improvising (i.e., the melody, the rhythm and that sense of “inclusion”) are always front and center in your approach. And don't allow yourself to become preoccupied with being “hip”—or trying to impress the listener—or the band, for that matter—because the GROOVE is much more important than anything else...So try to think and feel in terms of “chanting” or “incantation” (...just as you can hear—as well as feel—in this rumba band...) and you will get much closer to your musical mark!

Now, all of this may sound very basic (...and it is!...) Yet it is these three fundamental things that musicians often overlook, lose sight of and/or choose to ignore when they are improvising. However, if you observe these plain and simple non-technical principles very closely when you improvise, your results will inevitably be much better (and, believe it or not, much easier to achieve!)

[NOTE: Bill McBirnie is Canada's foremost jazz and Latin flute specialist. He has studied with renowned flutists, Samuel Baron, Robert Aitken and Richard Egues. He is a past winner in all three of the NFA's Jazz Flute (1) Soloist, (2) Masterclass and (3) Big Band Competitions. He is also a teacher, clinician and a contributing woodwind columnist to the Canadian Musician magazine. In addition, Bill was invited personally by Sir James Galway to serve as his Resident Jazz Flute Specialist at Sir James’ web site. Finally, Bill has recently been designated as a “Haynes Artist”. You can find out more about Bill at his website or you can contact him directly at .

ILLUSTRATIVE LISTENING TRACK

- 2nd - “El Tanhero”, Los Munequitos de Matanzas, 4:44 (track 3 from Vacunao, qbadisc), a yambu; (...STOP at 2:12...DISCUSS...and then continue...)

PLAY-ALONG DEMONSTRATION TRACKS

- 1st - “A Voz Do Povo”, Paulinho Da Viola, 2:59 (track 2 from Acoustic Brazil, Putumayo), a samba – Opening Track

- 3rd - “See Saw”, Aretha Franklin, 2:46 (track 3 from Aretha Now, Atlantic), an R&B – Closing Track