The head (i.e., the part where I play the melody) still needs work, but we can dress it up later. For now, I start improving my improv with Step 2 of my practice process: Scales and Arpeggios. I might normally consider the different options for reharmonizing/selecting scales here, but for now I'm going to keep it simple (or, simple as long as you know what modes are):
Bbmaj7 = Bb major scale
Bb7 = Bb mixolydian
Ebmaj7 = Eb major
D7#5 = Whole tone (though sometimes in the recordings below I play D mixolydian using the melodic minor scale, and a D7 chord)
Gmin7 = G dorian (but sometimes in the recording I play G aeolian--both can sound good)
C7 = C mixolydian
Fsus = F mixolydian
How to practice:
- Pick a left-hand technique you're likely to use for soloing. It should probably be simpler than the one used in Step 1, because your brain will be occupied with more things to do! The left hand should be playing chords for the same durations as when you play the tune.
- In the right hand, play 16th notes up the scale (it doesn't matter on which note you start) and then when you reach the upper limits of the piano, come back down. When your right hand is about to bump into your left hand, go back up! Whenever there is a chord change, smoothly change into the new scale. Don't jump to the root. If you're going up the scale, continue up to the next note of the new scale. If you're going down, continue going down smoothly.
- I try to practice scales first as 16th notes, then triplets, then eighth notes. It seems counterintuitive, but I find 16th notes (played slowly) the easiest, because 1) you're more likely to play all the notes of a scale before having a chord change and 2) when you get to eighth notes (played faster), the fingering can get confusing. Speaking of which, try to use standard scale fingerings for everything. Obviously it's impossible particularly at the chord changes, but do the best you can.
Scale practice recording
(I swung the eighth notes--was that a mistake? I might swing a little bit, but there are sections that probably won't be swung. I suppose either way is fine in this case!)
- Do the same thing again, but this time for arpeggios. For suspended chords, I like using in the root, 4th, 5th, and 7th.
Arpeggio practice recording
All of this can be done with other LH techniques if you are thinking of doing something fancier with your left hand.
I personally like a lot of scales/arpeggio practice. When your mind doesn't have to worry about the left hand or about going up and down scales/arpeggios (because you've done it so often), it frees it to think about other things.
PS. I'm not going to play this piece in Bb for PIYW--it's going to be in D, to accommodate my voice. But I'm doing these practice recordings in Bb so anyone using the lead sheet can follow along. I apologize for any sloppiness, but hopefully it's good enough to illustrate my routine!