SIMPLIFY YOUR APPROACH TO IMPROVISATION!
A PRACTICAL 10-STEP GUIDE FOR ALL INSTRUMENTALISTS
Simplify Your Approach to Improvisation! is a concise, comprehensive, and organized 10-step guide to understanding any lead sheet, an essential skill in learning to improvise on any tune with confidence and fluency.
The book presents the necessary theory, the 10 basic steps, and a comprehensive analysis of ten standard tunes, each accompanied by a detailed explanation that is framed around the 10-step approach.
This book is a valuable and useful resource for everyone, whether you are a beginning, intermediate, or advanced student, including performers, teachers and academics.
The book does presume some knowledge and understanding of the rudiments of music, as well as perhaps some experience in dealing with charts and lead sheets. Nevertheless, no matter what level you are at, you will learn how to simplify your approach to improvisation in a systematic and orderly way, which will enable you to improvise better…and with more self-confidence!... Here is a brief summary of the contents:
PART I – THE PROBLEM
PART II – SOME ESSENTIAL THEORY
PART III – A STRUCTURED 10-STEP GUIDE
PART IV – LET'S DIG IN!
(1) “All The Things You Are”
(2) “Body and Soul”
(3) “The Girl From Ipanema”
(4) “Just Friends”
(5) “A Night In Tunisia”
(6) “Sweet Georgia Brown”
(7) “There Is No Greater Love”
(8) “Willow Weep For Me”
(9) “Yardbird Suite”
(10) “You Stepped Out Of A Dream”
PART V – FREE IMPROVISATION
PART VI – NOW WHAT?
PART VII– OTHER MATTERS
PART VIII– CONCLUSION
Appendix A – Jamey Aebersold’s Scale Syllabus
Appendix B – 50 Standards To Learn
Appendix C – A Few Suggested Sources of Reference
Appendix D – A Short List of Listening Suggestions
Appendix E – Chart Format Recommendations
Appendix F – Extreme Flute Discography
Appendix G – Press Extracts and Critical Reaction
THE TECHNIQUE AND THEORY OF IMPROVISATION
A practical guide for flutists, doublers, and other instrumentalists
The Technique and Theory of Improvisation is well worth getting!...Why?...Because it is a concise and comprehensive guide to (1) the technique (articulation, vibrato, and breathing) and (2) the theory (rhythm, melody and harmony) that are essential in learning to improvise. This book also covers how to integrate (1) the technique with (2) the theory, using a simple melodic approach, based on small bits that you can develop into bigger bits. In addition, this book examines practical issues such as analyzing tunes, taking an idiomatic approach, and transcribing, with plenty of examples and illustrations throughout. As SIR JAMES GALWAY points out in the foreword, this is a really useful and valuable source of reference for the aspiring student and the experienced performer or teacher. Here is a brief summary of the contents:
PART I – THE TECHNIQUE
(1) Articulation
(2) Vibrato
(3) Breathing
PART II – THE THEORY
(1) Rhythm
(2) Melody
(3) Harmony
PART III – INTEGRATING THE TECHNIQUE WITH THE THEORY
(1) Riffs and Licks
(2) Analyzing Tunes
(3) An Obligato Approach to Improvisation
PART IV – OTHER IMPORTANT MATTERS
Developing Your Ear
Playing With Recordings
Taking an Idiomatic Approach
Transcribing
PART V – CLOSING SUMMARY
Appendix A – Suggested Listening
Appendix B – Jamey Aebersold’s Scale Syllabus
Appendix C – Suggested Sources of Reference
Appendix D – 50 Standards To Learn
Appendix E – Extreme Flute Discography
Appendix F – Press Extracts and Critical Reaction
REACTIONS FROM CRITICS & READERS
GARTH THOMAS (The Hollywood Digest): “McBirnie discusses potentially complex musical ideas with a laser focus on disentangling them in a way that is easy for the reader to follow...McBirnie deservers much praise for his ability to reduce important [topics] in a manner that never sounds pretentious or high-handed. The effect is ultimately one of sharing private instruction time with him, and this feeling of intimacy makes the book’s content all the more impactful.”
CLAY BURTON (Independent Music and Arts): “The text often reads as if it is alight with joy. He cuts intimidating propositions down to a manageable size by including a variety chord charts, samples, and snippets of music throughout the text, including lots of listening suggestions...It is genuinely impressive how much knowledge McBirnie packs into such a limited length...This is a book suited to endure indefinitely and gain even more lustre over time.”
JASON HILLENBURG (Good Reads): “McBirnie’s book formulates a musically sound approach to improvisation in clear and concise terms that musicians at any level can use.”
BACKBEAT: Bill manages to make the theory "generic" enough that it applies to all instrumentalists. Of particular value is his unique approach to the subject...He manages to simplify the analysis of chords and scale types so as not to confuse the novice improviser with unnecessary minutiae or detail, choosing instead to emphasize making melody that talks directly to the listener and makes an emotional connection...This is a very readable book, full of suggestions to inspire the improvising musician to explore the art of music rather than the mathematics of it.
MIKE LEISENBACH: This book is dense with knowledge gleaned from Bill's many years of playing...Bill offered explanations that made many things clearer as well as giving me new concepts to incorporate into my playing...It's the best improv book I have ever read.
JONATHAN ROYCE-GERRY: A veritable treasure trove of great pointers, reminders, and a fresh perspective on the subject. Great job!
ARMEN MATOSYAN: Two of the best jazz theory books (in my opinion) are Mark Levine’s The Jazz Theory Book and Bill McBirnie’s The Technique and Theory of Improvisation. While the first one is encyclopedic for drilling down on details, Bill managed to get the same amount of information in just over 150 pages. Easy to consume and right to the point.
MARK ALBAN LOTZ: The book is a gem! I learned a lot from it, and I totally endorse it. The Technique And Theory Of Improvisation is a must have...Bill starts his discussion of improvisation with an unusual approach because it is based on obligato, or playing in a support role...The last chapter reads like an excellent master class! Subjects are dealt with that many other music methods leave out altogether. This book is exploding with truth! It is the ideal guide for anyone who wants to learn how to learn improvise. Bam!
KEN HADLEY: I think your book is by far the most sensible guide to the art and science of improvisation that I've ever read, and your "obligato approach" makes perfect sense...Thank you for your efforts, both in playing brilliantly, and in writing with such heart and intelligence.
ARMEN MATOSYAN: I just finished reading Simplify Your Approach to Improvisation! It is a truly amazing guide! The specific song analysis section is especially useful! I am always surprised at how you can discard all the superfluous details and concentrate on only what the student really needs to know, and in just a few sentences! That requires mastery on a higher level! Congratulations on another amazing book!
KAYLYN WILLIAMS: In-depth instruction that is easy to read and understand, with just a basic knowledge of reading music. Great tips and tricks, with step-by-step practices and instruction. Also, my new favorite quote: "Silence is always a rational alternative."
MARK LOTZ: Congratulations! Great idea and great approach! Nice 'n' smart.
ELANA LUIS: This is not another obscure theory dump. It is a clear ten-step system with real tune analysis that will build confidence for musicians at every level. This is exactly the kind of book that will thrive once people actually read it. Whether you are just starting, or already teaching and performing, this book is very structured, practical, and actually useful by breaking down real standard tunes, step-by-step. It is powerful stuff. The book is clear, useful, and well thought-out.
LAURA BENNET: I really appreciate how clearly you frame and solve the problem of improvising. Centering the entire book around a consistent 10-step framework, and then applying it directly to actual lead sheets and real standard tunes. This is especially valuable for musicians who’ve learned theory in bits and pieces, but who still struggle to connect the entire process in the moment. The balance you strike between structure and practical application really comes through. It is equally useful for students, performers, and educators, particularly for teachers and advanced players seeking a clear approach to improvising.