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Proprietary improvisation method.

"Ten, kto zna natychmiast położenie dźwięków akordowych w utworze do którego improwizuje, nie potrzebuje żadnych innych schematów."

Andy Timmons,
The Great Guitar Escape 2013 (Big Indian, New York)

Fulara's Method

This is the fastest known method for learning conscious improvisation. It works with jazz as well as simple songs from different genres (pop, metal, rock), and even allows you to improvise to pieces of classical music. It is perfect as a basic method of learning improvisation in elementary music schools.


Learning to improvise raises the intelligence quotient at any age

The method has been used since 2008 by teachers and students of the School of Bands - a private school of popular music in Ostrzeszów.

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Our students videos


Książka "Zrozumieć język muzyki. Teoria improwizacji."

Questions and answers


Znajdziecie w niej odpowiedzi na pytania takie jak:
– Jak uczyć się mądrze harmonii? – Skąd brać dobre dźwięki do melodii przy komponowaniu/improwizowaniu?
– Jak dobrze frazować?
– Jak używać elementów muzyki takich, jak timing, frazowanie, dynamika, forma, faktura, artykulacja do tworzenia muzyki i własnego stylu?
– Kiedy są obiektywne przesłanki do stwierdzenia, że muzyka jest dobra?

There are several chapters in it, about 30 pages, with descriptions of the most important assumptions, but that's only one side of the coin - it won't be easy without a teacher. There will be online courses for various instruments, with feedback (guitar and bass to start, the rest later), available here soon.

1. Full awareness. At any moment of improvisation, when asked about "this note", the musician will answer that it is a seventh of the third chord, and on demand he will also play e.g. the nona of the fourth chord and lead it to the fifth fifth.

2. Quick overall time to learn the basics (scale diagrams will not be needed, only their harmonic series).

3. Transparency - you can sound more classical, bluesy, metal with it - depending on how you use it.

4. Works on a variety of instruments.

5. Highlights the harmonic framework and allows one to follow the composer's thought (especially the importance of so-called leading lines).

6. The method is excellent for composing vocal lines, song themes, arrangements of e.g. choruses. These will be much better melodies than "searching in scales".

It's not a shortcut method, we have to learn solidly to play each function as in musical studies. But the approach is completely different: we start from important sounds and come to technique and not the other way around. It saves time by tying tanning to awareness.

An interesting fact is that the method is built according to the so called "snail" principle, so if someone only needs to play a few long, nice notes - after the first year of practice (about 30 minutes a day) he/she can play any jazz standard from the Real Book (or any simple song) this way using only two strings. In the next year he would learn the so called risers - using all the strings, and in the next year - levels - using all the positions of the instrument, that is sweeping all over the neck.

It doesn't, with it you can find beautiful sounds and have power over them, but all possible technical exercises from the Internet work.

Check the teacher. Ask him/her for e.g. recording of improvisation (without preparation) where he/she will omit all fifths, sixths or e.g. ninths, or he/she will emphasize e.g. thirds of the third chord and will lead the melody to fourths of the fourth chord on any piece of music, if he/she will play it right away ask - in how much time he/she will be able to teach you this on the whole neck. You will probably get an answer that it is very difficult and for advanced players, well... Are nice sounds difficult and for advanced players? It is common to learn from the wrong side - first showing the scales, and then trying to "get the hang of them". It doesn't work that way. No significant work of classical music has been created this way. Good methods are e.g. academic (chord-scales), but they are very difficult, they require several years of practicing to the level of consciousness, and learning a huge number of patterns. Here the Fula method definitely wins.

The method originated in the process of learning and analyzing counterpoint, especially the works of Bach, who had such an awareness. Counterpoint is the technique of leading several melodies simultaneously (without backing). Anyone who has played Bach's works knows that getting one note wrong works tragically, the whole hall knows there is a mistake. This sets the works of the famous German apart. This is because counterpoint highlights all the possible pitfalls and sounds that sound worse are emphasized. Often, for musicians who have never tried to value sounds, this is not obvious and a quartet over a major chord sounds "just right" for many years, only after years they themselves notice that it does not work. One of the most common phrases heard from students is "why didn't someone show me this X years ago?".

These are not scales, this is a skeleton method, important notes need to appear only in certain places (strong parts of the bar), the rest is up to you, you can create your own sets of sounds characteristic only for you.

This is a good question that exposes the weakness of music education in general. It may happen that a little practicing graduate of my school plays only "backbone" sounds, but most look for their own solutions, and treat the method only as a base of awareness. One can use all 12 sounds and they sound great if one knows where the backbone is. Anyway, see for yourself: Bartek and Szymon's guitar recordings sound completely different.

This chord is just like all the others you'll meet - easy to play with the Fulary Method. For example, here we don't play the fifth, so we actually (enharmonically) make Cmaj7b5 - so in the Fula Method we lower the fifth in a major chord (we lower the second of the "two"). Trivial. AWARENESS is power. Everything seems simple if you are aware. You have power over the music.

Yes, we teach 8 year olds with it. It's great to see young kids, not practicing at all for hours, playing jazz standards (simple improvisations, but correct).

No, the method does not teach the elements of music. Phrasing, timing, articulation, dynamics, different meters, and so on - you won't learn that from a book - but if the teacher reviews - he or she will hint. You need feedback. But the fact is that without good sounds you will definitely not be objectively good improvisers. You can always hear when someone knows good sounds and someone else plays a scale. I call this phenomenon asymptotics - the number of scales practiced does not bring you closer to your goal.

1. They're not the easiest tans, especially for bass. However, this awareness usually limps along, musicians have time to practice their fingers usually.
2. Seemingly high entry threshold. It would be much easier to improvise this simple song using pentatonic or minor range, but the sound culture will be lame. This is a dead end in improvisation education, on top of being quite crowded.

About the method