Jazz Tap by definition is an improvised tap dance although it is these days associated with many other forms of tap, some of which incorporate jazz dance and all manner of choreographed movements. From a personal  point view I see Jazz Tap as its intended definition, an improvised tap dance. Tap does cover a wide spectrum and there are numerous names used to classify the different types and even more names are being associated with it's continued development and evolution. Historical names given to steps and step combinations used in tap dancing today are also wide ranging and open to individual interpretation depending on geographical location and who you had learned the steps from. I will not attempt to standardise any of these names or terms, as there definitions vary from person to person and which ever book you happen to have read. It would be a difficult feat in it's self to try and describe the all the steps, combinations and there historical origins. Over the years information in this area is some times miss interpreted and conflicting information as to who is said to have created which particular steps is common and also adds a certain amount of fascination for me. I find that braking an improvisation down to component moves and steps loses the vary essence of the art of improvisation that you are trying to achieve. So no step by step instruction will be provided here, but rather opting more for the thought behind a jazz tap performance.


When I began  tap, improvisation was the one goal I had in mind, I really had no interest in the routines and basics that were offered in tap schools, well, over here in the UK at least. Coming from a back ground of playing the drums and the bass guitar, gave me a little insight into what was needed to achieve my goal. One of the techniques I wanted to achieve was the ability to be able to cruse effortlessly along like a drummer and then throw in the odd riff here and there.
I have found that to be free to interpret the music you hear, you must concentrate on the job in hand sacrificing elegant interpretive arm and body movement for real time execution of improvised rhythm, with only minimal use of the arms. The arms are commonly used as an indication to what is happening and can be used to great effect giving the impression of being off balance or the end of a performance.
Many people, mainly non tap dancers, believe that you are giving a performance and should strive to achieve interpretive arm gestures which reflect the mood of the piece that you are presenting with aim of pleasing the audience. A lot of people have a preconceived idea of what a tap dancer does and are often disappointed if what the are expecting is not delivered. Many still expect the flips, jumps, splits and spins they associate with what they think a tap dace should be and feel cheated if they are not presented with these acrobatic movements which were originally adapted into the tap dancers repertoire due in some part to the big band music getting increasingly louder and a more visual approach was adopted.
The above expectations are mainly a UK based because we are still a little behind with our interpretations of tap dancing, generally choreographed interpretive tap dancing is all that gets promoted through stage and TV.
I personally see my self as a musician and on that basis I don't get preoccupied with too many aesthetic arm gestures, they are only used very sparingly but do not contribute much to the overall execution of the improvised performance. I'm sure we have all seen on many occasions the odd body movements or the intense facial expressions exhibited by a jazz or rock musician during an incredible solo. It is however important to use the arms during the execution dynamic movements and various techniques like sliding. Arms assist in sliding to slightly overcome gravity just for and instant to enable sliding to be smooth due to the less friction needed to be overcome by the feet and the forced momentum of slide direction.

The simplest improvisation is achieved by starting off with a simple rhythm so that it is easy to concentrate on or hum along to. At this point repeat the simple rhythm and then make it more complicated while still humming along to the beat (I actually find a drum machine useful for this.) and fill the open gaps in the rhythm with improvised tap. This building up of the rhythm is your personal contribution and will vary from person to person. Adding extra beats to the spaces within the beat structure will start to become second nature and it is at that stage that the rhythm starts to runs away with it's self and it forms into some thing totally unexpected.

Building a rhythm part one

Building a rhythm part two


This may sound a little like an incomplete explanation, but it is what takes place, although the mind is racing ahead with developing the rhythm, the out come is totally dependent on ones state of mind. The position of your feet also comes into play too, which is why you also have to think ahead to get your feet in the correct position to follow on from what you have already done or what you are going to do. I can't stress enough about the position of the feet, although this is really due to personal style and will be different for each of use, but a balance must be found between personal style and freedom to respond to your instincts.