[Dixielandjazz] Chordal & Melodic Improvisation

[James Kashishian]

Steve wrote:
>Bottom line?  Chordal Improv equals short interval runs, mostly 4,
sometimes 8 bars,
>within the chord structure of the chorus. Melodic Improv equals chorus
length solo, that is >one continuous new melodic line, based on the same
chords as the song's original melody.

Steve has managed to stretch the original idea of this thread to new
extremes, which is fine.  That's why we refer to it as a thread.

However, in my original thought on the subject, I wasn't going as far as
that.  I was merely stating the difference from someone following a
picture in his mind of the chord progressions, or a person keeping the
original melody line in the back of his head at all times, thereby
"playing around the original theme", not creating a brand new one, as
Steve has commented about.  

All of this sprung up from the fact that we were trying a new song on
stage.  I know the melody line, and the bass & piano were following a
chord sheet, but with no melody.  They were finding a particular two
bars confusing, and I showed them another sheet which has both melody &
chords written, and suggested it would be easier next time if they
followed that sheet & the melody would guide them through the rough
part....make sense of it, I should say.  

That little exercise made me think that these guys could happily play
(usually) the song without being aware of the melody, whereas us
guys/gals up in front will be heavier on the melodic side.  Still, this
one occasion proved that it's best to have both in your head to make a
good stab at a song.

I differ with Steve on his 4 to 8 bar bits.  I try my best to extend an
idea over a larger area, as otherwise a solo can become quite "choppy",
like various bits stuck together.  I  seek out notes that are common in
various chords and use those so that each chord change isn't heard.
(Elazar did it with his one note, mentioned recently).  It can be a
continuing riff, a note, etc.  Particularly interesting is not to "close
down" each chorus, starting at the top again.  I try to get the last few
bars of a solo to flow over into the top, so the ending & the return to
the beginning is not so evident.  The whole idea is to get ideas
flowing, and not chopped up into sections, or even choruses.  The melody
line is always in the back of my head, though, as a guide.

Jim