[Dixielandjazz] Chordal & Melodic Improvisation

[Patrick Cooke]

I have stayed out of this thread, but I think it's time to put in my 2 cents
worth.
Improvisation is what defines the music as jazz.  Read that line again.
Creating you own entirely new melody is the ultimate improvisation.
It's simply matter of how creative you want to be.
   When the band decides to give me a solo, I play from the changes.  When I
can't think of anything else to play, I play the melody.
    The melody is also appropriate when using the last 8 bars of a tune as
an introduction. It's one of the easiest lead-ins, and it lets the audience
know what you're going to play.   It also lets the guys in the back row know
what is being played, and time to figure out what key it's in, because most
front line guys rarely tell the back row anything.
   Pat Cooke


----- Original Message -----
From: "James Kashishian" <kash at ran.es>
To: <dixielandjazz at ml.islandnet.com>
Sent: Thursday, January 23, 2003 5:42 AM
Subject: RE: [Dixielandjazz] Chordal & Melodic Improvisation


> 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
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