Example of Thematic improvisation on All The Things You Are

[equenda]

I have published a video dedicated to thematic improvisation on my YouTube channel . In the video I play a solo (....but maybe it's better to call it an exercise...) on All the Things You Are, in which I tried to use the notes of the original theme as much as possible. It's the first time I've focused on this "thematic improvisation" and I think it's useful for creating new melodic lines that are more interesting than those based ONLY on chords or tonal centers. I'd love to know what you think.
If you want you can also upload the free PDF with the complete transcription of the solo: ALL THE THINGS YOU ARE: assolo tematico - Thematic Solo

Ettore

[jazzeroo]

thank you for this. wonderful solo!

[Bob_Ross]

It's the first time I've focused on this "thematic improvisation" and I think it's useful for creating new melodic lines that are more interesting than those based ONLY on chords or tonal centers. I'd love to know what you think.

I think more musicians should take this approach.

I was first inspired to find ways to relate to the melody back when I was a wee teen and just getting in to jazz; since I was too young to drive, my Dad would take me out to local jazz clubs. His regular complaint: "I love when they play the melody, but as soon as the improvisation starts I can't hear the tune anymore."

Many year later when I was in grad school at NEC I studied composition with Joe Maneri, and he was a big proponent of the concept of "Motific Variation" where the shape of musical gestures could be extrapolated and manipulated in a vast number of ways...but I realized it also offered a way to blow over jazz standards where the themes from the original melody were always present.

The notion of spontaneously creating a whole new melody that fits the tune's chord changes but otherwise has little to do with the original song has gotten less and less appealing to me ever since.

[equenda]

thank you for this. wonderful solo!

Thank you so much Jazzeroo.
Your comment makes me really happy. Unfortunately I have a rather small EGO .....and often I think that what I play is rather ugly.
Luckily someone like you gives me some self-confidence: thanks again!

Ettore

[equenda]

I think more musicians should take this approach.

I was first inspired to find ways to relate to the melody back when I was a wee teen and just getting in to jazz; since I was too young to drive, my Dad would take me out to local jazz clubs. His regular complaint: "I love when they play the melody, but as soon as the improvisation starts I can't hear the tune anymore."

Many year later when I was in grad school at NEC I studied composition with Joe Maneri, and he was a big proponent of the concept of "Motific Variation" where the shape of musical gestures could be extrapolated and manipulated in a vast number of ways...but I realized it also offered a way to blow over jazz standards where the themes from the original melody were always present.

The notion of spontaneously creating a whole new melody that fits the tune's chord changes but otherwise has little to do with the original song has gotten less and less appealing to me ever since.

I have recently started working on "thematic improvisation" and I have finally found a way of playing that I am very passionate about.
My goal (which is not easy...) is to be able to improvise without writing on paper anymore.....but for now I am satisfied anyway.
I have also re-listened to various musicians from the thirties who were able to play in an extraordinary way using the theme of the song.
Louis Armstrong, Sidney Bechet, Bix Beiderbeck, King Oliver and of course all the jazz singers are a wonderful example of how to vary the original melody during the solos.
Ettore

[Mick-7]

Ettore, Some have devised guides to thematic development (like the exercise posted below), which some find helpful, but personally I found that when I follow rules, my playing sounds formulaic... almost like I'm following improvisation rules.

Your suggestion to emulate musicians who are good at it works for me.

Motif development exercise based on Keith Jarrett's improvisations:
https://www.jazzguitar.be/forum/attachments/improvisation/112693d1717998637-playing-changes-vs-playing-over-key-center-keith-jarrett-exercises-pdf

[wolflen]

[QUOTE=Mick-7;1409900]

Motif development exercise based on Keith Jarrett's improvisations:
https://www.jazzguitar.be/forum/attachments/improvisation/112693d1717998637-playing-changes-vs-playing-over-key-center-keith-jarrett-exercises-pdf


These studies are a very good way to develop motifs and key centric tonality.

As with these types of tech studies, as suggested at the end, it is the combination of such work that opens
the wide spectrum of possibilities.