Chapter: Melodic Considerations

This is a preview of the educational program A Jazz Improvisation Almanac which is under development for the Outside Shore Music Online School. Feel free to browse this preview and learn what you can from it. For a more completed product, though, check out the original freely browsable jazz textbook, A Jazz Improvisation Primer.

The melodic line itself is the first thing that a listener will generally notice about an improvisation, or any other piece of music. Classical music theory devotes some attention to the subject of melody; see the section on Voice Leading in particular. But just as harmonic theory does not in itself tell you how to approach a chord progression, nor does melodic theory in itself tell you how to build a melody.

This chapter represents a unique approach to the improvisation of a melody. Improvising a melody basically consists of conceiving of an idea and then executing it. The sections that follow break down the process into a series of relatively simple steps. These are not, however, steps that tell you what notes to play. Rather, they are intended to help you understand the process of improvisation itself. I hope you find these ideas as intriguing as I do.

Note that some of the techniques described - in particular, that of partial construction - are specific to the process of improvising, rather than composing, a melody. There is considerable debate in some circles as to whether improvisation and composition are distinct phenomena, or whether improvisation is simply "instant composition". I personally do not have strong feelings on the matter, but I will observe that for me, the processes are qualitatively different. This discussion, however, is outside the scope of this program.

Copyright 2000 Outside Shore Music
Authored by Marc Sabatella

Chapter: Melodic Considerations