Two questions, really, or the same question but in different scenarios...

In the improv sections of pieces, I tend to use chunks of the original melody - bits of rhythm, bits of melody - and improvise around and from them. I'd like to think that I can make something original and good even though I'm borrowing elements from the melody, and I also personally think it makes the improv sound like it belongs better.

Listening to the sample tracks, it seems like they are more into doing something completely different.

I'm thinking of doing the jazz flute exams, but also want to gain up some confidence in the jazz idiom away from exam situations.

So... people who've done jazz exams/put pupils through - would that sort of improvisation be acceptable in an exam situation?

And on a general note, the experienced jazzers round here, what do you think? is that an acceptable style of improv or would you consider it to be a bit like cheating or lacking in originality??

I always encourage my jazz students to make some logical form of link between the 'head'(melody) and the impro, but at the same time coming up with something original.

*nods*

Cool, thanks

I read this yesterday afternoon and meant to reply last night but my internet connection was playing up.

I have no experience of what may or may not be required in exams, but in general using the melody as a source of inspiration for an improvisation is absolutely fine.

Some more thoughts on improvising using the melody in a fairly random order:

Quite often, especially on ballads, you'll hear a solo where the first chorus is pretty much an embellished melody, sunsequent choruses will move further away but may still reference the melody before a return to the head.

When experienced players have moved "outside" the changes they may return briefly and throw in a snatch of the melody, almost to say "OK this may sound like a completely different tune, but it's not, listen, I know exactly what I'm doing"

One example (there are many more) of a solo based on the melody is Miles Davis solo on "Solar" on the CD "Walkin" - it's very much based on the head, and if it's good enough for Miles...

When I'm practising with playalongs I try and set myself exercises, rather than just busk along with no particular goal. One such exercise is to use the melody as a basis, or to incorporate various phrases from the melody in the solo - particularly useful in addressing one of my bad habits which is to lose track completely of where I am in the form.

An audience likes to hear something familiar - it's that aah! of recognition moment. Jazz can be quite challenging to listen to (one of the things I like about it) throwing in those familiar bits can make things easier and more enjoyable for your audience - which is what it's all about. Of course the best professionals tailor their program as far as possible to suit their audience, from familiar standards to "out-there" avant garde.

Thanks TSax, that's useful stuff

I'd agree with what Tsax said. If you're taking several solos you could embellish the melody on one, move away from it on another, go somewhere completely else on another and come back to it on the last.

I tend to embellish the melody more when I'm feeling less inspired but on those 'in the zone' occasions tend to play something I've never played the like of before. Oh for those moments!

But having said all that it's a good idea to take embellishment the melody as your basis as apart from anything else it's reassuring for the audience. But use the chords and your knowledge of the scales and arpgeggios that go with them as the basis for a freer improvisation too. The great thing about jazz is that the world is your oyster really and you're free to be pretty much as creative as you like.

Violinia

Thanks guys this is really helpful