Learn to improvise. 2004-2005. Lesson 21: invent a melody in steps.

As a party game sometimes the audience is asked to give some notes and the piano player has to improvise with these. This procedure may be used by yourself if you want to improvise: start with the random choice of some notes. But from this point people are inclined to underestimate the posibilities of the division of the notes in time and in accents.

E.g. the notes c d e f g played with an equal division in time and with the same intensity doesn't make an interesting melody, but if c d e is played with an emphasis on e and subsequently the notes f and g are long notes, the melody is more acceptable.
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A number of combinations of these 5 notes may be tried out.
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For a melody, and particularly for one meant to sing, it is important which notes are emphasized, which ones are long or short and if the touch is legato (bound), staccato (short and separated) or portato (long but sparated; the fingers sticking to the keys so to speak). A solo instrument is more suitable for a melody than a piano.

To invent a melody singing may be inspiring, but singing may also use to improve a melody afterwards, preferably with a text in mind, e.g. playing the notes c d e... f... g... one might think of the text: "And I love... you... so...".

If you have in mind the way a solo instrument would play the melody, it might infuence your touch positivily. An organist has the possibility to hold a note, giving him the oportunity to approach the melody he made by his voice more closely. He often has a portato touch. A pianist just gives the key a hit and leaves the rest to th hammer, but he might learn a bit of the touch of the organist by using more portato to give his melody more eloquence. E.g. the root sounds more intense then.
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The piano needs trills and repetition of notes to suggest long notes.
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As low (bass) notes have more energy, they keep sounding longer. If your melody needs long notes it may help to play them in a low register.
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On the other hand the piano has its velocity sensitivity, indispensable for rhythm. So a combination of a piano and a solo instument can take care of long notes and of the percussion of the rhythm. But the velocity sensitivity of a piano may also be used to improve a melody. E.g. the repetition of notes with a strong difference in stress may give the expression of sobs.
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A note in anticipation may increase the dramatics of a tone. E.g. a keystep left of the note you are going to.
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For a heavenly atmosphere use legato.
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For rhythm you need an alternation of legato and staccato combined with accents.
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A melody depends strongly on the harmony. That's why it is useful to try a melody together with different chords. The same melody has a very different effect with different chords.
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HOMEWORK: Chose a number of notes, make a melody with it, elaborate it together with simple chords. This time the melody is more important than the chords (and repeat the theme in different variations).
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