one of my jazz teachers use to say that in teaching people often teach
what can be taught and then tested for as opposed to what people
really need to learn.
I would add to this that if the public demands to have a method, someone
will supply it to them, independent of the value of it.
Using chord scales or harmony lends itself to a more systematic
paint by numbers approach.
Though, I will say that understanding harmony is important for
understanding melody. It's common for the melody to outline the
harmony (chords) in some way. This is not the only aspect of things
but is obviously there. Even chord scales can figure into things too.
My point in earlier mails is to put things in perspective and
hopefully tip the scales in a more proper weighting. Also, to
hopefully make the point that each person has to, through analysis
and study, form a coherent and sober view of theory and avoid the
various paint by number systems. Nobody would expect to become
a painter by purchasing paint by number kits however somehow
people often expect that they can be a jazz musician through similar
means.
I think the way to improvise using a melody requires that you:
1) learn lot's of melodies. Also analyze melodies as if they were solos.
2) learn/hear lot's of examples of people improvising melodically.
i.e. transcribe and study.
3) study compositional devices. Once again these are best studied in
context. For example the pieces of the classical masters are great
study material (and don't have to be transcribed). Remember that
composition is just slow improvising (or improvising is fast composition).
I started another discussion list for people wishing to understand
how classical analysis is done and to my surprise there is very little
interest and despite alot of posts on my part of a very specific form.
It doesnt matter to me since I already know how to do it but given that,
at least all the top pianists have done this extensively, I'm curious
as to the lack of response. I know it's not that easy to do because it
took me a long time to learn the process. These composers were masters
of creating melodic improvisations (which they happened to write down.)
4) Just try making up a melody while playing. Just put on a record,
especially one for a tune you don't know, and try playing along. If you
are a pianist, just try with the right hand for now. Don't play too
much because you have to be able to listen to the accompaniment.
reed
Reed Kotler
http://www.reedkotler.com home of a nice unix like toolset for windows NT/95
http://www.justjazz.com home of a jazz musicians discussion list