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[BLANK_AUDIO]. Okay, let's talk about this theme in
variation concept. there are three characteristics to every
melodic theme. There is, first of all a rhythm [MUSIC]
four eigth notes in this case. there is also a melodic shape of some
kind to the notes. In this case, [SOUND], it's an arpeggio
going down. It could be the same rhythm but different
notes [SOUND] and much different character if I play those notes.
But I chose instead, [SOUND]. Right?
So that's. The second characteristic, the melodic
shape. The third characteristic is it suggests a
harmony. In this case, it's a [SOUND] major seven
chord and E flat major seven, to be precise.
So now we have [SOUND] this theme. And our job is to repeat it.
And repeat it and repeat it. And as we repeat it, we make variations.
We change it around so that it, it becomes interesting and the listener
starts to follow it and says, oh, I wonder what he's going to to do next.
How is he going to play it the next time? [MUSIC] You see me doing this all just on
this one chord. I'm changing it around in a variety of
different ways. Now how long do you need to do this to
establish a theme and for the listener to identify the theme and notice that it's
going somewhere, it's being developed. Well, you play it once, nobody will
identify it as a theme. If you play it a second time, maybe they
might think, oh I think I've heard that before.
It must be something he's focusing on. But the third time, yes.
Definitely people will generally notice by then that you're working on a certain
melodic idea. And but once you get it established, you
have to use it for awhile. for it to really feel like it's creating
a little trip for the listeners to follow.
A lot of times when I listen to students improvise, they'll play very short
developments on their themes. They'll play it once or twice and barely
get it established before they quickly move on to something else.
It isn't long enough for listeners to really, you know, latch onto it and
follow along. It's almost like listening to somebody
talk and every other sentence they start a new topic and after a few minutes you
think I'm sorry I, what are you talking about, I can't follow you.
we want to continue our ideas long enough for the story to get told.
Now, that might be as long as eight measures 16 measures.
It could even be a whole chorus of a tune.
And in some cases, I, there are examples I can think of on record where people
play their entire solo is based on one theme that they keep working with.
you don't necessarily have to carry it to that length every time you play but keep
in mind it needs to go on long enough for people to notice that there is a theme
and that you're working it. And you're doing things with it, that's
where the creativity comes through for the listener.
[BLANK_AUDIO].