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Interpretation and Improvisation

Lesson 4/77 | Study Time: 5 Min
Interpretation and Improvisation

Interpretation and Improvisation

Every singer has his or her own way of interpreting a song. It is rare that two singers will sing a song exactly the same way. Often a singer will learn a new song by getting the basic melody from another singer’s version and then changing it to suit their own style. This may mean varying the lengths of notes, changing the rhythms, changing a few notes to different pitches, or even totally changing the melody.

As long as the new melody fits with the lyrics, this is perfectly OK. In fact, some of the greatest recordings of songs have come about by the singer completely changing the melody and the accompanying musicians fitting their parts to the new version of the melody.

Another situation where experience at improvising comes in handy is in writing songs. Many times you or a friend may have some lyrics and you need to put a melody to them. There is always more than one way of doing this. The following examples demonstrate two different ways of approaching a simple lyric.

In many melodies there is a natural accent on the first beat of the bar. This can be used to stress particular words in a song. In the first phrase of this example, the emphasis is on the word You.

In this version, there is a rest on beat one, and the first word sets up a different rhythm. You may prefer one approach or the other, but the two versions demonstrate that there is more than one way of approaching a lyric, a melody or a rhythm.

In styles such as Rock, Blues, Jazz, Gospel and Hip-Hop, improvisation is a large part of what the singer does. Experiment with improvising on other songs you know.

Peter Gelling

Peter Gelling

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Class Sessions

1- Understanding Music 2- The Major Scale 3- Voice Types and Ranges 4- Sharps (<span class="symbolA">#</span>) and Flats (<span class="symbolA">b</span>) 5- The Tie 6- Rests 7- The Triplet 8- Sixteenth Notes 9- Dynamics 10- Intervals 11- Minor Keys and Scales 12- Transposing 13- Performing In Public 14- How We Sing 15- Slurs 16- Interval Distances 17- Breathing 18- The Sixteenth Note Triplet 19- Swing Rhythms 20- Cut Common Time (<span class="symbolA">W</span>) 21- The Chromatic Scale 22- Harmony and Chords 23- Octave Displacement 24- Overcoming Nerves 25- How to Find Your Voice Range 26- Syncopation 27- The Importance of Timing 28- How to Read Music 29- Call and Response 30- Simple and Compound Time 31- Identifying Intervals by Ear 32- Chord Progressions 33- The Keyboard 34- Phrasing and Expression 35- Interpretation and Improvisation 36- When to Breathe 37- Posture 38- Eye Contact 39- The Lead-In 40- Sol-Fa Syllables 41- Practical Use of Enharmonic Notes 42- Instinct and Training 43- Matching Pitches 44- Keys 45- Moving Between Registers 46- Chord Symbols 47- Arpeggios 48- Repetition and Variation 49- Stage Presence and Stage Craft 50- Accidentals 51- Blues Singing 52- Rhythm Training 53- Harmonizing Melodies 54- The Language of Rock 55- Developing Your Own Style 56- Vibrato 57- Relative Minor Keys 58- The Octave 59- The Key of C Major 60- The Blues Scale 61- A Word About Pitch 62- Matching Pitches and Rhythms 63- Warming Up 64- Common Progressions 65- Singing Scale Degrees 66- Vocal Range 67- Looking After Your Voice 68- Timbre 69- Microphones 70- Pre-Hearing Notes 71- Microphones for Performing Live 72- Common Problems 73- Studio Microphones 74- Registers 75- Microphone Technique 76- Working With A Teacher 77- Recording

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