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 two examples demonstrate two different ways of approaching a simple lyric. One is in ^ time in a major key and the other is in * time and in a minor key.
In most 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 "woke" rather than the first word "I" at the beginning of the phrase because there is a lead-in note. In the second phrase, "I" is emphasised because it falls on the first beat of the bar.
In this example, the first accent falls on the word "early" because there is a three note lead-in. In the second phrase, the word "early" is once again emphasized but a higher note is used the second time to add variety.
Notice also that the word "morning" has been changed to mornin’ in this version. This type of alteration is common in many styles of music. It really depends on what is most appropriate for the style. For example, perfectly correct grammar can often sound out of place in a Rock or Blues song, as songs in these styles are based on a language tradition which has always included slang.
As you can hear, these two approaches to the same lyric are quite different. The meaning of the lyrics, along with the style of music you are singing, as well as the instrumental combination you are fitting in with will often determine the way you approach a melody. Try experimenting with different approaches to melodies you already know as well as creating your own new melodies.
Sixteenth Notes
This is a sixteenth note.
It lasts for one quarter of a beat.
There are four sixteenth notes in one beat.
There are 16 sixteenth notes in one bar of * time.
Tap your foot on each beat to help you keep time as you sing this example.
Often in songs you will find two sixteenth notes grouped together with an eighth note as demonstrated in this example.
Now try this example which combines sixteenth notes with some of the other note values you have learned. Another figure used here is the dotted eighth note and sixteenth note grouping.
The dotted eighth note lasts for three quarters of a beat and the sixteenth note makes up the last part of the beat. Once you understand sixteenth notes, you have covered all of the common note types and basic rhythms used in song melodies.
The first version of this song is in the key of E, as shown by the key signature (four sharps). The second half of the melody contains several examples of improvisation. If you have trouble with any of the timing in the song, practice the rhythm figures on one note as in the earlier rhythm examples. Also try singing along with the example and try to feel the timing and then imitate it.
2. If you get there before I do,
Coming for to carry me home,
Tell all my friends I’m coming too,
Coming for to carry me home.
3. The brightest day that ever I saw,
Coming for to carry me home,
When Jesus wash’d my sins away,
Coming for to carry me home.
The second version of this song is in the key of G. This version also contains improvised phrases in the second half. As with previous songs, sing along with the version which best suits your particular vocal range.
