![]() His fills create a kind of call and response between his improvisations and the original melody. ![]() It’s almost like he’s commenting on or responding to the melody in real time as it unfolds.Īdditionally, sometimes he holds on the longer notes of the melody, whereas at other moments he plays them crisp and short. Most likely he’s trying to deal with the fact that the piano lacks the same power as a voice or horn in its ability to sustain long notes. Since the piano lacks the ability to shape long held notes, he shortens some of the melody’s held-out notes and adds melodic fills.Īlso note how he creates balance and variety by contrasting his relatively busy playing on the A sections by playing a simplified, stripped-down version of the bridge. Here’s a simplified and analyzed notation of the head in: Lesson #2: Be able to play unaccompanied improvised melodies and clearly outline the chord changes.Īt the end of the head in (and the beginning of Bill’s full-blown solo), the drummer (Paul Motian) drops out completely and the bassist (Scott LaFaro) starts playing in “broken” time, freely switching between playing whole notes, half notes, and walking quarter-note lines. So, Bill has to start his solo without the full harmonic and rhythmic assistance of the rest of the trio. Bill could’ve made it easier to maintain the form, harmony, and groove by comping for himself with chords in his left hand, but instead, he chose to improvise unaccompanied single-line melodies in his right hand.
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