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I've read and experienced and I noticed that rhythm, rest placing and even very minor (no pun inteded) changes to the melody, for example some flat or sharp can change it drastically.

My question is that in theory is it possible to turn any melody into a good one with the right corrections?

I even go that far that I ask if it's possible to take a cell or a motif and instinctively "generate" something good out of it?

The practical part of the question is are there any known musician who use any of these technics to get melodies when they didn't got any idea in their head?

closed as primarily opinion-based by David Bowling, Dekkadeci, Dom Dec 12 '18 at 4:15

Many good questions generate some degree of opinion based on expert experience, but answers to this question will tend to be almost entirely based on opinions, rather than facts, references, or specific expertise. If this question can be reworded to fit the rules in the help center, please edit the question.

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    Can you elaborate on "emotional". For me, an improvisational musician, every improvised melody is emotional. I don't know how it couldn't be since improvisation happens in the moment. Based on your description of the process it doesn't sound like you are improvising in the first place. – ggcg Dec 9 '18 at 18:37
  • @ggcg I edited the question. – atanii Dec 9 '18 at 18:41
  • @ggcg I start to feel that I don't do it correctly than. – atanii Dec 9 '18 at 18:42
  • I edited my comment. It isn't possible to play notes you "feel" and have them not sound good unless you don't feel good, then the notes are an honest musical representation of your feelings. I'm confused by your question. Can you change it? I might vote to close it as opinion based. – ggcg Dec 9 '18 at 18:42
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    Turning bad ideas into good ones is exactly what composers do. I doubt many melodic ideas arrive perfectly formed. Look at the trouble Beethoven went to with his melodies. It could take days of head-scratching and tweaking. . – PeterJ Dec 10 '18 at 10:55
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First off I think that the question you really want to ask is how to approach improvisation. To improvise you really need to know music, the structure of songs, melodies and how they are built, some music theory. You also need to spend time exploring your own unique musical style. A lot of new musicians interested in learning improv, especially jazz, start with play along CDs or computer versions of the same. These products come with lead sheets and instructions that tell the student to play a mode over each chord, one that matches. Without experience this always leads to meaningless meandering up and down scale exercises for solos. This is NOT improv.

Improv is almost always described as variation on a theme. If it's a solo over a standard then learn the song and use its melodies as inspiration. If you are composing then try composing first so you have a basic idea to play with.

A better approach is to start writing your own licks, short one phrase melodies that you like, that sound like something you would want to hear. Then practice using these licks when you solo. This will lead to meaningful expressive solos. So I think you have the process reversed. Instead of improvising for a while then trying to compose something from it, try composing for a while then try modifying it on the fly. There is a great book by Jerry Coker (Improvising Jazz) that describes this process that I think is a much better approach to authentic improv than most. Improv generally has more emotion in it than rehearsed compositions. I hope that helps.

  • Thanks, I try to adapt this into practice as much as I can. – atanii Dec 9 '18 at 19:04
  • What level are you at? What instrument do you play? Jerry's book is worth the read, short and cheap but lost of great advice. – ggcg Dec 9 '18 at 19:07
  • @Tim, what sis you edit? – ggcg Dec 9 '18 at 19:59
  • @Tim Great high-quality edit – user45266 Dec 9 '18 at 23:47
  • You can edit my comment too, please. ;-) \ – ggcg Dec 10 '18 at 0:01

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