[playagain]

What might be your approach to adding an instrumental part, e.g., a solo, counter melody or descant, to play together with published music, such as for a choral group? Creating one’s own arrangement for the group is not an option. Should the addition, in particular a solo, try to match syncopated or uncustomary rhythms (e.g., 5/4, 3+2+2, etc), or at least try to sync with or emphasize predominant beats periodically or throughout (“rhythmic resolution”)? May an added counter melody/solo carry over the bar line without damaging the rhythmic flow going on alongside or beneath it? Any known examples on YouTube where answers to these questions were implemented? If some or all of these questions had been covered in another thread(s) please point me to it(them). Thanks in advance for any suggestions, recommendations or guidance.

 

[Grumps]

You just do it. And if it sounds good, you keep it. Folks often embellish melodies to make songs their own. As for background, I'd only embellish that if it's lacking. You don't want music to be too busy.

 

[whamptoncourt]

It's not entirely clear if you're talking about adding a section or just playing over a section. If adding a section then it depends on what's essential as backing or what needs to be removed in order to leave that area for your addition. If playing over what's there, then as Grumps says just do it, but you may wish to remove or lower other instruments/voices to accommodate your add. If you're talking about writing in a new lead, then that's not improvisation!

Every chart is "alterable" and you'll find that many (most?) group leaders ask their group to pencil in repeats, dynamics, intros, etc. The easiest is to add a repeat to a section to accommodate your embellishment then decide which parts are necessary to keep the flow going and not competing with what you've added.

Hope that helps as you weren't very specific.

 

[saxoclese]

This link: Choral Music with flute will give you some examples and ideas on how to proceed. From your question which included the terms "counter melody" and "descant" demonstrates you already have some knowledge and background in this area. I would just add that not all choral works lend themselves to this treatment. To work, a composition needs to have "spaces" where "obbligato" parts can be inserted without disrupting the flow of the piece.

 

[playagain]

Thanks for your thoughts and contributions Grumps, whamptoncourt and saxoclese. I have some more listening to do of choral music with optional flute. Yes, I was pretty general, hoping to get a wide range of ideas and perspectives that would be more help in the long run than if I detailed a rather narrow case. If anyone looks at this thread and recalls some examples of improv or embellishments on songs in 5/4, especially up tempo, in addition to "Take Five", please mention them in a reply, and thank you.

 

[saxoclese]

Here you go.

 

[playagain]

Thanks again, Saxoclese. A very interesting take on an old standard. A pleasant surprise, and as a bonus, I never knew PD recorded with a big band. FWIW, while researching 5/4 or uncommon time, I found an article by a freelance math and science writer in Scientific American (really!) from 2012 titlled Uncommon Time: What Makes Dave Brubeck's Jazz Stylings So Appealing?" https://www.scientificamerican.com/article/uncommon-time-dave-brubeck/