by Thomas Altmann » Mon Dec 07, 2009 4:44 pm
I'm with Tonio emphasizing that 4-, 8-, and 16-bar-structures must be internalized, no matter what tune you are playing. From there you can add or deduct for any uneven phrasing. I also think of adding blocks of 8 or 16 bars to fill 32-bar forms.
In order to learn feeling 8-bar phrases, I vaguely imagine a spoken phrase intonation with a 2+2+4 "melodic" structure that would work over any tune, whether known to me or not. The secret is - as so often - to listen to what you don't actually hear around you.
If I get lost, I might watch the guys who meanwhile have had the time to count more exactly than I did, and when they lift up their horns or whatever, I proceed to finish. In case they were lost, I would give some strong indications (standard closing patterns) or even count them back in. If guys are not familiar with Latin contratiempo solo fashion, they sometimes come in on a weird beat; but I can't help that. The only problem that can arise is when some players are off, while the rest of the band goes with me.
As some of you know, I also play drum set in Jazz settings. Jazz people love playing chorus forms, and they would expect that ability from a drummer as well. As a matter of fact, drummer Max Roach insisted that the other musicians followed his chorusses as accurately as anyone else's, because he had that emancipation idea going on ("equal rights for the drums"). Anyway, from the earliest times on, any instrumentalist had to follow the melody (or later the harmonic changes) of the tune he would improvise upon, and therefore know it sufficiently! Musicians of any genre (yes, Latin music, too) would expect you to know at least a standard repertoire in that particular style. Some musicians may be discriminating, and if you don't know your repertoire of standard compositions and their different versions, they would write you off as if you didn't know your rhythms and standard cierres.
However, I find that I improvise in a different way in a free form situation of an ad-lib length, which is more common in Latin music with it's harmonic cycles of 2 to 4 measures, than I would do in a Jazz chorus of 12, 16, or 32 measures. In Jazz, I tend to solo more in, or along, even phrases, while in Latin music I would spin forth something like "evolving rhythmic movements" that develop their own logic and mechanics and would not necessarily resolve after an even number of measures. In these situations I act in the same way as Abakua described in his post.
It is my personal opinion that, while instruments of definite pitch find a meaningful creative potential in their constant reference to melody, harmony or mode, instruments of indefinite pitch (such as the drums) can tap their resources of expression more effectively without relating to chord changes. I cannot play chords or melodic lines on my drums, anyway. So after having proven the ability to play chorusses over many years, I sometimes dare to afford playing open solos instead, which give me as a percussionist an adequate artistic freedom alongside the other instrumentalists. Even in a relatively conservative style as traditional New Orleans Jazz, they let me do that; they say they can hear when I'm about to finish my own "temporary solo form". I confirm their feeling with a short glance, though. When everybody hears, thinks and plays MUSIC, a lot of things suddenly become possible!
Thomas