True improvisation requires complete mastery of your instrument and
the ability to play anything in your head at will.

Charlatan improvisation (the kind I perform) is simpler. I play by the
seat of my pants all the time. Other then a fiddle tune or the 'head'
to a jazz tune I hardly ever play the same thing twice. Even those I
can't nail consistently. I don't claim it's good but it's different
every time. What I personally  try and do is play everything (mistakes
and all) with a good groove and hope people like it.  A metronome is
essential. I spent years jamming electric guitar in jam bands where we
would jam on a static chord like let's say a G7th for ten minutes. You
need to to start inventing some stuff  on the fly pretty quick in that
situation. The last ten years I've done this with mando. So my form of
improv (and many others out there) is really just having a vast
collection of licks, tricks and flavors in the tool belt that can be
applied to the task at hand. Mix matching and mutating these tools all
the time attempting to play it with a big time GROOVE. i.e. Listen to
the band.

So the short answer is to just do it. Sit with a metronome in your
kitchen and play to it. Noodle away in the key and flavor (minor,
major or 7th (dominant) of your choice. It's taken me years and
thousands of dollars of books videos and DVD's to know that nothing
beats just sitting down and playing your instrument. Just make
something good happen with it. Start collecting licks and ideas you
like. Learn how to notate them for future reference and then use them.

The longer answer:

You need an understanding of scales and arpeggios (the notes that make
up a chord) on your instrument. You also need to play scales not in an
"up and down" fashion but practice them in intervals i.e. playing
scales in thirds are very musical sounding. Or play your scales
starting at different degrees. Start your G major scale not on G but
try starting it on B the third. Do this with a metronome at as much as
possible.

You need to know the chord sequence at hand and of course the melody.
Pentatonic scales are great tools to get started. Major pentatonic
scales avoid the 4th and 7th notes (very decisive color tones) so by
avoiding those notes  pentatonic scales become kind of foolproof. But
you can also take pentatonics to the "nth" degree. There are dozens of
books on just the application of pentatonic scales. I know I have
several of them.

In bluegrass most tunes are made of a I IV and V chord. In the key of
G that would be a G C and D. You can noodle over all three chords
using the G major pentatonic scale. It's a start. Make it interesting
is harder. There's rhythmic improvisation too much like that Twinkle
Twinkle Little star video. Where you place the emphasis; push pull or
drag. I heard jazz mandolinist Don Stiernberg once say at a  workshop
that you can improvise a solo with just one note by varying it
rhythmically. There is a lot of wisdom right there. Listen to Duke
Ellington's "C Jam Blues" for an example.

Bluegrass improvisation from what I've heard is usually variations on
a melody or guys just playing some hot licks
over the same chord sequence. The harmony (or chords) behind bluegrass
is just not that sophisticated (why we like it)  to allow tremendous
flexibility in improv. Jazz is a whole different ball game. Learning
how to read music is a tremendous help. There is so much free info out
there but it's not all mando-centric.

Spend the rest of your life learning theory and mastering your
instrument and listening to the masters improvise
then transcribe them. Write your own solos out on paper.

My .02
Perry


n Jan 14, 12:59 pm, "diptanshu roy" <[email protected]> wrote:
> i have a version of jingle bells by duke ellington... its quite a version!
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