 Just like to conclude by talking about how we can play the melody we've so far looked at the notes We can play we've looked at a very static rhythm pattern the phrasing behind it the sentence like construction We've also looked at the chord and various scales But now let's try and see how the melody itself can be played with a lot more passion if you will right So if we take one of our older melodic improvisation something like The first thing I'm doing is I'm really feeling the two and the four and one way to really feel the two and the four Is to think of a drummer snare drum and to try and Resonate with that or highlight that a bit more Right and or even if you don't think of the snare drum just look at varying your volume, you know Soft loud soft loud, you know This really adds to your improvisation makes it sound a lot more organic a lot more interesting if you ask me a lot More dynamic that may be a better word and The other thing you could consider to do is always to feel the pulse in twos and fours or at the two and the four one two three four one two three four one they try to always feel the two and the four So keep your melody as dynamic or organic as possible. You could also look at staccato and legato into play like Right, right. Yes, there are not that many gaps in this melody But wherever you find a note you could decide whether you want to play the note short or long verses Or you know, so some notes could be short some notes could be long and so on and so forth and Lastly what I wanted to mention is I've given a rhythm pattern But you don't have to play the whole phrase you can sort of divide it or just play a Little bit like maybe you want to play something like this and stop there Improvise do something cool at the end maybe a bend or whatever you want Stop or maybe you want to go a little longer What did I do I just played the first three notes of the rhythm? I didn't play all of that. I just played And then slowly you could build start with just one note Then rather boring, but it's getting going to get more interesting Oh Then this all these are all like smaller melodies or subsets of the main melody and Stop Wait for the cycle to end and on the B flat a bit weird, but So you get the idea, right? So you have this huge melody, which is And you don't have to play all of the notes you can just minus or omit a few Maybe omit it from the bottom and work your way towards something which you actually like So let's just recap all the stuff. We've learned everyone. We've looked at improvisation of a chord We've just taken B flat major for the lesson and what have we done so far? We fixed on the chord B flat DF we fixed on a two bar rhythmic phrase or rhythmic pattern and After that we've done a bunch of things first off We've improvised just using the chord tones B flat DF then we've improvised over an embellished chord or a colored chord If you will that's B flat major 6th with that additional G or a B flat dominant 7th If you want the most unstable anticipation kind of a sound Then we looked at a few scales. We looked at the major pentatonic scale We've looked at the mixolydian scale, which has the flat 7 then we've looked at a really awesome major blues scale Then we've just looked at some chromatic stuff where you are sort of on the scale But then you do all sorts of other notes, which you just weave in somehow, right? So hope you guys found the lesson useful again This is Jason here from the Nathaniel School of Music and a reminder to all of you if you haven't already Do subscribe to our channel turn on the bell icon for notifications for a lot more lessons coming your way And this lesson is supported with a lot of backing tracks on Patreon we have a neat link which you can head over and download a variety of stuff me playing the piano Me improvising on the trumpet on various scales and also all my handwritten notes Have fun with this exercise and I will catch you in the next one. Cheers