You will be a great success socially and
in some artistic calling.
You will be a great success both in the
business world and in society.
Your temporary financial embarrassment
will be relieved in a surprising manner.
In the beginning, something has to happen.
do I begin?
Play only short notes.
The exercise lasts for twenty seconds.
(Exercise 1. Short Notes)
(a good strategy to employ at the beginning is to
ask more questions.)
Inner World of
the Garden Glove.
Is that really a
renown florid hot lavender egg?
Who wears pork
Which earnest raw
Masks of Glory
Which ark of
syllogism sand ?
Who’s glossary of
Which dry folksong
What sly ass flora
Is that your
garland of silky moss?
Where are the
frisky modal slogans?
Represents aspects of
the setting or situation when improvisers come together for the purpose
of improvising. It includes the physical environment of the
performance, as well as instrumental, biological, cultural and personal
aspects as well.
emotional, economic, time, space,
approach, vocalist, instrumentalist, environment, general,
institutional, political, cultural, demographic, composer, professional,
virtuoso, attitude, competition, familial, conductor, amateur, novice,
folk, nationalistic, solo, ensemble, teacher, religion, student,
electronic, acoustic, technological, instrumental, musical, other arts,
personal, properties, potentialities, mood, scene, values, styles,
history, seasonal considerations, personality, lunar phases,
familiarity, relationships, live performance, disposition, temperament,
as bipolar 'valve' and further reduction of the six categories where the
individual makes choices or decides to make a sound, then evaluates that
and chooses a
direction based on that perception.
evaluative process is actually an a multileveled awareness such that
many things take
place in an around that moment, including the subjective and
personal and impersonal, etc. which help determine the direction.
Essentially then the process moves from the inner world into the
physical world where it is evaluated (from within), and then set free
again, and again.
goal should be to make decisions which are not based upon perceptions
altered exclusively by personal assumptions, but rather upon accurate
evaluation of the physical phenomenon of the moment.
environment, personality, relationships, live performance, disposition,
Content is the process
which take place, and is represented by the music of the improvisation.
There may be many processes at work in an improvisation. Among the
several important aspects of content are momentary responses, expressed
in the moment, as well as projection and retrospection of content.
automata, sampling, found objects,
natural music, instrumental technique, idiomaticism, ideation,
compositional technique, intelligent body, disorganization,
deconstruction, chaos, visualization, color, unpredictability, musical
styles, literary allusions, patterns, anarchy, amorphousness,
guidelines, synesthesia, plans, schemas, free form, projection,
topology, restrictions, original instruments, engines, representation,
illustration, modeling, descriptions, gestures, quote, sound garden,
clock time, essence, reduction, expansion, traditional compositional
WAYS TO PLAY:
Play a note as high
as possible on your instrument
Listen and play
sounds which blend with the texture
Play a loud, high
rhythmically complex passages
Play a long, low
Start playing fast,
Stop playing and
Play several short
notes in different registers with varied dynamics
Play a part which
is subsidiary to the others
watch someone else play and try to match their physical gestures.
Play a cadenza-like
Play a loud, abrupt
sound, and repeat it
Play a melody in a
Play only intervals
Play, then stop,
then respond to someone else
Play like a rock
Play like you're in
Be happy and sound
Play something sad
Play with angst
Stay low and groovy
Get in a groove
Play a major
Sustain a minor
Play two melodies
Play a melody with
Tear it up
Bleed a little
Get it on
Play an arpeggio
Play a chord
Gliss up and down
Trill then tremolo
Play as soft as
Be a hero
Work it out
Work it in
SOUNDS TO MAKE:
What do you do
when you improvise?:
playing with a single tone promotes the initiation of a germinal idea
which is imbued with potential. To repeat that tone promotes
reflection. To play a different pitch instead of repeating the
first pitch, begins an emotional journey only which the player's
intention and projecting the pattern of the melody's pitches can reveal.
Grab is a
gestural technique which is like counterpoint. You imitate another
player's gestures, by "grabbing" what that player is playing at a
particular moment. Imitate or "grab" what another player is playing,
but do it only briefly.
DISCUSSION ON MELODY
gestural concept of melody takes the approach of what is perceived as
melody--or the gestural idea of what is melody--compared with other
musical techniques in general. For example, what makes melody stand out
as melody when it is juxtaposed with other techniques? How does say an
arpeggio transform from being an arpeggio into a melody? Primarily, in
a gestural improve environment where many techniques may be employed all
at once for the purpose of making music, a slower and more
direct approach to pitch playing generally results in what can be
perceived as a melody. The idea of connecting pitches, or near pitches,
together to shape a direction--or a string of tones-- albeit inbetween
which other filigree gestures can be placed, is a basic, general, recipe
for melody making. The string of tones that are intended as melody
should have an interesting shape and be imbued with an appropriate
expressive quality concomitant with the sounds evocated by the tones.
For example if the tones are more "Eastern" sounding then the evocative
emotional expression might be one more meditative.
complex melody, which is something different from a single
straightforward melody, may actually consist of arpeggios as well as
connected tones too, or may have more than one part or voice involved
which contributes to the indigenous nature of complexity in the melody.
However part of the problem gesturally or spontaneously while
improvising even a simple melody is that if the classical model is
emulated (such as antecedent/consequent phrase structure etc.) then the
music resulting from that model can usually sound somewhat classical
too, or even classical new music sounding. Thus the problem inherent in
"melody" is that it is a somewhat outmoded concept in experimental music
making. Therefore the initial point of this brief discussion was that
what can be perceived as melody, or what can be carved out of the
general sonic landscape and made representative of melody, is normally a
basically slower and more direct approach to connecting the tones. Yet
care should be taken to maintain an overall feel for experimentation and
for being flexible and being quickly able to move into another
technique, which may not be perceptible as melody, at a moment's notice
when the improvisation requires it.
surface is an excellent visual analogy for understanding something about
the concept of attack. Imagine all the different types of imperfections
such as cracks, craters, mountains, holes, dips, dings, etc. along the
Moon's surface. Next imagine that each imperfection or impression was
caused by some object striking the Moon's surface. Thus the act of
striking is analogous to attack or articulation--where each attacking
object has different forces, velocities, impacts, energy etc. Thus the
Moon's surface is the result of a myriad type of attacks, while say a
golf ball, with it's carefully measured small round indentations
maintains a relatively uniform style of attack. The Moon's surface is
like a very strange piece of music with many different kinds of
articulations represented by the various shapes along the surface which
were formed by the different objects "attacking" the surface at various
rates of speed and force.
a dark, cold, stillness
travel: accelerating past
a myriad of vistas
voyage into the unknown
a code riddle, and
solving the code
advancing speed of
meditative amazement and wonder
Sneak is a
sudden, pernicious, stealthy move on the player’s part. The performer
should play as if keeping the music a secret; then with sudden bolts,
and bursts, and jabs. Sneak is all about the breaking of a barrier with
the unexpected; and then having an introspective, curious, questioning
motive to the playing—as if doing something dangerous, then ck’ing out
to see if anyone noticed.
also have an ulterior motive such as changing into anger or
deconstruction—or perhaps sneak could move full sail into an attack. In
any case “sneak” should be played with genuine emotion as if slightly
guilty-but quickly striking and retreating.
should be preceded by a gesture which will make it apparent such as
serenity or calm & sustain for example.
Chop Chop and Su Hong's.