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Good Reasons For Musical Improvisation

Philos60	Date: August 24, 2003 @ 4:30 AM 4. Personal musical expression in an improvisation is unique and demonstrates the the individual's characteristics, and the style of the musician shows appreciation for the listeners and their taste and character. 5. According to a listener's experience, the musical sympathy engendered by an original and genuine feeling presented by an improvised song, is more easily and more frequently possible than with a "patchwork of music". The MUSICAL IMPROVISATION is in the world of music only ONE of several expressions of such art, but for musicians it deserves a much higher attention, because of the "personal note" it gives to the musician. Philos60" id="59769">The world of data processing and communication (press, broadcast, film, television, InterNet) is overcrowded with purposeful and planned representations of desirable or also deliberately frightful illusory worlds advertisement, horror films, Science Fiction). Spontaneous, natural, genuine and unplanned expression forms e.g. in music and art are devalued in the commercial world as incalculable and as having no guarantee of success. Spontaneous musical improvisations in comparison with constructed and orchestrated music have special unmistakeable and estimable characteristics: 1. The individual's different musical ability becomes audible. 2. The emotional tendency of the musician is authentically reflected. 3. A continuous and coherent "tune painting" once created, causes natural attention from the listeners by reason of its unique character and impact. 4. Personal musical expression in an improvisation is unique and demonstrates the the individual's characteristics, and the style of the musician shows appreciation for the listeners and their taste and character. 5. According to a listener's experience, the musical sympathy engendered by an original and genuine feeling presented by an improvised song, is more easily and more frequently possible than with a "patchwork of music". The MUSICAL IMPROVISATION is in the world of music only ONE of several expressions of such art, but for musicians it deserves a much higher attention, because of the "personal note" it gives to the musician. Philos60
GeneHilbert	Date: August 24, 2003 @ 12:42 PM What started out as an expression of absolute music - has turned into one of the most requested live performance pieces. Still the guitar solos are never the same." id="59797">Kewl topic. As well.......... I concur..... I tend to work both sides. Melodic and harmonic events - setting mood, style, & tempo. All placed strategically to support improvisation. "5th Chord" is an example - the chromatic break is intro, recapitulation, and ending. Drums, percussion, bass, and keys to establish rhythmic and harmonic support. Then two completely ad lib'd solo's featuring the guitar. What started out as an expression of absolute music - has turned into one of the most requested live performance pieces. Still the guitar solos are never the same.
Philos60	Date: August 24, 2003 @ 1:56 PM Hi GeneHilbert, That's great! My music is totally improvised depending on my mood and feeling, in order to catch a present/immediate tendency in music authentically. The songs are simultaneously live recorded, both the accompanying music and the singing in a spontaneously invented phantasy language.
mracky	Date: August 24, 2003 @ 2:59 PM Philos60, It seems like I have seen this exact posting several times in the past. I guess its an example of purposeful planned representation... I can agree with much of your statement concerning music improvisation and the instantaneous feedback that happens with playing live in front of an audience. And as Gene points out, the harmonic skeleton certainly leads to the improvisational mood. I do have a question: Since you are recording your spontaneous improvised phantasy language (what is called scat in jazz) and accompaniment, who is your audience when you record? Isn't the recording process defeating your intent to be spontaneous? Peace.
Philos60	Date: August 24, 2003 @ 4:54 PM I'm recording my improvisations without any audience. I'm used to it since ca. 15 years. At the beginning I had problems to play and look at the same time on the recording display. Today I prepare my audio workstation before I press the start button. But then I play normally with closed eyes 3 to 7 minutes without any interruption. This is a question of practice and experience. But nevertheless I improvise infront of the audience without recording, but no longer than 10 minutes. Philos60 P.S.: Is it possible to find out, what postings I've done here on this board up to now? " id="59815">Hi mracky, I don't know whether I've posted this text here on DMusic, but on other BBs for sure. - Now to your question:"...who is your audience when you record? Isn't the recording process defeating your intent to be spontaneous?" I'm recording my improvisations without any audience. I'm used to it since ca. 15 years. At the beginning I had problems to play and look at the same time on the recording display. Today I prepare my audio workstation before I press the start button. But then I play normally with closed eyes 3 to 7 minutes without any interruption. This is a question of practice and experience. But nevertheless I improvise infront of the audience without recording, but no longer than 10 minutes. Philos60 P.S.: Is it possible to find out, what postings I've done here on this board up to now?
sinai	Date: August 24, 2003 @ 4:57 PM its possible yeah, but really REALLY tedious, you'd have to sift back through every forum's history...
mracky	Date: August 24, 2003 @ 6:17 PM To see Forum posts: Go to your individual page (the Philos60 member page), then click on comments. It gives a history on what the user has posted. But not to stray from the gist of the thread...the balance in importance between performance and the written music is vital. A dirge played in stacotto, bright tones does not fulfill the sound painting envisioned byu the composer. That's why they place techni
mracky	Date: August 24, 2003 @ 6:18 PM To see Forum posts: Go to your individual page (the Philos60 member page), then click on comments. It gives a history on what the user has posted. But not to stray from the gist of the thread...the balance in importance between performance and the written music is vital. A dirge played in stacotto, bright tones does not fulfill the sound painting envisioned byu the composer. That's why they place techni
mracky	Date: August 24, 2003 @ 6:20 PM (whoops don't type too fast or you hit the post button) ..cal and dynhamic marks in the score. I admire musicians for their technique and soul, but I also appreciate the composition.
GeneHilbert	Date: August 25, 2003 @ 12:08 AM I do agree with this opinion. I also prefer a structured compositional foundation as a basis for improvisation. I have heard groups and individuals perform a complete show with entirely ad lib performances. While some of the tunes were truly entertaining. Others were lame, painfully long, uninspired and without direction. Ability, technique, mood, and a firm foundation in theory can and will often promote decent jams. However - if you're not in the zone and things aren't flowing. It can make for an awfully aggravating and tedious experience - for audience and performer/s." id="59912"> mracky "I admire musicians for their technique and soul, but I also appreciate the composition." I do agree with this opinion. I also prefer a structured compositional foundation as a basis for improvisation. I have heard groups and individuals perform a complete show with entirely ad lib performances. While some of the tunes were truly entertaining. Others were lame, painfully long, uninspired and without direction. Ability, technique, mood, and a firm foundation in theory can and will often promote decent jams. However - if you're not in the zone and things aren't flowing. It can make for an awfully aggravating and tedious experience - for audience and performer/s.
Philos60	Date: August 25, 2003 @ 6:18 AM that I've already posted this topic. But it could be interesting for some new readers...:-) - By the way, musical improvisation doesn't work in case there is no talent, no practice and no concept in mind. There is no absolute improvisation possible. Certain "building blocks" and trained technics are used during improvisation. Nothing is totally new. " id="59948">Excuse me mracky, I've checked "comments" and found out, that I've already posted this topic. But it could be interesting for some new readers... - By the way, musical improvisation doesn't work in case there is no talent, no practice and no concept in mind. There is no absolute improvisation possible. Certain "building blocks" and trained technics are used during improvisation. Nothing is totally new.
monsquaz	Date: August 27, 2003 @ 9:48 PM http://monsquaz.dmusic.net/pictures?detail=1&picid=10331 ...of course, only computers can actually play stuff like this. But what I hear coming out of the computer is still a fascinating piece of work, at least in my mind." id="60224">3/4 of all my music is improvised. I even improvise during the few times when I do manual writing. I just usually mash the keyboard and my m ouse button on this notation program I'll use. For an example of that, look at this: http://monsquaz.dmusic.net/pictures?detail=1&picid=10331 ...of course, only computers can actually play stuff like this. But what I hear coming out of the computer is still a fascinating piece of work, at least in my mind.
GeneHilbert	Date: August 27, 2003 @ 10:09 PM Yep....... you're right - that's impossible.
sstrader	Date: September 9, 2003 @ 12:27 AM Every musician and composer uses improvisation, but they shouldn't place it above planned composition. And they especially shouldn't look down on planned composition as a lesser form. Even as you sit and compose a piece, you improvise--where else would the music come from but the initial improvised thoughts and actions? The difference is that with composition you get to editorialize out any flaws (as you see them and as best that you can) by studying the music over a period of time. You have the chance work on those trite sections that flowed too easily because they're too familiar and are not really a unique or interesting expression. We are all victims of cliches at times, and composing permits us to look at them and try to instead express our personal feelings and not those that have been beaten into our ears by mass media. To hone a composition to the best it can be is to really show appreciation for your listeners and give them polished inspiration. To say that improvisation is somehow more pure is like suggesting that an author's conversation is better than their books. For more thoughtful, more deeply emotional expressions, I'll wait for the novel, thank you." id="61766">(Ahh shucks, I hate getting to the discussion so late, but improv v. "composed" is something I think quite a bit about.) Every musician and composer uses improvisation, but they shouldn't place it above planned composition. And they especially shouldn't look down on planned composition as a lesser form. Even as you sit and compose a piece, you improvise--where else would the music come from but the initial improvised thoughts and actions? The difference is that with composition you get to editorialize out any flaws (as you see them and as best that you can) by studying the music over a period of time. You have the chance work on those trite sections that flowed too easily because they're too familiar and are not really a unique or interesting expression. We are all victims of cliches at times, and composing permits us to look at them and try to instead express our personal feelings and not those that have been beaten into our ears by mass media. To hone a composition to the best it can be is to really show appreciation for your listeners and give them polished inspiration. To say that improvisation is somehow more pure is like suggesting that an author's conversation is better than their books. For more thoughtful, more deeply emotional expressions, I'll wait for the novel, thank you.
Philos60	Date: September 9, 2003 @ 7:55 AM Using improvisation as an "initial ignition" is the normal way to create, develop and compose music. Nevertheless, it can happen to you as musician, depending on your musical mood and talent, to create music at once without any conscious intention to compose a new piece of music. That's an exceptional way to do music. Can you imagine to be always ready only for moments of musical improvisation?, because you have experienced, that personal feeling expressed spontaneously by music reflects authentic the "inner world" by the appropriate "acoustics", even then there are some flaws in it... as in real life. Nothing is perfect. Music sounds sterile, if it's parts are composed like patchwork. On the other hand, music has a lasting effect, when the musician and his live music build up a distinctive entity. You can be sure, in case of improvisation you are personally bonded with your expression of music, and you show your real musical talent. From my personal point of view, I can say, that it is possible to improvise solely. It's a question of training improvisation for a long time (e.g. 45 years). Finally I can't repeat any of my recorded improvisations, because on each attempt the results are new variations of a musical theme.That's my way to make music, and there are a lot of other possibilities I esteem! " id="61781">@sstrader! You have posted a convincing argumentation for positioning musical improvisation beneath "planned composition". Using improvisation as an "initial ignition" is the normal way to create, develop and compose music. Nevertheless, it can happen to you as musician, depending on your musical mood and talent, to create music at once without any conscious intention to compose a new piece of music. That's an exceptional way to do music. Can you imagine to be always ready only for moments of musical improvisation?, because you have experienced, that personal feeling expressed spontaneously by music reflects authentic the "inner world" by the appropriate "acoustics", even then there are some flaws in it... as in real life. Nothing is perfect. Music sounds sterile, if it's parts are composed like patchwork. On the other hand, music has a lasting effect, when the musician and his live music build up a distinctive entity. You can be sure, in case of improvisation you are personally bonded with your expression of music, and you show your real musical talent. From my personal point of view, I can say, that it is possible to improvise solely. It's a question of training improvisation for a long time (e.g. 45 years). Finally I can't repeat any of my recorded improvisations, because on each attempt the results are new variations of a musical theme.That's my way to make music, and there are a lot of other possibilities I esteem!
GeneHilbert	Date: September 9, 2003 @ 10:42 AM Dude ..........have you ever heard Itzhak Perlman play any Mozart Violin Concerto - well sterile they aren't. " id="61792">"Music sounds sterile, if it's parts are composed like patchwork." Dude ..........have you ever heard Itzhak Perlman play any Mozart Violin Concerto - well sterile they aren't.
invocati	Date: September 9, 2003 @ 7:09 PM Use both if you can ...Improv and Planned composition. One or the other if you like... But you have to use one or the other or both. Whatever trips your whistle.
Philos60	Date: September 10, 2003 @ 3:21 AM @invocati Good comment and recommendation! Let's be flexibel.

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