new member: an improv

[norkus]

www.32t.org/piano/1-31-06/axel-f_improv.mp3


some things about me and my playing.

I dont read chords, or know dick about chord structure or anything like that.
I usually only improvise in the key this is in (F minor),  because i just do taht all the time, and i've become accustomed to it.

I have basic classical training, and minor jazz training (but on sax), and other than that, i have no other training.

one could prolly make a compelling argument that all my improvs sound similar, because yea their all in the same key, and the left hand doesn't change much, and i use a lot of the same chords.  But my improvs are totally new stuff, meaning i hadn't played any of it before.

although a lot of the riffs are similar, because i don't play by ear as much as i play by hand position (geographically speaking).

haha, see if you can spot the little parts i subconciously put in:

keith jarrett koln concert, queen - tie your mother down, and theres prolly others.

as the improvs come, i'll try to record and post them, as well as the classical im learning.


oh, about this improvisation: when i improvise, i just sit and play, i dont really think about whats commmin next. and when i played this one, for some reason i busted out axel-f (the beverly hills cop theme), which apparently just happens to be in my key. so i stuck with it and it became the theme.

[Siberian Husky]

cant believe no one has bothered to give you feedback

your playing is amazing man...totally video game music, and i say that in the most flattering way, cause im a huge fan of it.

I appreciate your intricate melodies and GREAT GREAT sense of rythm man...keep up the good work..post more stuff up here

[ted]

This reveals a great deal of potential. Your rhythmic transformations, as Husky rightly says, have life in abundance.  I can hear a very strong Jarrett influence but I think you are right to use short, constantly varying cells rather than lengthy waves of the type Jarrett uses, at least in his earlier playing.  Staying in one key is not necessarily a fault per se. Indeed, some would say that doing so challenges invention more than does wandering through many keys and patterns. After all, Bach stayed mostly close to one key in each of the forty-eight but they still hold our attention. Not to be ABLE to use many keys is a different matter, although I am quite sure you could easily assimilate all positions with a bit of work and likewise with regard to extending your keyboard vocabulary and bringing in more left hand interest. That is just a matter of working at it for a few months, and in general is a lot more common an ability than the rhythmic sense you already possess.

You say you play by keyboard geography rather than using your ear, but I do not think this is entirely true. If you were not using your ear to some extent, probably unconsciously, your playing would not hang together the way it does.

The important thing is that your playing has life, and life is the one thing music cannot do without. All other faults are pardonable and correctable. At this stage, I can say that these excellent rhythmic cells would perhaps sound better still with  less pedal; on the other hand it might just be slack dampers on the piano you are playing. Pedal and rhythmic incisiveness are not usually good bedfellows.

Well done ! I look forward to hearing more.