This is fantastic! Great work m1469.
Thank you, Derek, I do appreciate your encouragement
. I think that, what I hear, is some form of organized musical thinking, at least, and so it makes me want to pay attention to what I was doing. I think I need to "graduate" from this mindset of ... "I have no idea how I did that and it intimdates me that I did" and start listening instead to what I was actually doing and what happened, and then I would like to begin the process of deciding if what I had is what I ultimately intend to communicate, etc.. At least, that is, if I need it to communicate something.
Now I know for an absolute fact that eventually you'll realize that people who write music theory books and study them excessively do not have the first clue how music is created (maybe you already do realize this)---and the reason is, you have the real spark of creativity in you. There's a reason why we don't have any music theory books by people who actually wrote good music---they were too busy making it =)
I appreciate what I believe is your sentiment, here, in that, it's one thing to make music and then another to write about it. I do agree! Your post here got me thinking in the last 24 hours about all of that, and related to my words just above, I more or less decided that The Greats did write books on theory, it's just that theirs were the actual music itself. That helped me see that "theory" is just some form of organizing one's thoughts about musical ideas, but it's not everything, obviously. I often find it helpful to have aid from theoretical thinking as found in textbook, even for simple things like identifying chord names and intervals, for example. But, I see that there is a point in which it isn't everything, or especially that, ultimately, how we personally organize our musical thinking is very individual. One aspect that a textbook can never fully articulate on its own, nor even just a recording or listening, is the actual physical aspect of technique which in reality is attached to this mental organization of musical thought (not without some kind of knowledge on the act of playing, at least, to accompany it). Each of The Great composers had some grasp on the act of playing and I suspect, especially with the pianists, that part of their own mental organization of sound very much included and was inseparable from the techniques they employed to make it.
So, I think that part of what I'm trying to say is that, in considering my own works, as I aim to organize them in my own mind, it is starting to include something like ... "ah, I can hear that this idea would include a sweep of the arm" etc.. In a way, that is a form of theory, and the fact that I might include certain aspects of the sound all in one gesture, would actually affect how I may think of something theoretically. Anyway, I don't know if this is truly making sense to a reader, but the point is, it's got me thinking
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Thanks for your feedback
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Topic: "For Wolfi" -- Improv