Fragments

[m1469]

This is the only form of "perfect pitch" which currently makes concrete sense in my life, in that, what I am posting right now and what I intend this thread to be for is to post whatever I can really define from the thing that I hear and feel inside.  This particular one right now is from just turning my thought or being a particular way, and it's as though the idea were just sitting there.  I wasn't at the piano at the time, but went to the piano to manifest the sound and my hand knew exactly where to go from the very beginning.  I am growing in the ability to trust that sense again, but it's a learning process, it seems. 

This is not an improv. in the classic sense of the word, but in a way it is to me.  I did, however, practice it a bit in order to record it and so I used my edirol once it was ready to record.  Maybe I will develop these things, maybe not, I don't know.  The reason I am posting is simply to speak musically to some heart that might be somehow open to it, from the very sound that is inside of me, as well.  Though it's meant for a kind of particular ears, I also don't mean to exclude anybody, either.

[goldentone]

It sounds like a Revolutionary War era march to me.

*Waves Flag*

[Derek]

You know I think I actually did similar things to this as well. I think I would have called them "riffs" back in the day. Though maybe that was different. Once I made a "riff," I would practice it. Almost like tiny bits of pieces. Are you able to repeat this once you've played it or is it like, you have it in your head temporarily, play it as it was in your head, and then forget it?

So I think you're going through some natural stages of development, at least for someone who is interested in common practice era harmony and composition, which you seem to be and which I am as well. You've already got the knack for spontaneous improvisation---just don't lose that! I think of all the musical skills, it is definitely the most powerful. Though traditional harmony, progressions, "riffs," etc. are useful if they serve your purpose.

[m1469]

It sounds like a Revolutionary War era march to me.

*Waves Flag*

I don't know if it's that, but I could see how it might sound that way!  Right after I posted this, the harmonic figuration "came" to me as hands separately  , which I can probably still remember, but I never practiced it all enough to put them together with complete success.  Maybe one day .

You know I think I actually did similar things to this as well. I think I would have called them "riffs" back in the day. Though maybe that was different. Once I made a "riff," I would practice it. Almost like tiny bits of pieces. Are you able to repeat this once you've played it or is it like, you have it in your head temporarily, play it as it was in your head, and then forget it?

Yeah, there are some things like that, and some others that aren't.  I guess I've been doing that since childhood, in some way, but yes, I always thought of these little fragments as a musical idea which I would develop ... so, somewhere in me, it always felt a bit attached to a bigger idea, even if I couldn't quite articulate that bigger idea yet.  I think that mentality is left over a bit, and I hadn't ever thought of having "riffs" that I might put into several different improvisations (though, that does occur in some of my improvs, I realize).

So I think you're going through some natural stages of development, at least for someone who is interested in common practice era harmony and composition, which you seem to be and which I am as well. You've already got the knack for spontaneous improvisation---just don't lose that! I think of all the musical skills, it is definitely the most powerful. Though traditional harmony, progressions, "riffs," etc. are useful if they serve your purpose.

Well, this actually was nice to read (I read it shortly after you posted it).  Strangely, I feel like I've suddenly turned a corner in my improvisations, that in many ways is not *directly* connected to these little things I had been posting before the last few days, yet somehow they had been (and maybe still are) necessary steps for me.  I am a little bit more aware at the time now of a certain thing (I don't know how to explain it) while I'm improvising, and there are aspects of the chord progressions I had been doing and some other stuff that I can use if I want to while I'm improvising.  I like that, that's what I want.  Not that certain theoretical things dictate what I do, but that I can use particulars if and when I want to for the reasons I want.  I hope there's a really long way to go with that!

Thank you, both, for your comments and insights .

[quantum]

m1469, 

I think what you are doing here will contribute to your growth as an improviser.  Seems like you are trying to distinguish elements of your intention and execution - the idea you had in your head, and the manner in which it did (or did not) play out as you performed it.  As I have been discovering in my recent improvising work, these thought processes are important elements in the improvisation chain of thought.  Awareness of the idea as it passes from incarnation in intention, through to physical execution, and the reaction afterward will add focus to the activity. 

Yeah, there are some things like that, and some others that aren't.  I guess I've been doing that since childhood, in some way, but yes, I always thought of these little fragments as a musical idea which I would develop ... so, somewhere in me, it always felt a bit attached to a bigger idea, even if I couldn't quite articulate that bigger idea yet.  I think that mentality is left over a bit, and I hadn't ever thought of having "riffs" that I might put into several different improvisations (though, that does occur in some of my improvs, I realize).

Sort of like a composers sketchbook.  One which they carry around to jot down any spontaneous ideas that pop in their head.  It may not have any coherence or context in the moment, but may prove valuable at a later date. 

[m1469]

m1469,  

I think what you are doing here will contribute to your growth as an improviser.  Seems like you are trying to distinguish elements of your intention and execution - the idea you had in your head, and the manner in which it did (or did not) play out as you performed it.  As I have been discovering in my recent improvising work, these thought processes are important elements in the improvisation chain of thought.  Awareness of the idea as it passes from incarnation in intention, through to physical execution, and the reaction afterward will add focus to the activity.  
 

Sort of like a composers sketchbook.  One which they carry around to jot down any spontaneous ideas that pop in their head.  It may not have any coherence or context in the moment, but may prove valuable at a later date.  

Yes, I think you're right, and even though the articulation you gave in words is a correct summation, the experience is a little more immediate, in terms of what I post here.  My idea in what I intend/ed to post here were musical ideas that were more or less "complete" within themselves and who were more or less just "sitting there" when I would look into the place, vs. working at something to discern note by note (or whatever).  

I am *just* becoming "allowed" in my consciousness to let myself carry ideas over from one musical setting to another (not that it hasn't already occurred, but I was kind of ashamed when it would).  For some odd reason, I had developed this notion that absolutely everything that came into my consciousness had to be like a fresh little manna from heaven, and in no way, no portion of which, could possibly be derived from anything I've ever heard or played before.  Which is absolutely ridiculous, I see now, on so many levels.  I mean, if you take Classical music (the actual era), for example, there is *so* much material that gets re-used in different contexts from one composer to another, and then within each composer's total output.  So, just that one little example, I'm not sure what I was thinking.  I mean, there are *so* many basic ideas and compositional formats that get used over and over again in the music I admire and by the individuals I admire, so what's my problem on that one, exactly?  

Anyway, yes, I do want a sketchbook, and it's as though I'd like a kind of improvisation toolbox of ideas that I can ponder and draw out of the box whenever I want, and do things with.  But then, I want things to occur that are way out of the box, too.  But, I guess that's along the lines of something I realized a bit ago (and posted in my "what I learned during practice today" thread) about artistry in general ... see, now I'm repeating myself in realizing life .

But, thank you for your thoughts as it helps me continue to clarify my own!


PS -- Maybe everything is ultimately inside a box?  

[m1469]

I am *just* becoming "allowed" in my consciousness to let myself carry ideas over from one musical setting to another (not that it hasn't already occurred, but I was kind of ashamed when it would).  For some odd reason, I had developed this notion that absolutely everything that came into my consciousness had to be like a fresh little manna from heaven, and in no way, no portion of which, could possibly be derived from anything I've ever heard or played before.  Which is absolutely ridiculous, I see now, on so many levels.  I mean, if you take Classical music (the actual era), for example, there is *so* much material that gets re-used in different contexts from one composer to another, and then within each composer's total output.  So, just that one little example, I'm not sure what I was thinking.  I mean, there are *so* many basic ideas and compositional formats that get used over and over again in the music I admire and by the individuals I admire, so what's my problem on that one, exactly?

YIKES!!!    I am just realizing SO CLEARLY that I've been filtering AGES and HOARDS of sound and music out of my consciousness for this very reason!  I've thought "like a composer" my whole life and I'm not sure at what age I started seriously filtering stuff.  I actually had no conscious idea I was doing this until just now, but that is a problem for my musical growth, in my opinion!  There are deeper reasons, I suppose, than just musical composition, but it definitely affects that quite a bit.  hmmm.  I haven't only been filtering but also avoiding ... both of which might be important on some level, but I think I need to find a different system if I want to truly be moving forward musically (in any capacity).