The Peaceful Brook

[ranjit]

This is one of the few improvisations of mine which sounds really calm. I'm always impressed by how ideas end up developing over the years in a rather subconscious fashion.

My technique has also improved over the past few months, and in particular I feel like I have considerably more control over my left hand.

[ronde_des_sylphes]

You're producing a very suitable tone for the purposes of what you want to convey. On the technical front, make sure that the little figurations you're using are as even as possible and well-articulated; this will stand you in good stead both in future improvisation and if you want to play repertoire pieces. Improvisation is in my experience a very good medium to practice such control.

[j_tour]

I haven't heard your other sessions yet, but I think I see where you going with this one.

Yeah, even this isn't really my style, I can see some good LH work:  that's my primary goal, to have the LH be as controlled and adept as possible in, primarily a jazz context, that is, while improvising, not just doing head arrangements or the standard accompaniment styles.

Cool, man!  And the title sort of fits with your ideas, you know.

[ranjit]

You're producing a very suitable tone for the purposes of what you want to convey.

Thank you!

On the technical front, make sure that the little figurations you're using are as even as possible and well-articulated; this will stand you in good stead both in future improvisation and if you want to play repertoire pieces. Improvisation is in my experience a very good medium to practice such control.

I agree, and I've come to realize this recently, probably because I've finally surpassed the initial hurdle of being able to play those figurations in the first place (which has not been easy at all!). I've observed that professional performers can often play difficult figurations really accurately -- for example, they can play a really fast scale, and it will sound perfectly even when slowed down to half speed. It is a technical issue, and I'm not sure how to improve upon it -- perhaps I will finally have to do some regular metronome-esque practice, which I've never actually done before. Improvisation has got me this far, but I'm not sure how I would work on evenness past this point with improvisation. In a sense, maybe the idiosyncrasies which are there when it comes to the technical aspect are a result of the techniques being acquired via improvisation rather than regular practice. I've been thinking a lot about this lately.

I haven't heard your other sessions yet, but I think I see where you going with this one.

Yeah, even this isn't really my style, I can see some good LH work:  that's my primary goal, to have the LH be as controlled and adept as possible in, primarily a jazz context, that is, while improvising, not just doing head arrangements or the standard accompaniment styles.

Cool, man!  And the title sort of fits with your ideas, you know.

Thank you! I've found that a peaceful sound in a somewhat tonally ambiguous context flows really well with water.

[kalospiano]

interesting stuff, nice sound, nice atmosphere. If I may, I wish there was a more structured, recurring theme during your improvisation as it seems you're creating new material all the time and I kinda get lost in the flow, but that might just be me.

[quantum]

It is like going on a journey along that brook, and finding all those shoreline features that give the brook its character.  The music is fitting for the subject.

Improvisation has got me this far, but I'm not sure how I would work on evenness past this point with improvisation. In a sense, maybe the idiosyncrasies which are there when it comes to the technical aspect are a result of the techniques being acquired via improvisation rather than regular practice. I've been thinking a lot about this lately.

It might be a matter of selecting specific focus when you set out to improvise.  Improving on technique doesn't have to be all exercises.  I used improvisation to learn a number of techniques at the keyboard.  You need to give yourself precise focus, and set out to work on some element of technique.  Try not to abandon a technique focused improvisation if things get to awry.  Work your way through it, from both a technical and musical standpoint. 

Instead of doing exercises, you could work them into your improvisation.  For example, an ostinato pattern where you could work on evenness, but at the same time create music around the ostinato. 

Of course, you should not abandon improvisation that is completely creative focused, time needs to be made for that as well.  You can just supplement your practice with some improvisation that helps you work on technique. 

[ranjit]

It is like going on a journey along that brook, and finding all those shoreline features that give the brook its character.  The music is fitting for the subject.

Thank you for listening. That is quite close to what I had in mind.

It might be a matter of selecting specific focus when you set out to improvise.  Improving on technique doesn't have to be all exercises.  I used improvisation to learn a number of techniques at the keyboard.  You need to give yourself precise focus, and set out to work on some element of technique.  Try not to abandon a technique focused improvisation if things get to awry.  Work your way through it, from both a technical and musical standpoint.

Some people have remarked that there is something off with my rhythm and evenness. At this point, I'm starting to doubt my ear -- I'm not sure if what I hear in the music is what others hear. I have used improvisation in the way you mention (ostinato, etc.) to acquire a number of technical skills. However, relying on your ear only works as long as you can actually hear what you want to improve upon. At this point, I'm questioning whether what I hear is wrong in the first place.