Improvisation

peedee · Jul 9, 2008

Hi y'all
Ever been to an improvisation/experimental workshop?
I took my tenor to one in the arts centre in town yesterday evening, and what a strange experience!
Basically you play what you want, how you want, any notes you like, any sequence. I thought it's a bit like modern art. Is it good or are the exponents just taking the p...?
I bought a CD once, mistakenly thinking it was jazz, and when I played it, it was modern progressive stuff, which I thought was awful and just dumped it! But yesterday eve I found myself playing the stuff, and quite enjoying it. Strangely it seemed to work and it all come together, as some sort of adlib composition. Weirdly, all the players knew when to stop, and they did, in unison. I found myself getting quite wrapped up in it, and looking forward to the next session, unfortunately not for another month.
I suppose there is some place for this in the learning curve?
Anyway, enjoyed my first 'gig' in a studio under lights, with an eclectic assortment of other instruments. I guess there is a comparison with jazz improvisation, no written music, no strict tempo to follow, just freedom of expression. Sorry if i wax a little lyrical, but it really was great. Any opinions on this?

I hope this site doesn't have to close, it would be a great loss.

Pjonah · Jul 10, 2008

So was it all totally by ear, with no one indicating the chords being played?

Basically sounds like free form jazz.

Sounds quite a laugh though.

Simon

Pete Thomas · Jul 10, 2008

There are plenty of different ways to give structure to music beyond sticking to chord sequences, I have been involved with experimental music in the past with varying degrees of freeformness.

To play without any apparent parameters and make music that has some meaning is incredibly difficult, requires very careful listening and group empathy almost to the point of telepathy.

The lack of a chord sequence that you must stick to can mean total chaos/anarchy, or it could lead to the development of much more spontaneous and creative use of important musical and emotional aspects. Tension, release, humour, dynamics, space, intensity, complexity, minimalism, silence, suspense. It's a great way to learn about applying this stuff to music, whether or not you continue using them in free or more conventional forms.

pete_canter · Jul 10, 2008

I recently wrote a piece "outside In" which includes a free section in terms of harmony but keeps strict 4/4 time like the rest of the piece. The so called "time no changes" section is maintained by the bass and drums while the horns and pianist are completely free. This was quite difficult to introduce to a band used to having chord sequences and in the end some structure was introduced to this section by using a graphic score - basically a page of coloured squiggles which each player could interpret how they wished. We also agreed a clear signal from me on sax to get back into the final written section. As it happens, the rest of the piece, though written, has no chords either, it is all based on a tone row in the bass and piano and a contrasting horn line which is tonal. It is a blast to play and audiences react well. The moment when it comes out of the written section and "relaxes" into the free section is particularly special.

daniel_mark_wonnell · Jul 10, 2008

The freestyle sound barage you've described reminds me of Mike Patton and Jim Duncan's project "Mr. Bungle". The music is insane and will drive you mad. It is interesting though.

peedee · Jul 10, 2008

Pete Thomas wrote:[/b

To play without any apparent parameters and make music that has some meaning is incredibly difficult, requires very careful listening and group empathy almost to the point of telepathy.

Thanks Pete, that just about sums it up. At first it was a bit chaotic but then slowly it all seemed to come together. Like you say, I think some sort of telepathy was going on.

peedee · Jul 10, 2008

Pete Canter wrote:
I recently wrote a piece "outside In" which includes a free section in terms of harmony but keeps strict 4/4 time like the rest of the piece. The so called "time no changes" section is maintained by the bass and drums while the horns and pianist are completely free. This was quite difficult to introduce to a band used to having chord sequences and in the end some structure was introduced to this section by using a graphic score - basically a page of coloured squiggles which each player could interpret how they wished. We also agreed a clear signal from me on sax to get back into the final written section. As it happens, the rest of the piece, though written, has no chords either, it is all based on a tone row in the bass and piano and a contrasting horn line which is tonal. It is a blast to play and audiences react well. The moment when it comes out of the written section and "relaxes" into the free section is particularly special.

sounds fascinating. Got a recording?