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Nahum Offline OP
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The content of the famous book by Mark Levine, which contains the main theoretical material on improvisation.


[Linked Image]

There is, of course, nothing about spontaneous improvisation here. The order of things is such that first what is studied is what is being studied, and then there is a performance in accordance with what was learned, if possible putting in your own emotions and feelings.
Spontaneous improvisation does not start with prior knowledge or preparation, but emotion and inner feeling; uncontrollably using the acquired baggage - be it theory, learned repertoire, music heard throughout life, literature, cinema, theater. The meager the luggage, the more limited the result. However, there is no doubt that a given feeling or emotion is the strongest trigger for spontaneous improvisation; and any change in them instantly affects a significant transformation of the result - without connection with theoretical knowledge; as in these examples:

1a.https://disk.yandex.ru/d/BPIqIhNq3Wo3Hu

1b. https://disk.yandex.ru/d/pddyWHjq3Wo3Eb


2a.https://disk.yandex.ru/d/S-qrTNpy3Wo3pz

2b.https://disk.yandex.ru/d/lbbKWx2y3Wo4Ak

For the sake of inner sensation, you can invent spontaneous chords, as did Keith Jarrett. The trick here is how to get out of any situation: and this just requires training :

https://disk.yandex.ru/d/2_pGLqfB4X2ykQ

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I watched the Beatles Get Back documentary. There was a segment with John experimenting with guitar feedback, Paul on drums (IIRC), and Yoko doing her much maligned warbling-yodeling-singing. They were experimenting. It occurred to me that what Yoko was doing was not so different from what Ornette Coleman was doing at the time.

Igor Stravinsky said that a composer improvises aimlessly at the piano the way an animal grubs in the dirt searching for roots.

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Originally Posted by indigo_dave
Igor Stravinsky said that a composer improvises aimlessly at the piano the way an animal grubs in the dirt searching for roots.
Yes, Stravinsky said more than one stupid thing.

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You call it stupid ? I call it a metaphor for the creative process. What I find silly is people whose sole ambition is to simply be a clone of their jazz heroes. The whole “jazz police” ethos.

Experimentation can expose one to new paths. Having an end goal of simply sounding like Oscar Peterson or Bud Powell puts one in a box with others aspiring “jazz clones”. Keith Jarrett was asked once about people wanting to play like him. He responded that rather than seek to imitate the artist, they should “seek what the artist seeks”.

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Originally Posted by indigo_dave
You call it stupid ? I call it a metaphor for the creative process. What I find silly is people whose sole ambition is to simply be a clone of their jazz heroes. The whole “jazz police” ethos.

Experimentation can expose one to new paths. Having an end goal of simply sounding like Oscar Peterson or Bud Powell puts one in a box with others aspiring “jazz clones”. Keith Jarrett was asked once about people wanting to play like him. He responded that rather than seek to imitate the artist, they should “seek what the artist seeks”.

Then there are those of us who based on our ability, time commitment etc. find that even the sole ambition to "be a clone of their jazz heroes" is aspirational. I think a good analogy would be cooking has a hobby. Peoples goal, and something they enjoy, is trying to master existing recipes and techniques. Yes, creating their culinary delights that are unique and original would be nice but that doesn't diminish the joy people get from replicating other peoples recipes.


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Hi

Two of my Jazz heroes: Oscar Peterson and Keith Jarrett.
You both have a point.
In an ideal world we should be inspired by our heroes and use their inspiration to create our own voices. Virtually all the great musicians do that.

The reality for most of us (amateurs) though is that we simply aren't given the talent, or the time, or the motivation to achieve that.

I've just been in my rehearsal room and very happily played through a transcription of Oscar Peterson's Hymn to Freedom (just the melody) and then tried to improvise an Oscar like solo.

I'd settle for being an Oscar Peterson clone. But it's too late now!

Cheers


Simon

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Originally Posted by indigo_dave
You call it stupid ? I call it a metaphor for the creative process. What I find silly is people whose sole ambition is to simply be a clone of their jazz heroes. The whole “jazz police” ethos.

Experimentation can expose one to new paths. Having an end goal of simply sounding like Oscar Peterson or Bud Powell puts one in a box with others aspiring “jazz clones”. Keith Jarrett was asked once about people wanting to play like him. He responded that rather than seek to imitate the artist, they should “seek what the artist seeks”.

Imitating musicians of the past is a learning process, not a goal. This applies as much to Kate Jarrett as it does to Oscar Peterson.


In the Soviet Union, O. Peterson gave a recital dedicated to the main pianists in the history of jazz - from Scott Joplin to Cecil Taylor.

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Originally Posted by indigo_dave
.... Yoko doing her much maligned warbling-yodeling-singing.


One person's "much maligned" is another person's, "valid, worthwhile, genuine, authentic, real, true and accurate critical appraisal"!

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There is no need to laugh - spontaneous improvisation has undoubtedly clinical value for evaluating an improviser, like spontaneous words for a psychologist!

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Originally Posted by Nahum
There is no need to laugh - spontaneous improvisation has undoubtedly clinical value for evaluating an improviser, like spontaneous words for a psychologist!

None of which automatically includes performance enhancement for the listener. Nobody is forced to like anything, just as nobody is forced to laugh at anything.

All matters of personal taste. It doesn't need a rule book.


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