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Musical creativeness basics - four strategies for live wrong notes - music


While it almost certainly doesn't seem like this would help - let's face it - if you are unwilling to play a lot of wrong notes, you're never going to learn how to do everything hard. And improvising is hard! It isn't a touch that you can do safely, with the confidence that you will look good while frustrating to get good at it. You won't look good. You won't sound good -- and the earlier you achieve this, the more rapidly you will be able to do a little of real value.

Strangely, we are from a background that reinforces the idea that we must constantly look good. I mean there are in reality citizens who think you must look good when you're sick. When you get up in the center of the night. Or when you haven't slept for 36 hours.

Get the picture?

So, now that that's said - what is the best plan for in performance wrong notes and actually construction develop at the same time?

De-emphasizing Note Values

I have found that the best way to start is by de-emphasizing note ideals - focussing instead upon rhythm, texture, density and shape. Music is way more than just the notes you play, and note choice tends to be the very thing that stops citizens in their tracks. Thus, my "Wrong Note Strategy. "

The subsequent are achievable points of departure for before a live audience wrong notes - properly:

Melodic Shape - Conceptualize a song - don't get too detail with notes, but think only in terms of the by and large shape of the line. Does it go up? Does it climb? Does it jump? If you have a hard time, try creating a song on your instrument that is shaped like amazing else. I think it was John Cage (a fairly famed composer) that used the New York skyline as the basis for a piece of music. My vote is, if John Cage can do it, we can too.

Density - Think about density. Are there a lot of notes all close together? Or are they spaced wide apart? Density shape is gritty by where there is a small amount space between notes, and where there is a lot of space. It is applicable melodically, harmonically and rythmically. I think there are even methods of encoding data that use this approximate (can't commit to memory the name of it). I figure, if it's OK for Intel to use this belief for data, I think it's OK for us to use it too.

Rhythm - What about a metrical approach? What if note ethics were entirely unimportant, and we belief only percussively about the music? Like using blocks of notes - dissonances as although before a live audience drums with the baby grand (or whatever)? It seems to have worked for legions of 20th Century composers, so why not for us?

Texture - How about assembly sounds - funny sounds - on our instrument? I remember running with a violin player from the LA Philharmonic, who told me she couldn't improvise. I asked if she could make noises. She said, "Oh sure! I like making especially funny noises like this; and this; and this. " We proceeded to "play funny sounds" for the next hour and a half, experimenting with all sorts of melody, harmony, rhythm and grain - appearance up with some actually charming stuff, after which she asked, "was that improvising?" I said, it sure was, and she was entirely changed by the experience.

I love that story, for the reason that it certainly shows that all we certainly need is agreement to play "wrong" notes. Once we are disposed to do that, then we can experimentation - often on a very high level - with the vital textural, rhythmic, shape and density aspects of music.

It still communicates, it's genuinely creative, and it exceedingly is music.

So play some wrong notes today!

2000-2005 Ben Dowling, the cause of "The Metaphysics of Improvisation" - is a pianist, composer and an ability on music getting by and publishes Music- Improv. com, a web site that provides constructive paradigms and practices for musicians interested in going up their capability to improvise. Learn more about "The Metaphysics of Improvisation" and "The Music Continuum" by visiting http://www. music-improv. com


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