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Notes on improvisation

Try to get your fingers into interesting and comfortable little places. Become one with the instrument. Cut back on friction that gets between you and the music. Think total efficiency and economy of motion. Make hard things into easy things, easy things into hard ones. Use mental/physical sub-contracting. Keep one part in sharp focus and let the others parts happen in softer focus, more automatically following in line with the sharp object. Always keep something moving even if something else stops. Even if that something is silence itself. Use rests and silence as needed for longer improv programs and suites. Think in terms of how a sonata or larger formal composition would be made, just as inspiration for how you improvise. But don’t make the notes strict (just the abstract idea). Have ideas worked out but make them vague. Work really hard on technique in practice for greater cohesion during performance. Blend practice and performance together in experimental ways. Don’t try to sound like anyone else. Don’t rip off other musicians. Come up with your own ideas and feel pride towards them, even if they’re unusual. Take risks and be inventive. Try to please yourself and others can take it or leave it.

Please Note: This response is not supposed to be taken seriously!!



Or, "Keep it in key".


Or, "Keep it in key".


Or, "Very rarely try going out of key, but be careful and on your own head be it. I'm not taking responsibility for your lack of ability."

Or, "Get back in key and next time don't be so stupid! Did you think you were Oscar Peterson?"

I am fortunate enough to own a copy of the Oxford Keyboard Methods book "Improvising: How to Master the Art".
It is mainly intended for organists but I really must start reading it one day.
Anyway, a quick quote: "The most troubling obstacles in learning to improvise will stem most probably from our inhibitions. The challenge of destroying those inhibitions becomes liberating and satisfying, making possible self-expression through improvising that becomes deeply fulfilling."

And, again, for fun: "Some years ago, a gifted and conscientious (you can tell I copied that, can't you?) student said to me, "I am so discouraged; every time I improvise, I sound just like Faure." More impressed than amused by her predicament, I replied "Be grateful that you sound like a great composer. In fact would you please teach us all how to sound like Faure?"

So that seems quite easy then. This time next year, "Step aside Frederick Chopin, I sound more like you than you do".

Need to add: in my opinion.

No, I don't need to add that. I'm telling you that I am posting a reply that I do not mean to be taken seriously. That is a fact, not an opinion. If you wish to take it seriously that is up to you.

(It's like pulling teeth....)

"The most troubling obstacles in learning to improvise will stem most probably from our inhibitions. The challenge of destroying those inhibitions becomes liberating and satisfying, making possible self-expression through improvising that becomes deeply fulfilling."

Acceptance.

I understood it just the other way around; and I'm not sure I'm the only one.
Means - not expressed aloud. I came across this with students who graduated from the Academy of Music.

A few thoughts…ime on self-taught improvisation, just my opinions…

Very standard theory, e.g. tonalities, arpeggios, chords, and scales can be studied and used, but seem to not work as well for improv because they sound too composed and prescriptive…like you’re trying to mimic classical works…you’ll struggle with individuality and freedom, and easily get stuck in boxes that way…you’re generally better off inventing your own scales and twists on arpeggiations, chords, etc that fit your own style, ear, and fingers…so you can move more freely and figure out an intuitive way around to experiment in the moment that becomes second nature…it’s better to think in terms of little to no structure, beyond what you can pick up kinesthetically, instinctively, and aurally. I think more in terms of motions, fluidity, connection, and flow, than advanced analytical thinking. After all, this is expressive music. Find things that go well together in practicing…but for thing A, come up with 10 things that would all work with it. And for each of those, ten. That kind of thing. And then pick one path and go with it. Choose your own adventure.