Music-Improv.com - The Creative Art, Science and Metaphysics of Musical Improvisation

Practice Routines 2 - Time Allocation

After giving a lesson yesterday, I wanted to clarify a time allocation problem with some people who are studying improvisation.

It is very easy to get lost in the technical aspects of being an improvising musician. The shear amount of memorization, theoretical study, mental pathway creation, etc. can certainly be consuming.

So, it was wonderful to see my student demonstrate the work he had put into these efforts. But what was an eye opener to me was that he was spending most of his time doing this type of work, and ignoring the other 50% of the equation.

Remember, improvisation is not a strictly mechanical thing. It's not like we are trying to fill up on scales, technique and chordal understanding - and then blather this out when appropriate. It's really bigger than that.

We must spend time developing the "listening" part of our efforts as well - where we are listening for ideas, identifying what we are able, yet not judging them and allowing them to come forth. For most people, this is much more difficult than the technical study aspects of the music. Because it is well out of our comfort range.

So...I would say that fully 50% of your improv study should be devoted to just playing without thinking. Yes, identify useful parameters for your improvising. Yes, try to make things sound good. Yes, select a tempo (or not) and be precise with it. Yes, do the things that go into a well designed improvising time - whether that is identifying a chordal cycle, a modal center, a diatonic harmony, a rhythmic approach, or whatever. And do the best you can with these.

But, once you have drawn your parameters, I want you to create without judgement during your improv time. I don't want you thinking about whether you are linearly accomplishing your parameter "goals" while you are improvising. I don't care if you make mistakes. I don't even care if it sounds good! You set up your parameters, and then let it go. Charlie Parker used to say that you learn, learn, learn - then forget it all and play. I totally agree.

Sometimes, this may mean that you need to be alone or under headphones for this time. That's perfectly OK. Whatever you do, spend a good 15 minutes minimum on parameterized, free playing. You have to trust me that one day, the two separate tracks do come together - where your technical study just floods over into your playing. But it takes time and it takes a mind capable of being unjudgemental - and that takes practice.

I hope that this article has been helpful to you. If you like it, gift it to someone. I only ask that you credit me as below:

©2005 Ben Dowling, the author of "The Metaphysics of Improvisation" - is a pianist, composer and an authority on music improvisation who publishes Music-Improv.com, a web site that provides useful paradigms and practices for musicians interested in expanding their ability to improvise. To learn more, visit http://www.music-improv.com