| Improv - A New Definition |
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Improvisation - A New DefinitionKey to being a good improviser is learning to balance between forms and structures on one hand, and inspired choices on the other. In life we find this balance -- we work, we have fun, we make split second decisions -- balancing the needs of the moment against long and short-term commitments we've made.Form and inspired choice. In defining what improvisation is, the short answer is: "creating music in real time." The longer answer requires a deeper understanding of the mechanics of music, emotion and how musicality and inspiration contribute to the final outcome in both improvised and classical musics. There are multiple levels on which we function when we play music. We are functioning on the intellectual level. We are also operating on an emotional level. And we are in a receptive state yet one that is also active. This does not mean that improvisation is free and without form. It is, in fact, the very embodiment of form. Transparency of ThoughtListening to improvised music makes the practitioner's limits in concept and training transparent to the educated listener, revealing the nature and completeness of his or her musicianship through its form. If a musician is lazy, he or she may employ repetitive techniques and devices to hide that fact. If a musician is clever, that will perhaps be revealed in the underlying approach to harmony. If they are insecure, they may overly depend upon technical prowess and speed to compensate for this insecurity.At a deeper level, improvisation is the study of thought itself. Each person's personality and character are revealed through their thinking, and music expresses that thinking in an organized and transparent way. Defining Parameters Improvisation is the inventing of music within defined parameters on a real time basis. Please note the important words, "defined parameters." This implies that conceptual choices are made and parameters selected which scale the level of real time creativity vs. the specificity of the musical form. Let's say that a musician has defined a strict rhythmic pulse and a very tonal harmonic progression. Clearly, his or her choices harmonically and melodically will be subservient to this strict construction, allowing a more limited subset of choices in real time. I would say that any possible improvisation is weighted toward the tonal form, rather than toward highly melodic exploration. Or, let's say a musician defines a musical duration and a textural feel. Obviously, note selection is of less concern here, while the musical feeling is primary. Real time creation is weighted in this example, with concerns of note selection (form) less so. Getting the picture? Really both could be defined as improvisation - where there are levels between the structure of form and freedom of musical inspiration, the defined criteria establish how much freedom exists for real time creativity. The Continuum For the classical musician, the criteria are so defined that the notes themselves are the parameters of the "improvisation." So dynamics, musicality, phrasing and other expressive means are employed to give the music its life and emotional nature. Some of these are defined, and some are not. Anyone who has heard multiple versions of the same classical piece played by different artists knows that there are musical choices that define the way the music is heard and experienced. While many of these choices are made in preparation for musical performance - thereby becoming part of the musical form, some of these are made in inspired moments during performance. And this is the point of contact between the classical and jazz musician. Both are creating music by balancing between form and inspired choice. Sometimes the classical musician is shocked by the result of his or her own good performance of a piece. It is beyond any preparation, any dynamic marking, phrase suggestion or musical notation. It transcends these. It has become a higher order of creativity. The Ratio For the purposes of our discussion, I am suggesting a simple (and very imperfect) ratio system. It is based upon this balance mentioned above:
So a ratio of 100:0 would be music entirely without real time musical input (like computer music); and a ratio of 0:100 would be music without form. Some restricted classical musics, such as Bach might be expressed as an 90:10, whereas some Romantics might be closer to 75:25. You get the idea. The purpose is not to over-define music as a ratio, but to clearly demonstrate that all music shares a balance between structure (form) and real time musicality (inspiration). As we explore improvisation, this becomes of primary importance - where do we balance the structure of the music with our inspired choice of notes, harmonies, rhythms, etc.? Conclusions By creating a new definition, we can sometimes provide an opening for new thinking. When we are stuck and unable to be creative, re-defining our terms can sometimes provide an opportunity for something new. I have found that re-defining our terms where improvisation is concerned offers a connection between improvised and written music that creates such an opening. I hope you find this as useful as I have. FREE Reprint Rights - You may publish this article in your e-zine or on your web site as long as you include the following author bio/blurb at the end of the article: ©2000-2005 Ben Dowling, the author of "The Metaphysics of Improvisation" - is a pianist, composer and an authority on music improvisation and publishes Music-Improv.com, a web site that provides useful paradigms and practices for musicians interested in expanding their ability to improvise. Learn more about "The Metaphysics of Improvisation" by visiting http://www.music-improv.com {mos_sb_discuss:1} |
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