tag:blogger.com,1999:blog-3602606768820654392024-02-07T11:14:16.141-05:00Musings on the Musical MuseAn exploration of music and the creative processMOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.comBlogger23125tag:blogger.com,1999:blog-360260676882065439.post-72195288317953103612018-01-21T08:55:00.000-05:002018-01-21T17:17:05.900-05:00Melodic Contour ExerciseAn effective and quite creative method for composing/improvising strong melodies would be to connect it with the visual artist's technique of contour drawing.<br />
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In contour drawing, the artist looks at the landscape (say mountains and hills on the horizon) and closely inspects the line that is created by the edge of the land where it meets the sky. As they put pencil to paper, they will not draw the mountains or sky, but will simply draw the shape of the line where the two meet. Even by drawing a simple line they will accurately define much of the composition.<br />
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<a href="about:invalid#zClosurez" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Image result for contour drawing mountains" border="0" class="rg_ic rg_i" data-sz="f" jsaction="load:str.tbn" name="2rYifL7u_h-5OM:" 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KPlDfVP77f8AnWbqWH0bn4b7N8LkD9ayYjBXWMrcxCzMnMgP9ZUeiUHU+Uc0cfhn+kmj5SPZf8jf2rh/uzEQUYlx2SjnE3UcEHVWKDiBEgDvEVKx0ZeFx5XsELlY4u/nzCZDQuoiBJPASJkmwdoYtftjzt3B+q1Bb9oFiDBaJ31gQN65mJw+KDJ1buFzfOAvaZcsHus9vOWmN9KeIxGMQ9iyLy8VZ0tvuNQ4OU6TplHnSDr2r6t3WVvIgx/ara5I6SRlm9h7yMN1aw1wDxD2wykevmBWjDNYcdggeAJRvyiCKkGwgzwywZ01mREHlE/Cq72ERyCygkaA8YzK0TylVJHGKBY9l3H4s39c08jjZx+JZ/QigQwwDm4JzEBT2jEDbTYRrtzNSu2g2hmJncifODqPA6VElx7Le9f8qM7+yv5z/jQRbAodIMcszAe4GKpPRFnjbHvb+9aRcb2P5hSe6waBbJEDtBhvrIIMbQNp73hQUv0XbPBl+7cuJ/QwqVvCMvduv5PDj4jNHrUxiG+qb0K/9kUdefqn/k/zoD50ew35k/ypG+3G03mChH9U/CmcQeNt/wCU/o1L5YvHMPE23A9TECgPla/bHnbuD4laz38anal1AjTWDOszPDb41stXFYSrAjmCCPeKhidj5GgtFSqu6GKnKQG4ErmHuBE++s4wrnvXrn4RbUenZJ+NA7/R1p2zsgz+0CVb8ykGpHDP9G64jgQrD1kZj+aq36PB/wBS96XXHwBioHopeLufPI3xZCfjQP5W4427niuce8KHj31Ta6dUmOqukzHYXrFJ0HfXRd/p5fdWz932z3lz/fJePIMSF9IrUKvgx/KLp7tmP9y4q+7IHoC3z9O0vh1btH4usWfcK10VBl6u99bb/wCFv+7lBW8PpW38CrJ/NmaPymtVOgyfKyO/auDxADj0yEt7wKpTpqwTlznMdlNtwT5ArJroVG4gYFWAYHcESD6Ggw4jpvD2/wCJeS3985PCYaKsbpWwIm/a7RgdtdTBPPkDV6YVFEKigcgog/3rP+6rPC2AAZyiQsxHcBy7EjbiedFXJjLZiLiGdoZdfLXWriKxDoiyBCW1TwQZAfNRofUViT9mrSsSr3V3hVcIoJMloQCTPBpEaRFEdus9/o+0/ftW2+8it+orIvQ4+uv+Qulf6IqbYJ0HYvX2+zNpvWbon40FydHWl7iC3/tzb94SAfWaqHR7iYxN/X/ZMeU2qwt0ncXUFLoG4Z7KMI37SuQfLKNePAK5+1dpWVWtYiWEgi1mQeBuISgiNTmgVYNH7puaE4m6x45iROhG1ooBwO3Cp2kxCAAvnMAEwhnTePm4HhJpDp+x2czMmcSoe24zDfsmMp34E1rXHIdQWI55Hj3xQc+70lftntWc6wDKo4PGeyvWTAA4jemn7S2Jh+ttnft2niBxLAEL+KK6PypOJjzBH6ippiUbuup8mB/Q1BTg+krN0kW7iOQASAdYaYMbwYMHwNaVIO2vlWHF9DYe7rcs233OqyDO5I2PrR+58PECxbUDbKoQjyKwR6UG+kRXNPRbL/Cu3ByDu7qPTMGPq1TOHcbhrg+zddT+UtB/NQXX+zLLbDMdJ0Bjxb0qdm8LtskAjcFTupG4Mf8AVZrcqZFi7MRq9s6eRumrnBykhSsySNJmI1gnkONUaIqVIVRcxYBIALsNwomPBjsp8yKgvNOsN7FuNSiqDoMzS0+CIDm8g1VpavuZN3q1jZba5j49rMF8jmmeG1B0ppiuSMNiEJ+fe6p2GWytxfIhQr+uWPGrReA7924n3xbUeQbJlJ8AaQdCiqPkvN3P4yP6Yo+SLzf/AJbn+VBoiqnxCDd1HmwH61D5Fb4op8wGPvNWLaUbADyAFBWcbb+sT86/3o+VrwzN91WYe8CKumsuOx629wWMAkAbAnKJ8zoAJJOwNBW3SJ4WbvqjAe9QaR6Qcb28o5kvHr83p5mBUsH0iHbIbb22ILKLgALKCASsE7SJBgjMNNa3RQYPlzfRCv8AdzkfmCEVWekzxUD7xuj9bNdOlOtBxsP0lee46hOwsZXFslWnvAFnWYPEAgyNeAiMZilcKwDgzquHcFeWYdYVPnmG21dyiKUcTEczhUuNuZtMCfIhHE+bVRZ6UwxlblgWzxVragxzyEZv5dtdta9HFVXsMj99FYfaUH9atHGYYJgE61VB7qG8yDQ/RtlgI8hV13oSxdgkliNiHIPlKkEjjrxAPCt64C0DItWwYiQigxy2qi90Nh3MtYtE88iz7wJpRSegbe4e6nGUusv6Gqlw4QEXMYzoAIFzqWKxvLFJb11rT+4sN9RbPmgP61cvRtkbWkH4RSqwWrCf6eJRidfoTB8bBTTzmpDE37ZIuDSRkdVa4rCNmyLmtHhLBhsZ4DWOiMP9RZ13+aT46U06LsroltU+583/AERSohZ6UVjGkjfK2ePRRmHmwWtNvEo2iuh8AwPwms17opG+lc5g9YzEHXVeszZDqdVis+JwbWxmFxrttZL27gRyywScjkAhgde0SIkabiDrVG7sfI1QtvJqg7J3QcPFAdB93b13t6wMsjaDwjaQQQdQQQRQWVgsXgk2UEsp0UaQraqzHgNYnc5WiTNb6KoqtWYkkyx3aPgOS+H6nWrYp0VAsvnRlp06DkWfmLxQ6Wnhklj2GmCAD9GY20BdRGtdK7eVBLMqj7RA/WsH7RW2ayVt22dyRlylVKmZLZmIjSRoeMcayX+jRlaLFwkgwpNgAnhmysM2vOee9Ud1WBAIMg6gjUHxBpmvKdF4C5h2HUpetW+7khWt7tDFA0k9kSQQT1g1hYroNfxdwlTZFpPbFwMW8h2Tb+J1pB0cTjrVsqr3FVm7qk6mAToN4ABM7CK5mGbrbvygyEW51aDUaAXFzlTxLXAB4a6ZiKbdFsGtlEUMj52ZmnN2HWBlUR3jwAEkwZNXnC3urdfmyzlmBzMMjE5l+ic2UxrpMbCgv6UwZuBShi5bOa2dtYIIPgQT8N9qOj+khet51BzhQWt7MrFQcvaj0J0O+1ba5Fzo1+tLKLZSCRJYOGLFtGUdnUtqNYaCDAqC3C9KyxW4oTaGGYrqWUhiQChDKRqIOkHWK6ZrkJg3VD2FkFiqly+dXg3LbswEzrBPJZ2M5ej8bibT9Tcw124mot3QbUwACBd7YE7jNxgaa1R6GnWP5bHetXV/Bn/+MtQOlLMa3FXwc5G9VeCPUVBsNFcvGftDhbay1+2STlVVdWdmOyqoMk/oASYAJq1cZn0D2l8nDt7tAD76QbqRMb1ku2NNC7EkD+I/Hj2SAPSs6BSf4EkbMwzE6+0wJ213pBuOMtje4n5l/vSONt/WJ4dofCs17HFIzKBoPSd/dWEftNZkhWRmzRCsGb1CyZ2pB1/lM91Hb0y/1kT6TR17fVP77f8AnXLf9oFBgJz3YbDjAluW451nPT7NOUoN9zlgjcZn1J3HcqwdrrnO1vL4uy/AIWJ8tPOs2La2oPyi8sex3VPmklm8iSPCuX8qR/4l8nwF3ICPHLvx100HpWvAvaBHVWlnXWczADbUyRufdSDQekmf+DbZp2dhCeep18tDWpEKWoO4UzrMtEsZgTJk7DfhUTjkUDrLltDpILgQTw1NX3u6fI0FlE0UVAUUUUDoFKadAGlTmlQOiilQFEUUUBRNFOgVKpRSigBTpRRQECZ40mQHcA+YmmKDQZ2wNo72kP4F/tS/d9r6q3+Rf7VpilQVW8Ki91EHkoH6Co3sBacy1q2x5lFJ5bkeA91aJomgzjAWvqrf5F/tV1tAoAUAACAAIAHIAbCpTRQIiqbuEtsIa2jDkVBHuIq+igzPg7ZXIbaFDuuVcp1nuxG9UNglTM4LyUKkG47CNxoxMRrtG/lG6qsUew3kf0oLqdKigdFFFAU6VOgDSFM0qB0UUUCp0qKB0UUUBSopGoGKdIUVQ6KVAoCaKIooClTp0EaU1KigU0qcUoFQV3r4QS3wBJ05ACTVWJuBrZKkMCpgg6HTnV8Rw08I0/8Ays92xlS5EwQxg8CRrHITr6mteDXTqIanNQFOiiaAmiozUg1AUUTQKB0qKJoCaKVMUBNFEUUBSNOlFAU6KVQOaZqM6xTqgrD0xiWt2WdSAVymYzaZlDQo3OWY8YrdFEUHmcV0vi5VEsjNqLnYaASQAVJ0IBInfQzwq3E4nHE9m0oAc7FTKw41nkShnScvI16GKIq0cjou/iTcK30AGViGUjIYYRljUaN9LwEaEl4zHOuJt211VgJEgRPWEsZBZtLekQBGu4jrRUDHL1ipRw+mXxeUdWereC3YHWKSrooVi1onUOTAA7m8TXbtMSoLLlJAJWZykjUSN42kVKfCilBNVYxvm3+636Graz9JuFs3GJgKjsT4BSTTBGewp+yP0FCmlRV0QxdwgCCR608I5O5JoooNRprvSoqCw0hRRQImqiaKKCGY1JWPOiigumpTRRQAqJoooCagTvRRQSBqdFFAhTNFFAUE0UUESagTrRRUElqxKKKAAryP/wDWXK9E4rKSJQAwY0LKCPIgxRRV+e4a/9k=" style="margin-top: 0px;" /></a>This type of drawing technique is very common in quickly sketching out an outline of any object just by defining the lines that create the boundaries. By adding more lines they can illustrate the contour in a more detailed fashion.<br />
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So think about this concept as it relates to melodic motion and contour in music. For musicians, the melodic contour is similar to the line. Does it ascend? Descend? Is there a climax? Is it smooth (conjunct, stepwise motion)? Or is it jagged (by leaps)? Maybe there is a repetition of a sequence of lines (notes) that repeat?<br />
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<i>EXERCISE: 1. Look at the line drawing of this mountain. Pick a line where it starts on the left side (maybe start at the horizon.) Then let your eyes travel from left to right at a steady tempo of your choice. In your mind's ear choose a starting pitch. As you follow the line, audiate or sing in your head a melody that follows's the artist's line. Try to follow it all the way to the end of the line. The rhythm can vary and this won't be determined by the line. Phrasing is important so somewhere on your eye's journey take a rest when the phrase feels like it comes to a musical pause. Then continue. Depending on the tempo of your eyes you may have 1-4 phrases (perhaps more if you are moving slowly.) </i><br />
<i><br /></i> <i>2. Once you finish try this with a different line in the drawing. You can also try it in retrograde (going from right to left.)</i><br />
<i><br /></i> <i>3. Finally, apply this to your voice or instrument. Use this drawing or the lines on any piece of artwork. Record your results and listen back.</i><br />
<i><br /></i> What do you think? Pretty interesting right? It is sort of like reading a score but more creative since you are forced to add the notes and phrasing. But the melodic shape is set in stone by the drawing. The final step is to consider this concept as you play composed or improvise melodies. Picturing a line in your head as you play will make you sensitive to this musical element.MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com5tag:blogger.com,1999:blog-360260676882065439.post-24794984733206623562014-08-26T16:12:00.001-04:002014-08-26T16:22:12.732-04:00Creative Scores, Part 1<br />
<span style="font-family: Arial, Helvetica, sans-serif;">I have always enjoyed the aesthetic of music scores. Whether we go back to the earliest notating of neumes to a modern Stockhausen score something about music on paper is exciting to me. Why? Because it is dormant. It is not music in itself. But it represents music that could be.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Scores have no meaning unless performed. But how is it to be performed? A good score gives you just enough information to recreate the work the composer had in mind and leaves some freedom for the performer to interpret. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Ancient scores are particularly intriguing. For me, the mystery is that we have no clue as to what this music sounded like. The notation system itself is cryptic and undeciphered. Figure 1 below is an ancient Sumerian score that seems completely foreign. The Western notation below it is an attempt to recreate how this music may have been performed in 3400 B.C.</span><br />
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Music historians identify the above as the oldest song that has been preserved to this day. It was a hymn for a Sumerian religious cult. Professor Anne Kilmer has attempted to decipher this music and makes a surprising discovery. Polyphony may have been present in ancient cultures!<br />
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From the Chicago Tribunem <i>"To a Western ear, the tonal sounds are very familiar. The notes are equivalent to a Western-style major "Do-Re-Mi" scale, which brings into question the theory of such a scale being only as old as the Ancient Greeks of 2000 years ago. Professor Kilmer’s interpretation of the song, made in 1972, even includes a form of harmony, two or more notes played at the same time, which was previously thought to be non-existent altogether in ancient music."</i><br />
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Take a listen to Kilmer's interpretation.<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The German immigrant Conrad Beissel created a community of celibate religious men and women that made their home in the Ephrata Cloister in Lancaster County, Pennsylvania in the 18th century. They lived a strict ascetic life. They slept for six hours a night which has broken by two hours of wakefulness to watch for the coming of Christ. They were required to sleep on wooden benches with a wood block for a pillow.They ate one small vegetarian meal a day. Despite the tough life, music was one of the pleasures of the community.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Musically, it is very interesting to see what this group developed. In 1747, the community printed the<i> Turtle Dove</i> hymn book. In this book, Beissel explains his theories of music composition. In a sense it was the first American music theory textbook. However, his theory was very unique and deviated from common harmony practice at the time. Beissel also developed a unique shape-note system which you can see illustrated below. It is different from the system common in New England in this time period.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">I actually live only a mile from the cloister. If you are in Lancaster County, I recommend taking the tour. You will be able to see some of these scores in person. They are much larger than these images imply. The text and notation are expertly crafted and the plates are quite beautiful.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><img class="irc_mi" src="http://pennblog.typepad.com/printers/images/taube1.jpg" height="393" style="margin-top: 0px;" width="308" /></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Some scores have graphical aspects that are only for the eyes of the performer. This "eye music" (augenmusik) started to become popular during the Renaissance. Some examples of ascetically interesting (if not entirely functional) scores from this period:</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">"Belle, bonne, sage" by Baude Cordier (15th century).</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">"Circular Canon" by Baude Cordier (15th century).</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><img class="" crossorigin="anonymous" src="http://upload.wikimedia.org/wikipedia/commons/5/51/Cordier_circular_canon.gif" style="max-height: 504px; max-width: 1255px;" width="357" /></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In a future post, let's see what some modern composers do with the score. This it where it gets really interesting.</span><br />
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<br />MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com4tag:blogger.com,1999:blog-360260676882065439.post-66206038561562566502014-07-12T10:33:00.001-04:002014-07-12T20:37:24.794-04:00Gesturing with Chords<div dir="ltr">
In a previous post, I discussed the idea of using gesturing as a creative warm up technique. Gesturing is a technique that visual artists use to quickly capture an image. If you missed that original post you can check it out <a href="http://www.musingsonthemusicalmuse.com/2013/12/gesturing-creative-warm-up-routine.html" target="_blank">here</a>. </div>
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In that post, we discussed using "gestures" to improvise and warm up with melodic lines. You can use the same technique for harmonic instruments. Gesturing with chords can be a really exciting experience. Not only can you warm up and learn to really hear the harmonies you are playing. You can also discover some exciting new progressions that you otherwise might have missed.</div>
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Any instrument that can play chords can use this technique. Of course your chord vocabulary will determine what you could do with this technique. Having a greater knowledge of harmony will give you more options. But that shouldn't exclude beginning musicians. Even musicians that play primarily melodic instruments should sit at the piano and try this exercise.</div>
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The process is pretty simple. Close your eyes and play a chord on your instrument. Any chord. Don't think of the name of the chord. Think of only two things: the sound of the chord and how it feels under your fingers.</div>
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Now with smooth voice leading you will go to your next chord. That chord doesn't have to be far away from the chord you just played. You may only wish to change one or two notes from the previous chord. This will ensure smooth voice leading. Now that you've played your second chord repeat the process and go into your third and fourth chords and so on.</div>
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As you start this exercise you may wish to use smaller chords to begin with. For example, you can even use simple double stops or triads. Later on you may wish to expand to larger chords or chords with more complicated extensions.</div>
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Pay careful attention to the top note of each voicing. Even though we're dealing with harmony that top note is actually creating a melody as well. Stay aware of it throughout the process. If as you're gesturing you feel like adding more melodic movement to your soprano line by all means do so.</div>
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If you have a strong background in harmony this can be both a blessing and a curse in this process. You have a great vocabulary at your disposal and have a good sense of harmonic direction. But you also know all the rules of Western harmony and how it has developed over the years. If you perform a roman numeral analysis while gesturing, it will defeat the point of the exercise. Just like we did with melody avoid the temptation to create a masterpiece. The point of gesturing is to just experiment with sound; in this case harmony. It is meant to be a very "right brain" activity and the more we can just focus on the sound the better. In the end, the sound will most likely follow some sort of harmonic rules and structure. Just don't let your knowledge of theory close your ears.</div>
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One thing you can do with this process is to record yourself. While I said the goal was not to create a masterpiece, you may find when listening back to your recordings that there may be a little nugget of musical gold in your gesture improvisations. As you listen back to yourself, if there is one or two moments that stand out as memorable, then figure out what you played. Transcribe it. Notate the chord progression and soprano line you created. Now use your knowledge of music theory to figure out why this works. If you like it enough you may want to flesh it out into a fully formed composition .</div>
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You don't have to record this process. Just like with melodies, gesturing with harmonies can be a great warm up tool. It gets the fingers moving. It gets your ears focused. And gets you ready for your creative work.</div>
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<i>(Joe Diorio, the great jazz guitarist and artist, was the musician that introduced me to these ideas! For that I am very grateful. Check out Joe's <a href="http://www.amazon.com/Joe-Diorio-Creative-Jazz-Guitar/dp/B0012E2GQ4" target="_blank">video</a> for his take on this.) </i></div>
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In the example below I demonstrate how I go about gesturing with chords. Now since I'm well versed in jazz harmony, my playing definitely uses a lot of chords more common in jazz playing. However you can use this process with simple triads . And once again if you play a melodic instrument, I encourage you to sit the piano and give this a shot.</div>
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-40131671836271332512014-07-08T09:22:00.003-04:002014-07-08T11:01:44.035-04:00The Busy SeasonThe nearly three month hiatus from the blog has inspired this post.<br>
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We all have them. That period of time where we are constantly moving. Work, family, and other obligations seem to absorb a sequence of days, weeks or even months. Any creative projects you had planned are put off for a future date.<br>
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As a music teacher, April/May always seems to be that time. Right around the end of May, performances finally slow down. I begin to see the light at the end of the tunnel. Excitement about future projects begins to creep in. But until then, my responsibilities keep me from exploring my own creative work.<br>
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Prior to this busy season, I started a new habit that lasted a few weeks (yes I know it is not really a "habit" then!) I knew I would be hitting a barren season where it would be hard to find time to work on a project. I needed to find a time in the day that was just mine. Time that couldn't be eaten up by school or family obligations. So I started to wake up two hours earlier.<br>
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The morning seemed to be the perfect time. No one was up to disturb me. I was fresh and alert. And I got a lot done. Those two hours seemed surprisingly long. As a bonus, when I started my teaching day I felt accomplished. I had already spent a good chunk of time working on my personal creative projects.<br>
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As mentioned above, this lasted for only a few weeks. Once I started getting home from evening obligations later and later, it became hard to set that alarm. Probably, rightfully so since sleep and rest is a prerequisite for creative work.<br>
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For me the hardest thing about the post busy season is getting back into that routine. There is a temptation to want to wait until the muse strikes, or until the kids are in bed, or until...<br>
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But I know that is not the way to do it. You just need to start writing, playing, practicing. Time to get back into things! I think I need to revisit my previous <a href="http://www.musingsonthemusicalmuse.com/2014/01/five-minutes.html" target="_blank">advice</a>!<br>
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In the meantime, you can follow this blog on twitter. <a href="https://twitter.com/musicalmuseblog">https://twitter.com/musicalmuseblog</a><br>
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<br>MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-59377386764197303562014-04-04T05:28:00.002-04:002014-07-02T13:55:02.776-04:00Listening, Part 2<br />
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<span style="background-color: 0; font-family: Verdana, sans-serif;">In part 1, I discussed the importance of focusing your listening time on just one album or musical work. Thoroughly absorbing one work through repeated active listening can be a rich experience. We also discussed the dilemma of today's world of accessible music. By having so much music available to us, we have a tendency just to skim the surface of our music collection.</span><br />
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<span style="background-color: 0; font-family: Verdana, sans-serif;">The challenge? Pick one album or work and thoroughly absorb it. Schedule active listening sessions where you are devoted to exploring the record. Listen to it whenever you have a moment. Isolate individual tracks and spend time analyzing them. Make the recording a part of your musical identity.</span><br />
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I agreed to participate in the experiment. The album I chose: "Seven Days of Falling" (2003) by The <span style="line-height: 21px;">Esbjörn Svensson Trio</span><span style="line-height: 21px;"> (or e</span><span style="line-height: 21px;">.s.t.</span><span style="line-height: 21px;">)</span></span><br />
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Unfortunately, I discovered this Swedish piano trio only in the last few years. The leader, Svensson died in a tragic diving accident in 2008 thus ending their musical output. This was a great loss to the music world as they were finding their own voice in the "jazz" tradition. They leave us with about 10 albums. I had no chance of seeing them live. However, the albums remain. There they explore the boundaries of the piano trio tradition by incorporating the lyricism of classic trios (Bill Evans) with adventurous explorations influenced by diverse sources (Bartok to Radiohead). </span><br />
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Before this project, I listened to the above album in a scattered fashion. Maybe I heard it twice? The listening was sporadic. A track here. Part of the album there. Maybe once, I actually sat down and focused on a larger chunk of it. And this is an album I was really excited about! </span><br />
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</span><a href="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ2nHRodM4JkTM8s7rUgjh4HabPwQ56QRadM-4hzdqNlU-2p33C" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: 0; color: black; font-family: Verdana, sans-serif;"><img border="0" class="rg_i" data-src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ2nHRodM4JkTM8s7rUgjh4HabPwQ56QRadM-4hzdqNlU-2p33C" data-sz="f" name="ekrcgCPiZ1bjfM:" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ2nHRodM4JkTM8s7rUgjh4HabPwQ56QRadM-4hzdqNlU-2p33C" style="height: 176px; margin-top: 0px; width: 235px;" /></span></a><span style="background-color: 0; font-family: Verdana, sans-serif;">Now, I have scheduled about 5 active listening sessions where I went straight through the album as outlined in the previous post. When I say scheduled, I actually mean that. With everything going on in life that is scheduled (family, teaching, rehearsals, personal practice), I knew that this listening time wouldn't just fall out of the sky. I picked one hour each week to sit and just listen. Sometimes it was by waking up early. Sometimes it was in the evening or weekends. But for me it had to be a dedicated time. </span><br />
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This is a rich experience. Each repeated listening was more exciting, revealing new elements. I highly recommend this "limitation" activity. If you haven't done it, stop and look through your collection and pick something you have been meaning to explore and schedule some time to dive into it. </span><br />
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But in this post I want to discuss the benefits of what I lamented about in part 1: the availability of LOTS of music. Can this be a good thing? Can we expand our listening to a variety of artists/genres in a conscientious/intelligent fashion? Can we explore outside of our listening "comfort" zone?</span><br />
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We all have a comfort zone. In general, we enjoy experiencing things that we are familiar with. When we consuming a piece of art, we want it to fit neatly in some sort of box. We love to label and classify things in genres. Or identify them as "good" or "bad". Or "my music" and "not my music". There was a Genesis song from the 70s with the paradoxical chorus "I Know What I Like (And I Like What I Know)" which describes this phenomenon to a T.</span><br />
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To some extent, this will always exist. We all have our preferences due to our upbringing and exposure to various styles. However, if you are listening to and identifying with only the same music that was "your music" 20 years ago, you aren't developing the appreciation that is required in the 21st century. The world is too interconnected and diverse to ignore:</span><br />
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<li><span style="background-color: 0; font-family: Verdana, sans-serif;">the influence and variety of popular music</span></li>
<li><span style="background-color: 0; font-family: Verdana, sans-serif;">the tradition of classical Western "art" music</span></li>
<li><span style="background-color: 0; font-family: Verdana, sans-serif;">world music traditions</span></li>
<li><span style="background-color: 0; font-family: Verdana, sans-serif;">the wide variety of solo and ensemble types</span></li>
<li><span style="background-color: 0; font-family: Verdana, sans-serif;">improvisational musics from jazz to flamenco</span></li>
<li><span style="background-color: 0; font-family: Verdana, sans-serif;">technology's influence on musical genres</span></li>
<li><span style="background-color: 0; font-family: Verdana, sans-serif;">experimental music </span></li>
<li><span style="background-color: 0; font-family: Verdana, sans-serif;">and even more</span></li>
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<span style="background-color: 0; font-family: Verdana, sans-serif;">Each one of the above can be shattered into a million pieces. There are countless artists, masterworks, live footage, scores, or each of the above that we can explore. And once again, it is all mostly available in a few clicks. </span></div>
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<span style="background-color: 0; font-family: Verdana, sans-serif;">Still overwhelming, right? Nonetheless, it is out there and the most creative music that is being produced is drawing from diverse influences. The jazz tradition is a great example of this. For awhile in the 70s, the word "fusion" meant only combining elements of "rock" with "jazz". Now, artists are fusing the jazz tradition with many diverse styles in interesting ways. Jazz with country music (Bill Frisell). Jazz with hip hop/R&B (Robert Glasper). Jazz with progressive rock (The Bad Plus). </span></div>
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<span style="background-color: 0; font-family: Verdana, sans-serif;">It can be subtle or overt, but contemporary musicians need to come to grips with ways to develop the language. And for any art form that has already largely been defined, the next step is to draw upon diverse influences. </span></div>
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<a 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" style="height: 179px; margin-top: -1px; width: 272px;" /></span></a><span style="background-color: 0; font-family: Verdana, sans-serif;">My challenge: pick one genre/style/artist/region of the world whose music you are not familiar with. You can step outside your comfort zone a little bit! Spend some time exploring what makes this music tick. Explore the history, development and current state of the art form. Don't immediately discount something because it is unfamiliar. Although, if you are having trouble getting into it, go to a different area. You can't force yourself to "like" something. However, maybe you will come back to it later and find something valuable in it.</span></div>
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<span style="background-color: 0; font-family: Verdana, sans-serif;">Once you find something appealing, spend some time with it. Avoid the temptation to explore ALL that is out there. That won't happen. So once you have discovered something new, try to schedule an active listening session that we discuss in Part 1. </span></div>
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<span style="background-color: 0; font-family: Verdana, sans-serif;">The more you know, the more you will "like what you know". </span></div>
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-8110037632598400982014-03-14T05:53:00.002-04:002014-07-02T13:28:23.297-04:00Focus, Drive and Coltrane<br />
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<span style="font-family: Verdana, sans-serif;">John Coltrane was intense. </span><br />
<span style="font-family: Verdana, sans-serif;"><br />There have been many accounts of this great saxophonist's singular purpose and drive. Those who observed him practicing have said it is unlike anything they have every seen. I remember Denis Diblasio sharing a story about Coltrane's extended sessions blowing in the mechanical room of a venue he was performing in. Despite the gig every night, he was still exploring up to 12 hours at a time. It was a wild sight.</span><br />
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Anyone who saw Coltrane or listened to his recordings from the late 1950s to 1960s knows that this man was reaching for something. And he had the focus and attention to someday grab it.<br />Now Coltrane, like many jazz musicians of that era, struggled with drug use in his past (particularly heroin). Interestingly, once he kicked the habit, he entered his most exciting, creative period of his career. He was exploring new harmonic progressions (Giant Steps, 1960). He was extending the modal vocabulary defined by Miles and Shorter (My Favorite Things, 1961). And he was reaching to experience the free-est of the "free" jazz (Ascension, 1966). All while sober.</span><br />
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How was he able to focus this intensely? How did he keep his mind from wandering? How did he keep himself from being interrupted in the middle of the creative explorations? Was he ever distracted to just go watch some TV? These are questions many people ask about Coltrane's practice ethic. </span><br />
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Coltrane attributed his work to forces beyond himself. He was a very spiritual person (he carried with him a variety of religious texts) and said his music came from a higher power. I think Coltrane tapped into that same power that <span style="background-color: 0; line-height: 19.200000762939453px;"> </span>Mihály Csíkszentmihályi<span style="background-color: 0; line-height: 19.200000762939453px;"> describes as "flow". In positive psychology, flow is "</span>mental state<span style="background-color: 0; line-height: 19.200000762939453px;"> of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity". That seems to describe Coltrane to a T.</span></span><br />
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<span style="background-color: 0;"><a href="http://melmartin.com/html_pages/Articles/zen.html" target="_blank">From</a> sax player Mel Martin:</span></span><br />
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<span style="background-color: 0;"><i>In a private interview, John Coltrane spoke of a higher power. He felt that there were forces beyond himself that were driving his music to higher planes of consciousness. He certainly was on to something because he developed in a way that has never been seen before or since. This, however, never stopped him from practicing and developing his skills to the utmost. Jimmy Heath called him the greatest "practicer" that ever lived and, indeed, I witnessed him with his Quartet in the 'sixties where he would solo at great length and then go into the dressing room and keep playing while McCoy Tyner and the others soloed. This phenomenon was observed by many and led to a kind of blind imitation of both his style and approach. It is not possible to duplicate the spirituality that drove John Coltrane. It certainly is possible to be inspired by the man and his music and many were. But the important thing is for every artist to follow their own muse. Music is many things to many people. It can be a philosophy, a style, a way of life. Music, like all art, is never merely technical.</i></span></span><br />
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<span style="font-family: Verdana, sans-serif;">So what can we learn from Trane and adopt into our own creative practice? After all, most of us will not ever be able to devote the length of time to our craft as described in the above encounters with Coltrane. However, I think we can all strive to emulate that intensity in the time we do have. If you have half an hour for a creative project, milk that 30 minutes for all it is worth. Instead of only giving part of your attention, try to focus on your output with the same simmering intensity that you see when Coltrane plays.</span><br />
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I leave with you a video from 1963 of Coltrane's "Alabama". It is a haunting ballad written a mere few days after a church bombing enacted by a chapter of the Klan killed four children in Birmingham. While Coltrane is not playing as fast and frenetic as he does in his more exuberant explorations, I think this clip illustrates his focus and intensity in a unique way. Just watch his presence throughout the clip. Many describe his reverence in playing as a musical prayer. To me, it is the perfect portrait of man in the deepest state of concentration and flow.</span><br />
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-42817413706465103632014-03-02T15:10:00.002-05:002014-03-22T08:46:15.934-04:00Review: Victor Wooten's "Groove Workshop"<div class="separator" style="clear: both; text-align: center;">
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<i><span style="font-family: Verdana, sans-serif;">Once in a while I would like to showcase books/videos/podcasts that I have found inspirational and useful. Today, let's check out a DVD by the bassist Victor Wooten.</span></i><br />
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<span style="font-family: Verdana, sans-serif;">A few years ago, I read Victor Wooten's<a href="http://www.amazon.com/The-Music-Lesson-Spiritual-Through/dp/0425220931" target="_blank"> "The Music Lesson: A Spiritual Search for Growth Through Music"</a>. It is a book filled with some stellar musical concepts. However, I think some people have trouble getting into this book for two reasons. One is the phrase "spiritual search". Depending on your cosmological perspective, this could be either welcoming or off-putting. The second is more of a barrier. It is presented in a fiction format. It stars a guru like figure named Michael who imparts his musical wisdom in almost a Carlos Castaneda fashion. Although I found the musical ideas great, I often wished it was more of a proper non-fiction book. But I give Victor credit in finding a creative way to publish a method book.</span><br />
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Wooten's "<a href="http://www.amazon.com/Victor-Wooten-Groove-Workshop/dp/B001DPC4I2/ref=pd_sim_b_2?ie=UTF8&refRID=0AQ1WX0F6D56SNEG6ZFC" target="_blank">Groove Workshop"</a> cuts to the chase and features Victor running a clinic with his band mate Anthony Wellington (it's funny when a bass player needs a bass player in his band!). In the video, Wooten imparts the same wisdom from "The Music Lesson" but in a more practical hands on way with a small class of bass students.</span><br />
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Now I want to say this off the bat. This is not just for bass players. It is not just for improvising musicians. EVERY musician would benefit from the ideas in this film. Even though the bass is Victor's vehicle, 95% of this 5 hour/2 DVD set is about music, pure and simple. He presents concepts that have not been explored elsewhere. I don't know why they haven't been explored, because they are paramount to all music creation and experience. <i>(There are a few "bass geek" moments; like when the students are dying to know how Victor does his "double thumbing technique". But these instances make up a minority of the DVD.)</i></span><br />
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The basic premise is of Wooten's clinic is this:</span><br />
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<li><span style="font-family: Verdana, sans-serif;">What are the elements of music? </span></li>
<li><span style="font-family: Verdana, sans-serif;">What elements do we normally focus on in our practice?</span></li>
<li><span style="font-family: Verdana, sans-serif;">What elements are we ignoring?</span></li>
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<span style="font-family: Verdana, sans-serif;">Victor quizzes the groups as to what makes up music. They flesh out a list of the following:</span></div>
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<li><span style="font-family: Verdana, sans-serif;">Notes</span></li>
<li><span style="font-family: Verdana, sans-serif;">Rhythm</span></li>
<li><span style="font-family: Verdana, sans-serif;">Space</span></li>
<li><span style="font-family: Verdana, sans-serif;">Dynamics</span></li>
<li><span style="font-family: Verdana, sans-serif;">Articulation</span></li>
<li><span style="font-family: Verdana, sans-serif;">Technique</span></li>
<li><span style="font-family: Verdana, sans-serif;">Tone</span></li>
<li><span style="font-family: Verdana, sans-serif;">Listening </span></li>
<li><span style="font-family: Verdana, sans-serif;">Emotion </span></li>
<li><span style="font-family: Verdana, sans-serif;">Phrasing</span></li>
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<span style="font-family: Verdana, sans-serif;">Now, he asks the group an important question. Which of these elements do you focus on? Which are you practicing? Which element have you been taught the most in music lessons/classes? </span></div>
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<span style="font-family: Verdana, sans-serif;">Number one. Notes. That is the overwhelming answer. Victor's premise is that it is easy to think and talk about notes. Keep in mind the notes category includes: pitches, chords, intervals, progressions, scales, modes. All of these involve "notes". </span></div>
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<span style="font-family: Verdana, sans-serif;">Notes are important of course. But as Wooten demonstrates throughout the video, they are only part of the story. For some reason, the other 9 elements the make music come alive are often glossed over. We are just worried about playing, improvising, or composing with just the "right" notes. But what makes music come to life are ALL of these elements in consort. For some reason, the other ones are often overlooked (or at least not given the attention that we have given "notes".)</span></div>
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<span style="font-family: Verdana, sans-serif;">Now more mature musicians will recognize how all of the above are equally important. And a good music educator will teach ALL of these elements<i> (And they do so even if they don't use the word "groove". Well played Bach has a "groove"!). </i></span></div>
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<span style="font-family: Verdana, sans-serif;">But since the other nine elements tend to be a little more "abstract" they can be overlooked in favor of teaching the more logical side to "notes" (harmony, scales, etc.) Wooten has us explore ALL of these elements. In each chapter, Wooten explores these other elements in depth. He gives some very creative exercises to isolate and explore these elements. Once, again any musician would benefit.</span></div>
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<span style="font-family: Verdana, sans-serif;">As an aside, I am very impressed with Wooten as a teacher. Music educators need to check this video out just to observe his enthusiasm and mannerisms. He has a class of bass players of varying ability levels who he has never met before. Yet he has an impressive ability to coax musical results from each students regardless of their level. His positive nature is infectious. You can't help but just feel good listening to this man talk about music.</span></div>
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<span style="font-family: Verdana, sans-serif;">Here is the official preview video. It is sort of a good introduction, but it focuses a bit on Victor's chops (which are top-notch of course). There is a lot more to the 5 hour DVD that would appeal to every musician.</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/H66K9eugZZM" width="560"></iframe>MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-41255294058243296702014-02-19T22:20:00.000-05:002014-07-02T13:50:35.357-04:00Artist Spotlight: Alvin Lucier<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: Verdana, sans-serif;"><i>I would like to occasionally highlight a composer or performer that I think breaks creative ground. So let's start an "Artist Spotlight" series. I will explore the creative process and output of household names as well as more obscure artists. All genres are up for exploration. If you have any artist recommendations, feel free to suggest some in the comments below (or better yet, contribute a guest post!)</i></span></div>
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<span style="font-family: Verdana, sans-serif;"><b><i><span style="font-size: small;">Lucier plugs in</span><span style="font-size: small;"><br /></span></i></b><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /> </span></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">Let's begin with the work of modern composer and tinkerer, Mr. Alvin Lucier (1931).</span></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;">Lucier's compositions dwell in that twilight area between art and science. I first encountered his work referenced in a psychology of music textbook. His experimental sound installations were cited as examples of a variety acoustic and psychological phenomenon.</span><span style="font-weight: normal;"> His work poses many questions. How do we perceive sound? What are ways to manipulate the basic properties of the sound? What are the variety of ways we can manipulate it with technology? Can the brain actually play music? The 20th century had created an explosion of new methods for creating sounds. Composers don't often consider the fields of neuroscience and psychoacoustics when working. Lucier not only considers these fields, he makes them paramount.</span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;">Let's highlight his important works. Just a warning before we continue. Lucier is definitely a modern composer bordering on the side of the avant-garde. As you explore the pieces in the post, you may even wonder if what he creates is actually "music". That's fine and we could debate that. But what strikes me about his work is how each piece was created out of a series of "what if" questions (see the previous post). I may not want to necessarily create music that sounds like Lucier's compositions. But I do want to embrace the creative wonder that was the catalyst in bring these experiments to life.</span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><b>Music for Solo Performer (1965)</b></span></span><br />
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"> </span><span style="font-size: small;"><span style="font-weight: normal;">This was the first piece I discovered of Lucier's. I find it fascinating. The casual audience member would probably think they walked into a mad scientist's laboratory. Lucier is seated. For the first few minutes of the performance (which get tedious, feel free to jump ahead in the video), an assistant attaches electrodes to the performer's scalp. These are wired to an EEG (electroencephalography) machine. This machine is used by neuroscientists to pick up electric signals emitted by the brain. These signals vary depending on the specific brain wave states you are experiencing.</span></span><span style="font-size: small;"><span style="font-weight: normal;"> Human beings always have a combination of brainwaves in our neurology. Delta and theta waves are the lower frequency brainwave commonly found while sleeping or in a drowsy state. Beta and gamma waves are the higher frequencies found when we are cognitively active. The alpha state is often found while relaxing or in a meditative state (note that when musicians enter a state of "flow" they are often in this alpha state). It is this alpha wave that Lucier uses in this composition.</span><span style="font-weight: normal;">After the EEG picks up the alpha brainwaves, Lucier processes that signal by using it to control various percussion instruments on the stage. The strength of his meditative alpha state affect the movements of the mallets mechanized to strike timpani and other assorted instruments. Lucier is able to actually create music with his mind!</span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/7Mb1H8LeGeg?feature=player_embedded' frameborder='0'></iframe></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><b>I am Sitting in a Room (1969)</b></span></span><br />
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<span style="font-family: Verdana, sans-serif;"><span style="font-size: small; font-weight: normal;">This is another one of Lucier's well known works. In this one, the performer records a simple statement into a tape recorder:</span><span style="font-size: small; font-weight: normal;"> “I am sitting in a room, different from the one you are in now. I am recording the sound of my speaking voice…”</span><span style="font-size: small; font-weight: normal;"> After this statement, Lucier plays back the recording. This playback is then recorded again. Then the rerecorded statement is played back and recorded again. This goes on for 20 minutes. Try to guess what happens? Now watch the performance (feel free to jump ahead to hear the final result).</span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/TSR2LSuzP_M/0.jpg" height="266" width="320"><param name="movie" value="https://youtube.googleapis.com/v/TSR2LSuzP_M&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/TSR2LSuzP_M&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;">Pretty interesting, right? I didn't expect that when I first saw this. Lucier's goal in this performance was to isolate the "resonant frequencies" of the room the piece is performed in. The size, shape and reflection of the surfaces in a room have an effect on these frequencies. By the last re-recording of the statement we are left with nothing but a very interesting set of pitches and overtones. This brings to fruition the tail end of his statement:</span><span style="font-weight: normal;"> “I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have,”</span></span><span style="font-size: small;"><span style="font-weight: normal;"> Wild stuff...</span></span></span><br />
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<span style="font-family: Verdana, sans-serif;"><b><span style="font-size: small;">Music on a Long Thin Wire (1977)</span><span style="font-size: small;"><br /></span></b><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">The final work further illustrates Lucier's fascination with acoustics. In this piece, he takes a thick piece of piano wire and sets it in motion with magnets and an amplified oscillator. This produces a set of fascinating overtones that constantly change.</span><span style="font-weight: normal;"> In his own words: "Music on a Long Thin Wire is constructed as follows: the wire is extended across a large room, clamped to tables at both ends. The ends of the wire are connected to the loudspeaker terminals of a power amplifier placed under one of the tables. A sine wave oscillator is connected to the amplifier. A magnet straddles the wire at one end. Wooden bridges are inserted under the wire at both ends to which contact microphones are imbedded, routed to the stereo sound system. The microphones pick up the vibrations that the wire imparts to the bridges and are sent through the playback system. By varying the frequency and loudness of the oscillator, a rich variety of slides, frequency shifts, audible beats and other sonic phenomena may be produced."</span></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/rgy1E4YFef8?feature=player_embedded' frameborder='0'></iframe></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;"><br /></span></span><span style="font-size: small;"><span style="font-weight: normal;">Interesting music. Perhaps not something you will rush to put on your Ipod, but hopefully something that gets you thinking a little bit about sound and its role in the creative process.</span></span></span><br />
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Cg0VvYwZPv0Vp/FBmWXusxV280NzcMlQX+8ckwckHSq+2WRk4DnxVTcbdByka6/QLm1xvAeBgKC7abnHKf0QdE2nvC1rCA77qr2HTc5xqP1PhHLn6rO2Fu6o4YitkxoawNCCytagzUsFRNnUNPMT5I97tmOfbPbTqmi4jxRMxqw8QDOo5IJtGsHCWkOHMGRy4J9rlg90L3+HpMa493DB85K1btuUQ2TUbHz9kFi7MIKLR2lTccntz4TB9kEDaBRSgUBFE5GUlxQJcmyU4U25A2UghMXW16VMw94aeSj/AM+oHSoPY/ZBMJRFQHbwUNe0Hz+yQd4KJGTiRzjJBYIgqfaW8bWMluZcYbOXr5LLbQ3quC1zmuho7oIbqeJnp+qDV3uymVXGIxDIwc5POFn73Yb2OiZ+qgbj3r213OLu64AOkkkuJ7p85PzXRbq0D2yNfmEGBqWlUCZ91AqNfOq0+16T2aj2VUxo1OqCvpWZOqtLGxy0/wDEGtHMfvyUu2BnL3QW1nRDRkMyru1oc9dVWWQaPEfcpzaW8VJrcLXSeOHM6INRsqkMM9VXb4bepsaacgvI0B0nieSyl5vm/BhpnAI1/F6clmH1XOdqTPqT6oLdl0TKKhTc9/dPhzJJy8skm2tIb3jh+Z9lNoVWjutAHU6koJzKsZnCSOkFBQXBxPRBBuwUCkhGXICLlX7S2l2YhoxOjTgp+JZ69hziHc5HMHoUBWW8JeS1wAcPmOnIqTV2mIJJiOEFZfbFu5hFRviZnkMnAa+qtyRWpB7dHNkeoQY7bV+a1xplKm29rIyPuod5bYas81PsgYQRjaOBzEBTKLcsMfdTiAR99FHZR7N2IkkfRBA/l7n1CXGQweknT5KW2wDmZju6R05DqpdBmPFyJBnhkpVx/SZl4joOXVBl9m0W2rwXy6HBxAiBHhGep0PotjYbyUXgzUIbEtJEH+1w5j5hZC4tS8o6OzyAQBqc0Fztna1N3grTHAscP0zWdqXLZ8RPkPul1NnHNMnZZlBIZtdjPCwuPU/ZN1946jspDRyATbdlpTdnNHFBHqbRLjm4n1yTZuychqpZo0hAJnkBr5QFY22zoGIjCOUZ/wCEFZa2dR56dcgFdW1JlLTvO5/YJqrdfhbEeWqFOlJQSHVMX7+qXTeAc0qhZk6aFSamzeRzQJZVPP6oJy3sjME+QQQbZE53NJBUfaLh2L8XhwmY1jjHVAdetIyz6hVNwwyqiw2kaLmASab4wgnE5s6SeIWgYcWRQV76GIEFQt3j2bqlA6NJcyfyuzI9D9VcVKMQs1vBWNGoyq3VhE9WuyIQFt23AdPX5JFtmFP200njkQDHmJVdbj6IJjNdVIa8HI6JlrBCSx2o/fL9EAqUn0s25t4gaj/Cg3d8550Poc1KZfFjo1E8U/Vsg4Ym90wT09v1QUxFb8IH/IEfPRE6tWGrB5h+X0U4sPOUBTQVr21tcA9XGPokOZcflYPUlW6LUx/4gqTs2qdajR5Nz+qXR3eDvE97vUNCvKFjMych7qRWGBuSCupWdKiO4wA89XH1Kh3V2TkPulXFzMjqhZ20mUCLegdSrGjS4QEtrQFIpUp/VAuzpiZAU8UhqfYKPR6R6pF1dHwjLOPdBKqXUdOR4n1QVxb/AA8uKrATVpgEj8xP0CCD/9k=" 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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;">Novelist Stephen King</span></td></tr>
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<i><span style="background-color: white; font-family: Verdana, sans-serif;"><span style="color: #181818; line-height: 18px;">“If you want to be a writer, you must do two things above all others: read a lot and write a lot. There's no way around these two things that I'm aware of, no shortcut.” </span><br style="color: #181818; line-height: 18px;" /><span style="color: #181818; line-height: 18px;">― </span><a href="http://www.goodreads.com/author/show/3389.Stephen_King" style="color: #666600; line-height: 18px; text-decoration: none;">Stephen King</a><span style="color: #181818; line-height: 18px;">, </span><span style="color: #181818; line-height: 18px;"><a href="http://www.goodreads.com/work/quotes/150292" style="color: #666600; text-decoration: none;">On Writing: A Memoir of the Craft</a></span></span></i><br />
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Another Mr. King quote! King's novels are fine, but I sure do love his quotes! I find them inspiring and with a few tweaks can be very applicable to the musical muse. Allow me to replace a few words...</span><br />
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<i style="background-color: white;"><span style="color: #181818; line-height: 18px;">“If you want to be a <b>composer/musician/improviser</b>, you must do two things abo</span><span style="color: #181818; line-height: 18px;">ve all others: </span><b style="color: #181818; line-height: 18px;">listen</b><span style="color: #181818; line-height: 18px;"> a lot and </span><b style="color: #181818; line-height: 18px;">compose/play/improvise</b><span style="color: #181818; line-height: 18px;"> a lot. There's no way around these two things that I'm aware of, no shortcut.” </span></i></span><br />
<span style="line-height: 18px;"><i><span style="background-color: white; color: #7f6000; font-family: Verdana, sans-serif;">- My variant of Stephen King's quote </span></i></span><br />
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That's basically it. I could end this post here. Mr. King has laid out a simple formula for mastery that cannot be denied. Listen and create. Repeat.</span><br />
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<span style="font-family: Verdana, sans-serif;">Malcolm Gladwell popularized the "10,000 hour" rule in his 2008 book <i>Outliers</i>. The summation of this rule is that it takes 10,000 hours of doing something to develop mastery. Gladwell cites cases from the Beatles cutting their teeth by playing cover songs in Hamburg dives to Bill Gates who had access to a computer in 1968 when they weren't as common as they were today. </span></div>
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<a href="http://www.morethings.com/music/beatles/images/temp/hamburg2324.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="irc_mut" src="http://www.morethings.com/music/beatles/images/temp/hamburg2324.jpg" height="232" id="irc_mi" style="margin-top: 0px;" width="320" /></span></a><span style="font-family: Verdana, sans-serif;">An important aspect of this 10,000 hours is the idea of mastering what has already been created in your art form. The Beatles spent their time in Hamburg not writing original "creative" works. They covered American rock and roll songs. The U.S. troops station there demanded the music of Little Richard, the Isley Brothers, and Chuck Berry. This forced the Fab Four to develop a solid vocabulary of rock and roll. It taught them to groove. It taught them stage presence. It taught them about the art of songcraft. By the time they penned their first number one hit in England ("Please Please Me") they have logged in 10,000 hours of mastering the art of performing and writing a hit song.</span></div>
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<span style="font-family: Verdana, sans-serif;">This "10,000 rule" is based on the research of psychologist Anders Ericsson. It has its <a href="http://www.huffingtonpost.com/2013/10/08/success-book_n_4059506.html" target="_blank">critics</a> who feel this rule has been misused as it has become quoted in many pop-psychology articles and blogs. Merely putting in time won't make one a master the critics argue. Even Ericsson has said, <span style="background-color: 0; color: #333333; line-height: 21px;">“You don’t get benefits from mechanical repetition, but by adjusting your execution over and over to get closer to your goal.” </span></span></div>
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" 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" style="margin-top: 0px;" width="131" /></span></a><span style="font-family: Verdana, sans-serif;">So that seems to be an important point. Practice involves repetition AND correction. There needs to be a high level of focus and determination to make those corrections. Cognitive psychologists have labeled this trait as "<a href="http://en.wikipedia.org/wiki/Grit_(personality_trait)" target="_blank">grit</a>". Daniel Coleman in his book,<a href="http://www.amazon.com/Focus-The-Hidden-Driver-Excellence/dp/0062114867" target="_blank"> Focus: The Hidden Driver of Excellence</a> explores this idea of grit as being a crucial pairing in making the "10,000 hour" rule work. Without getting your hands dirty in your practice and putting in some serious, focused labor the bulk of those 10,000 hours can be wasted time. <i>(I just finished this book and highly recommend it. This combined with Robert Greene's Mastery takes off where Gladwell left us.)</i></span></div>
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<span style="font-family: Verdana, sans-serif;">Everyone can be creative. It seems to be a trite statement but its true. On some level, everyone has the ability to be inspired. Even the beginner musician can experience the thrill of exploration that even the greatest musical innovators experience. It would be very frustrating if you had to lock in 10,000 hours BEFORE you could create. </span></div>
<span style="font-family: Verdana, sans-serif;"><br />
However, you must know that these early creative attempts will not be original. They won't be masterpieces. They will probably not even be good. At least not without developing a solid foundation of skills and knowledge. It is impossible to create a truly unique, quality piece of work until you have created a LOT of derivative works. </span><br />
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;">Students with a creative urge are often frustrated by this. They have a strong desire to create something groundbreaking but they haven't yet mastered the basics. Without a command of what has already been created in their field, that won't know how to be original. What rules should you break? What is the basic vocabulary of style? What elements of preexisting works can be borrowed and combined to create new, original works?</span></div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;">A solid creative foundation needs:</span></div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">A command of musical elements (rhythm, melody, harmony, form, timbre)</span></li>
<li><span style="font-family: Verdana, sans-serif;">A deep knowledge of style and genre (not all styles and genres, but at least the ones in your purview)</span></li>
<li><span style="font-family: Verdana, sans-serif;">The study of repertoire in that genre from the earliest days to the present</span></li>
<li><span style="font-family: Verdana, sans-serif;">An apprenticeship of two types. A formal student-teacher relationship AND the tutelage of the great artists in the field through recordings and live performances. </span></li>
<li><span style="font-family: Verdana, sans-serif;">A venue. The student needs an outlet to showcase the mastery of the above.</span></li>
</ul>
</div>
</div>
<div>
<span style="font-family: Verdana, sans-serif;"> In addition, you need to have a desire to explore. "What if?" should be a regular part of this stage. </span></div>
<div>
<ul>
<a href="http://pivotedmonds.com/wp-content/uploads/2014/01/what-if.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="irc_mut" src="http://pivotedmonds.com/wp-content/uploads/2014/01/what-if.jpg" height="150" id="irc_mi" style="margin-top: 0px;" width="200" /></span></a>
<li><span style="font-family: Verdana, sans-serif;">"What if I harmonize this melody in fourths?"</span></li>
<li><span style="font-family: Verdana, sans-serif;">"What if I play this tune in 7?"</span></li>
<li><span style="font-family: Verdana, sans-serif;">"What if I add more dissonance? More consonance?"</span></li>
<li><span style="font-family: Verdana, sans-serif;">"What if I add more space?"</span></li>
<li><span style="font-family: Verdana, sans-serif;">"What if I ..."</span></li>
</ul>
<div>
<span style="font-family: Verdana, sans-serif;">With each new question you will be creating something new. Evaluate the new product. If it is good, go on from there asking a new "what if" question. If it doesn't work out, ask a different question.</span></div>
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<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;">So wherever you are at in laying your foundation, ask these questions. Focus and develop your inner grit. And start clocking in some of those 10,000 hours!</span></div>
MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-89877014839793311672014-02-02T18:00:00.000-05:002014-03-22T08:47:02.232-04:00Conversational Exercise: Let's Chat!<span style="font-family: Verdana, sans-serif;"><br />
</span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: Verdana, sans-serif;"><img class="irc_mut" src="http://images2.static-bluray.com/reviews/3987_5.jpg" height="177" id="irc_mi" style="margin-left: auto; margin-right: auto; margin-top: 0px;" width="320" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: small;"><i>Glenn Gould</i><i><br /></i></span></td></tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;">There is a section entitled "Truck Stop" in François Girard's<span style="background-color: white; line-height: 19.1875px;"> </span><a href="http://en.wikipedia.org/wiki/Thirty_Two_Short_Films_About_Glenn_Gould" target="_blank">32 Short Films about Glenn Gould</a> that sparked the content of this post. Glenn Gould, the eccentric classical pianist, visits his regular haunt, a diner in Toronto. In the scene, he orders his breakfast and while waiting begins listening to the chatter going on around him. He becomes mesmerized by not the content of the conversations, but the musical language. We can see Gould listening to these unrelated conversations happening on opposite sides of the diner. The director portrays him absorbed in this breakfast chatter as a sort of counterpoint. Perhaps, the "Art of the Breakfast Fugue"?</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/j5Y4wVWz-AQ?rel=0" width="560"></iframe>
</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
<br />
This attention to the interaction of voices inspired Gould in his 1967 project entitled the "Solitude Trilogy". The most famous work of this project was called<a href="http://www.cbc.ca/player/Radio/More+Shows/Glenn+Gould+-+The+CBC+Legacy/Audio/1960s/ID/2110447480/" target="_blank"> "The Idea of North"</a>. Here Gould created a sound collage of overlapping spoken monologues. It is strikingly avant-garde for someone steeped in traditional classical music. Then again, Gould was an eccentric.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
There could be a comparison made between this experiment and counterpoint of the Baroque period that was Gould's primary piano gig. Counterpoint refers to melodies that are played simultaneously. In the same fashion Gould called this technique "contrapuntal radio". If you are interested, the entire recording can be found <a href="http://www.cbc.ca/player/Radio/More+Shows/Glenn+Gould+-+The+CBC+Legacy/Audio/1960s/ID/2110447480/" target="_blank">here</a>.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
I had an idea inspired by the above scene and Gould's experiment. Could we develop a creativity warm-up routine for 2 or more players modeled on the idea of carrying on a spoken conversation? Or perhaps simultaneous conversations? In a <a href="http://www.musingsonthemusicalmuse.com/2013/12/gesturing-creative-warm-up-routine.html" target="_blank">previous post</a>, I demonstrated the idea of gesturing as a way of getting the mind in a creative state. Would the model from the Glenn Gould film work in a similar fashion for small groups of musicians?</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Here is the idea:</span><br />
<ul>
<li><span style="font-family: Verdana, sans-serif;">Get together with a partner. Any instrument or voice would work.</span></li>
<li><span style="font-family: Verdana, sans-serif;">You are going to have a conversation with the other person on your instrument. </span></li>
<li><span style="font-family: Verdana, sans-serif;">Begin improvising a melody. Maybe pick a key or tonal center to work with. You could also play free.</span></li>
<li><span style="font-family: Verdana, sans-serif;">The partner should at some point respond to your statement.</span></li>
<li><span style="font-family: Verdana, sans-serif;">The length of each statement is up to each of you. If you are really engaged in what they are playing, lay back and listen. If you have the urge to interrupt and speak your mind do it. Have nothing else to say? Stop.</span></li>
<li><span style="font-family: Verdana, sans-serif;">At the beginning you may wish to set up parameters. (e.g. swap short phrases, demand silence in between phrases, use long discourse, overlap phrases, "talk at the same time" (counterpoint).</span></li>
<li><span style="font-family: Verdana, sans-serif;">Eventually, the goal would be to remove the strict parameters and let the conversation unfold naturally.</span></li>
</ul>
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<a href="http://site.overstockart.com/sorter/large/OP1584.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="irc_mut" src="http://site.overstockart.com/sorter/large/OP1584.jpg" height="320" id="irc_mi" style="margin-top: 0px;" width="265" /></span></a></div>
<span style="font-family: Verdana, sans-serif;">The product here should be a little more detailed than a simple regular call and response. The goal is to interact in a similar way to an actual human conversation. This means allowing room for silence, discussion, interruptions, discourse, and listening. Keeping eye contact with the other participant is key. Just as in a spoken conversation a glance, nod of the head, or movement of the eyes can invoke a reaction.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Often in conversations, one person is the leader. They bring a topic to mind and can often direct (if not dominate) the conversation. In a similar fashion, you may find that one of you is "following" the other person. This is okay and entirely natural. If recognize this happening, then you may want to make a conscious effort the switch roles. Have the other person "lead" the discussion.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Really, there are no hard and fast rules with this exercise. You can add to it and develop it in any fashion you wish. Other ideas include:</span><br />
<ul>
<li><span style="font-family: Verdana, sans-serif;">limiting the conversation to just rhythmic ideas (use a single percussion instrument or clap)</span></li>
<li><span style="font-family: Verdana, sans-serif;">include 3, 4 (or more!) people in on the conversation</span></li>
<li><span style="font-family: Verdana, sans-serif;">have two different conversations (two pairs of musicians) going on at once</span></li>
<li><span style="font-family: Verdana, sans-serif;">converse with people who are at different levels of musical maturity</span></li>
<li><span style="font-family: Verdana, sans-serif;">instead of improvising, notate and compose a "conversation-like" piece </span></li>
<li><span style="font-family: Verdana, sans-serif;">set up scenarios for the conversation (using space in between, simultaneous conversations, different keys/tonal centers, through a tune or chord progression)</span></li>
<li><span style="font-family: Verdana, sans-serif;">You can even "comp" while the other person is "talking". In other words, play a simpler supportive part while the speaker takes the lead. I think of this as akin to nodding your head and saying "uh-huh" or "yeah" during a casual conversation.</span></li>
</ul>
<span style="font-family: Verdana, sans-serif;">Here are some parameters I set up as John and I explored this exercise. Check them out and then find a buddy and have a chat!</span><br />
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<h2>
<span style="font-family: Verdana, sans-serif; font-size: small;">
Conversation with deliberate silence in between the melodic statements.</span></h2>
<div>
<span style="font-family: Verdana, sans-serif;"><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/rdsuTXPLb8I" width="560"></iframe>
</span></div>
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<h2>
<span style="font-family: Verdana, sans-serif; font-size: small;">
Conversation with short phrases and minimal silence in between.
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/DXNC0-PJvRA?rel=0" width="560"></iframe><br /><br /><br />Conversation with Comping (e.g. playing supportive parts during the other player's melodic statements)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ozyb1v1KjaU?rel=0" width="560"></iframe><br /><br /><br /> Simultaneous Conversation</span></h2>
<h2>
<span style="font-family: Verdana, sans-serif; font-size: small;"><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/2tTuFriFsuE?rel=0" width="560"></iframe></span></h2>
MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com2tag:blogger.com,1999:blog-360260676882065439.post-7018641426361253892014-01-26T17:53:00.000-05:002014-07-02T13:51:41.268-04:00Five Minutes<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
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<span style="font-family: Verdana, sans-serif; font-size: small;"><em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #6d6d6d;">A</span><span style="color: yellow;">mateurs sit and wait for inspiration, the rest of us get up and go to work.</span></em><span style="color: yellow;"> </span></span></div>
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<span style="color: yellow; font-family: Verdana, sans-serif; font-size: small;">~Stephen King</span></div>
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</span><a href="http://momof6.com/wp-content/uploads/2012/04/Great-Garage-Clean-Out-Before-Main-Level.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="irc_mut" src="http://momof6.com/wp-content/uploads/2012/04/Great-Garage-Clean-Out-Before-Main-Level.jpg" height="211" id="irc_mi" style="margin-top: 31px;" width="320" /></span></a><span style="font-family: Verdana, sans-serif;">The biggest roadblock to creativity is not lack of talent, vision, or ideas. What keeps many from creating is simply getting started. While most want to create art, we often aren't motivated to begin the work. We keep pushing it off like it is a dreaded chore, like cleaning out the garage. Sure it would be great once the garage is clean. And it might be fun to finally start going through all that junk. But that initial push required to get started can make this a formidable task. </span><br />
<span style="font-family: Verdana, sans-serif;"><br />
The solution to cleaning the garage? Five minutes. Tell yourself that you are going to start the task but only work for five minutes. Everyone can spare and tolerate five minutes, right? Even if it is something as uninspiring as cleaning the garage.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
What happens? You will start cleaning during the five minutes. And that may be all you want to do. But more often that five minutes will quickly overflow into ten. Then you may find yourself entering the "zone" or a state of "flow". Even something as mundane as organizing a garage will become interesting. The inertia of starting a project might even sustain you until the whole room is organized. It is hard to stop a moving train.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Can we apply this example to our musical creative process? Absolutely. Let's do it.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Right now think of that one project that you have in your head. Maybe it is a composition, an arrangement, a tune in your head, and harmonic/rhythmic concept, or a piece to add to your repertoire. Pick something that you would like to explore and eventually master. This could be a small or large task. It doesn't matter.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
</span><a href="http://www.newportbeachindy.com/wp-content/uploads/2013/07/five-minutes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="irc_mut" src="http://www.newportbeachindy.com/wp-content/uploads/2013/07/five-minutes.jpg" height="200" id="irc_mi" style="margin-top: 0px;" width="194" /></span></a><span style="font-family: Verdana, sans-serif;">You want to get going on it, but just haven't started it yet. There are probably lots of legitimate excuses for why you haven't started it, but forget about them for now. Right now, I want you to give yourself five minutes. Go! Work on that project for five minutes. Just get started.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
What can you get done in that little amount of time? Probably not much, but don't worry. Just do it. We all have 5 minutes sometime in our day.</span><br />
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Go! (Seriously, I'll wait. I'll be here when you finish).</span><br />
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All right. Take a look at the clock. So what happened? Like our garage example the five minutes probably expanded into ten, fifteen or more minutes. Great! If it didn't, that's fine too. You put in five minutes of focused, quality, creative work. Congrats!</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
You may think, "How will I ever meet my goals with just five minutes?" Well, what if you did this exercise throughout the day. Pretty soon you will be clocking in some serious creative time. Particular, if one of your "five minute" sessions locks you in the zone and gets you focused for an hour or more.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
As Mr. King puts it..."get up and go to work"!</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Speaking of which, I need to go clean out the garage...</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><br /></span>
MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com4tag:blogger.com,1999:blog-360260676882065439.post-21141798079154061582014-01-20T17:35:00.000-05:002014-03-22T08:47:31.456-04:00Limitation Exercise: Shattering Conventions<span style="font-family: Verdana, sans-serif;">The limitation exercise for this post is great to pull out when you are in a rut. It is a lot of fun and a little silly. Depending on who you are you will either love it or hate it.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Take your main instrument. Play a scale, passage or etude with proper technique and solid tone. Spend a minute or two getting warmed up to the way you were taught that that instrument should sound and be played.</span><br />
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</span><a href="https://blogger.googleusercontent.com/img/proxy/AVvXsEjTfUHricidf_RHguRkIwL21ohlx6JBIbxcOhu_KTw29lRF2LBrrlsqbdaQIrlftW_2j8gIFXR20Izm-KVGPVTri0JaXCJfj5Th9GrLuujJiUs8VQdGFiSghmqG094sdEjYhqbYjMAh5hhlRPI9YHmulAQ1tIGsEX6azg1sWVSqcOnXCy9ISw=" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="irc_mut" src="http://yearoflivingmusically.files.wordpress.com/2011/05/photo-125.jpg" height="240" id="irc_mi" style="margin-top: 0px;" width="320" /></span></a><span style="font-family: Verdana, sans-serif;">Now stop. For the next ten minutes I want you to figure out at least 50 different interesting sounds you can coax from your instrument that are NOT the conventional way of playing. That's right. Look at your instrument like you have never seen it before. Perhaps you can think of yourself as a native of a culture that has never seen your instrument but was told that it makes music. How would they explore it in those first 10 minutes to create interesting sounds.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
I don't want to give you too many ideas. (<i>OK a few seeds I can plant. If you play a wind instrument think percussion. If you play percussion think strings. If you play strings, think vocal technique. If you sing, think all of the above! Also, you may feel free to use other non-musical objects with your instrument. But don't limit it to just these ideas either. Explore!) </i></span><br />
<span style="font-family: Verdana, sans-serif;"><br />
My advice: don't be afraid to be silly and take some risks. No one is watching!</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Go! 10 minutes!</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
</span><a href="https://blogger.googleusercontent.com/img/proxy/AVvXsEhTcDkcR-t_401P-jsaasrs6WR_zrHhCAR0rOw3b6cSGv4Nk7ztk7Bd-GD24WRhxZ9NBxoX3cHmVjYA3a1NHEf77z1Vqwmcb0h3fkySQqlaf1UjYxxXWEKXyUpsU2N1fcVelwd48vb1Vq_eI_F-ye2JwSKxan8vZvVvkUljim1yI72hVhOlh-SmjGZz53y49G2ihzQMEMC39Sxd8EHh4PqYu8HuB4fJUsZBN56H0PY3SYZW880s_kMBv255vOsv_w1_Ag=" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="irc_mut" src="http://arttattler.com/Images/Europe/Germany/Munchen/Haus%20der%20Kunst/Allora%20Calzadilla/04AlloraCalzadilla_PreparedPiano3.jpg" height="260" id="irc_mi" style="margin-top: 0px;" width="400" /></span></a><br />
<span style="font-family: Verdana, sans-serif;"><br />
<br />
OK. Pick 10-15 of the sounds you found the most interesting. Practice them and make sure you have the technique to produce them with ease.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Now get out a piece of paper. Develop a notation system for your new found sounds. You can use a staff or variation of one. You can use notes, but don't limit it to that. Consider graphical notation, pictures, glyphs, words or colors. The notation system should reflect the sounds but also be easy to decipher.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Now compose. Take those 10-15 sounds and write a piece. But don't write it out first. Go ahead and play with those sounds. When you create a brief section that you find interesting figure out how to notate it. Write it out and then play it while reading it. Repeat for the next sections.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
All musical elements should be in play here: form, timbre, melody, rhythm and harmony. It is just the convention of the instrument that has been destroyed.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Create a 2-3 minute piece and score. Practice it until you can solidly perform it. This would be fun to do with some friends or colleagues as well. Have them do the same challenge and then share your works.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
What's the point? Isn't your practice time more valuable then this? Maybe. Just try it and make observations about the process. I think you will find this exercise to be revelatory.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
I will post my results in a few weeks as well as those of any of the reader(s) of my blog who are willing to share their experiment. E-mail the score and an audio or video file to erikschlosser@gmail.com.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
</span>
<span style="font-size: large;"><br /></span>
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<span style="font-family: Verdana, sans-serif;"><br />
I think listening is such an important component of the musical creative process that I can see exploring this again in the future. Thus, part one.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
First a question:</span><br />
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">When was the last time you intentionally listened to recorded music?</span></li>
</ul>
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<span style="font-family: Verdana, sans-serif;">Think about it. When was it? What was the music? Where were you?</span></div>
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<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">All right. Now the next question:</span></div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">What were you doing while you listened to that recorded music? </span></li>
</ul>
<div>
<span style="font-family: Verdana, sans-serif;">Think. Identify everything you did while you listened to that music. Were you driving? Eating?Cleaning the house? Sitting and letting your mind wander? Reading a magazine? Sporadically checking texts and social networking sites? Talking to someone? Thinking about the lyrics? Or were you just sitting there, <b style="font-style: italic;">actively </b>engaged in listening to the music.</span></div>
</div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;">Last question:</span></div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">Not with just this chosen piece, but in general, calculate an approximate percentage of your music listening time in the past month in which you are <b><i>actively</i></b> engaged in the listening process? What percent were you <b><i>passively</i> </b>listening to the music while engaged in a different activity?</span></li>
</ul>
<span style="font-family: Verdana, sans-serif;">By <b>"active"</b> listening, I mean you are really focused and paying attention to the music and just the music. It doesn't mean that you need to be involved in a deep harmonic analysis while you listen. But it does mean that non-musical elements (distractions, mind wandering, other activities) aren't present. Active listening can be thought of as sitting down with the intention of listening to a recorded piece of music with the attention you would offer a live performance.</span></div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<a href="http://www.twitteringmachines.com/wp-content/uploads/2009/05/1970turntalbes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="irc_mut" src="http://www.twitteringmachines.com/wp-content/uploads/2009/05/1970turntalbes.jpg" height="320" id="irc_mi" style="margin-top: 0px;" width="254" /></span></a><span style="font-family: Verdana, sans-serif;"><b>"Passive"</b> listening would be any listening that is not completely focused on the music. Now, this isn't necessarily a bad way of listening to music. Music often serves a function that is non-musical. Using music to create a particular mood has been in common use since the earliest rhythms were played. Music can be used to enhance religious ceremonies, to motivate exercise, to dance, and even to just accompany you during a long drive.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
Now there are degrees in between active and passive. Listening to music alone in a car allows for more attention to the music than say talking with a friend. Nonetheless, the more you can focus your entire attention on the activity of listening, the more you will get out of the music.</span><br />
<span style="font-family: Verdana, sans-serif;"><br class="Apple-interchange-newline" />
What does listening have to do with creativity? Nearly everything. People can be creative only if they have the proper tools. One of the primary tools is a knowledge of how others approach the art form. Artists need to absorb the style and form of the past masters. This knowledge will inform them as they create. For musicians, this is done by listening.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
</span><a href="http://t2.gstatic.com/images?q=tbn:ANd9GcSMjEswA5JLwakJY4MC462qGcJUHie9KNX43vQQbTw3pRzPCD362w:assets.ilounge.com/images/uploads/contestphoto1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="rg_i" src="http://t2.gstatic.com/images?q=tbn:ANd9GcSMjEswA5JLwakJY4MC462qGcJUHie9KNX43vQQbTw3pRzPCD362w:assets.ilounge.com/images/uploads/contestphoto1.jpg" data-sz="f" height="299" name="2u3ekscGrwJteM:" style="height: 194px; margin-top: 0px; width: 259px;" width="400" /></span></a><span style="font-family: Verdana, sans-serif;">Each new technological advancement has changed the way we listen to music. From wax cylinder to vinyl, 8-track to cassette, CD to MP3, each step has seemed to give consumers more access to quality recordings. However, this last step to the Internet domain has changed how we consume music most of all. In the past your access to music may have been limited by your CD budget. With services like Spotify, we have a massive collection of music at our fingertips. Once, seeing performers play on stage was only possible with a ticket. With Youtube, you can easily watch performances of the greats, both past and present.</span><br />
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<div>
<div style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;">
</div>
<span style="font-family: Verdana, sans-serif;">This overwhelming access to music can paralyze me with options. In the past, I would explore every nook and cranny of the limited collection of albums I happened to own. Because of this, there are albums I have thoroughly internalized from the pre-Internet era. Albums like Bill Evans' "Portrait in Jazz", Bob Dylan's "Blood on the Tracks", John Coltrane's "A Love Supreme" and the Beatles' "Revolver" are now in my musical DNA. Why? Because they were some of the few albums I had access to growing up. I have internalized the melodies, lyrics, and form on a deep level. As a result there is an emotional connection to these works. Listening to them now is as comforting as a warm blanket.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
In the mid-2000s, music was beginning to make itself available online and I was amazed (and overwhelmed) at the options. At first, I was the "kid in the candy shop" with paid subscription services like Rhapsody and the now-legal Napster. I explored the online collection with zeal, hopping from one artist to another without really devoting time to their work. While this was fun for a bit, in the end I felt I was missing the deep experience I had when I focused on one work.</span><br />
<span style="font-family: Verdana, sans-serif;"><br />
</span><a href="http://t3.gstatic.com/images?q=tbn:ANd9GcQILWZI2uQduOM73t3hNqXor37s4sM9VA1odkLR1_CKa1T8y_KQ:3.bp.blogspot.com/_Wkl9oPOO1xM/SdPj5_DGFnI/AAAAAAAAAQY/Z0ZFJCr41h8/s400/John%2BScofield%2B%2526%2BJohn%2BAbercrombie%2B-%2B1983%2B-%2BSolar.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="rg_i" src="http://t3.gstatic.com/images?q=tbn:ANd9GcQILWZI2uQduOM73t3hNqXor37s4sM9VA1odkLR1_CKa1T8y_KQ:3.bp.blogspot.com/_Wkl9oPOO1xM/SdPj5_DGFnI/AAAAAAAAAQY/Z0ZFJCr41h8/s400/John%2BScofield%2B%2526%2BJohn%2BAbercrombie%2B-%2B1983%2B-%2BSolar.jpg" data-sz="f" height="400" name="KNMXFb-DUGHRJM:" style="height: 192px; margin-top: 0px; width: 192px;" width="400" /></span></a><span style="font-family: Verdana, sans-serif;">In 2005, I decided to perform an experiment. Longing for the old days of getting deep into just one album, I bought a cassette for 99 cents from a record store that was going out of business. It was "Solar" (1983) by guitarists John Abercrombie and John Scofield. My Saturn had a cassette deck (not a CD player or MP3 hookup) and I was looking for music to play for the drive. For some inexplicable reason, I told myself this would be the ONLY album I would listen to for a year in my car. I never heard it before, I only knew the artists were respected players. And it only cost 99 cents.</span><br />
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In 1983, these two young lions were just beginning to burst onto the scene. Scofield just finished his gigs with Miles Davis and you can hear it in his playing. Abercrombie had that Berklee thing going with a little bit of fusion and he was also developing a voice with his compositions. These guys were just in the middle of a special time in their musical exploration. The recording quality of the album is uneven but the playing is solid. The collective improvisation they explore have the quality of a baroque invention (with the liberties allowed by jazz harmony and rhythm). To this day, the opening choruses of counterpoint from the title track are burned into my brain.</span><br />
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With each listen I discovered new gems. For example, there is one glaringly dissonant "wrong" line in "Small Wonder". Sco starts his solo by playing this really outside line that resolves in a strange way. The first dozen times I heard it, I just thought of it as Sco trying to correct a line gone awry. Now I am certain this is what John heard and intended (even if it wasn't!). And now I can think of no other way he could have started this solo (although obviously he could have played anything). It is kind of like Ray Nance's famous trumpet solo on Duke Ellington's "Take the A Train". While it was first improvised on the recording, he played it the same way each night they performed. That is what the audience expected!</span><br />
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Something about listening to an improvised album in this fashion is interesting. This music was created in the moment. It would never be performed again in this exact manner. The lines, rhythms and counterpoint are unique to this session. Yet, here I am, driving around in a Saturn 20+ years later repeatedly listening to something created in the moment.</span><br />
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The car afforded me the time to absorb this album. However, I am certain the results would be more powerful if I was on the couch with eyes closed. The more active the listening the more deep the experience.</span><br />
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<b>So the challenge:</b></span><br />
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<a href="http://t0.gstatic.com/images?q=tbn:ANd9GcS8Mr0iUsOIM40mq0lo9w-fdb9t2kKYBo1HQgSVyKg11VfeHI5v:cdn.head-fi.org/4/47/1000x500px-LL-47b9a43c_GradoRS1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" class="rg_i" src="http://t0.gstatic.com/images?q=tbn:ANd9GcS8Mr0iUsOIM40mq0lo9w-fdb9t2kKYBo1HQgSVyKg11VfeHI5v:cdn.head-fi.org/4/47/1000x500px-LL-47b9a43c_GradoRS1.jpg" data-sz="f" height="132" name="dlMMaPnewqFARM:" style="height: 173px; margin-top: -3px; width: 261px;" width="200" /></span></a>
<li><span style="font-family: Verdana, sans-serif;">Choose one album, piece, or extended work. You can choose something you are already a little familiar with but not something you have thoroughly absorbed as in my experience with "Solar". You will also want to choose something with enough substance to sustain repeated listenings.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Find a time to listen straight through the album in one sitting. This should be as much of an "active" listening experience that you can make it.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Over the coming weeks, return to this work. Perhaps, you will sit with it in another active listening session. Or maybe you will play it as you travel or go for a walk. If you are short on time, choose a track or movement and just listen to that perhaps playing that section multiple times in one sitting</span></li>
<li><span style="font-family: Verdana, sans-serif;">You may just wish to absorb this music with no further action. Most likely, you will begin to want to delve deeper into the music. In that case, consider:</span></li>
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<li><span style="font-family: Verdana, sans-serif;">following along with a score</span></li>
<li><span style="font-family: Verdana, sans-serif;">working out elements of the piece on an instrument</span></li>
<li><span style="font-family: Verdana, sans-serif;">singing key melodies unaccompanied (this often can show you how well you have internalized the music) </span></li>
<li><span style="font-family: Verdana, sans-serif;">arranging sections of the work for another group</span></li>
<li><span style="font-family: Verdana, sans-serif;">transcribing key melodies</span></li>
<li><span style="font-family: Verdana, sans-serif;">analyzing the harmonic structure of the work</span></li>
<li><span style="font-family: Verdana, sans-serif;">seek out other performances ("covers") of the work</span></li>
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<span style="font-family: Verdana, sans-serif;">I'm going to do the challenge and post the results!</span></div>
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-63692254181019803232014-01-05T11:57:00.003-05:002014-03-22T08:48:16.511-04:00The Creative Environment<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiROFEXoBOpMtNghRJ2M-5zDNjpgs0XrSlqqCV1a2HkuymOf9_SAQaha48jIGd4B5CDL_CDn7K9q7yvhDfniQUYzB7UYoqX1sYC6klI5J08bRCXUpzj5TlKgidudqZxFz9ljc51dXKozWTx/s1600/johnzorn460.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiROFEXoBOpMtNghRJ2M-5zDNjpgs0XrSlqqCV1a2HkuymOf9_SAQaha48jIGd4B5CDL_CDn7K9q7yvhDfniQUYzB7UYoqX1sYC6klI5J08bRCXUpzj5TlKgidudqZxFz9ljc51dXKozWTx/s1600/johnzorn460.jpg" height="240" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif;">Composer and musician: John Zorn</span></i></td></tr>
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<b><i><span style="font-family: Verdana, sans-serif;">"I make music in my home, and I'll tell you what my home is. My home is not just an apartment. I've been living in the same place for 38 years. My home is a device — a device for enabling creativity. A device for cutting out the chaos outside that people think is reality; that's chaos. My home is a way of insulating myself and stripping that away so I can get into what reality is for me, which is creativity." - John Zorn</span></i></b><br />
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<span style="font-family: Verdana, sans-serif;">John Zorn is describing an important element to the creative process that is often overlooked: your environment. Where do you create? Have you made this place a location that allows for the state of "flow" or optimal creativity? Or is your environment not doing the job that Mr. Zorn describes as "cutting out the chaos outside"? Have you even thought about this?</span></div>
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<span style="font-family: Verdana, sans-serif;">Now this can be a very personal thing. Some visual artist's studios are meticulously organized. Some to the outsider appear to be a slovenly mess. Compare Georgia O'Keefe's pristine, focused, light-filled studio to Alexander Calder's gritty, chaotic dwelling. Each one serves the intended purpose of the artists. Those of you who are art fans may even be nodding your head and seeing a reflection of these artists output in how the organize their work environment. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTUfz6yvImLGY8GvvWkhRBnL0zVIafC1XsdCro0uCXIYPWnioF0mtBY2YY3nbbqoiD0ymgXY4dtxTA7QE4W4SPiuEzFTvECPG8uXI5bXDRkpSuGQAwtjGALyKkya1mvuNNaqbqUYzRbqtx/s1600/georgia.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTUfz6yvImLGY8GvvWkhRBnL0zVIafC1XsdCro0uCXIYPWnioF0mtBY2YY3nbbqoiD0ymgXY4dtxTA7QE4W4SPiuEzFTvECPG8uXI5bXDRkpSuGQAwtjGALyKkya1mvuNNaqbqUYzRbqtx/s1600/georgia.jpg" height="264" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: small;">O'Keefe's studio</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9NRvm59c1-caqXPFdD0-R-HZei8dOcKHOFahv-EQM9anU9SWTFdpmWuUcTJ8nHWJkIbh6N-eNLy_Cn90u7z1KaWTgYXEeqa35-r8hXanVGSmzzxiKwI9UjoQaZFRvy7Kgncdpr8uUV2Xb/s1600/calder1.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9NRvm59c1-caqXPFdD0-R-HZei8dOcKHOFahv-EQM9anU9SWTFdpmWuUcTJ8nHWJkIbh6N-eNLy_Cn90u7z1KaWTgYXEeqa35-r8hXanVGSmzzxiKwI9UjoQaZFRvy7Kgncdpr8uUV2Xb/s1600/calder1.jpeg" height="320" width="256" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: small;">Calder's studio</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglAZYZxtDwaR360WZZOo43Eiax5NSF7twOAgLDkTwkGBP64ZvUmBTQ1dfsvYwCf3gJ0IlzT8F0YJ-xTh3GZzIN5n143JPK5Nbo12dFBetRSHH3wpFQ6ftJul9J4vKS7JMNq9eknBmskiVB/s1600/alexander-calder-artwork-large-103335.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglAZYZxtDwaR360WZZOo43Eiax5NSF7twOAgLDkTwkGBP64ZvUmBTQ1dfsvYwCf3gJ0IlzT8F0YJ-xTh3GZzIN5n143JPK5Nbo12dFBetRSHH3wpFQ6ftJul9J4vKS7JMNq9eknBmskiVB/s1600/alexander-calder-artwork-large-103335.jpg" height="135" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: small;">Calder: <i>Picassomio</i></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDfDs4PukQN98W5gcecuRQRABNq32TzpQtn6HOxvq-twsPcHcPuMTCWdUSZRZybPmJykaFf0NlG0TvTE-RhRIPkTYZQXhMybL443WjKq6fs0DJdzmAAwUhZnu0g4kzbtkONMU0cZpsX5eE/s1600/georgia-o-keeffe-white-trumpet-flower.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDfDs4PukQN98W5gcecuRQRABNq32TzpQtn6HOxvq-twsPcHcPuMTCWdUSZRZybPmJykaFf0NlG0TvTE-RhRIPkTYZQXhMybL443WjKq6fs0DJdzmAAwUhZnu0g4kzbtkONMU0cZpsX5eE/s1600/georgia-o-keeffe-white-trumpet-flower.jpg" height="150" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: small;">O'Keefe: <i>White Trumpet Flower</i></span></td></tr>
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So let's talk about the environment in which we create music. In the world of performance, clearly that environment is the stage, bandstand, arena, or recording studio. Music in this case is meant to be performed for others and the environment supports that and can even shape it. David Byrne in his excellent book <a href="http://www.amazon.com/How-Music-Works-David-Byrne/dp/1938073533" target="_blank">"How Music Works"</a> spends his early chapters supporting the theory that the venue is the primary catalyst for determining style. He demonstrates that venues as diverse as the cathedrals in the Renaissance, parlors in the Enlightenment, stadium arenas in the 1970s and dives like CBGBs in the punk scene actually have much more to do with the development of style than we often think.</span><br />
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However, I would like to explore the creative musician's studio. This would be the spot where the craft is honed. This is not a place where the music is being performed as art for an audience. It is where the musicians and composers develop their craft. It is where they practice, write, improvise, create, listen and think about music. And for most of us, it is in our home.</span><br />
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Now just like O'Keefe and Calder, each one of us will have a unique way of constructing this environment based on our style and personal aesthetic. However, there are some universal things we should consider when creating a space conducive to creative work.</span><br />
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<li><span style="font-family: Verdana, sans-serif;"><b>Find an aesthetically pleasing spot relatively isolated from the rest of your home. </b>It may not be possible to have a room dedicated just to your music creation. However, you want to find some area that will be devoted to this task. It could be a section of an existing space where you will be able to work with minimal distraction. It should also be aesthetically pleasing. Yes, it may be easiest to throw all of your gear in a cold unfinished basement to get out of the way of the other members of your household. However, staring at insulation in the beams and efflorescence on the concrete walls may keep you from connecting to your muse. Spruce up your location with what makes you comfortable.</span></li>
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<li><span style="font-family: Verdana, sans-serif;"><b>Outfit your space with tools to create. </b>Just as a visual artist has every type of brush, paint, chisel, paper on hand, you should take inventory of the musical tools you have available. When you are inspired, you don't want to have to be searching for one of these items. It may depend on your creative intentions but some basic tools could be:</span></li>
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<li><span style="font-family: Verdana, sans-serif;">your main instrument</span></li>
<li><span style="font-family: Verdana, sans-serif;">a piano or keyboard</span></li>
<li><span style="font-family: Verdana, sans-serif;">stereo system with inputs for all sources (CD, MP3 player, vinyl, etc.)</span></li>
<li><span style="font-family: Verdana, sans-serif;">staff paper and notebook paper </span></li>
<li><span style="font-family: Verdana, sans-serif;">electronic tuner</span></li>
<li><span style="font-family: Verdana, sans-serif;">pencils</span></li>
<li><span style="font-family: Verdana, sans-serif;">a comfortable chair if you play seated, extra seating for guests</span></li>
<li><span style="font-family: Verdana, sans-serif;">music stands</span></li>
<li><span style="font-family: Verdana, sans-serif;">recording equipment or software</span></li>
<li><span style="font-family: Verdana, sans-serif;">percussion equipment</span></li>
<li><span style="font-family: Verdana, sans-serif;">a metronome or drum machine</span></li>
<li><span style="font-family: Verdana, sans-serif;">a whiteboard (for notes, goals, concepts, composition ideas)</span></li>
<li><span style="font-family: Verdana, sans-serif;">a bulletin board to post long term goals, activities, ideas</span></li>
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<li><span style="font-family: Verdana, sans-serif;"><b>Use technology when appropriate but be careful. </b>Many of the above items are now available on your phone, Ipod, tablet or computer. We live in an amazing time. On my Ipod I have recording software, drumloops, playalong tools, looping tools, "slow downer" software, metronomes, and electronic tuners. All of these tools can increase productivity, but like anything tech-related they can work against you. For one thing they are fun to play with but unless they are helping you with your creative goals, they are just toys. It can also distract you by encouraging you to check e-mail or social networking sites during your sessions. Work with these great tools but make sure you are in charge. It is worth remembering that Stravinsky, Charlie Parker and John Lennon were quite creative without these devices (although they did use the technology available to them!)</span></li>
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<li><span style="font-family: Verdana, sans-serif;"><b>When you are working in this space, let everyone know that you should not be disturbed. </b>If you have a family who is in the habit of needing you at a moment's notice you have a couple options. </span></li>
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<li><span style="font-family: Verdana, sans-serif;">Use this space when everyone is asleep (early morning/late at night).</span></li>
<li><span style="font-family: Verdana, sans-serif;">Use it when they are away.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Have a way of letting your family know you will be working and should not be disturbed. Since our most productive work happens with the first half hour, these sessions need not be long. But they should be undisturbed.</span></li>
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<li><span style="font-family: Verdana, sans-serif;"><b>Have a secondary place in the main area of your home for when the muse strikes. </b>Keep some musical tools accessible in your main living area. This may be a piano, second instrument, staff papers, recording device. Sometimes 5 minutes is all you need to make some creative progress. And if you have to go to your "designated" creative spot to use these 5 minutes, you may lose to urge to work. </span></li>
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<li><span style="font-family: Verdana, sans-serif;"><b>The most important creati</b><b>ve environment is actually in your mind! </b>Yes the external environment is important, but creativity happens in your head first. Which means you should practice your work with music everywhere not just in this studio. In line at the post office? Work on harmonizing a melody in your head. Sitting in traffic? Pick a tune and visualize the sheet music and changes. At the grocery check out? Practice polyrhythms using konokol. Waiting at the doctor's office? Transcribe the chord progression and melody to that REO Speedwagon song that is playing in the waiting room. Keep your brain actively thinking and involved with music and you will boost your creativity.</span></li>
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com3tag:blogger.com,1999:blog-360260676882065439.post-32020151060780228762013-12-29T13:27:00.002-05:002014-03-22T08:48:39.722-04:00Aleatoric exercise: Let's Deal!<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: Verdana, sans-serif;">In a previous post on exploring chance, we used dice to come up with some aleatoric ideas. In this post, let's talk about creating decks of cards.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi036MMaOjBQDwvQnLKCtpYtTq313kfLQVZLomxNeoS2jzt6TQzzkLBvttp9M4TLYrBpJFbUhlX8PmmD8WY98JkTKUKB0dH8M1hvBylhNBCpTv2aYoCNFK6PI6aTgyzjYG6acHn0uTLeMr7/s1600/photo+2+(1).JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi036MMaOjBQDwvQnLKCtpYtTq313kfLQVZLomxNeoS2jzt6TQzzkLBvttp9M4TLYrBpJFbUhlX8PmmD8WY98JkTKUKB0dH8M1hvBylhNBCpTv2aYoCNFK6PI6aTgyzjYG6acHn0uTLeMr7/s1600/photo+2+(1).JPG" height="150" width="200" /></span></a><span style="font-family: Verdana, sans-serif;">For this activity, all you will need is blank note cards. I will use these to come up with chord progressions, but you can use them for melody, rhythm, or even form. A deck of cards can have an advantage over the dice because once you deal out your musical elements they are right in front off you to play with. </span></div>
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<span style="font-family: Verdana, sans-serif;">I wanted to work on voice leading and triads. I created a deck of 48 cards consisting of 12 major, minor, diminished and augmented triads. How I use it in my practice is to deal out a random set (anywhere from 2 to a dozen cards) and create a chance chord progression. I then explore ways I can connect these harmonies. This may also result in a composition, but could just be a practice exercise.</span></div>
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<b><span style="font-family: Verdana, sans-serif;"><br />Let's deal!</span></b></div>
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<span style="font-family: Verdana, sans-serif;">My deal is as follows:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnRP8HxEKTpDq0k_j60Dr8cTumeYkSmGrA7lHjXtk9ucaE7R0DmyD75MYrI6OkmtlOTOxfBmSLHR4XGXfLxmuBOSQJbf6rPn-nqrUhtA6TEVDNuC-Er0eiMzKQqcOmpTgnsgsPTXqOYPfP/s1600/photo+1-001.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnRP8HxEKTpDq0k_j60Dr8cTumeYkSmGrA7lHjXtk9ucaE7R0DmyD75MYrI6OkmtlOTOxfBmSLHR4XGXfLxmuBOSQJbf6rPn-nqrUhtA6TEVDNuC-Er0eiMzKQqcOmpTgnsgsPTXqOYPfP/s1600/photo+1-001.JPG" height="239" width="420" /></span></a></div>
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<span style="font-family: Verdana, sans-serif;">Once I dealt out my six triads, I need to explore them. Here I limit myself to standard closed voicings (I used the enharmonic equivalent of Ebdim and Gbm). I then voice each of the triads to create smooth voice leading. The basic rule is that no voice (especially the top voice) should move more than a minor third. Half steps and whole steps are preferred. Once you work through one set, the other sets are simply inversions of the first.</span></div>
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<span style="font-family: Verdana, sans-serif;">Each one of these creates a guide tone melody on top. Pay attention to those moments that stand out as a memorable melody.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC0QInTSGMoy3Si4abmHMV3hsHuZfkrh57jQ7e5fYSRWG46J6VWq9JUxuJd_tmxXJVTBaazslia7D-bOh5gOigfp1_PIJguApK06RWrJdMGfjdKyxB1LcpTdYxLLsDHV7Gpp7XxwBBAzJG/s1600/1stinv.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC0QInTSGMoy3Si4abmHMV3hsHuZfkrh57jQ7e5fYSRWG46J6VWq9JUxuJd_tmxXJVTBaazslia7D-bOh5gOigfp1_PIJguApK06RWrJdMGfjdKyxB1LcpTdYxLLsDHV7Gpp7XxwBBAzJG/s400/1stinv.PNG" height="89" width="640" /></span></a></div>
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<span style="font-family: Verdana, sans-serif;"><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/126995079&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWQ1-e-zZ7gslsRK36eju0PYluF9JoE0PZYPsrZVknIUv0W5uOPvvjNzYT_LB9zV9e19TZd16ZJ_KinKgwnlkGACpPOdraE3WsesJLgzjVOB2Fvi_b9x-asfa8VE6Bnj-y9711sIVrwooO/s1600/2nd+inv.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWQ1-e-zZ7gslsRK36eju0PYluF9JoE0PZYPsrZVknIUv0W5uOPvvjNzYT_LB9zV9e19TZd16ZJ_KinKgwnlkGACpPOdraE3WsesJLgzjVOB2Fvi_b9x-asfa8VE6Bnj-y9711sIVrwooO/s400/2nd+inv.PNG" height="83" width="640" /></span></a></div>
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<span style="font-family: Verdana, sans-serif;"><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/126995076&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOktUHU7xyaWuxa4nFJVVDZBa6USBKH3L6nCsTjsUsFMGtN1U5UF95qs9v8bgKzpdrLEu6Qa61YYjQOBqHVBdv43UwhEJy6cQmRWdaK5k5-njpMcy8sby5PU0wFRf79sJYysebq_EiHUJt/s1600/3rd+inversion.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOktUHU7xyaWuxa4nFJVVDZBa6USBKH3L6nCsTjsUsFMGtN1U5UF95qs9v8bgKzpdrLEu6Qa61YYjQOBqHVBdv43UwhEJy6cQmRWdaK5k5-njpMcy8sby5PU0wFRf79sJYysebq_EiHUJt/s400/3rd+inversion.PNG" height="88" width="640" /></span></a></div>
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<span style="font-family: Verdana, sans-serif;">If the aleatoric exercise ended there, that would be a useful exploration. This is a great way to learn about harmony and voice leading. If that is your goal, deal out another hand and explore. However, since I liked this progression, let's see if I can flesh out a tune.</span></div>
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<span style="font-family: Verdana, sans-serif;">First, after playing around with these triads I will choose from each set a triad that has a melody note that give me a pleasing guide tone line. This will form the basis of my main melody.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_9hQFOkDY59BxwTCiDQMcXbnmviT0L_RVqWaNVW4AtkFMgL5RAzoV9A-PhNWT7EQRxcVG__mC9_FWCqpYU-xeFxMPyQsjP-8b6LguBSmma9zQMB4WiZW1-V5JAB4LU7xGTLg-l-T7xpiH/s1600/Comp.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_9hQFOkDY59BxwTCiDQMcXbnmviT0L_RVqWaNVW4AtkFMgL5RAzoV9A-PhNWT7EQRxcVG__mC9_FWCqpYU-xeFxMPyQsjP-8b6LguBSmma9zQMB4WiZW1-V5JAB4LU7xGTLg-l-T7xpiH/s640/Comp.PNG" height="81" width="640" /></span></a></div>
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<span style="font-family: Verdana, sans-serif;">Now, I'm going to play. I am going to take this progression and work out ways to embellish the simple guide tone melody. Don't worry about key while you do this. That will be established more when we add bass notes later on. Right now, just create a melody that fits this progression. Stick to the basic guide tone line, BUT if you hear something that breaks it up, by all means explore. </span></div>
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<span style="font-family: Verdana, sans-serif;">You can also change the harmonic rhythm at any time. If you want to stay with one chord longer or shorter please do so. You should spend a decent amount of time on this part of the process. You will want to make sure you are playing and singing WHILE you are composing. Don't just write it out on staff paper and hope it works. </span></div>
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<span style="font-family: Verdana, sans-serif;">I recommend recording while you play around with the melody. That way if you stumble across something you like you can go back, listen to it and then write in on the staff. If you sing or play a melodic instrument, make sure you work on this at the piano (or record a chordal accompaniment). </span></div>
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<span style="font-family: Verdana, sans-serif;">Here is what I came up with (pardon the rhythmic freedom in the following performances.):</span><br />
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</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61sZ5UEpSOhEbWNLdD65p47s7DB_a638wcs8tFLAqKxhyphenhyphenn_I65kr7G3Ud4LcrD9iFq8KaGV9dvhXeYE2JB_w06zl_F0rGWtSdlCDG9RogjvIEZxB5o_RIsvRP9dDsM2yIfa-_9sl7JbD2/s1600/LDTRIADONLYPNG.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61sZ5UEpSOhEbWNLdD65p47s7DB_a638wcs8tFLAqKxhyphenhyphenn_I65kr7G3Ud4LcrD9iFq8KaGV9dvhXeYE2JB_w06zl_F0rGWtSdlCDG9RogjvIEZxB5o_RIsvRP9dDsM2yIfa-_9sl7JbD2/s640/LDTRIADONLYPNG.PNG" height="160" width="640" /></span></a><br />
<span style="font-family: Verdana, sans-serif;"><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/126995078&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe>
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Note I expand each chord to two bars each. I'm hearing this with a light bossa groove but that may change as I add more to the composition. Rhythmically, I will probably add the anticipations to beat 1 (on the + of 4) that you hear in the recording. I played with different rhythms for bar 6 as you can hear in the recording.</span><br />
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This melody cycles back nicely on the repeat. I think it makes for an interesting 12-bar A section of a tune that is not a blues. I like it.</span><br />
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Now it's time to add root motion. Now if you are writing in a style that harmonizes melodies with mostly triads you may not need to change much. However, I would like to thicken up these harmonies and add an interesting root motion. So essentially I will add a bass note below each triad. This may change the function of some of these chords and will definitely change the color.</span><br />
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Here I add the bass notes:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivODPQVFxXYcOqfv-EH-HnICxsLEFlFg9N1E05By_Ze3cbwPJNDl3jOQMMY-EKowydPpK_PCdU61ZNRiAerrgs0Wowx6wlF2m82Qrovt72gdO1IP-JWrJx0EZTv4aLhvMZPle4d_9VtsxY/s1600/TriadswithRoot.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivODPQVFxXYcOqfv-EH-HnICxsLEFlFg9N1E05By_Ze3cbwPJNDl3jOQMMY-EKowydPpK_PCdU61ZNRiAerrgs0Wowx6wlF2m82Qrovt72gdO1IP-JWrJx0EZTv4aLhvMZPle4d_9VtsxY/s1600/TriadswithRoot.PNG" height="161" width="640" /></span></a></div>
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<span style="font-family: Verdana, sans-serif;">And here is the reharmonization (note that I took the liberty of making the f#m/B a B7sus4 (or B9sus4) even though an E natural is not in the original exercise). The final product of this 12 bar A Section:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpstGOklz-TH8eDurNHc9UxHIcfYd5Nh9rRMRdTF3b8KSKNVesa_aNoY8EYdRUSCPjrTLfBWwIu7GzaVkLSUrX7pefuFzMFlbwlp_qGj9S-iWZRxcd0DKR_Kbqbzw-S5F1HuFTKqT5kQTR/s1600/LDFINAL.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpstGOklz-TH8eDurNHc9UxHIcfYd5Nh9rRMRdTF3b8KSKNVesa_aNoY8EYdRUSCPjrTLfBWwIu7GzaVkLSUrX7pefuFzMFlbwlp_qGj9S-iWZRxcd0DKR_Kbqbzw-S5F1HuFTKqT5kQTR/s640/LDFINAL.PNG" height="169" width="640" /></span></a></div>
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/126997300&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe>
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In a future post I will show you how I developed the rest of the composition. In the meantime, write out a deck of cards and deal yourself some music!</span><br />
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-2204538045731501482013-12-14T18:00:00.000-05:002014-03-22T08:49:15.299-04:00Creative Scale Practice<span style="font-family: Verdana, sans-serif;">Scales in 12 keys and all of their varieties (major, natural/melodic/harmonic minor) are a fundamental every musician must learn. Students learn scales but often don't understand why they are important. Here are some reasons you need to work on this fundamental technique:</span><br />
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<li><span style="font-family: Verdana, sans-serif;">to develop technique, speed and fluency</span></li>
<li><span style="font-family: Verdana, sans-serif;">to understand keys, scale tones and their relationships</span></li>
<li><span style="font-family: Verdana, sans-serif;">to develop accurate intonation</span></li>
<li><span style="font-family: Verdana, sans-serif;">to have warm-up material</span></li>
<li><span style="font-family: Verdana, sans-serif;">to learn to building blocks of composition and improvisation</span></li>
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Scales are often overlooked in practice and seen as boring. Often the argument against scales is that musical passages are rarely scalar. This is just not true. Yes, composed music rarely has a passage that just goes do-re-mi for two to three octaves. But you should think of the scale as musical DNA. In it lies a code to all music. By taking it apart and exploring those 7 notes in every possible permutation you will being to see scales in all types of music.</span><br />
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If the only way you ever practice a scale is from tonic to tonic, ascending a few octaves and descending, no wonder you're bored. That is just the tip of the musical iceberg.</span><br />
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Here are other ways you should begin to explore scales (I will use a Bb Major Scale for these examples):</span><br />
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<b>Ascending/descending but also willingly switching directions at random times:</b></span><br />
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<li><span style="font-family: Verdana, sans-serif;">Start on the tonic. Ascend. At some point, change directions. Then, change again. Here you are practicing melodic contour. Take this exercise through the whole range of your instrument at different tempi. </span></li>
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Ascending/descending while changing directions randomly</span></i></td></tr>
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<b><span style="font-family: Verdana, sans-serif;">Through all intervals:</span></b></div>
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<li><span style="font-family: Verdana, sans-serif;">Ascending and descending in 2nds is only one tiny way to practice a scale. Run through each scale in thirds, fourths, fifths, sixths, sevenths and octaves. If you haven't ever done this you will need to think and work on it. But take a look at any piece of repertoire you are working on. These intervals are everywhere in addition to stepwise movement. Why not make it a part of your fundamentals practice?</span></li>
<li><span style="font-family: Verdana, sans-serif;">There are three ways to do this:</span></li>
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<li><span style="font-family: Verdana, sans-serif;">play each interval ascending (low-high)</span></li>
<li><span style="font-family: Verdana, sans-serif;">play each interval descending (high-low)</span></li>
<li><span style="font-family: Verdana, sans-serif;">alternate between the two</span></li>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH512sG5ffX20gZfbeGreK4ypxnWy5-MDjyk-mKfRY3jpLX0SwIwjVIEREdfbpcwuAe5hgXomTgqHxOrd_Eok04LUNnN6zcGXXAH0FBinVnOgVVSPyJmn0qOPfbaOSzXgEpHlFJOehHgw-/s1600/3.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH512sG5ffX20gZfbeGreK4ypxnWy5-MDjyk-mKfRY3jpLX0SwIwjVIEREdfbpcwuAe5hgXomTgqHxOrd_Eok04LUNnN6zcGXXAH0FBinVnOgVVSPyJmn0qOPfbaOSzXgEpHlFJOehHgw-/s1600/3.PNG" height="68" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Diatonic 3rds: alternating between ascending/descending</span></i></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjKnEPgkTWtPXYwhoMKWrpsWJPqPdcUgpTQdzAIn45ccvtiC5uNw5CyXt-Y0rjeYbvOL6NU_zJFXNetca3EYOjwpWaHq9CxPaCRVF8mpygWuE-n8yoby2IQX9cQrjtOh_jRpSRIFLFZTM/s1600/5.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjKnEPgkTWtPXYwhoMKWrpsWJPqPdcUgpTQdzAIn45ccvtiC5uNw5CyXt-Y0rjeYbvOL6NU_zJFXNetca3EYOjwpWaHq9CxPaCRVF8mpygWuE-n8yoby2IQX9cQrjtOh_jRpSRIFLFZTM/s1600/5.PNG" height="65" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Diatonic 6ths: ascending (low-high)</span></i></td></tr>
</tbody></table>
<div>
<b><span style="font-family: Verdana, sans-serif;">Triads:</span></b></div>
</div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">Play each scale by arpeggiating the diatonic triads in first inversion. </span></li>
<ul>
<li><span style="font-family: Verdana, sans-serif;">play each triad ascending (do mi sol/re fa la/mi sol ti...)</span></li>
<li><span style="font-family: Verdana, sans-serif;">play each triad descending (sol mi do/la fa re/ ti sol mi...)</span></li>
<li><span style="font-family: Verdana, sans-serif;">alternate between the two (do mi sol/la fa re/mi sol ti/do la fa...)</span></li>
<li><span style="font-family: Verdana, sans-serif;">You can also try other inversions</span></li>
</ul>
</ul>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Za1Ku58bPu-lOsEYqi3fmssmo9X_9z6Z1-Z-Ryb_4qcwS-BVGgn94ECfGjdCa7h9hWvRfx6xCjuYWOjyiRq_izkDodHkbdaYP0V-1SIX_pvyRyCCTa1SceYf2fysO-nOGw5ztQICg66R/s1600/2.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Za1Ku58bPu-lOsEYqi3fmssmo9X_9z6Z1-Z-Ryb_4qcwS-BVGgn94ECfGjdCa7h9hWvRfx6xCjuYWOjyiRq_izkDodHkbdaYP0V-1SIX_pvyRyCCTa1SceYf2fysO-nOGw5ztQICg66R/s1600/2.PNG" height="66" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Diatonic triads: ascending (do-mi-sol, re-fa-la, me-sol-ti...)</span></i></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAFtKlftn0Ez1rVcII0XvTYoCFMTVLrUADUcQExyZo8jVtJcpdYg7JC2KrN_gPp9EhzQbhVhj9M-W8ssFmjWVV0V8T01YEM7JVLl_VR22EeFktG77M-5iID2Ep_ZqqsHExP2ZdqoKa-Y0S/s1600/new2.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAFtKlftn0Ez1rVcII0XvTYoCFMTVLrUADUcQExyZo8jVtJcpdYg7JC2KrN_gPp9EhzQbhVhj9M-W8ssFmjWVV0V8T01YEM7JVLl_VR22EeFktG77M-5iID2Ep_ZqqsHExP2ZdqoKa-Y0S/s1600/new2.PNG" height="75" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td class="tr-caption"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Diatonic triads: alternating between ascending/descending </span></i><br />
<i><span style="font-family: Verdana, sans-serif; font-size: small;">(do-mi-sol, la-fa-re, mi-sol-ti, do-la-fa)</span></i></td></tr>
</tbody></table>
</td></tr>
</tbody></table>
<div>
<b><span style="font-family: Verdana, sans-serif;">Seventh chords:</span></b></div>
</div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">Same as above but with seventh chords</span></li>
</ul>
<div>
<div>
<b><span style="font-family: Verdana, sans-serif;">Adding a leading tone below the interval, triad or seventh chord:</span></b></div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">Same as the above but add the note that is a half step below the root of each interval,triad or seventh chord.</span></li>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm0COG9MT33Iv38pFJA7uh1BYbn3Zhm_w1AKrYJIY0tUpP7uT85HFn9F6s-nxEMAanhoBt5Ha9nUJxH22_OaExKhEAPGIc4h7mVov1o-K1FYcd9PmqrOkVzjzOSmu36p9tc7tW4be9reVp/s1600/7.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm0COG9MT33Iv38pFJA7uh1BYbn3Zhm_w1AKrYJIY0tUpP7uT85HFn9F6s-nxEMAanhoBt5Ha9nUJxH22_OaExKhEAPGIc4h7mVov1o-K1FYcd9PmqrOkVzjzOSmu36p9tc7tW4be9reVp/s1600/7.PNG" height="55" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Leading tone added below each diatonic triad</span></i></td></tr>
</tbody></table>
<div>
</div>
</div>
</div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<b><span style="font-family: Verdana, sans-serif;">"Super arpeggios"</span></b></div>
</div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">This is a technique of taking a scale and playing it in constantly ascending or descending thirds (do mi sol ti re fa la do me sol...). You will notice that the whole scale is there. Just in a different order. There are two of these "super arpeggios" in any key. One starting on Do and one on Re. Practice both.</span></li>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOuEq-j3O2uPNHnxxYL3VCHypxijI2DD-vAcvsXnCF7nff_biQp_OZdYgVr1wxFuEd_3IEU-LaCiF5e2m1ypr6Qi6VY0xKtdFs2fs04g_jfab3j17YEv6OSWhLdeLi-n3bIaFhz1wXgoSD/s1600/9.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOuEq-j3O2uPNHnxxYL3VCHypxijI2DD-vAcvsXnCF7nff_biQp_OZdYgVr1wxFuEd_3IEU-LaCiF5e2m1ypr6Qi6VY0xKtdFs2fs04g_jfab3j17YEv6OSWhLdeLi-n3bIaFhz1wXgoSD/s1600/9.PNG" height="52" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">"Super Arpeggios" </span></i></td></tr>
</tbody></table>
<div>
</div>
<div>
<b><span style="font-family: Verdana, sans-serif;">Adding chromaticism: </span></b><br />
<ul>
<li><span style="font-family: Verdana, sans-serif;">Take a scale and add a chromatic passing tone between any whole step interval in the scale. (e.g. Do Re Mi Fa<b> </b>Sol <b>Si </b>La Ti Do). Jazz musicians often practice this technique by using what educators call a "bebop scale".</span></li>
</ul>
<ul></ul>
</div>
</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKkzXp6loNmMUUClpjS4b6DIgcTE_5etHfGCadmjgavUV7MI7fZPU-TiBd9lgtsdtBXjljCqGcfJvK0pwC0TzhG5LqcsGEJvPdLfj3FWeaaq9uBXKurVBaLNVdXgm5Ks7xYXzrhbuNo4Ks/s1600/14.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKkzXp6loNmMUUClpjS4b6DIgcTE_5etHfGCadmjgavUV7MI7fZPU-TiBd9lgtsdtBXjljCqGcfJvK0pwC0TzhG5LqcsGEJvPdLfj3FWeaaq9uBXKurVBaLNVdXgm5Ks7xYXzrhbuNo4Ks/s1600/14.PNG" height="76" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Ascending scale with chromatic note added </span></i><br />
<i><span style="font-family: Verdana, sans-serif; font-size: small;">between the 5th and 6th scale degree (Sol <b>Si </b>La)</span></i></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhXdsrFLkaaX2hPKsntGy3zT07ICnu1aYLnVSiP3kbsWjbt65zFevH37wugmcTHued1ZUwkrjGybeiUxHmNKcluF4yheUTS3y7VNwRc4c7G89Kncbg-qU-ekbHxFjPHvhQg2KJBBPOsRPs/s1600/11.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhXdsrFLkaaX2hPKsntGy3zT07ICnu1aYLnVSiP3kbsWjbt65zFevH37wugmcTHued1ZUwkrjGybeiUxHmNKcluF4yheUTS3y7VNwRc4c7G89Kncbg-qU-ekbHxFjPHvhQg2KJBBPOsRPs/s1600/11.PNG" height="104" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">F "bebop" scale: note the notes of a F7 chord fall on the beat</span></i></td></tr>
</tbody></table>
<div>
<div>
<b><span style="font-family: Verdana, sans-serif;">With all rhythmic note values:</span></b></div>
</div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">With a steady pulse play all scales with half, quarter, eighth, sixteenth, half note triplets, quarter note triplets, eighth note triplets, swing eighths.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Change these values in the middle of the scale (but maintain the pulse).</span></li>
<li><span style="font-family: Verdana, sans-serif;">Create a regular rhythmic ostinato that you maintain throughout the scale practice.</span></li>
</ul>
<div>
<b><span style="font-family: Verdana, sans-serif;">With combination of accents and articulation:</span></b></div>
</div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">Accent every X number of notes. </span></li>
<li><span style="font-family: Verdana, sans-serif;">Create a rhythmic pattern using accents.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Play legato. Staccato. Slurred. Tongued. And any combination (e.g. slur only between half steps. Play every third note staccato. etc.)</span></li>
</ul>
<div>
<b><span style="font-family: Verdana, sans-serif;">Leave one or more notes out of the scale:</span></b></div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">Replace one or more notes of the scale with a rest.</span></li>
<li><span style="font-family: Verdana, sans-serif;">e.g. Do Re (rest) Fa Sol La (rest) Do</span></li>
<li><span style="font-family: Verdana, sans-serif;">This one is harder than you would think! </span></li>
</ul>
<ul>
</ul>
</div>
<div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTeXabT3fWzAoWFCJeP-ssfO_3sn7E-NythsdCdQT-tTJnu4o2wtobFN4UIbGUW00Ub2teEw-zxLNiFG8L8SB6J_2s5K-2NchyLo1jX-rZSpHwYsCrnXXNNHd7x0RnyaLZjsCaWdqEagR/s1600/10.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTeXabT3fWzAoWFCJeP-ssfO_3sn7E-NythsdCdQT-tTJnu4o2wtobFN4UIbGUW00Ub2teEw-zxLNiFG8L8SB6J_2s5K-2NchyLo1jX-rZSpHwYsCrnXXNNHd7x0RnyaLZjsCaWdqEagR/s1600/10.PNG" height="80" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Scale with Mi and Ti replaced with rests</span></i></td></tr>
</tbody></table>
<b><span style="font-family: Verdana, sans-serif;">Mix and match the above! </span></b></div>
<div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">Take two of these ideas and mash them together.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Create your own ideas on how to play scales.</span></li>
</ul>
</div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
</div>
<div>
<b><span style="font-family: Verdana, sans-serif;">Finally, create! Compose or improvise melodies using the above techniques.</span></b></div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;">Hopefully this is more than enough to give you some ideas. Once you start playing with scales this way your eyes will open to just how much music can be created out of 7 simple notes.</span></div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;">The important thing is to take each one of these and really play with it. Go slow. Don't take this fast until you feel confident at slower tempi. Speed is not the primary goal. Control, mastery, and exploration are of primary concern.</span></div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;">Have fun! If it helps, here is a video where I demonstrate some of the above examples.</span></div>
<span style="font-family: Verdana, sans-serif;"><br />
<b><br /></b>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ZHtTXsT-xss?rel=0" width="560"></iframe></span>MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com1tag:blogger.com,1999:blog-360260676882065439.post-14325186589434878462013-12-07T18:00:00.000-05:002014-03-22T08:49:55.886-04:00Gesturing: A Creative Warm-up Routine<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<span style="font-family: Verdana, sans-serif;">There is an exercise in Betty Edward's <i><a href="http://www.amazon.com/Drawing-Right-Side-Brain-Definitive/dp/1585429201" target="_blank">Drawing on the Right Side of the Brain </a></i>that has always stuck with me. It is called <b><i>blind contour drawing</i></b>. The basic idea is to look an object with a piece of paper and pencil in front of you. You are then instructed to draw that object <b>without </b>looking at your paper. At first it is an uneasy experience. You just want peek and see how it is coming along. This is not allowed until you are "finished". You can only keep your eyes on the object you are drawing.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK7aOElAPGsRVSPkMAAZHAU8wknkUklrHWgQe_m0GAMGyqrR0E_7ITObvyQBJzmrjVedO7RVd9TTMn4hE7MjxxCkhKhEaJk5FKIwymdYpFVdre1mkjJQFae23JkxrEAqVZvuNHmtNL8vGu/s640/blogger-image-1460685936.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK7aOElAPGsRVSPkMAAZHAU8wknkUklrHWgQe_m0GAMGyqrR0E_7ITObvyQBJzmrjVedO7RVd9TTMn4hE7MjxxCkhKhEaJk5FKIwymdYpFVdre1mkjJQFae23JkxrEAqVZvuNHmtNL8vGu/s320/blogger-image-1460685936.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Blind Contour Drawing</span></i></td></tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;"><br />
</span><br />
<div>
<span style="font-family: Verdana, sans-serif;">Of course, without looking at your lines you shouldn't expect a masterpiece. You shouldn't even expect it to look like the object you are drawing. The point of the exercise is the experience. The only thing you are able to do is look at the subject you are drawing and then feel the movement on the page. The point is to learn how to see better. The point is to learn how it feels to touch pencil to paper. Too many young artists spend the majority of their time looking at the paper and not enough time actually learning to <b>see</b> what you are drawing. This exercise encourages the artist to play. There is no final product. The <b>now</b> is all that matters.</span></div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;"><b><i>Gesture drawing</i></b> (gesturing) becomes a similar useful tool for the artist to get into that zone, or that special creative state I discuss in the first post. In gesturing, the artist can look at their paper but must complete the drawing in a short amount of time (30 seconds to two minutes). The focus here is on capturing the essence of the subject with broad strokes, not the details. This is a common warmup exercise in a life drawing class.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIjq7kg8zE3Cab7BXt7tYNY6NSKTJMT3H7VOfyJovnVwT1zFjSb-5Q_EbsaSq9j9UkM09VfrxGU1OLiPRz5LMyRGoNJBOrxCekC-8Hra4e8Mr-dxnNg8V0WV7qen4Mqxff3E8Z4ByBItFA/s640/blogger-image-1939547278.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIjq7kg8zE3Cab7BXt7tYNY6NSKTJMT3H7VOfyJovnVwT1zFjSb-5Q_EbsaSq9j9UkM09VfrxGU1OLiPRz5LMyRGoNJBOrxCekC-8Hra4e8Mr-dxnNg8V0WV7qen4Mqxff3E8Z4ByBItFA/s320/blogger-image-1939547278.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Gesture Drawing</span></i></td></tr>
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Without worrying about how the finished product will look, the artist learns to get lost in seeing. Is there a parallel exercise in music that could provide this function? A way to just focus your complete attention pure sound, and not worry about the final product. A way to not think about style, form, theory, or harmony on an intellectual level. A method to experience those musical elements just by playing with sound.</span></div>
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<span style="font-family: Verdana, sans-serif;">I think most beginners experience this even before their first lesson. They take their instrument out of the case and just start to explore. It may honk, squeak, and create all sorts of dissonance. Their fingers explore the range and combination of the white and black keys. They discover what they can coax out of a set of open strings. It doesn't matter. They are having a blast exploring the sound spectrum. </span></div>
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<span style="font-family: Verdana, sans-serif;">How about this? Have you ever picked up an unfamiliar instrument and tried to play it? Our first inclination is not to master technique, develop a repertoire, or even play the right notes. I find I want to explore the sounds it can produce. I play with the instrument. I learn how changing my physiology also changes the sound. I have fun. There is no pressure to sound good. "Its not my instrument. I'm just messing around!"</span></div>
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<span style="font-family: Verdana, sans-serif;">Here's my gesturing exercise for a performer. It is very open ended and you can add to it and alter it as needed. The goal is to warm up in a more creative fashion that will get you listening.</span></div>
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<li><span style="font-family: Verdana, sans-serif;">Sit with your instrument in a location where you can be uninterrupted for at least 10 minutes.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Close your eyes BEFORE you put your hands on the instrument.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Put your hands on the instrument.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Play the first note.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Listen.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Play a second note.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Listen. </span></li>
<li><span style="font-family: Verdana, sans-serif;">Keep your eyes closed.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Continue with the following notes.</span></li>
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<span style="font-family: Verdana, sans-serif;">Start off with long note values. You should still play in time. Feel a pulse. Eventually shorten the note values. Within a few minutes you should be playing continuous eighth notes. For this exercise don't worry about rhythm or space. Just keep the flow going. Do not play anything familiar. This should be pure improvisation. No changes, key, or form. Just a steady pulse and the forward motion of notes. </span></div>
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<span style="font-family: Verdana, sans-serif;">You can and should explore the whole range of your axe or voice. But don't think of the names of the notes, arpeggios, scales or chords. Just play. At first you may keep the notes moving in a conjunct motion. Eventually, you should explore larger intervals. Harmonic players can work on adding chord with the notes. But there should be no set progressions. Just play.</span><br />
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At some point you may also wish to add space, but I find that at the beginning this may defeat the purpose of the exercise. The space may give you too much time to intellectually "think" about what you want to play next.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUCSVX0XDb3roJ8OR1l5COAwHkg_EwZJxbTjimvAwXqYfkcWLY7aYg0jX7RxOIfA7__AVLOVNj35RE5haaMxCVTzDwm4LRwFPj9ggyt7iiKZbmCSpZAvxni3Sk5l7K6Y7g1dHYbXkjpuU4/s1600/6a0134865c3d0d970c015391f4d1b1970b-800wi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUCSVX0XDb3roJ8OR1l5COAwHkg_EwZJxbTjimvAwXqYfkcWLY7aYg0jX7RxOIfA7__AVLOVNj35RE5haaMxCVTzDwm4LRwFPj9ggyt7iiKZbmCSpZAvxni3Sk5l7K6Y7g1dHYbXkjpuU4/s400/6a0134865c3d0d970c015391f4d1b1970b-800wi.jpg" height="266" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;"><a href="http://konokopia.typepad.com/konokopia/2011/09/" target="_blank">Jozefowicz's </a>handscroll prints illustrate one way to visualize this exercise.</span></i></td></tr>
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<span style="font-family: Verdana, sans-serif;">Every instrument (except voice) is visual in some respect. At some point in the gesturing open your eyes. Use them to play melodies (but still listen!). What shapes can you create? Pretend you are drawing lines with a pencil; but instead of paper you are making gestures on a keyboard, fingerboard, keys, or even embouchure.</span><br />
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You can also picture a staff in your head. Throughout the exercise, make these "lines" create interesting contours. For an even more "out there" idea, maybe look at an object and <b><i>draw it </i></b>with your instrument. Make the direction of the lines you play match the contours of the object.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2X6J2pBROxGiLh3fECVGmVzCPMDmAgdDQ3h2Ep8BhvXvLyEgxrKsokfCbZ3AMpSUPm7691EQrDX7YWgDeM_c8VBYSzZkLWdP8BpIq7pS7_vRdnKttgrUZaINtyweOhXTPUC7WPT_sN0w/s1600/joediorio.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2X6J2pBROxGiLh3fECVGmVzCPMDmAgdDQ3h2Ep8BhvXvLyEgxrKsokfCbZ3AMpSUPm7691EQrDX7YWgDeM_c8VBYSzZkLWdP8BpIq7pS7_vRdnKttgrUZaINtyweOhXTPUC7WPT_sN0w/s200/joediorio.jpg" height="200" width="145" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">Joe Diorio</span></i></td></tr>
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<span style="font-family: Verdana, sans-serif;">This will seem strange, uncomfortable and silly for many. It may seem to be a waste of your practice time. Maybe it is. Just try it. Even if you don't think of yourself as <span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875);">an improvising musician I think it is a great way to "warmup". It is much more creative than merely playing ascending/descending scales (although this has value as well). It will get your chops going and get you focused and in a different place. A place more receptive to deep, active listening.</span></span><br />
<span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875);"></span><br />
<span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875);"></span>
<span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875);">I borrowed some of these ideas from the great jazz guitarist Joe Diorio. In his clinics he has suggested similar techniques. The goal is not to create a masterpiece. The goal is just to play with sound, pitches, shapes and to listen. For more on this, check out Joe's great video <a href="http://www.amazon.com/Joe-Diorio-Creative-Jazz-Guitar/dp/B0012E2GQ4" target="_blank">"Creative Jazz Guitar"</a>. This would be illuminating to not just guitar players but all musicians.</span></span><br />
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The following video is a brief demonstration on how I use this gesturing concept. Keep in mind, the goal is not to create "great" music or even to worry about being musical. To goal is to listen carefully, keep the flow going, and to let the direction of the line guide you. In creating "real" music, I would never ignore space and play constant notes of the same value. However, this gesturing process is simply an exercise. For me it is a perfect combination of warm-up and meditation.</span><br />
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<span style="font-family: Verdana, sans-serif;"><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/hWB74bLfJWM?rel=0" width="560"></iframe></span>MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com1tag:blogger.com,1999:blog-360260676882065439.post-51402234837944593802013-11-28T21:37:00.000-05:002014-03-22T08:49:40.693-04:00Oblique Strategies<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVrus-xcbaEggAn4o7YXaopzv1-mBBWAjRElcTlbt-R04-S22VGtP70UBgg9vCDWasSUr9JIg2WCChZm2mKRRDQskchTWZBG1vf1LzMXbWi1n1BvEiFCtxjkzHGROfMc7mlb9Qxtl8WBv/s640/blogger-image--1317388595.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVrus-xcbaEggAn4o7YXaopzv1-mBBWAjRElcTlbt-R04-S22VGtP70UBgg9vCDWasSUr9JIg2WCChZm2mKRRDQskchTWZBG1vf1LzMXbWi1n1BvEiFCtxjkzHGROfMc7mlb9Qxtl8WBv/s320/blogger-image--1317388595.jpg" width="320" /></span></a></div>
<span style="font-family: Verdana, sans-serif;">Musician Brian Eno and artist Peter Schmidt produced their first set of <i><a href="http://www.rtqe.net/ObliqueStrategies/" target="_blank">Oblique Strategies</a> </i>in 1975. It was subtitled <i>One Hundred Worthwhile Dilemmas </i>and featured a deck of cards with a suggestion on each card. The cards can be used to inspire lateral thinking in any situation that requires problem solving. After a question is posed or problem encountered you simply draw a card and go. </span><br />
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<span style="font-family: Verdana, sans-serif;">Each card is open ended in its direction. Some are deliberately obscure (Water) while some are more direct (Don't be afraid of cliches). When drawing a card the authors encourage us to trust it "even if it's appropriateness is quite unclear".</span></div>
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<span style="font-family: Verdana, sans-serif;">Some examples of the strategies:</span></div>
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<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Use an old idea.</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">State the problem in words as clearly as possible.</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Only one element of each kind.</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">What would your closest friend do?</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">What to increase? What to reduce?</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Are there sections? Consider transitions.</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Try faking it!</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Honour thy error as a hidden intention.</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Ask your body.</span></li>
<li style="margin-bottom: 0.1em;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Work at a different speed.</span></li>
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<span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">I received the latest edition of these cards from a good friend for my birthday. They have been very enjoyable to work with and apply to situations. I often pull one out and use it as I explore a concept in improvisation or composition. Sometimes I will draw the card and use the idea when playing through a familiar tune or modal vamp. </span></div>
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<span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Let me try some. To be consistent I'll play over the same vamp. It is a simple I-VI-ii-V progression with bass and drums at a medium swing groove. I did one take and played with each idea for a few minutes. Really though, I could explore these for a long time and in a variety of ways.</span></div>
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<span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;"><b> My first draw.</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Mq325fHQb_uJNBfExZ5qhuWL53Y3thyoSWNJVzEUUFa-0BRXeKacpnHvFXxajWdD3qDbvJgFutV2gv4PoiidvDKHK7LRDKPHbl8c1rqERmN67fsDOC77Fz_hHDt-wAmV09a4gQNMslt3/s640/blogger-image--1313537150.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Mq325fHQb_uJNBfExZ5qhuWL53Y3thyoSWNJVzEUUFa-0BRXeKacpnHvFXxajWdD3qDbvJgFutV2gv4PoiidvDKHK7LRDKPHbl8c1rqERmN67fsDOC77Fz_hHDt-wAmV09a4gQNMslt3/s400/blogger-image--1313537150.jpg" width="400" /></span></a></div>
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<span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">For this one, I decided to improvise lines that begin quite busy. Each bar is filled up. Then I begin to subtract notes upon each pass of the progression. It becomes more sparse as time goes on until I have one note per change. Usually improvised solos start sparse and become busier. This is the opposite and felt interesting.</span></div>
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<span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;"><b>My second:</b></span></div>
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<span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); line-height: 19px;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJWtw8mbzZb-zInxyg-e9rpGI9Q7OFU_BVF6NaIPFLO1MXwYGvRwSFZ61yPcKvwkzUyJQ_qRwWJxRQyRqp2b8B8lhzCg1yK8dgUbp-yAvjao85KIE2mGo8pLeWwTnECY4HHmLNQKFt-MVr/s640/blogger-image-1244802649.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJWtw8mbzZb-zInxyg-e9rpGI9Q7OFU_BVF6NaIPFLO1MXwYGvRwSFZ61yPcKvwkzUyJQ_qRwWJxRQyRqp2b8B8lhzCg1yK8dgUbp-yAvjao85KIE2mGo8pLeWwTnECY4HHmLNQKFt-MVr/s400/blogger-image-1244802649.jpg" width="400" /></a></span></div>
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<span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;">Here I decided to comp. The first passes are very much "inside" the harmony. Then I step "outside" by using ambiguous quartal voicings that move all over the place. I really enjoy basking in the dissonance. However, the trick is to know when to resolve them and to do it with grace. </span></div>
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<span style="font-family: Verdana, sans-serif;"><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/122386504" width="100%"></iframe>
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<span class="Apple-style-span" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.294118); font-family: Verdana, sans-serif; line-height: 19px;"><b>And the third:</b></span></div>
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<span style="font-family: Verdana, sans-serif; line-height: 19px;">There a few licks that I have tried to avoid lately. In the past I found myself overusing these "sweep" arpeggios. It is a technique on the guitar that helps us get a little closer to what sax players can do. However, they are flashy and quite tempting to pull out. This card spoke to me and said to play these flashy lines with gusto. After playing, I realized that I need to spend more time on these. Not only to clean them up but to find more clever ways of using them.<span style="font-size: large;"> </span></span></div>
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com1tag:blogger.com,1999:blog-360260676882065439.post-60295105659227687182013-11-18T19:59:00.000-05:002014-03-22T08:54:53.724-04:00Creativity Killer: Anxiety and Stress<span style="font-family: Verdana, sans-serif;">The life of a performing musician is stressful. Why? One reason is time. Music is an art form whose canvas is temporal. It exists in a finite space. As a result, anything that goes wrong in that little window of time cannot be corrected. The flaw remains.</span><br />
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I often envy some of the more "asychronous" artists such as painters, novelists, poets, sculptors. These artists create outside the boundaries of time. They can stretch their projects out for days or years. They can add or take away as needed until they have a finished project. There is much less urgency in these arts. </span><br />
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I'm sure many still work with deadlines and as a result feel a bit of anxiety. But it isn't the same. A mistake to a painter may only cost some materials and the time already spent on the project. They can go back and make corrections as needed. Sometimes a mistake may even open up new options. However, an error in a musical or dance performance if not handled correctly could derail the whole experience. There is no going back and correcting anything. It has happened and will always exist.</span><br />
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Stage fright is a very real phenomenon that every musician has experienced at least once in their life, usually at the beginning of their career. Sometimes the effects can be debilitating. No matter how much mastery was achieved in the practice room, when that adrenaline kicks in the novice performer stalls. Their body tenses. They forget to breathe. Mentally, they tell themselves, "Don't mess up!". Which, of course, results in another mistake. Which will snowball into more errors. They feel trapped, yet there is no place to go but forward in the performance.</span><br />
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This performance anxiety can be debilitating and it affects some more than others. To some extent it is always present, even in the most seasoned performer. However, the masters know how to channel this energy into creating a positive performance. How can we get to that point?</span><br />
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</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_hz0dsB_oqwYYv00huAVz5anEj-9TThE82mQHEddGlmkE4Gmd4C02zYPYBKR5u-Fl-s8xLM1bXTvoqlekK8eRXx1_JV1s3nKtbScsqH7WSVVGRrM3xm5pu8moy2QaZde7LT87O5v8h57b/s1600/inner-game-of-music-978033030017908.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_hz0dsB_oqwYYv00huAVz5anEj-9TThE82mQHEddGlmkE4Gmd4C02zYPYBKR5u-Fl-s8xLM1bXTvoqlekK8eRXx1_JV1s3nKtbScsqH7WSVVGRrM3xm5pu8moy2QaZde7LT87O5v8h57b/s1600/inner-game-of-music-978033030017908.jpg" height="400" width="271" /></span></a><span style="font-family: Verdana, sans-serif;">There are techniques one can use to help with this. <a href="http://www.amazon.com/Inner-Game-Music-Barry-Green/dp/0385231261" target="_blank">The Inner Game of Music</a> by Barry Green is often recommended as a manual for overcoming stress in performance. This principal bassist of the Cincinnati Symphony outlines a method for quieting that inner chatter that causes stage fright by defining two "selves". Quoting Green:</span><br />
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<span style="line-height: 19px;"><span style="background-color: white; font-family: Verdana, sans-serif;">"Self 1 is our interference. It contains our concepts about how things should be, our judgments and associations. It is particularly fond of the words 'should' and 'should not' and often sees things in terms of what 'could have been. Self 2 is the vast reservoir of potential within each one of us. It contains our natural talents and abilities, and is a virtually unlimited resource that we can tap and develop. Left to its own devices it performs with gracefulness and ease."</span></span></blockquote>
<span style="font-family: Verdana, sans-serif;">Green's techniques are very helpful. The tricky part is practicing it. If you only perform intermittently, you will not be able to master these techniques. The more you perform, the more you will be able control the fears. It may even be the case that forcing yourself to perform a lot works as a kind of <a href="http://en.wikipedia.org/wiki/Exposure_therapy" target="_blank">exposure therapy</a>. In extreme cases, medicine like beta-blockers can assist if needed. However, none of these techniques will work one bit if the musician hasn't properly prepared. If you haven't put the time in the woodshed learning every nook and cranny of your art, no self-help book or psychopharmaceutical will help.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">The Brill Building</span></i></td></tr>
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<span style="font-family: Verdana, sans-serif;">However, there are some artists who work at their creative peak when they are stressed. In the 1960s, Aldon Music Publishing employed professional songwriters to work in the<a href="http://en.wikipedia.org/wiki/Brill_Building" target="_blank"> Brill Building</a> in NYC. Their daily task was straightforward: write a hit pop song. Each morning songwriters like Carole King, Phil Spector, Neil Diamond and Burt Bacharach would clock in for a day of menial labor. Their task was to slave on the piano in their cubicle and write a tune. At the end of the work day they had to present their songs to the their boss, Donny Kirshner. Their paycheck depended on their creative output. To ramp up the anxiety, Kirshner would even pit the composers against each other. Despite this (or maybe because of it), many of the top hits of the early 1960s came out of this building.</span><br />
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In improvised music like jazz, the seasoned musician will note that there can be no mistakes if you are listening and reacting carefully. Because even if you start a melody on an unintended note, the best jazz musicians craft the notes AFTER the mistake to make the mistake sound correct. Sometimes these "mistakes" wind up creating some very interesting lines. The rest of the ensemble may respond in kind. Beginning improvisers often hear their mistake and cringe, thus making more mistakes. Master improvisers hear the mistake, embrace it and make it their own.</span><br />
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I leave you with this TED talk with Stefon Harris entitled "There are no Mistakes in Jazz". They start with a free jam that morphs into a tune. The talk begins at 6:30. He highlights the importance of not only embracing your mistakes but also the mistakes of your ensemble mates.</span><br />
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-91049132387255153662013-11-11T18:00:00.000-05:002014-03-22T08:50:28.805-04:00Aleatoric Exercise: Let's Roll!<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjumNouShmv7FRSjqU3fCkehgBrw-ruX-umznP2BpDbxshVQ-9okrKHPuaUZEqHrS4g96BLSJ9Dyrxgicm18VhBEfp7ZQxJqLpq0v8YbJrfJTOVcQhpDZQgxq9xfb8oaZnO7XmZHly9lDDa/s1600/Karlheinz-Stockhausen-in--006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjumNouShmv7FRSjqU3fCkehgBrw-ruX-umznP2BpDbxshVQ-9okrKHPuaUZEqHrS4g96BLSJ9Dyrxgicm18VhBEfp7ZQxJqLpq0v8YbJrfJTOVcQhpDZQgxq9xfb8oaZnO7XmZHly9lDDa/s1600/Karlheinz-Stockhausen-in--006.jpg" height="192" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif;">Karlheinz Stockhausen </span></i><br />
<i><span style="font-family: Verdana, sans-serif;">presenting a graphical score</span></i></td></tr>
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<span style="font-family: Verdana, sans-serif;">Aleatoric (or "chance") music is any music where some of the performance or composition elements are left up to chance. 20th century classical composers such as Pierre Boulez, Karlheinz Stockhausen, and John Cage used a variety of techniques to incorporate randomness in their compositions. Boulez would compose a number of musical options that the musician could choose during a performance. This would create what Boulez called a "mobile form". Stockhausen would often use non-standard graphic notation which provides the performer with a general guide to interpret the music in her own manner. Thus the piece would change from performance to performance depending on the interpretation of the graphic. Cage composed his <i>Music for Changes</i> by consulting the <i>I Ching </i>(an ancient Chinese book that is used for divination) to determine duration and pitch as used in the composition.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">The I Ching: 64 hexagrams used by </span></i><br />
<span style="font-family: Verdana, sans-serif; font-size: small;"><i>composer </i><i>John Cage </i></span><br />
<i><span style="font-family: Verdana, sans-serif; font-size: small;">and jazz guitarist Pat Martino</span></i></td></tr>
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<span style="font-family: Verdana, sans-serif;">As jazz musicians explored "free" jazz and the avant-garde in the 1960s they would also add chance elements to their playing. In improvisation, musicians like Ornette Coleman, John Coltrane and Sun Ra would make one or more elements of the performance "free". They may abandon a defined meter, tonality, harmonic progressions, or even the beat. These elements would be free to the improvisor and their ensemble to collectively determine during the performance. Jazz guitarist Pat Martino has also used the above mentioned <i>I Ching </i>to explore string combinations available on the guitar.</span><br />
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An important aspect of all of the above examples is to recognize that the artist only uses chance for a part of the project. If the entire creation was left up to chance there would be no human input. It would not be music. However, using varying degrees of chance to lock in certain elements can get the musician to explore those other elements more freely (see the previous post on <a href="http://themusicalmuse.blogspot.com/2013/11/limitation-exercise-playing-on-single.html" target="_blank">Limitation Exercises</a>).</span><br />
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Let's explore. Any element of music can be left up to chance. Melody, harmony, chord progression, rhythm, and form are all fair game. It is best to start with just one and explore that thoroughly. You can also explore this as composition or as a spontaneous improvisation.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbVH7SHpUgM0mvC65eUPnL5EMZWvsY2hc5vTjWoNiG-n2qIZiVTCJld2UukYdZP_uVOrZuGwPNQ22xAbAKf1JNCIMkKK66dvonhdBbFtB8FksEBN8ad9wZdhZlk8uoBb2cYAZDpEK3WGx/s1600/51788N6sSaL.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbVH7SHpUgM0mvC65eUPnL5EMZWvsY2hc5vTjWoNiG-n2qIZiVTCJld2UukYdZP_uVOrZuGwPNQ22xAbAKf1JNCIMkKK66dvonhdBbFtB8FksEBN8ad9wZdhZlk8uoBb2cYAZDpEK3WGx/s1600/51788N6sSaL.jpg" height="112" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: Verdana, sans-serif; font-size: small;">A set of polyhedral dice </span></i><br />
<i><span style="font-family: Verdana, sans-serif; font-size: small;">(d4, d6, d8, d10, d12, d20)</span></i></td></tr>
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<span style="font-family: Verdana, sans-serif;">The first thing we need is a random generator. I don't think you need anything as esoteric as the <i>I Ching</i>. A simple set of polyhedral dice that you would would find at a game or hobby shop (or <a href="http://www.amazon.com/Polyhedral-7-Die-Translucent-Dice-Set/dp/B0015IQO88/ref=pd_sim_t_5" target="_blank">Amazon</a>) would work well. For our purposes the most useful would be the following dice: d4, d6 (which you probably have already), d8, and d12. You can actually create any sided dice by always rerolling certain numbers (a d6 can be a d5 by rerolling any 6s).</span><br />
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I recommend real dice because nothing beats the feel of chance in your hands. But if you must, <a href="http://www.brockjones.com/dieroller/dice.htm" target="_blank">here</a> is a useful "virtual dice" website.</span><br />
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I hesitate to define this process too much. Part of the fun is the exploration and the freedom. If one of these ideas sounds intriguing go for it. Don't be afraid to change it as you go or to even abandon the chance technique. If you hear something in your ear so strongly, then by all means stop the chance and start creating.</span><br />
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<span style="font-family: Verdana, sans-serif;">To get you going, I recommend you follow these steps:</span><br />
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<ol>
<li><span style="font-family: Verdana, sans-serif;"><b>Choose a main element </b>of composition or improvisation you would like to explore (harmony, melody, rhythm, form). </span></li>
<li><span style="font-family: Verdana, sans-serif;"><b>Define one aspect</b> of that element (intervals, measures, chord tones, sections, chord quality, rhythm, meter, etc.)</span></li>
<li><span style="font-family: Verdana, sans-serif;"><b>Match that aspect </b>with the dice (d2/coin, d4, d6, d8, d10, d12, d20) that you feel is most appropriate. This is where you can be creative. Eventually you can combine these elements as well.</span></li>
</ol>
<span style="font-family: Verdana, sans-serif;">Here are <b><i>some ideas </i></b>to get you going. Choose one of them that seems interesting. Or let them inspire you to create your own. However, DO NOT do all of them at once. You will be overwhelmed. Choose just one for now! Later on you may combine them. Let's roll!</span><br />
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<b>Melody:</b></span></div>
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<ul>
<li><span style="font-family: Verdana, sans-serif;">Roll a dice <b><i>to determine the interval</i></b> from one pitch of a melody to the next. You can make the melody ascend/descend as needed to determine an appropriate contour. Use larger dice for a more disjunct melody. You can make the intervals major or minor depending on the key. </span></li>
<ul>
<li><span style="font-family: Verdana, sans-serif;">Example: A roll of : 4, 2, 5 would yield a four-note motive. You can choose if you wish to ascend or descend with each interval. Keeping it diatonic in the key of C Major and starting on Do could yield: C (up a 4th) F (down a 2nd) E (up a 5th) B.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Or you can ignore the key and use a coin or dice to determine if the interval is major/minor/augmented/diminished.</span></li>
</ul>
<li><span style="font-family: Verdana, sans-serif;">Roll a 12 sided dice to <b><i>create a pseudo-"tone row"</i></b>. Designate 1 as a pitch with the other 11 forming the chromatic scale. You could ignore repeated notes or embrace them.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Choose a<b><i> pitch collection that fits a particular dice</i></b>. Some examples:</span></li>
<ul>
<li><span style="font-family: Verdana, sans-serif;">d4 - tones of a 7th chord; a tetrachord (like Do Re Me Fa or Fa So La Ti)</span></li>
<li><span style="font-family: Verdana, sans-serif;">d6 - a hexatonic structure (like Do Re Mi So La Ti); a whole tone scale; a pentatonic scale (reroll 6s); a blues scale (1 b3, 4, b5, 5, b7)</span></li>
<li><span style="font-family: Verdana, sans-serif;">d8 - any 7 note scale (major, harmonic/melodic minor, or their modes (reroll 8s), octatonic (diminished scale)</span></li>
<li><span style="font-family: Verdana, sans-serif;">d12 - the chromatic scale</span></li>
<li><span style="font-family: Verdana, sans-serif;">Then with that chosen pitch collection/dice, <b><i>roll to compose a melody</i></b>. Assign a value of the dice to each note. Roll until you feel you have a complete melody/phrase. Or you can even predetermine randomly how many rolls you will make. The choice of octave is up to you.</span></li>
<li><span style="font-family: Verdana, sans-serif;">You can also any of the above to <b><i>determine root motion</i></b> (see harmony below).</span></li>
</ul>
<li><span style="font-family: Verdana, sans-serif;">You will need to <b><i>create the rhythm and harmonic accompaniment</i></b> of the "chance" melodies. This is how you will make this chance process musical and human. So once you have your notes, add rhythm and harmony to make it your own.</span></li>
</ul>
<b><span style="font-family: Verdana, sans-serif;">Harmony:</span></b></div>
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<ul>
<li><span style="font-family: Verdana, sans-serif;">Roll a d4 to determine the <b><i>quality</i></b><b><i> of the next chord </i></b>(major, minor, diminished, augmented).</span></li>
<li><span style="font-family: Verdana, sans-serif;">Roll a d6, d8, or d12 to determine the <b><i>root of the next chord</i></b>.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Roll a d8 to determine the<b><i> function</i></b> (roman numeral of the next chord).</span></li>
<li><span style="font-family: Verdana, sans-serif;">Roll a d12 to determine <b><i>a single pitch</i></b> that MUST be present in all of the chords you place in a piece (or a section of a piece). That tone may be in the basic triad or in one of the extensions (7th, 9th, 11th, 13th or altered sounds).</span></li>
</ul>
<span style="font-family: Verdana, sans-serif;">M<b>eter/rhythm:</b></span><br />
<ul>
<li><span style="font-family: Verdana, sans-serif;">Roll any dice to <b><i>choose a meter</i></b>.</span></li>
<li><span style="font-family: Verdana, sans-serif;">Roll a d4 to <b><i>build an irregular compound meter</i></b>. (e.g. You roll 3, 2, 2, 3. That could be a 10/8 time signature with the following pulse in bold (<b>1</b> 2 3 <b>4</b> 5 <b>6</b> 7 <b>8</b> 9 10) or in konokol (ta-ki-ta, ta-ka, ta-ka, ta-ki-ta)</span></li>
<li><span style="font-family: Verdana, sans-serif;">Roll a d6 to determine the <b><i>rhythmic value of the next note or group of notes</i></b>. Assign a value to each number (e.g. 1 - whole, 2 - dotted half, 3 - half, 4 - quarter, 5 - eighth, 6 - sixteenth).</span></li>
</ul>
<b><span style="font-family: Verdana, sans-serif;">Form:</span></b><br />
<ul>
<li><span style="font-family: Verdana, sans-serif;">Roll a d20 to determine a<b><i> length of a section</i></b> (# of bars)</span></li>
<li><span style="font-family: Verdana, sans-serif;">Roll a d4, d6, or d8 to determine the <b><i>number of sections</i></b>.</span></li>
</ul>
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<span style="font-family: Verdana, sans-serif;">Good luck. In future posts I will pick one of these and demonstrate the process. Keep in mind that these techniques do not have to be used to compose a whole piece. You may use it just to get going, or to get you out of a dead end. You also may not wish to create a whole piece with the technique. You may just wish to use this as an exploration tool. I explore that in future posts as well.</span><br />
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com1tag:blogger.com,1999:blog-360260676882065439.post-11549172582107696952013-11-07T18:00:00.000-05:002014-03-22T08:51:16.699-04:00Limitation Exercise: Playing on a Single String<span style="font-family: Verdana, sans-serif;">One of the best ways I have found to open up new doorways in composition, improvisation and general music exploration is creating a <b>limitation exercise</b>.</span><br />
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The limitation exercise is a very powerful tool that at first seems counterintuitive. The basic idea is to limit your creative output to just one (or sometimes two) elements. You will put a restriction of some kind on your music. This may seem contrary to the whole creative process. Why would you restrict the options of your creative output? Isn't the whole point of divergent thinking to take many different ideas and make connections? If you exclude some ideas, how does that encourage creativity?</span><br />
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I think when it come to making any art, including music, there are just TOO many options. When you have the option of exploring every aspect of harmony, melody, form, rhythm, lyrics, and tone color it becomes just too much. The creative mind shuts down. Even though you have all of those options available, without restrictions you just wind up returning to the tried and true. You stick with those musical elements in which you are most comfortable. The result winds up being the opposite of breaking new creative ground.</span><br />
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I was first clued into this idea of limitations through clinics with John Abercrombie, the jazz guitarist. He describes a limitation exercise he took from Boston guru Mick Goodrick. Goodrick calls this exercise the science of the "unitar". Guitarists have a tendency to play very much in "position". That is their hand stays in one location and plays only the notes available on those six strings in the area of the neck. By observing Eastern musicians like sitar players, Goodrick noticed that they tend to move their hand up and down a single string to create their melodies. Goodrick then asks the questions what kind of music would you make if you had only one string: a "unitar". This exercise works for any string instrument: guitar, violin, bass, mandolin, etc.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i><a href="http://www.amazon.com/The-Advancing-Guitarist-Mick-Goodrick/dp/0881885894" target="_blank"><span style="font-family: Verdana, sans-serif; font-size: small;">Mick Goodrick's "The Advancing Guitarist"</span></a></i></td></tr>
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The exercise is thus: pick one string. Spend about ten minutes exploring creating melodies on just the one string. He sets up additional limitations as well. Only stick to one mode or key (you may want to keep a drone going on a lower string or other tone source). No chromaticism, just those seven notes. Bend only notes that are a half step apart. (Check out Mick's book "<a href="http://www.amazon.com/The-Advancing-Guitarist-Mick-Goodrick/dp/0881885894" target="_blank">The Advancing Guitarist"</a> for other great limitation exercises.)</span><br />
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Seems pretty strict. What can a guitar player learn through this process? Well after about ten minutes, one finds themselves playing quite differently. In a sense, your playing is more melodic. Sometimes it sounds more like Eastern music. But for those ten minutes all the guitarist must focus on is ONE mode, ONE string and that is it. There is no worry about making changes, playing hot licks, or playing many notes.They can now explore other elements that are often neglected: dynamics, rhythmic motives, tone color, expression, articulation, and even silence.</span><br />
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Just creating a limitation exercise won't necessarily result in a masterpiece. It is often just an exercise. A way of practice. A method to let the muse explore every nook and cranny of that particular limitation. As a result, these limitations can bring about more freedom.</span><br />
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They next steps would be to:</span><br />
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<li><span style="font-family: Verdana, sans-serif;">try the other strings</span></li>
<li><span style="font-family: Verdana, sans-serif;">try the other modes/keys</span></li>
<li><span style="font-family: Verdana, sans-serif;">play it through a chord progression (or a tune)</span></li>
<li><span style="font-family: Verdana, sans-serif;">add chromaticism</span></li>
<li><span style="font-family: Verdana, sans-serif;">combine two strings (adjacent or non-adjacent)</span></li>
<li><span style="font-family: Verdana, sans-serif;">use only one finger</span></li>
<li><span style="font-family: Verdana, sans-serif;">use all four fingers</span></li>
<li><span style="font-family: Verdana, sans-serif;">use both hands (tapping)</span></li>
<li><span style="font-family: Verdana, sans-serif;">change tone color</span></li>
<li><span style="font-family: Verdana, sans-serif;">come up with other additions on your own</span></li>
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<span style="font-family: Verdana, sans-serif;">Each of these additions can be added gradually on an as needed basis. Avoid the temptation to go through them all at once. This can be a concept you come back to for years to come. Each time you want to explore a fresh way of playing, revisit this or any of the other limitations we will explore in the future blogs.</span></div>
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<span style="font-family: Verdana, sans-serif;">Non-string players don't fret (ugh!). We will explore limitations that will work for you as well. For right now, try to think of a limitation you can apply to your instrument/voice. It doesn't have to be just a limitation on technique either. There are many musical limitations you can impose as well.</span></div>
MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-91392053394583844792013-11-05T17:59:00.000-05:002014-03-22T08:50:48.941-04:00Side Projects and Hobbies<span style="font-family: Verdana, sans-serif;">This first technique has nothing to do with music. That's right. Well then how in the world will it enhance your musical creativity? We shall see.</span><br />
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Austin Kleon's fifth bullet point in <a href="http://www.amazon.com/Steal-Like-Artist-Things-Creative/dp/0761169253/ref=sr_1_1?ie=UTF8&qid=1383581023&sr=8-1&keywords=steal+like" target="_blank">Steal Like an Artist</a> is "side projects and hobbies are important". His thesis is that if your are a writer, you shouldn't only write. If you are a painter, you shouldn't only paint. And if you are a musician you shouldn't only play music.</span><br />
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Occasionally, artists will devote time to a singular passion with great success. Andrés Segovia, the pioneering classical guitarist, was devoted to the cause of elevating his instrument to the status of the concert hall. I could be wrong but I don't think Segovia dabbled in many "side projects and hobbies". His singular devotion to the classical guitar was so great that it is said he even practiced for 3 hours on the morning when he died (age 94).</span><br />
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<span style="font-family: Verdana, sans-serif;">Now Segovia achieved great success in making the guitar a serious musical instrument. Thanks to him, one could now study what was a simple folk instrument in the conservatory. However, some have criticized his overly dogmatic approach to musical interpretation on the instrument. He was very much steeped in the Romantic style and was not interested in what was going on in the modern music world. One of his most celebrated students, John Williams, recently <a href="http://www.theguardian.com/music/2012/oct/14/john-williams-accuses-segovia-snob" target="_blank">criticized Segovia's teaching style</a>, saying he stifled his students creativity and that the Segovia's only acceptable interpretation of the music was his own.</span><br />
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Now if Segovia was involved with painting, dance, or poetry as a side project, would that have opened him up to new ideas and interpretations? Or would he have lost valuable focus time and would not have had the impact on the guitar world that he did? I don't know. There is a fear that some of us have about side projects and the road to mastery. The "Jack of All Trades, Master of None" can be a compliment or a slam depending on your perspective. However, I am finding more artists who need to explore all of what life has to offer, beyond just their art. And those side projects can make you see your main project in a different light.</span><br />
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By exploring other mediums, arts, philosophies, and hobbies you will discover interesting connections that encourage divergent thought. You will make connections that can enhance your own art. Occasionally, you may be able to fuse the two together in exciting ways.</span><br />
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Of course, if you have the inclination to be a "dabbler" (as George Leonard describes in his book <a href="http://www.amazon.com/Mastery-Keys-Success-Long-Term-Fulfillment/dp/0452267560/ref=sr_1_2?ie=UTF8&qid=1383662378&sr=8-2&keywords=mastery" target="_blank">"Mastery"</a>) you want to tread carefully here. These side projects may have a tendency to become the dabbler's siren song. You will keep looking for the hot new hobby to explore and get all excited about, as opposed to mastering what you have already undertaken. There is a fine line here.</span><br />
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Nonetheless, it is clear that many artists find refuge in their side projects. Here is a short list of famous musicians and their extended hobbies/interests:</span><br />
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Joe Diorio, jazz guitarist - painting</span><br />
<span style="font-family: Verdana, sans-serif;">Steve Vai, rock guitarist - beekeeping</span><br />
<span style="font-family: Verdana, sans-serif;">David Bowie, rock musician - chess</span><br />
<span style="font-family: Verdana, sans-serif;">Mos Def (Yaslin Bey), hip hop artist - acting</span><br />
<span style="font-family: Verdana, sans-serif;">Neil Young, rock musician - model railroading</span><br />
<span style="font-family: Verdana, sans-serif;">Frank Sinatra, jazz crooner - crossword puzzles</span><br />
<span style="font-family: Verdana, sans-serif;">Johnny Greenwood, guitarist for Radiohead - chicken rearing</span><br />
<span style="font-family: Verdana, sans-serif;">Jim Martin, guitarist for Faith no More - pumpkin farming</span><br />
<span style="font-family: Verdana, sans-serif;">John Coltrane, jazz saxophone - inter-religious studies</span><br />
<span style="font-family: Verdana, sans-serif;">Don Glen Viot (Captain Beefheart), avant-garde rock muscian - painting</span><br />
<span style="font-family: Verdana, sans-serif;">Patti Smith, punk rock musician - poetry (good poetry, too!)</span><br />
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And my favorite:</span><br />
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<span style="font-family: Verdana, sans-serif;">Arnold Schoenberg, modern classical composer - playing ping-pong</span><br />
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So think about the side project you would love to explore or return to and get to it. And you don't have to limit it to just one thing. There is a lot of knowledge out there to discover and a lot of things to create.</span><br />
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And for a more open-ended perspective: the following is from an interview in Downbeat magazine where jazz pianist Thelonious Monk provides his take on hobbies:</span><br />
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<b><i><span style="background-color: black; color: #cccccc;"><span style="line-height: 19.1875px;">Interviewer: What other interests do you have?</span><br style="line-height: 19.1875px;" /><span style="line-height: 19.1875px;">Monk: Life in general.</span><br style="line-height: 19.1875px;" /><span style="line-height: 19.1875px;">Interviewer: What do you do about it?</span><br style="line-height: 19.1875px;" /><span style="line-height: 19.1875px;">Monk: Keep breathing.</span></span></i></b></span><br />
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MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0tag:blogger.com,1999:blog-360260676882065439.post-56493300001142492822013-11-03T17:30:00.000-05:002014-03-22T08:51:03.804-04:00Introduction<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Welcome to the blog!</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Creativity (or our American population's lack of it) seems to be a hot topic lately. The largest companies are realizing that graduates may be coming to work with higher IQs than ever before, but their creative ability is sorely lacking. Tests for creativity like the Torrance test reveal that </span><a href="http://www.psychologytoday.com/blog/freedom-learn/201209/children-s-freedom-has-declined-so-has-their-creativity" style="text-decoration: none;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">today's children have Creativity Quotients that are the lowest ever</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. Meanwhile, CEOs of companies have selected "creativity" as the </span><a href="http://www-03.ibm.com/press/us/en/pressrelease/31670.wss" style="text-decoration: none;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">most crucial factor for future success</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;">Despite the dropping creativity in the general population, creativity is all the rage in the blogosphere. Austin Kleon's blog post "Steal Like an Artist" was taken and published into a <a href="http://www.amazon.com/Steal-Like-Artist-Things-Creative/dp/0761169253/ref=sr_1_1?ie=UTF8&qid=1383580542&sr=8-1&keywords=steal+like+an+artist" target="_blank">book</a> that sold many copies. Mihaly Csikszentmihalyi's <a href="http://www.amazon.com/Flow-The-Psychology-Optimal-Experience/dp/0061339202/ref=sr_1_1?ie=UTF8&qid=1383580577&sr=8-1&keywords=flow" target="_blank">book </a>"Flow: The Psychology of an Optimal Experience" has become a popular tome for creativity buffs. Creativity is a regular topic from the contributors at <a href="http://www.ted.com/topics/creativity" target="_blank">TED</a>. Maybe it is the pliability of the internet as a medium to express ideas not just in a written form? Mashing up text, images, videos, sounds, and interactivity seems to have created a renaissance of creative thought from people who would have never thought they were creative before.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;">Meanwhile, true divergent thinking is rarely addressed in the American classroom at any level. Part of the issue is people relegating creative intelligences to just the arts. Creativity is for all disciplines, but that would be a subject for another blog. </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;">So why address the issue of creativity in music, if music is inherently creative? Because, I have encountered musicians, visual artists, and writers who tell me "I am not creative". This is odd because these same people "create" many unique and engaging pieces of art. Nonetheless, something makes them feel deficient when it comes to creativity. Why? </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;">I think the issue is that "creativity" is so hard to define. The model of the mad artist who drips with creative ideas but can hardly function in the real world is an outdated one. Yet, we still cling to the image of the tortured genius just sitting and waiting for the lightning to strike. While the Archimedes moments are a very real phenomenon I believe that creative intelligence can be developed just like any other mental skill. </span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This blog is my attempt at exploring these techniques for my benefit. It is my quest to find that deep well where artists drink. I am no expert by any means. But I know that feeling when I am in the "zone". You know it too. The walls fade away and all that is left is you and your craft. You have felt this before. Csikszentmihalyi describes this as "Flow". In his words it is "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz </span><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. Your whole being is involved, and you're using your skills to the utmost." </span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Maybe you regularly are in this state or maybe you haven't been there for a while? When I began to draw as a child, I went through the techniques in </span><a href="http://www.amazon.com/Drawing-Right-Side-Brain-Definitive/dp/1585429201" style="text-decoration: none;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Betty Edwards' "Drawing on the Right Side of the Brain"</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. Now, I know the left/right brain paradigm is an outdated one, but this book was able to send me into that "right brain/zone/flow" state. Going through the preliminary exercises (gesturing, upside down drawing, contour drawing, and positive/negative space) were enchanting. For someone who has never been in a "flow" state when creating it can be a revelation.</span></span></div>
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<span style="background-color: transparent; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;"><i>A technique from Edwards' book: copying the upside down drawing of Stravinsky in order to silence the "left brain"</i></span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;">As I explored music through the years, I noticed I rarely entered that same state that I would as a visual artist. The notes on the page, the technique, the rhythmic counting, coordination can be very daunting. There was a lot to be exact about for the music to come out right. If anything, creativity was something that seemed to be an optional thing added at the end of mastery: to add some spice to a performance.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;">I never was aware of the musical equivalent of Edwards' books but I have found bits and pieces along the way. And as I explored I realized there were exercises that one can create to bring about this state of flow for any musician: beginning to advanced, jazz to rock, classical to hip hop, amateur to professional. </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;">In this blog I will explore some of these methods and hope you would be willing to contribute some as well. Not all of these techniques may work for you. Some will seem downright silly and maybe even a waste of your practice time. You may be right. That would be up for you to decide.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Verdana, sans-serif;">We will explore all areas of music: composition, improvisation, performance, rhythm, melody, harmony, form, texture, analysis. Creativity can be found across that whole spectrum. I also will review some books and musician's works to analyze this creative process in action. </span></span></div>
<span style="font-family: Verdana, sans-serif;"><br /><span style="vertical-align: baseline; white-space: pre-wrap;"></span><span style="vertical-align: baseline; white-space: pre-wrap;">Let's go.</span></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="vertical-align: baseline; white-space: pre-wrap;"><br /></span></span>MOTMMhttp://www.blogger.com/profile/05928646422914580834noreply@blogger.com0