Учимся импровизировать внетонально
Традиционный путь в атональную импровизацию на ф-но идет через изучение теории, гармонии ; которая постепенно усложняется, альтерируется , хроматизируется,размывая тональные и функционаальные связи; и под конец превращается в в ссерию клякс - кластеров , сопровождающих те или иные комбинации мелодических звуков.. Но есть другой путь , ( Read more... )
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The main idea of this approach is that according to the widely used method, the beginner plays from the very beginning LOTS OF NOTES in the form of noodling from scales and arpeggios, most of which are unnecessary . But disciple doesnt know this and cant know; and in this way the value of each note played in improvisation falls into the abyss. As a result, improvisation with an abundance of unnecessary notes becomes a habit; and only constant work on transcriptions of valuable solos can correct this situation .But then there arises another problem, although very many dont consider it a problem at all: improvisation turns forever into a more or less dexterous compilation of learned right phrases.
To release the value of each played note played I propose to proceed to the execution of only one single sound in a whole chorus of 12 bars. In this way, will be achieved several goals , and not all of which are on the surface.
The performance of a single sound as an improvisation during the chorus completely changes the familiar picture of the improvisation process:
1 . These aren't pauses that divide the melodic line into phrases and sentences (and how often beginners make pauses at all ,if they still do not have phrasing ?) , but absolutely the opposite: a single sound breaks a long pause and creates an action.
2.The pupil completely independently chooses this single sound - his pitch, rhythm, duration, place in the general form, articulation, dynamics, character. Thus, this sound will be a personal "composition" of student, and not an attempt to copy someone that just isn't possible in this situation.
However, not everything is as simple as it seems at first glance.It is true that even a separate sound should be played by feeling however, there are some considerations.
The only sound after a long pause creates an accent; In addition, there are natural blues accents associated with harmonic changes. In the above mentioned blues scheme, the accented bars are IMO 1, 5, 9, 10, 12. The only sound after a long pause creates an accent; In addition, there are natural blues accents associated with harmonic changes. In the above mentioned blues scheme, the accented bars are IMO 1, 5, 9, 10, 12 ;and it is quite natural that the only sound creating the accent will be played in one of the accented bars. Thus, melodic energy shoots up, continue to sound in the ears to the end of the chorus. There is a pause, but the action continues.
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3. A general look at the form of chorus, allowing to decide where to play that sound (is somewhat reminiscent of the architect. ).
The main and most important requirement to the execution of a single sound: its absolute accuracy in rhythm and groove from the attack itself to the complete ending ,be it a recording or a live ensemble.Other than that , sound character should reflect the character of accompanying playback . During a long pause, the student is obliged listen very clingy to the accompaniment : there must be an effect of accumulation of energy, which at a certain moment shoots with one sound. In such conditions, a single sound is filled certainly with a sense and gets a huge specific gravity. After the end of sound must continue to listen intently to comping till the end of chorus - in order to learn the effect of a single sound on inner feelings of performer. ( single sound, which creates by book that has fallen on the keys, causes a fundamentally different effect)
https://yadi.sk/d/BpxRKOlp3GkAmr
As I said, the performance of even one improvised sound requires a strategic approach within not less than 12 bars. For example, if the gun has only one bullet, don't shoot right from the beginning - the overall tension will continuously drop to simple boredom. Even shot the note as a final sound will make more sense. However, there should be no theory, only ears and an inner sensation leading to that desired moment.
Improvisation for beginners on two notes [
Improvisation using only two notes (not simultaneously) create an unexpected melodic situation: between them by memory power is being created interaction, even if they are separated by a long pause of a few bars, or even each sound is performed in another chorus. Two sounds - it is already an elementary melodic turn. They create create an intonation: ascending (question, call) or descending (answer, response ), which can be stretched to many bars.In the context of interaction, it is desirable that the sounds, different in height, also differ in duration and placing within bar.
Here the main idea for execution of the second sound: keep the first sound in mind, continue listening carefully to comp, until the internal sensation will prompt : play! Thus, the meaning of played sounds is multiplied , which the student cannot achieve by playing mechanically the mass of scales pitches .
With the passage of time, the student begins to perceive that if he plays with the rhythm section, and suddenly stops playing, then the task of creating a constant energy completely moves to comping, which must be felt; then he can join the stream in a natural way.
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