Looper's Delight Archive Top (Search)
Date Index
Thread Index
Author Index
Looper's Delight Home
Mailing List Info

[Date Prev][Date Next]   [Thread Prev][Thread Next]   [Date Index][Thread Index][Author Index]

Re: Instant Composition



i usually approach things on the contrary way.
it works better for me.no counterpoint. no theme, neither variations.
even no bach at all. i had enough while studying piano.

raul.

2008/11/13, Stefan Smulovitz <stefan@kenaxis.com>:
>> Per wrote:
>>
>> The most simple form of improvisation is to simply react on sound by
>> making sound, that causes a reaction, that you then react on by making
>> another sound etc etc. This may cerate interesting music both from the
>> interplay between human musicians and the interplay between musicians
>> and looping devices. It's a developing spiral of questions and
>> answers. It's a bouncing fun game.
>
> This is exactly why I like the term instant composition. When I hear
> good improvisation - even completely free improvisation - I feel an
> underlying sense of organization in time. The use of form, repetition,
> counterpoint - all of these are things I like to hear in
> improvisation. I find simple reaction improv based on a simple form of
> listening to be less satisfying. Obviously looping creates form by its
> very nature - but I think all improv can be aware of form and gain
> much in musical richness if it takes advantage of compositional
> techniques. I think all of the masters of improv are fully aware of
> this - but there is another level of improvisors that use energy and
> creativity in great ways but could benefit from some compositional
> thinking.
>
> So to add to the thread about practicing - I would recommend
> practicing thinking about composition. How is this improvisation
> structured in time. Theme and variations, ABA form, even verse, verse
> chorus as loosely implied by the music in your mind. Also when playing
> with others - or while looping - yourself. Think about counterpoint,
> contrast, expectation and delaying expectation. Listen to some Bach -
> read a classic theory book and see how you can subvert or use the old
> forms to create new music.
>
> If you listen to Kurt Schwitters' Ursonate
> (http://www.ubu.com/sound/ursonate.html
> ) - I love Jaap Blonk's version - you get a sense just how powerful
> form is. Also interesting to think that this was done in 1932 in terms
> of the experimental music thread. In fact I would call this an
> experiment in the power of form.
>
> All the best,
>
> Stefan
>
> ---------------------------------------
> www.kenaxis.com
>
>
>


-- 
The Playing Orchestra: http://www.telefonica.net/web2/tpo
Chain Tape Collective: http://www.ct-collective.com
TPO at myspace: http://www.myspace.com/theplayingorchestra
TPO at Jamendo: http://www.jamendo.com