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Musical Improvisation Basics - Four Strategies For Playing Wrong Notes
While it probably doesn't seem like this would help - let's face it - if you are unwilling to play a lot of wrong notes, you're never going to learn how to do anything hard. And improvising is hard! It isn't something that you can do safely, with the assurance that you will look good while trying to get good at it. You won't look good. You won't sound good -- and the sooner you realize this, the sooner you will be able to do something of real value.
Strangely, we are from a culture that reinforces the idea that we should always look good. I mean there are actually people who think you should look good when you're sick. When you get up in the middle of the night. Or when you haven't slept for 36 hours.
Get the picture?
So, now that that's said - what is the best strategy for playing wrong notes and actually making progress at the same time?
De-emphasizing Note Values
I have found that the best way to start is by de-emphasizing note values - focussing instead upon rhythm, texture, density and shape. Music is way more than just the notes you play, and note selection tends to be the very thing that stops people in their tracks. Thus, my "Wrong Note Strategy."
The following are possible points of departure for playing wrong notes - properly:
Melodic Shape - Conceptualize a melody - don't get too specific with notes, but think only in terms of the overall shape of the line. Does it go up? Does it climb? Does it jump? If you have a hard time, try creating a melody on your instrument that is shaped like something else. I think it was John Cage (a rather famous composer) that used the New York skyline as the basis for a piece of music. My vote is, if John Cage can do it, we can too.
Density - Think about density. Are there a lot of notes all close together? Or are they spaced wide apart? Density shape is determined by where there is little space between notes, and where there is a lot of space. It is applicable melodically, harmonically and rythmically. I think there are even methods of encoding data that use this approach (can't remember the name of it). I figure, if it's OK for Intel to use this concept for data, I think it's OK for us to use it too.
Rhythm - What about a rhythmic approach? What if note values were totally unimportant, and we thought only percussively about the music? Like using blocks of notes - dissonances as though playing drums with the keyboard (or whatever)? It seems to have worked for legions of 20th Century composers, so why not for us?
Texture - How about making sounds - funny sounds - on our instrument? I remember working with a violinist from the LA Philharmonic, who told me she couldn't improvise. I asked if she could make noises. She said, "Oh sure! I like making really funny noises like this; and this; and this." We proceeded to "play funny sounds" for the next hour and a half, experimenting with all sorts of melody, harmony, rhythm and texture - coming up with some really beautiful stuff, after which she asked, "was that improvising?" I said, it sure was, and she was totally changed by the experience.
I love that story, because it really shows that all we really need is permission to play "wrong" notes. Once we are willing to do that, then we can experiment - often on a very high level - with the vital textural, rhythmic, shape and density aspects of music.
It still communicates, it's genuinely creative, and it really is music.
So play some wrong notes today!
©2000-2005 Ben Dowling, the author of "The Metaphysics of Improvisation" - is a pianist, composer and an authority on music improvisation and publishes Music-Improv.com, a web site that provides useful paradigms and practices for musicians interested in expanding their ability to improvise. Learn more about "The Metaphysics of Improvisation" and "The Music Continuum" by visiting http://www.music-improv.com
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Eminem's roots can be found in Scandinavia through his mother Debbie Nelson and in South Wales through his father Marshall Bruce Mathers II.But Eminem has mostly Scottish blood running through his veins. On both sides( maternal and paternal sides), Scottish roots can be found.Back to the 7 th generation on the paternal side, Peter Mathers from Pennsylvania married a Scottish woman named Isabella (last name unknown). On the maternal side, Scottish roots can be found in Marshall's family in the 6 th generation : Ailsa Mc Allister from Edingburgh emigrated to the United States ?precisely to New York in 1870.Most of the Mathers have been working as farmers in the state of Missouri.Marshall Mathers I, Eminem's paternal grandfather has been working as an assistant hotel manager at Plainsman Hotel in st Joseph Missouri and his wife Rae has been employed at Del Cornonado hotel in guest services.When Eminem's paternal grandmother Rae died recently in 2002 from an Alzheimer desease , Marshall Mathers II discovered interesting documents related to his famous son like a Christmas card from Marshall addressed to his grandmother Rae.Ethymology of the name MathersMathers means mower or reaper.History of the name MathersThe name Mathers is related to the Scottish Barclay clan. The family Barclay settled down in a place called Mathers in Scotland in the 13 th century. The history of the Mathers goes back to an english immigrant Theobald de Berkeley and his son who owned the estate of Mathers. Alexander was the first to use the surname Mathers.Pronounciation of the surname MathersIt is commonly admitted that the surname Mathers is pronounced as if there was an y in the middle of the name : Ma(y)thers .If you want to know more about the history and genealogy of the family Mathers, you can find some interesting info here :homepage.ntlworld.com/davepalmer/eminem/credits.htmI'd like to thank the people who made up this interesting website. I discovered a lot of info about Marshall's paternal side. I have a lot of info about his maternal side, so I hope to be able to complete his family tree as soon as possible.
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These MIDI Tools Are Music To My Ears
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Green Day: Punk Rock Masters Taming Mainstream Radio Their Way
Before they got together as Green Day, Billie Joe Armstrong, Mike Dirnt and Tre Cool were merely three extraordinary hopefuls hoping and looking for their big break. The trio has no formal training and got their 'practice' from playing for free at punk clubs on Gilman Street in Berkeley, California. Out on the streets is where the 3 talented individuals got their big break ? they turned from punk rock's most unlikely success story to a remarkable band with a series of chart-topping hits. Together, they sold more than 10 million albums and won a Grammy Award in the process. It's been a long journey for the trio who started out singing out in the streets.
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An Introduction to CD Mastering
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The Case Against Traditional Piano Lessons
How would you like to spend 4 years in a University learning how to play other peoples music? If you think this is ridiculous, you're right! Because that's what thousands of piano music students do each day.
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