Piano Idea of the Day #3

Cuban piano Montuno exercises:

In the major / (natural) minor scale - stepping a third up, a sixth down, a second up around a continuosly shifting / partially repeating central tone. Right and left hand play the same, in the beginning.

Piano Idea of the Day #2

I play (improvise) melodies in the left hand that change to the right hand and vice versa. I still try to let the right hand match with the other. I begin with only some few notes (at once) and add more (may be even horizontally) later.

Piano Idea of the Day

I put in a song that I do not know and try to accompany it on the Piano.

Variations:

1. I put more accent on the harmonies / accompaniment
2. I put more accent on soloing / the musical scale
3. I try to combine both 1.) and 2.) and align it to the actual musical happening

A different song / style every day keeps the doctor away :-) !

Sheetmusic versus Improvisation

Even these words, sheetmusic and improvisation, mean different things when thought in different heads. To understand this matter myself (and this blog is mainly written for myself; I like this version of a private universal mind), I have to -roughly- classify between sheetmusic which is:

• interpreted with more spirit and understanding of the sheets essay
• interpreted with less spirit flow or understanding of the notes whole

... while, improvisation, in my approach, could be divided into:

• improvisation which is very much led by musical theories about improvisation
• improvisation which is mainly influenced by "letting it flow", by emotions or inner images.

Now, having so bravely, and not quite traditionally tried an overview, I can put some light onto my field of interests.

While I envy, somehow, those that have a practical understanding of those essays the sheets are said to have ;-) ... and while I am impressed by the knowledge some people have in musical theory - my personal striving in piano playing is mainly about creating touching harmony-fluids spontaneously, rather than in the mood of their absence through mentality. Which is, also, very roughly said, but I need to say this in defence of some of my lesser-appreciated piano moods, haha :-)

So, what value would sheetmusic have for me, personally?

• I could try to learn from the masters experience of tune-setup and vivid musical laws
• I could try to overcome my feeling of "dead" interpretations (as I personally have over-perceived it in my lazy approach of "classical music") ... by trying to play them "alive"
  
• I could let go of trying to make pieces alive that are just "theoretically beautiful" ... and learn to recognize them more securely, even if they are maybe even high-valued among "knowers of the art" - is there another possibility than gaining in my own opinion here?
• I should be ready to err often, to correct myself often, to align towards the many higher streams, essences and contents that a musical entity so freely and warmly provides ...

And, to make it complete, what value would improvisational music have for me? I try a summary:

• I could try to come closer to that missing link that was so important to me: being the listener in Gould's triunity of listener, composer and player ... while i play. (Yes, of course, the composer also, but that one was in the boat already, talking about improvisation.)
• I could receive (...) about the way in that people (players) "sink into the mood" ... each one has a personal way of "letting go" ... "allowing the flow" ... and finally landing there, being there, diving into this "something"... deeper.. and deeper :-) ... hmmmm, yes !!! I want to learn from this, enjoy this, to guide and protect the holiness of each artists being there ... to open such doorways (mission statement?).
• A third point is needed to make a good list complete: Hmm - what to write? I was talking about receiving... but of course, in making, I can
  - expand the composer in me (tremendously)
  - enhance the perception my expressive piano-/musician-self, paving "all these roads" .. "directly, into my fingers"
  

In here, I think, the main thing of this blog is hidden. The inherent, very creative and forever actual composer in the improviser has found his field of existence within improvisation, because any idea, in his focus, spectrum and depth, can directly "be", be played, be sounding. So, expansion is very much like being a playing and jumping cat, looking at a world to grow with each glance.

And, the second point to make, it needs very very carefully, almost consciously paved roads to make the fingers as playful - experienced - as the mind tended to deem itself to be. The fingers... how free they could be.. and we always think they never are. How to train them to fulfill the emotional "free drive", of falling without landing, of dancing without gravity, or, just as much as we need to still be joyous here.

Let us begin!