My third blues homework submission. I liked the beginning motif, but in usual form, I started to over-complicate. I am not sure about the Right hand against the Left hand; I am not using written out music, (the visual element that I often rely on, and that I feel secure with). I don’t think the 3 notes in the right hand, against the 2 notes in the left hand is accurate; The first beat on the LH is silent; (the first LH note comes in right after the 2nd note of the triplet, if played strictly, but then because of the swing, there is more freedom, but then I am not sure because the "non-parallel rhythm " seems to be much of what the blues is about. I ended up just playing the second left hand note as close after the second right hand note as possible, and didn’t examine it closely or practice it.
WEEK 3 OF THE BLUES
The transitions between the melody (the head, in blues terms), and the improvisation part (the blow) are tricky. Feeling the rhythmic change on the fly. Like a major wind shift when sailing that comes out of nowhere, and I am looking for the instinct to respond and react fluidly.
If it was on paper, and practiced, I would understand it, as that is my lexicon. Playing improvisation leaves me unsure about what is actually going to happen, and whether I will like it/ respond to it; whether it leads me to something satisfying, or leaves me flailing around for something note-wise, that will save the notes that went before.
With improvisation, I need to learn/accept the notes that spill out; (to avoid overlaying my will so tightly and restrictively in trying to control the musical idea I am comfortable with, expect or desire); and to recall that it may not sound right at the time, but later it may come out right after all. Like those things I might obsessively worry about, thinking that the worry makes the problem comprehensible and manageable.
That which I am to let happen, that which I have uncertain command or influence over. And how I am to respond to it when, and after it appears.
Now there’s a big life issue. To accept the wind and water as it presents itself; to constantly adjust the sails, and the notes, not to stay on a narrow course; but to remain sensitive to all the changes in wind speed, wind shifts, waves, boats with a right of way over me, or boats that I have a right of way over.
2/23/2016 07:41:53 pm
I love this: "To accept the wind and water as it presents itself; to constantly adjust the sails, and the notes, not to stay on a narrow course; but to remain sensitive to all the changes in wind speed, wind shifts, waves, boats with a right of way over me, or boats that I have a right of way over."
I also think that the challenges of a classically-trained musicians are almost like sailing in waters with completely different currents. It's fascinating to watch you balancing yourself in that boat.