WHY PROFOUND IMPROVISATION IS A TRIPLE BALANCE INTERNAL ACTIVE MEDITATION IN 2/3DS INDEPENDENT FROM THE MUSICAL INSTRUMENT!
Improvisation produces beautiful music and gives deep satisfaction as it requires deep internalisation of the musical composition process.
There mainly 3 centers that are involved in the process of musical improvisation
1) The skill and conveniences of the fingers and geometry, tuning etc of the musical instrument
2) The internalized memories of musical listening that have become feeling-habits
3) Our mental images of musical-theory conceptual tools (like chords, intervals , scales , rhythms etc)
Now if one of these control or abilities centers over-dominates the other two some rather undesired effects occur in the improvised music
1) If the skill and convenience of the fingers in the instrument drives are mainly when improvising music , then a rather narrow type of music may be produced depending on what our knowledge of the instrument allows. In addition each time we try to improvise, our fixed skills on the instrument tend to repeat so much that the resulting music is repetitively boring. This is what happens to skilled instruments players that do not have sufficient or do not create new musical theoretic concepts
2) When out listening memories and listening habits mainly dominate much our improvisation, then we tend to repeat known small pieces of melodies or harmonies and the richness of the new musical sound is not occuring.
3) When our mental musical theoretical and conceptual tools dominates when improvising, we may fall in the trap of creating very interesting new concepts of music which nevertheless are not well sounding and do not trigger familiar feelings of our musical habits therefore are not grasped at least initially as beautiful music.
It is only when our improvisation is a triple balance of a triple improvisation that the resulting music is beautiful and satisfying musical creation. And the triple improvisation is a triple improvisation in FINGER-ACTIONS, FEELINGS AND INTELLECTUAL THINKING.
The triple improvisation is
1) An improvisation of new shapes and patterns on the skill of the fingers that play the instrument
2) An improvisation in our nervous system, on new synthesis of musical memories and stored musical feelings which is new but also familiar. And this is a process not on the instrument but on our internalized musical memories and feelings.
3) An improvisation of new combinations of musical-theoretic concepts that give a simple center to organize our improvisation. And this is a process not on the instrument neither on our musical habits of feelings but on our intellect and mental images of theoretical concepts.
For those that play many instruments with strings or winds, the parts 2) and 3) are indispensable tools for simplification and learning as the do not depend on the instrument!
As 2/3 of the improvisation is internal rather than external on the musical instrument, we may say that an improvisation is a type of TRIPLE ACTIVE MEDITATION.
Improvisation produces beautiful music and gives deep satisfaction as it requires deep internalisation of the musical composition process.
There mainly 3 centers that are involved in the process of musical improvisation
1) The skill and conveniences of the fingers and geometry, tuning etc of the musical instrument
2) The internalized memories of musical listening that have become feeling-habits
3) Our mental images of musical-theory conceptual tools (like chords, intervals , scales , rhythms etc)
Now if one of these control or abilities centers over-dominates the other two some rather undesired effects occur in the improvised music
1) If the skill and convenience of the fingers in the instrument drives are mainly when improvising music , then a rather narrow type of music may be produced depending on what our knowledge of the instrument allows. In addition each time we try to improvise, our fixed skills on the instrument tend to repeat so much that the resulting music is repetitively boring. This is what happens to skilled instruments players that do not have sufficient or do not create new musical theoretic concepts
2) When out listening memories and listening habits mainly dominate much our improvisation, then we tend to repeat known small pieces of melodies or harmonies and the richness of the new musical sound is not occuring.
3) When our mental musical theoretical and conceptual tools dominates when improvising, we may fall in the trap of creating very interesting new concepts of music which nevertheless are not well sounding and do not trigger familiar feelings of our musical habits therefore are not grasped at least initially as beautiful music.
It is only when our improvisation is a triple balance of a triple improvisation that the resulting music is beautiful and satisfying musical creation. And the triple improvisation is a triple improvisation in FINGER-ACTIONS, FEELINGS AND INTELLECTUAL THINKING.
The triple improvisation is
1) An improvisation of new shapes and patterns on the skill of the fingers that play the instrument
2) An improvisation in our nervous system, on new synthesis of musical memories and stored musical feelings which is new but also familiar. And this is a process not on the instrument but on our internalized musical memories and feelings.
3) An improvisation of new combinations of musical-theoretic concepts that give a simple center to organize our improvisation. And this is a process not on the instrument neither on our musical habits of feelings but on our intellect and mental images of theoretical concepts.
For those that play many instruments with strings or winds, the parts 2) and 3) are indispensable tools for simplification and learning as the do not depend on the instrument!
As the inner two parts of this meditation may have their own timing and flow, the improvisation must follow and combine these separate timings: 1) Of the fingers abilities, 2) of the speed of shaping of the emotions 3) of the speed of the flow of intellectual musical conceptual tools.Therefore fastness might be impressive finger-skill but may not correspond to a deep satisfying musical creation.
As 2/3 of the improvisation is internal rather than external on the musical instrument, we may say that an improvisation is a type of TRIPLE ACTIVE MEDITATION.
