R.K.,
I am terribly sorry that I upset you so.
I realized I used the word "ignorant" and I can see why that generated bad vibes. Please understand that I meant that the more fluent one is in the "language" or "rules" or theory than the faster one can generate content. I did not mean to imply this was you.
So to get back to your word "Prepare." I took your wording to mean that Improvisation was something that just happened with out any connection to deliberate, well articulated composition. I only wanted to show that the two ARE IDENTICAL. This does not run cross to anything said before from the others. It actually reinforces a lot of the principles addressed in previous posts on this thread. Allow me to provide context using myself as an example:
I accompany ballet classes (as well as modern, tap and jazz) during the daytime hours, and I improvise everything. Imagine conceiving a Grande Valse Allegro or a Mazurka on the spot to accompany a pirouette combination. Or a modal atmospheric eastern-sounding piece to go along with a stretch combination in modern class in a harmonic-major mode. Or Phrygian or Aeolian mode.
Now, after hours, I go and play a jazz gig. I apply the same principles of composition (melody and harmony, voice leading, counterpoint, texture, etc.) only I understand that there are different conventions to using the same exact building blocks that generate all the other music that I do.
In-between all this I compose a film score. SAME THING.
Please please don't think I was trying to incite you. I was only being blunt.
Clark
I am terribly sorry that I upset you so.
I realized I used the word "ignorant" and I can see why that generated bad vibes. Please understand that I meant that the more fluent one is in the "language" or "rules" or theory than the faster one can generate content. I did not mean to imply this was you.
So to get back to your word "Prepare." I took your wording to mean that Improvisation was something that just happened with out any connection to deliberate, well articulated composition. I only wanted to show that the two ARE IDENTICAL. This does not run cross to anything said before from the others. It actually reinforces a lot of the principles addressed in previous posts on this thread. Allow me to provide context using myself as an example:
I accompany ballet classes (as well as modern, tap and jazz) during the daytime hours, and I improvise everything. Imagine conceiving a Grande Valse Allegro or a Mazurka on the spot to accompany a pirouette combination. Or a modal atmospheric eastern-sounding piece to go along with a stretch combination in modern class in a harmonic-major mode. Or Phrygian or Aeolian mode.
Now, after hours, I go and play a jazz gig. I apply the same principles of composition (melody and harmony, voice leading, counterpoint, texture, etc.) only I understand that there are different conventions to using the same exact building blocks that generate all the other music that I do.
In-between all this I compose a film score. SAME THING.
Please please don't think I was trying to incite you. I was only being blunt.
Clark