IMPROVISATION
Some thoughts on why it is not more widely embraced… and lots of ideas to help!
So, why do more people not improvise themselves, or teach it?
Following on from article written for EPTA, ‘Finding Inspiration in Creativity’, which also touched on improvisation, I found myself giving coaching sessions to other teachers, who felt that they would like to explore the idea of improvisation further, so they could pass it on to their pupils. These sessions got me thinking: what keeps people from improvising?
Some of these questions were answered in the sessions, by those attending, who confessed that they themselves had never been given the chance, or possibly consciously discouraged from doing so, by their own teachers… or did this in fact answer the question? My first teacher certainly never actively encouraged it either, but it did not prevent me from spending way more time on this than “proper”practice. Surely I wasn’t just a rebellious child? Far from it! I seemed to get sufficient practice done, but my love of improvising was greater. This got me thinking deeper into the question, which I will be exploring further, with some ideas here, and plenty more in the book (to be published soon) too, to help encourage those who feel lees comfortable with the idea.
Freedom!….
Some people are naturally inquisitive...
Improvisation was something every keyboard player, and indeed, musician was expected to be able to do…until “squashed out” of many-a-musician during the Victorian age, and countless learners of piano reaped what this achieved: bringing about a generation of musicians who could not contemplate improvisation as being something they could even begin to do. I belong to many Facebook groups relating to the piano and see many very sad posts relating to not enjoying the piano as a child / teenager, and not being allowed any freedom. I suppose I was also a product of a teacher who did not seem to improvise, but as I’ve said, luckily, I was already doing this by the time I began, aged 8, with this teacher. (My Mum had taught me, well too, the year before this). And there, I found the answer, or at least part of it. My Mum never stopped me from going to the piano. It was always there. She would play, and let me play alongside her while she played, and, just as I “played” at knitting, before I could create a stitch, clattering the two little needles together, I would sit and play the piano. To me, I was just doing what my Mum did I suppose. This lead me to further thought, and I came up with two strands, although I am sure there are others… improvising must not be treated as “not proper playing” and thank goodness, this concept seems to have largely changed, for this engenders a lack of inquisitiveness. I was lucky, I was already doing this before lessons, besides, I never really spoke to my teacher about it, so I don’t know what her reaction would have been, although she was not particularly interested in a composition I took, but then I always did, and always have, “done my own thing”, which leads me to the thought, that some children will improvise and explore anyway, even if they are told “not to”, or that it’s a waste of time, because some children do “do their own thing” – sometimes to their own detriment(!)… but maybe, sometimes, they have a point. If some children will do it anyway, why not others? They do not even have to tell a teacher whom the pupil may feel would disapprove, and can still turn up, having done all their practice, but everyone is different, and some people are less inquisitive / self-motivated to try new things, than others.
As we get older, can we really blame our first teachers for not encouraging it? If we so feel inclined, and wish we could do something, why do we not try it? We may try a fitness class, even if we did not like sport at school, or a cookery course, even if we hated the cookery teacher!… or even have a go at darning a sock, even if the needlework teacher told us we were “terrible”! So, there must be other reasons we do not feel able to try it. I began to think further.
Fear of failure
Fear of failure, means that although we may attempt the fitness class, we are less comfortable with improvising – although that may be done in private, in our own music rooms. This, fear of failure however, I found to be a stumbling block for some.
“I don’t know what to do”
However, something even more fundamental occurred in many cases: the “I don’t know what to do” reason. This I discussed with one lady, and her thought was that she had not spent so much time when younger “doodling and listening”, again, due to her teacher’s attitude, (so it seems that teachers are influencers for some pupils in this respect). It is something I encourage all my pupils to do, so the area of “imagination”is another area I would like to delve deeper into, along side that of fear of failure…..
ARTICLE 2 – FEAR
Following on from my introductory article on “what keeps us from improvising?” where I began to delve into various (quite often entangled!) reasons: primarily those of fear, and the “I don’t know what to do” / imagination reason, I have built up thoughts, gathered over the years on these two subjects.
Fear
Fear of being ‘told off’
and
Fear of failure, (the ‘wrong note’ mindset).
What are ‘wrong’ notes anyway?
– In an improvisation, a “wrong” note is likely to be one that you were not expecting to hear. It still does not mean it is “wrong”.
If we meet someone new, that we have heard about, we often have a preconceived idea as to what they might look like. Most often, when we do get to meet them, they are nothing like that person in our imagination, but that does not mean we dislike them!
So, these different’ notes: we have a 33% chance they will sound bad’, a 33% chance they will sound ok and as we expected or different from that which we expected, but still ok, and a 33% chance they will sound BETTER that what we were expecting! (Yes, there’s a missing 1%… maths is one of the other things I am bad at).
What will sound ok? A melody note that fits with the harmony is an obvious one.
What will sound ‘bad’? A melody note that clashes with the harmony… but, wait a minute… they are ‘suspended notes’ that many composers use to advantage in their pieces; take advantage of them! They add suspense, or colour, or pathos to a piece… move up or down from them by a note and they ‘resolve’ providing that “ah… that’s lovely!” feeling…. and maybe ‘clashing’ notes can be very useful to create a tense atmosphere, and are all clashing notes ‘baddies’ anyway? What about added 6ths?
The composer Chopin hated being pinned down to one definitive version of many of his pieces, as he liked the freedom to improvise a little in them. Many composers have found mistakes lead to new ideas… and that ‘wrong’ interloper notes, may just become a ‘forever’ note in the piece, as it may be better than the one you first wrote! The secret… is to listen… and to keep an open mind. It might even provide an idea for a new piece altogether! (Ex.1).
EMBRACE ‘MISTAKES’. They are only something we didn’t consciously mean to do: but isn’t that part of the wonderful surprise of improvising?
Mistakes when improvising are the formerly unknown people who pop into our lives from time to time, but are such wonderful discoveries, that they are still in our lives years later.
Imagine never being able to play a wrong note!
This led me to thinking of a ‘general fear’ at the thought of improvising… yet how skilled do we really need to be at it? (There is an extended article on this in the book).
Improvisation, even at the most basic level, awakens listening skills too, and creates a freedom not found when playing from a score.
Every one of us has unique skills to offer, but improvising is fun, which is why I have finally put all these thoughts into a book, plus many further ideas and activities on how to “get started” with things that can remove the fear, leaving you quite amazed at what you have created!
"I DON'T KNOW WHAT TO DO"
Following on from my introductory article on ‘what keeps us from improvising?’ where I began to delve into various (quite often entangled!) reasons: primarily those of fear, and the ‘I don’t know what to do’ / imagination reason, I have dug a little deeper, in this article, I’ll be delving into thoughts of ‘imagination in relation to improvisation’. This last article shares a few of the ideas from the book, to help you get started. There are many further ideas in the book.
Imagination (and building knowledge)
Improvising is also about building knowledge
Our brains need to develop creatively too. brain. Creative exercises are so useful here! Let’s try a couple now.
1 What do these shapes suggest to you? Make a list of everything you can think of. (This stretches the creative thought process).
Then pick some from your list and think how you could represent that idea in sound?
Try them out on the piano. Or let your hands ‘take over’ and see what comes out…
Wouldn’t this be fun, if many people did this, and we wrote to me with their thoughts and musical ideas?!
2 Play a chord or interval at various volumes and pitches – what does it suggest to you? These can also be used to spark ideas for an improvisation (it avoids that feeling of “I feel like improvising, but not being sure what to do” moment!) This can also be done in a lesson, and teacher and pupil will each have their own thoughts: interesting.
SEE THE POSSIBILITY IN EVERYTHING…
When you play others’ music, when you doodle, ordinary situations in daily life; what would objects, emotions, pictures, places, experiences sound like if they were music?
See the possibility in everything. Here’s an imaginative pupil’s creation with a box!
In the book, you will find a complete ‘tool kit for improvising’. AVAILABLE ON AMAZON
FREE PRINTABLE IMPROVISATION WORKSHOP LEAFLET
(click on the image below to view and download the leaflet)