![]() ![]() ![]() Spontaneity is direct, engaging with the present. Tapping the wisdom of the heart and body. Oore: One broad appeal of spontaneous creativity for me is as a healthy move away from my tendency to overthink, intellectualize, and theorize. What is the appeal of making entirely improvised music for you, both in solo and group situations? My own artistic practices and life experiences always seem a mix of predictable and unpredictable elements, never purely one or the other performances of the most tightly scripted rituals - including a recording - are never the same, while the most open-ended, unplanned rituals always involve significant predictable elements, like the involvement of my body in gravity! I create original structures and navigate others’ structures in different musical and interdisciplinary contexts. to handle a medical emergency or baking a cake), and in other contexts I might be totally comfortable and at ease having lots of or no explicit instructions… It depends on my familiarity with the type of instructions and my experience helping bring about the expected outcomes. In some contexts I’d feel I need more rules or instructions (e.g. Oore: It’s yet another special way of exploring consciousness, connection, spontaneity, and genuineness. I have found that this way of practicing has also really informed and benefited my composing and my playing within existing chord changes. Part of this is practicing with eyes closed or even with a sleep mask on to block out any visual cues and just follow my ear. I also constantly work on the connection between my musical inner ear and the instrument, shifting the generation of ideas from the fingers and hands to my musical imagination. I have made the exploration of harmonic relationships and progressions part of my regular practice routine. I now regularly play solo concerts that are completely improvised. And then, of course, there is also my collaboration with Dani, which is again an entirely different challenge because you also have to respond to what the other person does.Ī big fascination and goal of mine has been to be able to come up with convincing harmonic progressions on the fly (Keith Jarrett’s solo concerts and also Aaron Parks’ solo album Arborescence have been a huge influence here). Hoefner: Ever since I prepared for my solo piano album, Coldwater Stories, which has some pre-composed sections but lots of freely improvised parts, playing completely improvised pieces and concerts has been a strong interest of mine. Where or how does making entirely improvised music fit into your artistic practice? National Capital Region's Top Employersīelow, the two musicians, who are in their early 40s and began playing together just a few years ago, discuss how they what they do, and how improvising can benefit musicians who have not ever done it before.
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