tag:blogger.com,1999:blog-945280568203933389.post4042743860344608986..comments2016-06-09T01:22:26.769-07:00Comments on erstwords: Two WorldsUnknownnoreply@blogger.comBlogger1125tag:blogger.com,1999:blog-945280568203933389.post-36044424722199701302010-11-03T10:39:28.810-07:002010-11-03T10:39:28.810-07:00"Should I react or not, should I make sounds ..."Should I react or not, should I make sounds or not, should I keep silence or keep making sounds"<br /><br />These are still fundamental questions in improvisation. What's missing, and what makes them seem cheap in this context, is the Why? "Should I react?" can easily be answered by "vague, common aesthetics" that the improvisor is largely unaware of. And so, those vague, common aesthetics are perpetuated, usually in a watered down form as a kind of surface style. If the questions of reaction, of sound/silence, of timbre and force and pitch, etc are confronted with other questions of form, structure, scale, intent (for instance), and those further questions are integrated as part of the practice of improvisation, I think there is a different recipe at work. <br /><br />This integration is difficult and rare and prone to failure as much as any other improvisational strategy. But, to me, it is the one, significant, worthwhile challenge that improvisation, more than any other methodology, offers the musician.Bhob Raineyhttps://www.blogger.com/profile/07361177412728793612noreply@blogger.com