[Harp-L] Re: How to improvize, the process... (two parts)

[Pierre <plavio@xxxxxxxxxxxx>]

Dan posted this offlist and I figure it could be useful to generate discussion, so I am re-posting to the list. Note that I double checked with Dan before posting.

BTW Dan guessed right I was in a rut.


PART 1.

Pierre,

This is one of the subjects I too wrestle with, especially during ruts.  I think about it a lot, but is it possible to standardize an approach to improvisation (open question) .  Or, Is the whole iea of improv one of those personal experiences that one can sort of explain with words or advice, but ultimately everyone has their own way when exploring the process.

I think of improvisation as a bag of tools.  When I practice, I work on individual tones, or phrases or "licks" or bends or scales or I copy solos note for note, or I just mess around trying to imitate cowboy sounds, or "sea chanties"  or whatever siliness comes to mind.  When onstage, I tend to just play from my heart.  Sometimes that means using "stock" licks, but sometimes I can come up with neat ideas.  Just like the builder might use his hammer more often than a more specialty tool.  There's going to be two-hole shakes on the blues harp for the most part, just like most houses are framed w/ 2x4's

Whether you work from the blues "box o' tricks" or in other genres, I think the ultimate goal is familiarity.  Can you get to a point where you've learned enough to NOT have to think about the next phrase? 

 A classical player needs to seemlessly translate notes on the page  to notes through their instrument.  A jazzer needs to have all those scales programmed in to deal with all the changes.  It's all vocabulary. It's building seemless link between heart and harp.  Once "enough" vocabulary is there, one can create more, or write more, or add more feeling/nuance.

  For me it's sounds that I think of.  Someone else might think in the note names.  Don't some people see colors in music?  Either way, it's a connection to the instrument.

However you build it, it takes time and effort.  The more you work at it offstage, I think the more progress you can make on.  There is a "talent factor" so maybe some folks take LESS time than others, but it still takes quite a bit.

PART 2:


Forgive me if I'm wrong, but I think what you're saying in your message isn't really "how to improvise"  I think you're in a rut, and it's hard to see out from under that rut.

The rut is the worst musical feeling.  It's like someone came up and stole your ability to improve.  Sometimes, it's like somebody stole your entire ability to play.  All of a sudden, your brain turns on you, and everything you play 'sucks' to you.  You think, "hey, last week I was good.  What happened?"   Then, your mind starts to work against you.  All of a sudden, you're onstage and your thinking about every single note, or phrase, and the whole damn time you're psyching yourself out.  So you spiral down and down and get all depressed or angry, and you start to doubt the whole harmonica or music thing.

Ruts stink, but ruts end.  When a ballplayer is having a hitting slump they usually tell him to "keep  swinging"  For me, the quickest way out of a rut is to just ignore it.  Get up and shut that annoying voice in your head off.  Just play.  

That bag of tricks is in there, and it will come back out as soon as you push through the cloud of smoke your psyche has blown in.  The other way to break free is to learn something new.  It can be as simple as one new lick, or as challenging as say "playing the diatonic harmonica chromatically"  Some new focus, or approach may open things right back up.  Either way, keep playing.

This was a long rant, so I posted directly to you.  I may be completely full of Sh#t so I didn't post to list.  If anything is list worthy and you feel like posting it, cool.  I'm just not sure how many of those guys feel me, since I've never "proven" anything on Harp-L by way of sound files or the like.

good luck
d.g.