Entry #13 - Improv workshop

I was interested to see how this would go today, as I am considering doing my final 7806 paper on something improv-related. In fact, I know I need to do some serious thinking about my topic; improvisation is awfully broad topic, and it can mean different things to many people.

Patrick has said several times that musicians are often reluctant to talk about improvisation. I have found the same thing, but I'm not sure why. Perhaps it's because they don't quite know what to say.

Today was helpful because Patrick presented several concepts that I may be able to use. The "directed" improv (and the hand signals) looks like something I would like to experiment with in my own teaching. Especially valuable of course was the opportunity to try these ideas out with other players (myself and Darryl Cremasco on pianos, Aaron Hodgson on trumpet and Darren McDonald on trombone). I could have stayed playing with these guys for another hour or so to try some things out.

Shortly into some of the two- and three-part improv 20 second "moments" I realized that I'm quite used to improvising ON MY OWN. I have precious little experience when it comes to improvising with other players. How many times have I played a church service or some function, when all of a sudden I'm called upon to fill some space? At the drop of a hat? And I don't mean suddenly launching into "Misty" in E flat - I've actually composed music on the spot...only to forget it completely when it's over.

At one point Patrick mentioned a concept that I caught on to right away: in group improv you are either leading, following or accompanying. I thought about this for a second and realized, that's right. It really is one of those three things that takes place when you play in group improv.

If I decide I have a musical idea and I'm just going to let it out no matter what else it going on, that's leading. If I respond to some kind of motive that another player puts out there (like I was starting to do with Darryl at one point) then that's following.

Accompanying isn't following; to me it's more like putting out a support that doesn't have its own melodic independence (that would be leading) - I have always thought of it as creating a kind of texture, something I've done in my own playing many, many times.

I've been teaching music in schools for almost a decade now. I've seen kids who have become brilliant improvisers on electric guitar, bass and drums (and they didn't need any help from me, I can tell you), yet I'm still waiting to see it happen on saxophone, trumpet, or any of the other string, brass or woodwind instruments. I suspect it may not be this way in the city, but this is how it is around the bay. This question has intrigued me for some time now - what is it that the jammers are doing that the others are not? Besides jamming?

Lately I wonder if the answer is right in front of me.