{"id":1073,"date":"2020-11-13T19:09:53","date_gmt":"2020-11-14T00:09:53","guid":{"rendered":"https:\/\/dantepfer.com\/blog\/?p=1073"},"modified":"2020-11-15T14:58:59","modified_gmt":"2020-11-15T19:58:59","slug":"week-1","status":"publish","type":"post","link":"https:\/\/dantepfer.com\/blog\/?p=1073","title":{"rendered":"Week 1, Improvising with Keys and Intervals"},"content":{"rendered":"\n

Class Summary<\/strong><\/h2>\n\n\n\n

It was a sincere pleasure to meet you and hear you yesterday. Looking forward to continuing this exploration together. <\/p>\n\n\n\n

We covered three ideas:<\/p>\n\n\n\n

1. Improvising using key centers
2. Improvising using intervals
3. Improvising using tonal harmony<\/p>\n\n\n\n

A few of you asked about exercises for working on these ideas. I responded that the best way is just to do it: practice improvising short pieces using each idea, record yourself, critique, then do another one.<\/p>\n\n\n\n

A little more guidance:<\/p>\n\n\n\n

For 1), I suggest recording yourself doing a short piece in C, then another in Db min, then in D, then Eb min, and so on. Each time, think about providing contrast to what you just played. Contrast can come in the form of different uses of rhythm, timbre, dynamics, texture, register, mood. The point of this constraint is that it’s very open-ended, so be creative and most of all, have fun. <\/p>\n\n\n\n

For 2), I suggest putting every interval from unison to Major Ninth on little pieces of paper, putting them all into a hat, and pulling one out at random. Then record yourself doing a free improvisation using that interval only. This means that any note you play should be paired with another that is that precise interval away, either melodically or harmonically. Take your time and try to be really precise about this. Enjoy the often surprising sounds that arise. <\/p>\n\n\n\n

For 3), I’m attaching a worksheet<\/a> to practice tonal harmony in major modes. We can talk later about the minor modes, which are more complicated. This definitely takes a while to get together (years, in my case), but if this idea interests you, I suggest starting to practice it in all keys. You may find it transformative. The idea, as far as improvising is concerned, is to make up pieces that diligently move between harmonies that are allowed in the system. This creates a powerful large-scale sense of organization, while still allowing you to use as much dissonance and chromaticism (and exotic chords) as you’d like. It’s a powerful framework inside of which you can put many different things, including many different styles of music.<\/p>\n\n\n\n

I’m very much looking forward to hearing your submissions! Please keep them under 4 minutes each. As a reminder, you should submit an improvisation that uses one or more of these three ideas. When you submit, please also write a paragraph about what it is that you are doing in your improvisation. If you have any other thoughts about the process, I welcome those as well. <\/p>\n\n\n\n

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Submissions<\/strong><\/h2>\n\n\n\n

Austin Zhang \u2014 Perfect 4th \u2014 Sax<\/strong><\/p>\n\n\n\n

Here improvising around the interval of a perfect 4th. Tried to stay around a pulse and utilize rhythm without being too strict about being in a certain meter. Wanted to pace myself over the course of 4 minutes, as well as hold on to my ideas as long as I could.<\/p>\n\n\n\n