Many of my albums have been organized around a specific idea, such as time, innocence, worry, recovery, or loss of self. This particular album focuses more on the ideas themselves. There are many different methods of composing spontaneously, even when not starting with any preconceived musical material or purpose. Aesthetic quality in spontaneity is achieved through depth of experience, and, as a rule, that is achieved through focused attention. It is similar to meditation, and just as there are many different ways to meditate, there are many different ways to proceed with an improvisation.
Focused attention seems to be often mistaken for trance. Trance is where listening or some other experience occupies space in your mind but doesn’t demand your attention. If you are playing a repeated pattern, for instance, your attention can become detached from the process (mental auto-pilot) and your mind will actually wander sometimes. This is almost the antithesis of focused attention. I have had students, for instance, who have thought that the point of practicing is to reach a point where you are just listening to what you are doing and not thinking about it. Actually, the point of practice is to allow you think in ever-greater detail. Practice allows you to think about how you are going to play every single note!
When you are focusing, you must focus on something. When you are improvising, you are focusing on what you are playing, of course, but you are also creating and managing the direction of the music. This means that you are using the music you are hearing to create new music. You can repeat the “old” music, vary it in some way, or react to it with something either complementary or contrasting. With the piano, there is also the element of musical space and texture so that you have the option of moving things around from one hand to the other or varying the accompaniment, harmony, or context of the original idea.
This sort of spontaneous compositional methodology tends to result in musical pieces with certain characteristics, some of which occur on this album. The most commonly occurring structure is what I like to call the “Spring” and is related to the Linked Verse technique used in Japanese (group) oral poetry. It is where older material is always being varied and reacted to so that the music moves forward while referring back at the same time. Since the older material is being continually revised, the whole structure moves forward. The circling back is like a spiral, but because the whole thing moves forward it is more like a Spring. The first, third, and fifth track of Hold That Thought conform to this sort of structure while being completely different types of pieces.
- Prelude is also focused on melody, and is akin to a soliloquy or opera recitative with a minimal accompaniment. The melody emotes plaintively or with flourish but always refers back in linked verse fashion.
- Intermezzo is a complicated and varied track whose references to older material are interspersed with impetuous flourishes and extreme shifts of register. Older material does not mean vanilla.
- Rhapsody is also somewhat impetuous but is more like a sung epic poem with an ending more like Ulysses returning home rather than Caesar returning from Gaul.
- Sequenza developed a little differently. The material I begin with just happens to be simple, distinctive, and easily remembered. Its chromatic nature lends itself easily to variation and transposition, hence it becomes like a huge sequence. I use the term “sequenza” with apologies to Luciano Berio who used the title for a whole series of virtuosic solo works for different instruments. Instead of moving like a spring or spiral, the piece seems to move like a rogue planet that keeps swinging next to the sun and getting thrown off in a completely different direction.
- Emergence also focuses on a single melodic idea, and though the idea can be heard in the early portions of the piece, it doesn’t become prominent until about halfway through the piece. At that point, it is repeated and sequenced in a manner reminiscent of Richard Strauss. Hence, it is as though the musical idea was discovered in the middle of the piece, much like all of a sudden becoming attracted to someone you’ve been working with for quite a while.
All of these different approaches require focus and, of course, imagination to be effective. An improviser learns that sometimes it works and sometimes it doesn’t. But you try to choose the ones that work for an album.
This is my 22nd solo piano album and was recorded at my home in Phoenix, Arizona.
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