Showing posts with label improvisation. Show all posts
Showing posts with label improvisation. Show all posts

Thursday, June 30, 2016

Action Moves People United

By  Lois Herbine

Last month, I recorded a single solo flute track as a contribution to the Action Moves People United project, sponsored by the United Nations, UNESCO.

I played an improvisation realized by pianist Catherine Marie Charlton. Both the flute and piano accompany a poem entitled I Cried by Karelle Wade, which is about war and unity, spoken in the perspective of new parents.

Action Moves People United CD
This project is a CD compiled of poetry and prose tracks, read by spoken word artists and accompanied by musical instrumentation. The central message is world peace through a call to action to promote positive change. Catherine’s improvisation was influenced by the text. The music starts remotely and builds in strength and resolve as the poem first laments the problems in the world and then finds hope in the future. It is read in Cuban/ Spanish by Kenya Autie and in English by Alex Metnick.

My Preparation
Catherine recorded her piano contribution separately and then uploaded her audio file onto a sharing service so I could download both her part and the spoken word file and play through my computer and speaker while I practiced.

As a classical flutist I prefer to read a part instead of improvising it, so Catherine composed the flute solo by recording a separate track, and then I transcribed it using music writing software.
Following the flow of the text, I began the flute softly playing triplets against the piano’s duplets to provide an unsettled feeling. Then as the voice become more confident, so did my flute by getting fuller in sonority then popping the octave while the piano part filled out by adding chords in the left hand. I practiced in the style of an improvisation, sometimes using rubato to pull away from and then rush to sync up with the piano.

Recording Day
I spent an hour at Eastroom recording studio where recording engineer Drew Taurisano placed the piano track through the one sided headphone and recorded my flute playing against it. Using the headphones in this way allows me to hear my part clearly, while fitting it in with piano. This gives me the ability to assess subtle color changes in the sound. After Drew submitted the raw flute file that afternoon, one of our producers, Rupam Sarmah of India, compiled the music tracks and sent the recordings back to the spoken word artists to rerecord, as the music will naturally propel the expression of the voice.

You might be wondering why the producers selected a classical flutist to play an improvisation? One of the plans for the album – and eventual film – is to pair up artists from different genres and around the globe for collaborations that go beyond politics, religion, and borders. Other flutists that will be joining me on this musical journey for peace are new age flutist Wouter Kellerman from South Africa and Powell artist and rocker Ian Anderson of Jethro Tull fame.

Live Concert and CD Release
The album is available for pre-sale during the Nelson Mandela International Day festivities in Washington, D.C., July 15 through 18, 2016.  As part of this celebration, I will be performing with an African band, Sharon Katz and the Peace Train, and an American Roots artist, Grant Maloy Smith, at the Washington Monument on July 17, 2016.  For concert information, visit Lois Herbine’s blog http://www.piccolois.com/blog/2016/6/28/sharon-katz-and-the-peace-train or events page http://www.piccolois.com/events/.

Some of the other collaborating artists on this project are Julian Lennon, Kathy Sledge, Annie Haslam, John Wetton, Patrick Moraz, Dan Aykroyd, Tony Levin, Steve Walsh, Ricky Kej, Amy Otley, and Janice Ian. Action Moves People United is produced by Kevin Mackie, Krista Wallhagen, and Rupam Sarmah.

Wednesday, November 14, 2012

Travel Stories - "Variations on a Theme by Mozart"

Sandra Kipp
I have played from memory many times in my career, but never felt completely comfortable. I have always preferred the comfort of having the music in front of me, even if I use it as one would use note cards in a well-prepared speech. But one hot day in a small town in Thailand, I truly regretted not having memorized more pieces!

I was on a two week tour of Thailand, traveling from Bancock south to Surit Thani. (Also spelled Suri Thani and Surithani) We had a very long drive in front of us, so half way through we stopped in a little town where some of the people I was traveling with knew some very welcoming and hospitable folk. They fed us, let us rest, gave us generous gifts, and well wishes for our travels. I was traveling with a pianist, a singer, and the organizer of the tour. Just before we were ready to leave, the organizer announced to our hosts that as a gift in return for their hospitality, we would perform music for them. The pianist looked around and said, “There is no piano, so I can’t perform.” The singer looked at us and said, “Without a pianist, I can’t perform.” So, all eyes turned to me. All of our sheet music and equipment had been transported to our next location in another vehicle, so I would have to play from memory. No problem, I have played countless unaccompanied works. This will be fun! Suddenly, it occurred to me that I had no idea what I should play. So I started the Andante in C Major by W. A. Mozart. No problem…how many times have we played this beautifully sublime work? I finish the opening phrases and thought this is sounding quite nice, as I see a supportive grin on my pianist’s face. Then as I continued, my mind went blank. I simply couldn’t remember the next phrase. So, I began to improvise, “variations on a theme by Mozart,” if you will. I see the look on my pianist’s face change from “How lovely” to “That’s not how I remember the piece going” to “What on earth is she playing????” I saw her starting to smirk and look down as I looked away myself. I knew if our eyes met, I might not be able to keep up this charade. She was doing everything she could not to laugh!

My improvisatory skills are quite lacking and I wish I had a recording of what came out of my flute!!! Thank goodness, this was before YouTube!!! Our hosts thought it was lovely and thanked me for my musical gift to them, as I walked away feeling so silly for having not been able to remember a piece I have played so many times. That was many years ago, but I remember it as if it was yesterday! If you see me traveling somewhere, ask me to play the Mozart! I can now! Anytime, anywhere!!!

Wednesday, November 7, 2012

Helpful Tips for Live Improvising

By Anne Drummond

Anne Drummond
1) Draw from the melody as part of your improvisation. This is a foolproof way to play something satisfying and stay respectful to the composition itself.

2) Don't look at the chord changes. This forces us to really listen to our bandmates and also the harmonic movement of the tune. Doing this reduces the likelihood of playing practiced lines. 

3) Take a moment and pause. It takes great confidence not to play. When we allow a bit of space between phrases, everyone becomes engaged; the band, the audience, and the soloist.

4) Learn it… forget it… then do it. If we know something well enough where we can disengage the conscious mind and tap into the subconscious, we can then set the stage for deeper creativity.  

5) Stay committed to a piece. It's ok to tire of a piece played too often. Force yourself to dig deeper and draw out fresh perspective. Familiar territory is not an impediment to creativity and spontaneity can be created through applying conscious effort. 


Special thanks to the great bassist & composer Chuck Israels for his helpful and knowledgable input.