Two Row Errors ... A New Idea

I think that in jazz the term "error" should be replaced with "performer's limit". Every note can be fine if played with conviction and with a more or less concrete basic idea.

fjazz wrote:

I think that in jazz the term "error" should be replaced with "performer's limit". Every note can be fine if played with conviction and with a more or less concrete basic idea.

Ok, but if it is an "error" or a "limit", how can there be a basic idea behind it?

Let me explain myself better: the error is the performer's limitation, as they do not know how to "exploit" the note they have just played and indeed think that such a note is wrong.

Those who truly master improvisation can play any note at any time, because from that note, an idea and a phrase to be developed will be born

Regarding the basic idea, personally, during a solo, I sometimes find myself playing notes or chords that have nothing to do with the harmony of the piece just to see if something interesting arises; well, many times I regret having done so!!

Fjazz, are we sure that the concept you expressed only applies to jazz?

AbateFaria wrote:

Fjazz, are we sure that the concept you expressed only applies to jazz?

That's a good question of yours; off the top of my head, I can say that such a concept can be applied wherever there is improvisation. Conversely, it cannot be applied where there is an execution, for example, of a classical piece.

What do you think?

I had posted a PDF here regarding improvisation:

http://www.pianoconcerto.it/forum/index.php?/topic/1040-improvvisazione-come-scelta-di-vita/

In reality, it is not an exclusive only to Jazz.

From errors, the most unexpected things are remedied; a composer should know this. I am not saying it is the only source, but it happens that by making a mistake one obtains a detail that attracts us and conditions the composition, because we make it become a constructive element.

"making mistakes creates"

so I know a lot of creatives

"making mistakes creates"....excuse me, but it's a professional deformation! (I am a middle school music teacher)

and the theory I cited, it seems to me, refers directly to the great Gianni Rodari.

Rodari, of course, was a writer, a great writer, in my opinion in the broadest sense of the term.

And I find that his Bible, "La Grammatica Della Fantasia" (a text in which, if I remember correctly, it speaks precisely

of creative error) has much more relevance to music than to literature.

it is a text that I suggest to all the friends of the forum, in particular to composers and, above all, to improvisers.

Thank you for the report Scala Quaranta...I will not fail to get it