How do you play spontaneously?

[Mark Kleinhaut]

For me, it’s one note (or one foot) in front of another. Moment to moment- respond to what came before and build the arc. Let it go anywhere.

[coyote-1]

Works best for me if I choose target notes. I don’t want my improv to be noodling, to be meandering. It can come from any starting point and can travel any path, but it likes to have destinations.

Perhaps when I get to your skill level, the target notes will choose themselves.

[pingu]

I slow right down and try to play
the next note/notes in my head
(ie no licks)

it is painfully slow
I can’t use it in performance
it would decimate the audience

[GordonM]

Now that is beautiful music.

[rpjazzguitar]

I often start with a chord tone on the first chord and then scat sing to myself from that note -- and try to play what I'm singing.

If you can scat sing a line you like, then it's just the mechanics of getting it on the guitar.

[Mark Kleinhaut]

Works best for me if I choose target notes. I don’t want my improv to be noodling, to be meandering. It can come from any starting point and can travel any path, but it likes to have destinations.

Perhaps when I get to your skill level, the target notes will choose themselves.

I wouldn’t discount the value of noodling. It can really open your ears so long as it’s done with really intent listening. I kind of think of it as letting the fingers run free a bit while using the ears as the adult supervision. The ears can make sense and give direction to resolve things no matter how goofy the fingers get.

[Mark Kleinhaut]

I slow right down and try to play
the next note/notes in my head
(ie no licks)

it is painfully slow
I can’t use it in performance
it would decimate the audience

That really hearing the notes in your head is a really good approach. It may be slow but the more you do it the faster it will get. Sometimes the audience just has to suffer too

[Mark Kleinhaut]

Now that is beautiful music.

Thanks! Not sure if folks will still call it jazz, but who cares. There’s even a few cowboy chords.

[Mark Kleinhaut]

I often start with a chord tone on the first chord and then scat sing to myself from that note -- and try to play what I'm singing.

If you can scat sing a line you like, then it's just the mechanics of getting it on the guitar.

I agree. Hear it- sing it- play it.

[ccroft]

I wouldn’t discount the value of noodling. It can really open your ears so long as it’s done with really intent listening. I kind of think of it as letting the fingers run free a bit while using the ears as the adult supervision. The ears can make sense and give direction to resolve things no matter how goofy the fingers get.

Ha! Adult supervision is good.

'...respond to what came before and build the arc...' That's the antidote to banal noodling. If the brain can remember where you've been, it can make some suggestions of where to go for some form and intent. A sort of self-awareness.

This kind of thing has to be practised. You're very good at it, and it's clear you've spent some time on it.

[Jimmy blue note]

I try to find something that surprises me, an unexpected or unintended sound that wakes my ear up and dares me to follow. The better my ear becomes, the more interesting the responses and calls become (not easier though, for me, easy is my cue to challenge expectation.)
Beautiful piece Mark, I can hear your thought process. Nice.

[ragman1]

For me, it’s one note (or one foot) in front of another. Moment to moment- respond to what came before and build the arc. Let it go anywhere.

That only works if you're extremely experienced. Otherwise it (usually) just ends up a mess.

[Mark Kleinhaut]

Ha! Adult supervision is good.

'...respond to what came before and build the arc...' That's the antidote to banal noodling. If the brain can remember where you've been, it can make some suggestions of where to go for some form and intent. A sort of self-awareness.

This kind of thing has to be practised. You're very good at it, and it's clear you've spent some time on it.

You said it “has to be practiced”. Absolutely! I’m not aware of any methods or teaching that addresses this and everything I’ve managed has been self-taught over many years. These is a discipline to the repetitive daily acts for playing this way. I’ve never tried to codify anything but I can say what I do bears little resemblance to normal practicing.

[Mark Kleinhaut]

I try to find something that surprises me, an unexpected or unintended sound that wakes my ear up and dares me to follow. The better my ear becomes, the more interesting the responses and calls become (not easier though, for me, easy is my cue to challenge expectation.)
Beautiful piece Mark, I can hear your thought process. Nice.

Thank you! I do “wear my heart on my sleeve”

[Mark Kleinhaut]

That only works if you're extremely experienced. Otherwise it (usually) just ends up a mess.

No doubt! But how do you get experienced other than by doing it. We have to try and fail over and over to just “not suck”, and then the real work can begin.

[emanresu]

Last time when it went well (a solo, at home), I was thinking about a person who appears to be 10 times more..
"in control" than the usual me all the time. You know, that control-freak type. I thought "I am exactly like that too.. with my soloing also".
So I tried to force my attitude to shut down and it seemed to work for a while. It felt great and fresh.

edit: felt good. i know how great feels, wasn't that but good enough is already awesome

[Mark Kleinhaut]

Last time when it went well (a solo, at home), I was thinking about a person who appears to be 10 times more..
"in control" than the usual me all the time. You know, that control-freak type. I thought "I am exactly like that too.. with my soloing also".
So I tried to force my attitude to shut down and it seemed to work for a while. It felt great and fresh.

This is a good example of techniques for how we can get out of our own way. It’s a form of distraction really, turning our attention to focus on something (anything) other than what we’re doing/playing. It’s weird sounding at first to imagine playing better by NOT paying attention to what you’re playing, so it’s essential to understand some of the mental things we go through and how our brains process simultaneously on multiple planes of reality. This area of discussion can get pretty deep, but the first step is accepting the premise that turning OFF parts of the brain are as critical as much as turning on certain other parts.

[Spirit59]

This is a good example of techniques for how we can get out of our own way. It’s a form of distraction really, turning our attention to focus on something (anything) other than what we’re doing/playing. It’s weird sounding at first to imagine playing better by NOT paying attention to what you’re playing, so it’s essential to understand some of the mental things we go through and how our brains process simultaneously on multiple planes of reality. This area of discussion can get pretty deep, but the first step is accepting the premise that turning OFF parts of the brain are as critical as much as turning on certain other parts.

I feel like going deep and getting acclimated to the world of voice-leading / counterpoint (as you've obviously done) would go a long way in giving one the tools to be more confidant & adventurous in their spontaneous improvisations.

You sound great Mark!

[ruger9]

Ideally, I have a chance to LISTEN to the piece, without playing it. So I can understand where it's coming from. If I do that, I actually start playing in my head, not with scales and licks but with melodies. A very different approach than

Being put on the spot, cold, and have to improvise immediately. At that point I will absolutely fall back on scales and licks.

The ultimate goal is to merge those 2 approaches until neither one exists individually. Sort of like with singing: the ultimate goal is to blend the chest and head voice together until they are one: Bel Canto.

[Jimmy blue note]

Ideally, I have a chance to LISTEN to the piece, without playing it. So I can understand where it's coming from. If I do that, I actually start playing in my head, not with scales and licks but with melodies. A very different approach than

Being put on the spot, cold, and have to improvise immediately. At that point I will absolutely fall back on scales and licks.

The ultimate goal is to merge those 2 approaches until neither one exists individually. Sort of like with singing: the ultimate goal is to blend the chest and head voice together until they are one: Bel Canto.

This is deeply spot on. Yesterday I was producer for a recording date. The leader called a tune and they counted off and began. Meh. Take 2. Meh. I was hearing a lot of habits, not a lot of listening.
I said "I've turned the recording button off. Catch your breath. It's not on the list but give me a few choruses of Green Dolphin, just for fun, just for each other." and they listened, had a good awareness. Then I said "One take, not tapes rolling, just for each other." and they nailed it. Lucky, I'd lied and I was recording. That was the keeper.
Listen. Not easy to do when you're not doing it, the most natural way to play when you're there. Yeah, ruger9, exactly.

[supersoul]

I slow right down and try to play
the next note/notes in my head
(ie no licks)

it is painfully slow
I can’t use it in performance
it would decimate the audience

It depends on the audience. I like slow playing, personally.

[Mark Kleinhaut]

I feel like going deep and getting acclimated to the world of voice-leading / counterpoint (as you've obviously done) would go a long way in giving one the tools to be more confidant & adventurous in their spontaneous improvisations.

You sound great Mark!

Thanks !

[pauln]

Yeah, I think folks are picking up on how the question must really be, "How do you play well spontaneously?", right?

That would be asking how musical judgement's role fits in with high spontaneity.

I'm fortunate that at in all things involving music my musical mind's ear freely presents me with multiple ideas that contend among themselves to be made manifest out of the instrument; my main role is just to let through the idea that is best, using my musical judgement based on the venue, audience, nature of the tune, etc. This process feels natural and effortless, the spontaneity is kind of built in.

[Mark Kleinhaut]

Yeah, I think folks are picking up on how the question must really be, "How do you play well spontaneously?", right?

That would be asking how musical judgement's role fits in with high spontaneity.

I'm fortunate that at in all things involving music my musical mind's ear freely presents me with multiple ideas that contend among themselves to be made manifest out of the instrument; my main role is just to let through the idea that is best, using my musical judgement based on the venue, audience, nature of the tune, etc. This process feels natural and effortless, the spontaneity is kind of built in.

It’s possible that doing it “well” is implied; nobody would be interesting doing it poorly. But maybe doing it at all is key. Spontaneous could be built in, as you say, but is it really spontaneous if there is any filtering applied with judgement? I’d agree that highly experienced players can apply their judgement nearly instantaneously but isn’t that different than spontaneous? It’s up to each of us to set the bar for ourselves and question honestly how we’re achieving the music we produce.

[Christian Miller]

I dunno. Try to remember to breathe?