A Quote by Yoshi Wada

I don't think I differentiate between composition and improvisation. Improvisation could be a large part of a composition. — © Yoshi Wada
I don't think I differentiate between composition and improvisation. Improvisation could be a large part of a composition.
In 1968 I ran into Steve Lacy on the street in Rome. I took out my pocket tape recorder and asked him to describe in fifteen seconds the difference between composition and improvisation. He answered: "In fifteen seconds the difference between composition and improvisation is that in composition you have all the time you want to decide what to say in fifteen seconds, while in improvisation you have fifteen seconds." His answer lasted exactly fifteen seconds.
Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.
To be a good improviser, you have to study composition as a parallel. Because what improvisation is, on a high level, is spontaneous composition.
Composition is selective improvisation.
Composition is frozen improvisation.
By having the big lines of the composition going out of the canvas, your imagination can wander beyond the edge. It will make it seem part of a large composition.
I would make a huge distinction between theater improvisation and film improvisation.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
Within the context of Western music, jazz has always contained certain radical or revolutionary aspects. These are: improvisation, collective composition and individuality or the personal sound (based on amazing variations in sonority, timbre and pitch).
Improvisation is an important part of bluegrass, and I would hasten to add that classical music wasn't always such an improvisational void. Back in the day, everyone's cadenzas were improvised, and improvisation was taught in conservatories.
In composition you have all the time you want to decide what to say in 15 seconds, in improvisation you have 15 seconds.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consonant and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage cheese.
When I create I don't think in technical or mathematical terms until the idea is formulated Musical composition is formulated in improvisation. Once a pianist like myself sits down and begins to play and start thinking about what I am writing all of a sudden a little tune will emerge, a little spot light and I'll go, "That's interesting."
Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.
When I think back now to the recording sessions, there is more improvisation than one hears. It's an ideal combination of arrangements and improvisation. Only a few people are able to listen and say what is composed and what is improvised. It's a unit.
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