A Quote by Evan Parker
Improvisation is a compositional method.
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When improvisation is properly applied, it is compositional thinking, sped way up.
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.
Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.
When I hear the piano played in a compositional way, like in a songwriter's way in a compositional way, there's a certain arc to that that I love.
Free improvisation, in addition to being a highly skilled musical craft, is open to use by almost anyone-beginners, children, and non-musicians. The skill and intellect required is whatever is available. Its accessibility to the performer is, in fact, something which appears to offend both its supporters and detractors....And as regards method, the improvisor employs the oldest in music-making...Mankind's first musical performance couldn't have been anything other than a free improvisation.
Improvising is writing, too - there was no music and now there's music. So that's composition. And any time you take any sort of a performance liberty, you're making a compositional choice. I don't know a serious performer who hasn't made compositional decisions, who hasn't engaged in the art of composition.
I definitely consider myself a Method actor, because of my training. I might dispute what people consider a Method actor to be. For my money, a Method actor is an actor who has a technique. That has a method. And not one method, but whatever might be required. So a Method actor is always learning.
I would make a huge distinction between theater improvisation and film improvisation.
To write a book about improvisation is partly a contradiction in terms. Improvisation is spontaneous. It's in the moment.
A lot of improvisation ends up being about just thinking outside of the box in the scene. It's not improvisation as much as it is quickness or making it real.
I consider myself a method singer, not a method actor. I applied method acting to singing.
Relativism is neither a method of fighting, nor a method of creating, for both of these are uncompromising and at times even ruthless; rather, it is a method of cognition.
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.
The only way to settle questions of an ideological nature or controversial issues among the people is by the democratic method, the method of discussion, of criticism, of persuasion and education, and not by the method of coercion or repression.
I don't think I differentiate between composition and improvisation. Improvisation could be a large part of a 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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