A Quote by Igor Stravinsky
Composition is selective improvisation.
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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 frozen improvisation.
Modernity is a desert, and we are jungle monkeys. And so new evolutionary selective pressures are coming to bear upon the human situation, new ideas are coming to the fore. Psilocybin is a selective filter for this. The wish to go to space is a selective filter for this. Just the wish to know your own mind is a selective filter for this.
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).
In composition you have all the time you want to decide what to say in 15 seconds, in improvisation you have 15 seconds.
Memoir isn't the summary of a life; it's a window into a life, very much like a photograph in its selective composition. It may look like a casual and even random calling up of bygone events. It's not; it's a deliberate construction.
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.
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.
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.
But theological change happens though selective quoting. Every religious person does it: You quote those verses that resonate with your own religious insights and ignore or reinterpret those that undermine your certainties. Selective quoting isn't just legitimate, but essential: Religions evolve through shifts in selective quoting.
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
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