A Quote by Jimmy Heath
Preparing to improvise is at a level commensurate with mastering the structure in a European classical piece. Another way to define improvisation is spontaneous melody. In order to improvise, a player first needs to have memorized and analyzed the harmonic structure of so many pieces.
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My voice is my improvisational instrument, the melody instrument. The guitar is harmonic structure. I'm not a good enough guitarist to improvise on it.
When we improvise freely - that is, without a structure - it tends to sound more like 20th century classical music, more like a classical ensemble improvising, as opposed to a free-jazz group, where you're more used to hearing saxophones honking.
I'm not a classical player. I don't want to be a classical player. I love to improvise, because things happen that never happen anywhere else.
Usually I like to improvise. Sometimes, depending on the nature of the piece, I like to improvise because I think it brings a certain freshness and a reality to it, as long as it doesn't go too far out of the box.
Usually I like to improvise. Sometimes, depending on the nature of the piece, I like to improvise because I think it brings certain freshness and a reality to it, as long as it doesn't go too far out of the box.
When we got to the part where we had to improvise an argument in a poetic language, I got cold feet. "I can't do this," I said. "I don't know what to say." "Say anything," he said. "You can't make a mistake when you improvise." "What if I mess it up? What if I screw up the rhythm?" "You can't," he said. "It's like drumming. If you miss a beat, you create another." In this simple exchange, Sam taught me the secret of improvisation, one that I have accessed my whole life.
Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.
You can't improvise without a skeletal structure; you can't just go in and start talking. This is a very misunderstood craft because no one else makes movies like this.
People define gay cinema solely by content: if there are gay characters in it, it’s a gay film... Heterosexuality to me is a structure as much as it is a content. It is an imposed structure that goes along with the patriarchal, dominant structure that constrains and defines society. If homosexuality is the opposite or the counter-sexual activity to that, then what kind of a structure would it be?
See, that's the thing: I'm not one of those actors who thinks, 'God, I've got to improvise and make it my own.' No, my first job as an actor is to take what's written and make it work. And then, if they want me to improvise, I'll do that.
The music comes first, like, 99 percent of the time. I come up with the basic chord structure and the melody first and then I get really obsessed with arranging, adding, and subtracting parts. The last step of the process, for me, is finding words that fit into that structure and figuring out exactly what I want to talk about.
Sometimes we had to improvise. I hate to improvise because I felt like I couldn't find words.
Acting is constricted because you have the lines. But I improvise with it and what I learn on the set. I improvise rhythms and just changes.
After all my years of doing instrumental music I still like just a simple instrumental song with a nice catchy melody and an opportunity to play a solo over a harmonic structure.
Many people do think it's naive to improvise in front of paying customers. I'm not saying one way is better than another.
There's nothing wrong with an actor that can't improvise, but if you're going to improvise, you gotta make sure you got people that can play the game.
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