Klarinet Archive - Posting 000614.txt from 2005/06

From: Bill Hausmann <bhausmann1@-----.net>
Subj: Re: [kl] OKlahoma Symposium
Date: Wed, 29 Jun 2005 22:49:56 -0400

At 09:32 PM 6/29/2005 -0400, David Renaud wrote:
>Regarding the question on defining "linear" playing
>
> Improvisation that follows arpeggiation, scale patterns, approach tones
> to cordal notes are sometimes referred to has "playing vertically".
> Much Dixieland clarinet improvisation I here often stays fairly close in
> the harmony arpeggiation, and leads with the harmonic structure. I have
> heard numerous sax players that end up sounding like improvisation
>exercises
> from the Berkley study books they used to exercise approach patterns about
> chord structures. This is vertical thinking
>
> linear = melodic, leading, good use of tension, passing tones,
> motives to create lines that transcend the harmony. Linear improvisation
> sees through the harmonic structure as support but not so restrictive
>
> Linear playing rhythmically often crosses over harmonic change playing
> against it more, and making line a priority allowing the passing lines
> to sit often in harmonic tension against a cord ina way to enjoy the
> tension.
> It can be more fluid.

Wow! That definition clarifies what I have been doing lately so much! As
I practice improvising (something I have only recently started doing much
of) I can hear myself doing either of the two, but did not realize they
were already defined concepts. Each seems to have its place, too, although
for the music I most enjoy, the linear method tends to yield the most
satisfying results.

Bill Hausmann

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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