Perfectionism - Killer of Creatifity

Are you a perfectionist? Does every note have to sound right before it comes out of your piano? If so, you might be cheating yourself out of the joy of music making. Most of us learned how to be perfectionists as children, trying to please Mommy or Daddy. We wanted their approval so we tried to get it right.

In the process, we learned that getting it right meant giving up happiness. It wasn't enough that we could express ourselves musically. We had to do a good job of it as well. As good as we could make it. Getting all the notes right. Trying to please music teachers who could care less if we were enjoying ourselves. All for what? To get a grade or a "that's good?" It's a shame but this happens all the time in music schools. It's not until we become adults that we realize the damage that has been done. By then, it's usually too late and most never pick up an instrument again. What a pity that is. What a shame that we all must create to someone's standard of what good is. And worst of all, when you finally achieve that high standard, you are told that it is never good enough anyway.

The way out of this perfectionist's rut is to let go of the need to please others and refocus on pleasing ourselves. Now there is room to make mistakes and explore what art really is - namely EXPLORATION OF THE UNKNOWN! Here is where the real adventure begins my friends. Here is where excitement truly is! Not knowing what is going to happen next. Not judging what comes out of us but being beholders of it all.

Improvisation is the key that unlocks this door. It is the one art form that is invention from one moment to the next. Experience the joy of improvisation and all need to get things right disappears. Just for a moment you feel like the music is playing you. Isn't that enough?

Author By: Edward Weiss

Form - Giving Shape To Your Music

Do you ramble on endlessly with your improvisations? If so, good. This has its place in music making and in new age piano playing in particularly. Just listen to Michael Jones's music to hear an example of this kind of free-form improvisation.

Now, some of you want to create something that will give the listener a slightly more cohesive experience. How is this accomplished? By forming the music into a shape - an ABA shape for our purposes here. To give form to music does not require as much theory and technique as most people think. In fact, it is as simple as applying the principles of repetition and contrast.

Now in most new age piano music there is some kind of form that the composer uses whether it's extended "A" form ala Michael Jones, or extended "A" extended "B" and back to "A" again as in some of George Winston's music. Think in sections people. A section of music can last for as long as the person who created it is involved with it- that is, as long as the inspiration is fresh.

As soon as the music sounds dull it's time for a change - the next section of music. This is the point where a composer will add something-new (contrast) or, if she is smart, end the piece. If the music does not have that freshness, that touch of inspired in the moment fantasy, you'll be able to detect and hear it. Some composers are so in touch with their feeling that they can take you on a 20 or 30 minute journey using very little means - but by using the elements of repetition and contrast maintain listener interest.

First, get your "A" section. The first few bars (8 usually) is more than enough to propel you forward. You must adopt a listening attitude to hear what is coming next. You don't force nor will it into being. This will not give you what you want, which is, I'm assuming, inspired content. Listen, listen, listen and the music will come. If it doesn't just do what Beethoven did.

He worked on 3 or 4 pieces at a time. When the inspiration dried up on a particular piece he was working on, he just moved on to another and picked up on the others later on. You can do the same. Be bold and go forward. Don't be afraid of making mistakes. Be afraid of not trying.

Author By: Edward Weiss

How To Begin And End A Piece of Music

How do you begin a piece of music? That's a question I'm often asked. The answer I usually give is that you begin as soon as you start playing - that is, if you're trying to "compose" something, the piece begins the moment it has energy and is something you want to capture. If it's an improvisation, the piece begins the moment you set your fingers on the keys and hit the first note. It's like free flow writing and writing a chapter to a novel.

The writer can both improvise and enjoy the process or can structure the ideas more - or, as I like to do, combine both procedures into one. I start out by improvising - always. Then, if I want to memorialize a musical idea, I write down the first two bars of melody along with the chord(s) I'm playing. I throw this on a chart and voila - the idea remains fresh until I want to either expand on it, or ignore it completely.

If the idea is a rhythm pattern I write down (Left hand = whatever the pattern is) so I can remember it later. I never stop improvising though because that would stop the flow and who knows what could come out of it. Don't forget that an improvisation is a piece of music in and of itself. There is really no need to impose structure on something as beautiful and organic as spontaneous expression. In fact, these spur of the moment fantasies are often more inspiring than any contrived composition. There is something more alive to them because there IS more life to them.

Endings pose another problem, namely the problem of when to stop playing. For improvisation, the answer is when energy (inspiration) starts to wane down. That's a good time to bring your music to an end. You'll know when this is happening when you become bored. That's the sign it's time to stop.

Composition is a different story. The form of the piece already dictates when you should stop. For example, an ABA form tells you to play the A section once or twice, go to B, back to A then bring the piece to an end. Of course the amount of repetition and contrast is a personal decision but the form establishes both beginning and ending. It's a nice safe way to say that yes, I have a piece of music here. Now, improvisations can have form as well. The big difference is that you don't consciously think about putting the music into a predefined shape.

But for some unknown reason, most improvisations do have symmetry - that is they take on a form of their own. I don't know if this is because of human beings innate rhythm (heartbeat) or what.

Even Zen flute music, which may be the most freely inspired improvisation style around has some structure. You can hear it in the phrases. Beginnings and endings. Don't worry too much about them. What's important is where you are emotionally while you play. Become aware of that and all your problems are solved.

Author By: Edward Weiss

New Age Improvisation - What Is It Good For?

Let's face it. The world will not end if there isn't another new age piano CD on the market. So why bother? Why play when most people don't care or want to hear the kind of music you like? The answer lies in the nature of art itself, for the world really does not need art. It can survive without painting, sculpture or music. It can survive, but it would be a pretty dreary place.

But the main reason we play is not for the world but for ourselves. We must play for ourselves first and if people hear and like it fine. If not, that' s fine too. As long as we don't deprive ourselves of the enriching experience improvisation can bring.

When I first started playing I wanted to create something others could admire. Something that people could say, wow, listen to that. That guy is really good. But I was miserable and miles away from the true purpose of playing music. It wasn't until a year or so later that I realized that if I don't please myself first, no one would be pleased. Nor did it matter if others were pleased or not.

So, what is new age piano improvisation good for? Absolutely nothing - except the joy it can bring to you and to me when we enter the flow and the music pours out of us. It is so precious to be able to do this. So fleeting it may be too. A second or a minute of forgetting yourself at the piano is a sacred act. One that grows and develops. It matures of itself. Much like meditation. If one practices the art, one grows in proportion to that practice.

But this kind of growth is spiral in nature. There are times that the music seems lifeless and dull. At these times we feel the same inside. But a day or two later, we are in a new place and the music flows like water. This is a mystery, this process. One can only go with it and not fight it. You are creating art second by second when you improvise. This kind of beauty is fleeting - but is the most precious. Guard it. Cherish it. And if you feel inclined share it with the rest of the world.

Author By: Edward Weiss

New Age Piano and The Art of Flower Arranging

If you've ever looked at a flower arrangement, not only its beauty may have captivated you, but also its overall arrangement. There may have been some tulips or roses combined with other flowers or plants.

You may also have stood there looking it over. Maybe you started on one side and your eye moved down or vice-versa. Now, music making is a lot like flower arranging. You combine different elements to make a pleasing whole.

It is a natural tendency of the human mind to create order out of chaos and art from nothing. What is pleasing to the listening ear is symmetry. The flower arrangement captivates, not only because of its great beauty, but because it has been composed and arranged to a pleasing whole - something the eye and the mind can grasp hold of and ponder.

We walk away with a sense of completion because someone took the time to bring order into chaos. Someone arranged varying elements to create art. Now this is what musicians do whether they realize it or not. But instead of flowers, we use notes and chords. Instead of a vase, we use musical form to hold the notes and chords.

Music is a more difficult art because the elements are not as easily put together. Music is slippery and ephemeral but when we learn to use the tools of repetition and contrast, we begin to put some order into chaos. Chaos is good and has its place in improvisation, however, for those who wish to compose their own music, it's a good idea to learn the tools of the trade.

The flower arranger must know how to create a balance between color and form - the overall look and feel of the arrangement. The composer must also create balance but uses musical materials - chords, notes, phrases, etc.

Then he puts it together into a framework. A flower arrangement can be big or small depending on the size of the vase. Similarly, a new age piano work can be long or short depending on the amount of contrast and repetition used.

Author By: Edward Weiss

How To Find Musical Ideas

The Russian Composer Igor Stravinsky once said: " A good composer does not imitate; he steals." I think what he meant by this is that it's OK to use a technique developed by another and make it your own. To imitate is to steal a technique or style and, somehow, not incorporate your own voice and energy into it.

We all get our ideas from somewhere, whether by accidentally listening to a piece of music and subconsciously storing it away, or by a conscious act where we say to ourselves: "This sounds great and I want to use it in my own music."

Some people have the idea that everything created must be original and by that they mean that there must be no outside influences - but this is unrealistic. Haydn taught Beethoven. Italian composers influenced Bach and so on. All past and present composers on this planet have their influences whether they admit them or not.

Now, most of you know that I have two major influences: George Winston and John Herberman. You may or may not know of these people. The point is I admit that they shaped my own style. How? Because I liked listening to them. It's that simple.

When I sit down to play, I inevitably gravitate towards one style or the other. I'm fine with that. It doesn't mean that I'm unoriginal. It just means that I acknowledge reality and don't try to come up with "something original." What sounds new is 99.9 times out of 100, a modification of what came before.

The whole point I'm trying to make is this: Don't try to be original. Instead, focus on what you like and love and your own voice will come through in the end. The music may be modified to an extreme (innovation) or just a little (homage). Just don't imitate.

Author By: Edward Weiss

Chords or Melody First - Which is Best?

There are basically two ways you can compose a piece of music. The first and most traditional way is to write out the melody and then harmonize it. Some call this working from the top (as opposed to the chords on the bottom.) The second approach is where you create some kind of rhythmic harmonic pattern and improvise (or compose) the melody on top. Now, which one is best for New Age music?

The answer is neither approach. Each has its own merits and own special benefits. For example, if you start with a pattern in your left hand and improvise a melody with your right, you are doing what most new age composers/improvisers do. This is what George Winston does most of the time. He has chords he sets to a certain rhythm and does his thing with that amazing right hand of his.

This is the style that I have been playing, but I've recently lost interest in it. Not because it isn't good but because I don't feel like playing that way anymore. Currently I'm leaning towards a softer sound that comes from leading with the melody first. What I do is get the first 2-bars down and then improvise the rest till I fill up 8 measures. This way I can vary the chords and patterns without it sounding very repetitive (minimalism). It's actually another style. You can call it melodic while the other one (Harmony approach) is more textural. IT ALL DEPENDS ON YOUR MOOD!

Don't let one style freeze you into something where you can't maneuver artistically! Remember that your feeling must come first. Everything else is secondary. Let your feeling lead you and your creation will be truly inspired, however, if you try to mold what you have to say into a specific style, the result may be less than satisfactory.

Author By: Edward Weiss