7/28/20: Long-Form Free Improvisations that Feel Short
Piano Diaries (Volume 1A) by Peter Saltzman Long-form free improvisations tend to…wander, losing their direction like a lost soul blowing with the wind, this way and that. But this improv is focussed. Or at least I say it is. As with the shorter free improv from...
7/27/20: Short Songs that Feel Complete
One Human Minute by Peter Saltzman Short songs that feel complete, that don’t feel like a prelude or set up to something longer are a challenge. Does this one, from my album One Human Minute work? Methinks it does. But then again, I’m using the word...
Track-of-the Day: Indeterminacy
07/26/2020 This track, from my Kabbalah Blues/Quantum Funk (2000) is a kind of -free-for-all study in musical quantum weirdness. Although it is tightly structured around the two themes stated right at the beginning, there are a lot of semi-random clashes between the... 7/24/20: A Highly Melodic Improvisation
This is a good example of highly melodic improvisation. It comes from the first volume of my ongoing and occasional series, Piano Diaries. The challenge for me is to create accessible, relatable improvisations that don’t sound like new age, smooth jazz,...Improvisations on the Ledge
Improvisations on The Ledge
In “Improvisations on the Ledge,” award-winning composer-pianist Peter Saltzman searches for universal truths by stumbling upon them—both with words and music. The basic premise is simple: he improvises on the piano, then talks about what the music tells him. Then makes music about what the talking tells him. Then…well, it goes on like this. Droll, funny, dramatic, musical, short.
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Themes Alive: Musical Structure From a Single Note!
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The moment a theme is stated, it wants to do something. What? Like all lifeforms, it wants to replicate, mutate, transform…become something. That something is musical structure.
How we get from a single note to a theme (motif), to a full-blown musical structure (song, free improvisation, symphony) is seemingly a mystery. And yet it’s not.
Due to a naturally occurring acoustical phenomenon known as the overtone series, one note is not actually one note—there are in fact many notes vibrating above the single note (the fundamental) we think we’re hearing exclusively.
But consciously or not, we have an innate awareness of those other notes, the overtones that ring out from the fundamental. And that awareness, at some point in human history, led us to pluck those notes out of the air, string them together into themes.
And then what did we do? We repeated those motifs, and they become something larger. First simple melodies. Then, as we repeated, we varied: shifted a pitch here, altered the rhythm there, played the motivic idea from another starting point in the scale.
In no time (though nobody knows how many centuries or millennia “no time” took to unfold) we had the beginnings of musical structure.
Music exists in time, evolves in time. As soon as you repeat something over time, and then vary it, you are effectively creating an incipient structure—whether you intend to or not.
At some point in musical history, humans began to mean it—to order notes intentionally. But that intention always leads back to one note which has within it the potential to become all notes—themes, melodies, songs, and larger structures.
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