For a year starting in 2006, I recorded an improvisation every day and posted it on this blog. But I since moved from my own server to WordPress.com, and had nowhere to put my recordings, and I stopped.
I remember how much I enjoyed that and how much it helped to improve my improvisational skills, since it was more than sitting down and letting my fingers move. It encouraged me to develop a theme, and to give a song a beginning, middle, and end. So I have decided to start them up again, posting on YouTube where they will hopefully have more permanence. People who are interested can subscribe to my YouTube channel, and the Planet Haskell RSS feed can remain lean and on-topic.
I really enjoy playing these. I hope you enjoy listening to them.
Here are some recordings from my birthday session and a recent session. Both feature Devon DeJohn on the guitar. The 8/16 session was sans Evan, who was busy with his anniversary.
All these tracks are good. Well, the last one is good in its own way… Enjoy!
SNW had a session last Sunday, featuring Nolan McFadden on guitar. Here are some select tracks.
- 01 – A long, laid-back jam, featuring Nolan rapping Jabberwocky at the end (here is a clip of just the rap)
- 02 – energetic
- 03 – The Deal
- 04 – As Long as You Let Me Have Some
- 05 – The Stampin’ Gran’ Express
- 07 – The Compassionate Track (by Nolan)
- 08 – The Deserted City with an improv story by me! :-)
My favorite is no. 8, and it still would be even without the story. Nos. 2, 3, 4, and 5 are quite excellent as well. It was a good session.
Upon reflection though, I notice a lack of melodic content in these. These songs have many interesting and solid textures, good solos, but not really any primary melody. I guess that’s something to focus on for next time.
The Anygma office had a MIDI keyboard lying around. Today I was hanging around at the office, and in my boredom I decided to look for the parts necessary to hook it up. A half hour later, I had a piano set up!
I haven’t played for two weeks, so this is a little rusty, but it’s okay. A 25 minute free improvisation. I also extracted the middle section which I thought was the strongest in case 25 minutes is too much. I’m actually quite fond of the latter.
Oh yeah, this was an interesting exercise, too, since this keyboard doesn’t have a sustain pedal.
Long before I started this blog, I decided to adapt the idea of a writer’s freewrites to music. The exact definition has mutated over the years, but nowadays I define a freewrite as a piece which I compose in one sitting, generally (but not rigidly) avoiding backtracking. That makes it a sort of compositional improvisation.
Yesterday I took two hours to do a freewrite using two of Karen’s instruments: oboe and marimba (instruments I definitely did not focus on in the past). It’s a two minute, four piece ensemble for oboe, marimba, violin, and cello.
Two weeks ago I completed my symphonic serenade, which I now dub opus 3. In previous posts I referred to the second movement as symphonic poem no. 1, and the third movement as symphonic poem no. 2. I wrote a third and crammed the three of them into a logical movement structure, where they form a somewhat coherent piece.
In total, this serenade took me about 90 hours over six weeks. It forms my largest, most complex piece to date, and although parts of it are somewhat juvenile and the scores are messy, I am quite proud of it. Its runtime is 22 minutes. It is also listed on my music page.
Last Monday, “The Moment” (def: Nolan and whoever else) had a jam session at my house. I got my whole rig out, indicating this was a special occasion (first jam in more than a month).
- 1 – Great funky track. It’s rough going now and then, but has some incredible passages, and is definitely listenable on the whole.
- 6 – High energy rock/funk.
- 7 – My favorite of the session. A trance track with nice vocals.
- 8 – My “Charlie Hunter” moment (okay, that is an overstatement), playing a complex solo and bass at the same time :-)
- Nolan McFadden – guitar, vocal
- Willow – vocal, percussion
- Will – drums
- Luke – keyboard/bass
As the lineup implies, my left hand was on “bass” throughout the session. This was the first time I’ve had to cover the bass part, and I thoroughly enjoyed it (and it overloaded me, indication that I improved greatly that night).
Before we begin, a little shameless peddling: SNW was my band before it, er, disbanded. I consider that “improv that doesn’t suck”. If you think it sucks, then you probably won’t agree with my conclusion.
Two weeks ago I attended an open mic night at Cafe Babu, a fabulous musician-supporting cafe in Boulder. Interleaved between the scheduled acts were “open jam sessions”, where anybody who wanted to play could come up and play. Keyboardists being a rare commodity, I played in three of the four such sessions.
After more than a year of playing with excellent improvisers, it was extremely frustrating playing with these folks. Not because they weren’t good musicians—they were, they had good ears and a good sense of groove—but because nobody had musical control. The problem was that the music had the inertia of a freight train, and no matter how hard anyone pushed, it would not change direction. I will refine this statement to be more succinct by the end of the post, but in a good improv session, everyone needs to have control, simultaneously.
What I mean by this is that everyone needs to be looking at everyone else, watching and listening for ideas. Ideas are scarce in improv: because of the hypnotic nature of playing, music can continue on a good groove with no new content happening for many minutes. This makes it suck (ever heard the term “jam band” as derogatory? That’s what it’s referring to.). Music needs to change to make an impression, and if somebody wants to change it, you follow them. No matter if you like where it’s going or not, where it’s going is better than where it is.
Ears are more important than eyes. Especially when you’re around excellent musicians who often play with their eyes closed :-). So you listen for ideas and adapt to them. My personal philosophy as a musician assumes others are doing this: when I have an idea, I do it! No thinking, no testing the waters, no making sure that there is a nice transition or even that anybody is on board: just commit and go! If it doesn’t work out, well, you cross that bridge when you come to it.1 Other musicians take different tactics to success as well, this is just mine.
But if people aren’t listening, such riskiness will never work. That’s what I found at the open jam. I heard an idea (almost all my ideas come from hearing other people do things) and accentuated it, basically split off a new groove with whoever sparked the idea very coarsely, and nobody else did anything. Same ol’ thing. If I wanted it to stop sounding like noise, I had to shut up.
The best way to get the music to go somewhere new is to give someone control. You can force control on someone by making them solo. Not drum+bass+guitar solo, I mean guitar-only solo (or bass-only, or drum-only). As an extension to this rule, the more people playing, the less control anybody has. Or: the prowess of the musicians involved must increase quadratically with the number of musicians in order for the music to be coherent (each musician needs to be able to simultaneously listen and respond to each other). I explicitly restricted SNW never to grow beyond 4 members, since I didn’t believe that I had the prowess to handle 5.
But there is another way! If I can’t handle 5, there is an easy way to give the coherence of a session with 4. In the words of a favorite pop band, Cake: “Shut the fuck up!” Whaddya know, there are only 4 people playing again. The problem is that if you want it to be a 5 person jam session, one person can’t just refuse to play the whole time. Everyone needs to STFU, frequently. Listen to some Miles Davis fusion records, great improv. And then note the number of people listed on the album versus the number of people you can count playing at once. The ratio is around 3:1.
I am going to be organizing some jam sessions before I leave. And my preface will be just that: STFU. And ideally, you’ll get all numbers of musicians playing at once if you have a good distribution: 4,3,1,5, and (my favorite) 2. And if it’s really flowing for somebody, 6. :-)
But that’s it. Listen for ideas, give everyone control. If you don’t have enough control to introduce a new idea, shut the fuck up and endow your bandmates with more.
1 I have been working on incorporating such a mentality into my life outlook.
Here is the second in my series of symphonic poems. Still not happy with the ending, not because it’s not a good ending, but because it comes too soon. I want this piece to be about three minutes longer. I love it though, it is possibly my best work, so its length will probably push me over the edge on the 275th listen, and I will be forced to go back and add content.
When I finally arrange these poems into a “movement” structure, this will probably be the last one because of its high energy and strong, major key ending. I plan to write one more, which will be the first in the structure.
I began this piece about three weeks ago, and all in all it accounted for something like 35 hours of work. That is a rough estimate, I don’t keep track.
Over the past couple years, I have accumulated many thousands of dollars of musical equipment. I thought I would take some time to review the pros and cons of what I’ve purchased for future imitators :-). You can hear this gear in action in all the SNW recordings.
Main keyboard: Nord Stage 76
I bought this refurbished on eBay for $2,400. It’s the one I’m playing in the picture. This is my favorite piece of musical equipment ever, way better than those fancy $6,000 KORG boards. I think this keyboard’s strongest point is its aptitude for improv settings: after spending some time getting familiar with the controls, I don’t have to spend any time getting just the sound I want, even if I never thought I’d want it beforehand. All the sound tweaks are physically there in front of me, not hidden in layers of touch-screen menus that take 30 seconds to get to. It sounds inefficient, but it’s exactly what is needed for improv.
There are 4 major sections: organ, piano, synth, effects. The organ and piano sections are top-notch, with excellent reproductions of B3 (with manual drawbar controls, which work great, but turn out to matter less than I thought they would) and a few types of electric piano (and the obligatory acoustic piano, which is a very nice patch). It doesn’t matter that there are only a few types though, because they really sound perfect, and tweaks to the sound can be done via onboard effects.
The synth section sucks, I essentially never ever use it. That’s okay in my situation because both of my other keyboards cover that area very nicely, but it’s something to keep in mind.
It has 12 effects in the effects section (plus a great amp sim that I have enabled almost all the time), but there is a weird situation about what effects can be active at the same time. There are three sections, and each effect is in only one of them. So you can only have 3 effects active at the same time, and not all combinations are possible. I thought this would be limiting, but in practice it works fine, and the interface is very streamlined once you learn it.
If this keyboard broke or was stolen, I wouldn’t hesitate to buy the exact same thing again. This is the perfect keyboard for improv.
Upper keyboard: Nord Lead 3
So impressed by the Nord Stage, about six months later I bought another Clavia product, the Nord Lead 3 (now discontinued) on eBay for $1,000. It’s a pretty cool instrument, but I do not rate it anywhere near as high as the Stage.
The idea is that it emulates old analog synthesizers. The keys have nice action (unweighted), and I of course love the hands-on control (I could never use a keyboard with menus!). But it just isn’t that versatile. The patches all sound too “old-school”, too “fat” (generally a positive adjective in the synth world, but sometimes I want a really skinny sound, and that’s very hard to get). Also the glide function is linear, meaning the pitch changes at a constant rate from the source key to the destination key, which is much less flexible than Reason’s exponential glide, where the rate depends on the distance from the source to the destination (so if I want a faster glide, I “help it along” by pressing a higher key). And I use glides a lot in my synth leads, so that flexibility is very important.
What I do like about it is the hands-on envelope controls. Most of the time I pick a lead patch at random and just start playing with it. The biggest thing that makes a lead patch inappropriate is the envelope: it starts too abruptly, or it has a really long release (so there’s a sloppy sustained effect, when I want it to be tight). But the envelope controls are right there so I can quickly fix those problems instead of clumsily cycling through patches until I find one I like (messing up the music in the meantime). I also like the chord glide a lot. It’s kind of a gimick, it really only sounds like one thing, but it’s a really unique sound.
Right-hand keyboard: M-Audio Radium 61 + Reason 4
The oldest part of my rig is the keyboard on my right side, a crappy little M-Audio MIDI controller that I got for $80 on eBay, and Reason as the software synthesis behind it (bought for $300 new). The Radium 61 has okay action, but occasionally a key sticks which is pretty much unacceptable. I really should replace it. But it has some configurable controls on it, which are quite essential to what I do. But really, the important part of this keyboard is Reason.
Reason I rate almost as highly as the Nord Stage. If something happened (I don’t know what that would be, it’s software!) I would replace it immediately. It covers the Stage’s ass in the synth area, with the most amazing leads and pads I have ever had the pleasure of using. I had to spend some time configuring it for improv use, though. Here’s how:
I went through every patch and tried it out a little. If I liked it, I put it in a favorites group according to what it is (eg. “strings”, “pad”, “lead”, “choir”, …). Then I made a big rack and created one instrument for each favorites group, and selected the first one in that group. That way when I push the next and previous patch buttons it selects the next of my hand-picked patches in that group, rather than whatever is next on the list it was originally in. When play I move a lot between types, and less frequently between instruments in a type.
I also have four effects set up: reverb (with a similar patch setup), delay, distortion, and flanger. The parameters of the effects are mapped to the controls on the MIDI controller. That part came later, and was very important; once I did that I got a lot more power out of my right-hand keyboard. In retrospect I would do away with the flanger though, since I never use it. Oh, and I also have master volume mapped to one of the controls on the MIDI controller, because it’s impossible to predict the right volume ahead of time.
Right-hand keyboard accessory: Mackie C4
There is one thing Reason is missing though: hands-on controls (especially the aforementioned envelope controls). Using the mouse sucks. That’s why I bought the Mackie C4 control surface, basically just a big board with a bunch of configurable dials on it. I got it for $1,000 new. Not recommended.
The biggest problem with it is the way it’s mapped to Reason. Most of the dials available by mouse in Reason are mapped to the control surface, but they’re in different places for each virtual instrument! So if I want to change the attack on the lead I’m playing, I have to know whether the lead is “implemented” in the Subtractor, Maelstrom, or Thor. I don’t know that, I don’t want to have to think about that, I just want to change the attack! There are dynamic labels, so if my eyes were available during a jam session, which they typically are not, then I could hunt and figure it out. But essentially it completely fails at what I bought it for.
The main thing I use it for nowadays is for 6 buttons: next/prev type, next/prev patch, next/prev reverb patch. (The reverb has separate buttons since I’m often in the “scope” of another instrument when I want to tweak the reverb). A grand is a lot to pay for six buttons.
The only thing that’s keeping me from selling it is the fact that, if I were persistent, I could learn Reason’s control-mapping format and remap everything in a sane way. But the format is really complicated and undocumented, and I just haven’t had the energy to do it.
Amp: Peavey KB/A something
Got it for $150 on eBay. Does the job, could be better. It doesn’t have wheels! One of the three inputs broke, which was annoying but didn’t matter since I only use one input anyway. But I think it would be worthwhile to get a nicer amp.
Audio Interface: E-MU 1616
I bought this used on eBay for $160. This card has served me very well since my upgrade from the terrible M-Audio firewire card. I repeat, do not go near M-Audio for an audio interface! As for simple record/playback stuff the EMU has never been caused any issues whatsoever. It can be a tight fit when recording though, since I can really only get 6 inputs (the other 10 they advertise have to come from an external ADAT box, which can be pricey). I use 3 inputs for myself, so that gives me room for a single room mic on the drums, and a line in from two other musicians. That worked well for SNW because I never wanted to grow beyond 4 people, but for other situations I’d have to expand. Fortunately I could (presumably) just invest in an ADAT box and have tons of inputs without having to pick a new interface.
The SNW recordings here and here were made using the EMU, three inputs for myself, one for Evan (bass) and single room mic on drums. It’s pretty incredible how good the sound quality can be for such a simple setup, but it doesn’t quite match the earlier recordings Eric made with a much nicer interface and a whole drum mic setup.
Those are the expensive parts of my rig, hopefully someone has stumbled upon this while trying to create something similar and I’ve helped out. There are a lot of bells and whistles: four sustain pedals, an expression pedal (for the Stage), and a tap tempo pedal (for Reason). I will say something about the tap tempo pedal: it was very hard to find one at all, here’s the one I got. It works great. The rest of the details are not that important.