On Metric improvisation Sample Clauses

On Metric improvisation. 2.1 Building rhythmic vocabulary and phrasing for metric improvisation The first stage of this process was to try and imitate the metric improvisations transcribed and analysed in the previous chapter.142 This way, I was able to practice and eventually embody not only the various rhythmic tools used by the artists, but also the structures and expressive tools utilised by each one of them. However, when trying to create new metric improvisations, I found myself unable to use all of the tools that I encountered and had already practised. The improvisations that I transcribed and analysed mostly referred to particular compositions (instrumental pieces or songs), and this defined the ways in which the artists improvised. However, I needed a way to detach myself from pre-composed material, to be able to work on metric improvisation itself and eventually create new improvised and pre-composed material. At this point, I realised that I had to follow the path of concrete practice on each one of the tools and structures. It was then that I decided to take seminars and sessions with Xxxxxx Xxxxxxxxx and Xxxxxxxxx Xxxxxxx.143 I identified the need to understand the ways in which the tools discovered through research actually worked by themselves, and this led me to another way of thinking about the very subject of rhythm and metric improvisation. Each of the tools that I practised then became an independent part of my rhythmic vocabulary that was available to be used in performance.144 In this process, Xxxxxxxx Xxxxxxx’s interview and input were invaluable. He has himself collaborated with the composer and multi-instrumentalist Xxxxxx Xxxxxxxxx and with Xxxxxx Xxxxxxxxxxxx, a drummer and percussionist. Xxxxxxx describes this collaboration as crucial for his rhythmic development: Xxxxxx Xxxxxxx-Xxxxxxxxx (M.L.M.): Rhythmically [in improvisation], what is your approach? Xxxxxxxx Xxxxxxx (K.T.): To tell you the truth, I haven’t approached it. I haven’t thought about it. Great part of my approach has been influenced by the band that we had with Xxxxxxxxx [Xxxxxx], mostly with him. Everything there was rhythmical and we were together there with Xxxxxxxxxxxx the drummer, and I was really enthusiastic about his approach to rhythm. He was always telling me things about rhythm but I did not practice any of those on the oud, I was practicing them rhythmically,145 [ and then those things passed in my oud playing. If I had some time to practice, Xxxxxxxxxxxx would always tell me...