As improvisers, we're acting as composers in front of people.
Sentiment: POSITIVE
You have to know composition to be a good improviser.
With human beings it could be argued that all music-making is, in essence, grounded in improvisation.
My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
I want to be an improviser, and I've worked very hard at that. It's an art. You don't just play whatever comes into your head; you have to be very deliberate about what you do.
I'm more of a writer than an actor, and I used to say that I'm mostly an improviser, though I haven't improvised in awhile.
The lifelong goal of an improviser is to listen to what the other person is saying, taking it in, and responding.
That makes classical music work, the ability to improvise.
To be a good improviser, you have to study composition as a parallel. Because what improvisation is, on a high level, is spontaneous composition.
It's understanding the intention of a composer that allows a producer and an arranger to make those moments speak.
I'm an improviser. I came up doing improv at the U.C.B. Theater in New York for seven years. That's where I started, so improv is what I love.
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