This CD comprises in-class and tutorial recordings, mostly solos.
- continuation exercise 2 8:56
- free improvise a 2:07
- free improvise b 4:52
- fill-in exercise a 4:41
- fill-in exercise b 4:27
- fill-in exercise c 6:30
- fill-in exercise d 4:57
- fill-in exercise e 5:06
- fill-in exercise f 5:33
- fill-in exercise g 2:18
- fill-in exercise medley 12:25
- continuation exercise a 1:58
- continuation exercise b 2:09
- continuation exercise c 2:42
- ostinato exercise a 3:27
- ostinato exercise b 2:47
- ostinato exercise c 2:48
- ostinato exercise d 3:52
- free improvise c 7:12
Log of improvisation
1.Name: continuation exercise 2
Date & Time: Mar. 24th, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 1
Duration: 8:56
B. Intentions: attempt to play the “continuation” exercise, Allegro risoluto
C. Materials used: Four bars of similar structured, using same notes within the pentatonic mode of G Dorian. Both hands played unison in octaves. The improvisation are variation, and the exploration of the variation, times go beyond the system and employ other leeway of exiting into more free improvised form.
D. Evaluation: The continuity is more challenging in comparison with the last piece because it required higher technical abilities to follow and play within the style of the given music. However it is because of this very problem it sounded much more creative than last improvisation, with a lot of pedal, first intended to hide my inability to play quickly together in one or two octaves. It has then evolved into something of textural variation. There are lapses and breakdowns yet overall it has maintained momentum and feel. As I have turn the recording machine’s LCD display back to time remaining, in this piece I have the extra piece of information about when to prepare for the end, in which I believe was executed successfully.
2.Name: Free improvise 1
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 2 Duration: 2:07
B. Intentions: warming up with scavenging technique.
C. Materials used: choppy chords follow with a end-tag of linear playing. This set then variates into freer improvisations. Overall lively.
D. Evaluation: Albeit soft in volume, and makes the listener harder to focus, the irregular tempo and pacing after every two or three pars of regulated playing gives a more interesting picture of form. There is also a good variety of touch, use of pedals and phrasing. I also like how the ideas sounded more free and are executed with somewhat precision. “errors” did not affect the general attention but actually give more creative suggestions to the player. The liveliness also distinguishes itself with the other softer and muddier (ill-defined) performance (such as Disc 2, Track 7)
3.Name: Free improvise 2
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 3
Duration: 4:52
B. Intentions: warming up still. Inspired by what I have non-intentionally did while practicing couple hours ago, playing the keyboard while reading some magazine which was in front of the piano. The material on the recording was the “red-syllabus”: our improvisation class handouts.
C. Materials used: still light beginning. There are chords, colour display of sounds which are held for longer periods, accompanied with quick oscillating run of scales. With a suddenly loud sound wall the play turns fragmentary at first, then collect into a linear or counterpunctal playing. As linear becomes layering harmony come in. With series of pedal stops it goes back to fragments of chords. with variations of chromatic transposition, register displacement. A gradual decrease in motion ending with repetition.
D. Evaluation: It wasn’t the notes that I am reading, but just “reduced” as in only reading the contour of the line, or the distinguishing features of the music. The more ideal materials are those that are written explanations or illegible notations (under insufficient light).
4. Name: Fill-in exercise 1
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 4
Duration: 4:41
B. Intentions: To fill-in the incomplete half of the given pieces by improvisatory means.
C. Materials used: Piano, dolce, first four bars with interpolated A major and A minor dyads with open fifth in between. The second four bars are a harmonic progression that could be go back to the beginning of the bass fragment. The improvisation are more or less variations of the given material.
D. Evaluation: The improvisation in whole is of mediocre quality. The place of critique comes in the last minute of the piece where the lack of resourcefulness and commitment produced a wishy-washy major-minor indecisiveness.
5. Name: Fill-in exercise 2
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 5
Duration: 4:27
B. Intentions: To fill-in the incomplete half of the given pieces by improvisatory means.
C. Materials used: pianissimo, con una semplicita espressiva. Eight bars, in two equal sections. First four bars consisted of parallel incomplete seventh chords, descending in whole tones. The next four bars have a harmonic progression that can be loop back to the beginning of the fragment.
D. Evaluation: As the passage become more relaxed and practiced the fill-in improvised material becomes very free and fluid, yet remain connected with the given material. The feel and atmosphere was never interrupted while remain interesting, many times with unexpected turns and lead into other novel transformations.
6. Name: Fill-in exercise 3
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 6
Duration: 6:30
B. Intentions: To fill-in the incomplete half of the given pieces by improvisatory means.
C. Materials used: Piano, espressivo. Right hand of chords, following a steady harmonic progression that the last bar of the fragment can be looped back to the starting measure. First played more quickly, later omit every second chord of the music, slowing down the tempo by half. Similar variations as other fill-in exercises. The direction being gradually breaking the original barrier morphing into a freer improvisation.
D. Evaluation: Jazz? or parody? sigh. I have to admit that I was never fond of something that I like. As a psychological infirmity overruled with my twisted theory of aesthetics and formalism. But I really hear the singing of the lines. apparently I was heavily engaged and fully committed to my intentions. My self-assessment suggest that the positive reinforcement encourages extraordinary resourcefulness and the greater precision that work cooperatively with my very fast mindset. In brief I like it quite a bit.
7. Name: Fill-in exercise 4
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 7
Duration: 4:57
B. Intentions: To fill-in the incomplete half of the given pieces by improvisatory means.
C. Materials used: In 4/4, two asymmetrical sections. First are a piano staccato bass line with chords played on the strong beat that follows a chord progression lead into a subito forte ending. The second section is in the key of D flat, legato and very soft, the allargando ending noted De Capo al fine, which is the end of first section.
D. Evaluation: I was bothered by the constant mistake I was making, and in several times considering plans of retreat. The material was not the best material for sight-reading improvisations, where a higher level of musicianship was required, and my inadequacy was shamefully displayed.
8. Name: Fill-in exercise 5
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 8
Duration: 5:06
B. Intentions: To fill-in the incomplete half of the given pieces by improvisatory means.
C. Materials used: Molto allegro 2/4 , in metronome quarter note = 152. Two broken dyads harmonically related within the linear texture. Roughly three sections of key with modulations attached at the respective end of each fragment that could link into the following section.
D. Evaluation: With the technical demand not fulfilled I only loosely play what is in the score, but rather trying to capture the stylistic aspect derived from spontaneous improvisation. Phrasing and dynamic changes are dropped in the beginning. The walking bass approach is a good idea but poorly executed due to insufficient technical and stylistic awareness.
9. Name: Fill-in exercise 6
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 9
Duration: 5:33
B. Intentions: To fill-in the incomplete half of the given pieces by improvisatory means.
C. Materials used: in Fm 3/4. Bass note line with accompanimenting chords. There is the usual employment of melodic construction thru additive synthesis, adding new variations onto the existing melodic backbone.
D. Evaluation: The recording did not follow the given music, the progression is solely dictated by how comfortable I am interpreting my spontaneous creation. There are also many rubatos, that is if you see them as rubatos than hesitations. I somehow find the tierce the picadie distasteful. It could be due to how such element are played within the exception and thus did not fulfill the desired flare of surprise and it’s shock value.
10. Name: Fill-in exercise 7
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 10
Duration: 2:18
B. Intentions: To fill-in the incomplete half of the given pieces by improvisatory means
C. Materials used: Given: RH in Dm, 2/4 parallel first-inversion chords. This much-shorter piece of improvisation has two different sections. The first LH is composed of short and marcato octaves of harmonically non-related notes. With a short bridge of repeated sequence and transition, the second section is basically parallel “bi-tonal” chords in presto assai.
D. Evaluation: the death march section there is enough dynamic variety to maintain the level of interest. Tempo is just right while even not all notes are correctly played the sense of precision is accentuated with the very rigorous and strict feel from the music. The running from something section is very refreshing, especially strategically placed behind the pompous (dragging) first section. There is the feeling that maybe the second section may be too short-yet I argue may be that would be just an aesthetic decision.
11. Name: Fill-in exercise “medley”
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 11
Duration: 12:25
B. Intentions: attempt to improvise a piece of longer length, using the fill-in exercises played before.
C. Materials used: (using exercise 1-7 material) There is approximately 5 minutes of “overture” before the incorporation of the exercises. Parallel, collaboration and synthesis of all materials into one giant opus. Generally quick and brisk in tempo
D. Evaluation: The idea is acceptable but the presentation lacks the supposed flare and interest. Rather it might suggest a stronger image of the weakness of a medley being rag-tag and fragmentary, with difficulty in unifying pieces into one. However it does have a loose resemblance to a thorough-composed style.
12. Name: Continuation exercise 1
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 12
Duration: 1:58
B. Intentions: To carry through from a fragmented music material by improvisatory means
C. Materials used: ”Comodo” 2/4. Parallel chords played first in Cannon in piano, later “imitative” style in forte with sequences and ending in an inversion complex chord.
D. Evaluation: The improvisation is forcefully presented without too many moments showing signs of fatigue or indecision. The return of piano section adds sense of form and structure to the music. Personal inexperience with maintaining a specific hand-shape creates places of translucent dissatisfaction.
13. Name: Continuation exercise 2
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 13
Duration: 2:09
B. Intentions: To carry through from a fragmented music material by improvisatory means
C. Materials used: “Andante” in 2/4. Multi-textured melodic fragment in the Lydian mode, swap hands in second time repetition. I shifted two times into D and E Lydian before moving into a freer improvisation of similar texture. In the end of the improvisation the music returns back to a closure in C Lydian.
D. Evaluation: The shifting of modes does give a sense of music ascending both physically and emotion supported by increasing volume and weight onto the keys. As the music gets more fervent the tempo was accelerating and the technical difficulties has caused the left hand to drop playing unison with the right, but support with playing bass in octaves. This is not necessarily bad as denser sounds in the lower register are mostly unclear. The pompous ending was almost overdone, being out of proportions to the relatively short length of the piece.
14. Name: Continuation exercise 3
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 14
Duration: 2:42
B. Intentions: To carry through from a fragmented music material by improvisatory means
C. Materials used: “Andante” in 3/8, E minor. The given material is a fragment of a steady dance-like tune following a harmonic progression. I only variate the left hand by means of melodic displacement and rhythmic alternation, while marinating the original left hand rocking rhythm.
D. Evaluation: the presence is very strong, with a clear sense of melancholy and introverted sadness. The improvisation of the right hand adequately work with the rocking rhythm and the minor-major “mistake” transformed into something of peculiar beauty. Very graceful octave jump of E in the third time which lead into a not as successful run of sixteen notes. The return of the ending was tastefully done.
15. Name: Ostinato exercise 1
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 15
Duration: 3:27
B. Intentions: Improvise based on a given Left hand Ostinato.
C. Materials used: Andante con moto e poco rubato, alternating major and minor dyads in the Key of C#. Mostly stepwise motion on centring in the keys of C# major and minor. As the piece progress there are many rhythmic syncopation, added into the increasing volume and intensity.
D. Evaluation: The ostinato required higher level of maintenance because the changing of major and minor thirds with the wide stretch of a tenth degree of intervallic distance. The correct approach would be firmly establish the rhythmic foundation of the left hand ostinato, which was accomplished in a limited degree. I actually tried a couple of more complex polyrhythms but with little success, many times revert back to a “memorized pattern” instead of actually counting and playing the rhythm by heart.
16. Name: Ostinato exercise 2
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 16
Duration: 2:47
B. Intentions: Improvise based on a given Left hand Ostinato.
C. Materials used: Vivacissimo 2/4, consecutive chords of 1st, 4th and 5th degrees of the D Lydian Mode. Beside the similar melodic and rhythmic variation there are three or four gaps of space where the ostinato and a complete rhythmic pattern was inserted but after their respective cadences the music return back to the Ostinato.
D. Evaluation: Pedaling was one of the substantial elements of this improvisation because the rhythmic nature of the given ostinato would incite boredom if leave unattended. There is also the subconscious thought of avoiding playing anything similar to the original music that was employed with the ostinato. The several attempts of leaving the ostinato are mostly unsuccessful, but it did not affect the whole improvisation too much. It is because the ostinato was not faithfully followed in the first place, where the forte-first beat was unclear, turning the material into a pulse-oriented rhythmic demonstration.
17. Name: Ostinato exercise 3
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 17
Duration: 2:48
B. Intentions: Improvise based on a given Left hand Ostinato.
C. Materials used: Db open fifths of dotted and straight eighth notes.
D. Evaluation: The major-minor shift are inherited from the previous exercises. With the practice in establishing a spontaneous musical idea by means of rhythmic and melodic variation done repeatedly before, this improvisation has a sense of ease with a high level of discretion. It is also because of this strength the improvisation sounded unoriginal and uncreative. However, this judgement is solely based on the context of comparing with the previous recordings.
18. Name: Ostinato exercise 4
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 18
Duration: 3:52
B. Intentions: Improvise based on a given Left hand Ostinato.
C. Materials used: Allegro Vivace, ¾ in D major, with alternating tonic and dominant first beat followed by a quintuplet run of scales into D.
D. Evaluation: This can be verbally transcribed as the account of fighting a lost battle, and the futile reconstruction that also failed to act effectively. And with the heart and will to play good music lost, the improvisation has turned into a tasteless mission merely to trying to end the disaster as quickly as possible.
There are good moments showing desperate attempts to rescue or salvage parts of the improvisation, yet it was hopeless from its absolute structural flaw; the quintuplets are underestimated and underperformed. The rhythmic parts are not prudently counted, while plans of re-direction sprung up without calculation and lack the control (since I was panicking anyway) to limit the variety into fragmentary chaos. All has vanished.
19. Name: Free improvise 3
Date & Time: Apr. 2nd, 2004
Context: Recording session. Alone.
Performer (s): Richard Si
Track number: 19
Duration: 7:12
B. Intentions: Looking at the CD burner and knowing there’s about 7 minutes left, the thriftiness nature of any Asian would undoubtedly press record and make FULL use of the 80 minute disc.
C. Materials used: more in the nature of a “constant transformation” exercise, and furthermore being the very last track of recording of this year the materials used can be summed up as the accumulations of the collective memories of the entire recording session.
D. Evaluation: Tired, disoriented and frustrated by the constant battle of self-confidence and ego/expectation of making quality music, this improvisation is very free indeed. Not too much is on my mind, but merely wholeheartedly trying to follow the music and respond from it. On the other hand the mission of trying to improvise within a strict time also propose a new challenge of when to end the piece, or strategically prepare one or two minutes in advance.
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Improvisation:2009
Composition:2008-9
composition:2006-7
