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Getting Expression Into Music
Recent comments on my posted track “Destiny Calling” re the feelings of sadness, melancholy, hope it enjoins has gotten me to thinking how I, personally, get emotional expression into the music I make. It must be different for many others. So I thought folks would contribute their understanding of what expressiveness is and how they do it.
As a keyboard player, I have always felt the lack of emotional tools available as compared to sounds made by blowing and bowing. That is counterbalanced by the amazing range of expressiveness top notch composers like Chopin, Satie, Debussy, Beethoven, et. al. get into their
keyboard works. I make the judgement between piano and horns and winds relatively, as all instruments are expressive, otherwise they lose their intended purpose.
In my own inner search, and responding now to the comments made about the emotional intensity of the above mentioned track, I think I would say there are three principle ways I infuse emotion into my improvisations: Dynamics, timing and will.
Dynamics. There are many ways to use dynamics to invoke feelings. Crescendo, decrescendo, loud followed by soft, soft followed by loud, etc. I have spent many hours attempting to make the softest sound on a piano, and, tho it is limited, on an electronic keyboard, too. Combinations of dynamic changes with various chord modalities also create an “emotional” context... as in “haunting” “hopeful” “melancholic” on the soft side and “martial” “metallic” “mechanical” on the louder side. Perhaps other forum members will elaborate on their uses of dynamics.
Timing. This is what first came to mind when thinking about my track(s). I think it is the lagging or preemptive striking of notes around the beat that is the most helpful, especially in a keyboard instrument, to creating the illusion of emotion. Hesitant, aggressive, relaxed, frantic, etc. all components of emotions that can be transmitted in the moments chosen to hit a tone. Note that the use of words like”hit” and “strike” are particular, for the most part, to percussive instruments and belie the ability to temper the harshness with kindness, as in “caressing” the keys. Again, I hope others will comment here.
Will. The most ephemeral and powerful tool for playing any instrument. Unfortunately, the most difficult to describe. Will, or willpower has always fascinated me when it relates to making music. It is a simple equation... no will, no expressive music. Will can be defined in many ways. Belief in oneself, or one’s ability to play is critical and perhaps obvious. The force to begin and then to finish is also a function of will, IMO. The heart in music comes from will, I believe. My own experience: if my will is strong enough it will overcome many technical shortcomings, or the lack of regular playing. It is truly an amazing factor and well worth considering when analyzing musical difficulties one may be having.
Infusing my playing with emotional willingness is primary to any success I may or may not have. My jazz training focused on feeling and expression of the entire spectrum of emotion. The oppositional force to willing the expression of feeling is the judging mind, I think. It takes so many forms... the playing is bad OR good. Expressing feelings is weakness or overly emotional. Even “I’m hungry” or “I need some sex” can be the mind’s distractive attempt. It is, at its core, a sapping of willpower. The negativity inside all our minds that fucks with our musical energy. At this point of my musical evolution the best I can do is not pay attention to the constant yammering of my judgmental mind. I am sure, for some, there is a serene, objectless landscape when creating. But for me there is often dynamic tension. A kind of heart in the mouth experience that everything will come out alright... and, often, better than expected.
At least I am at the point that there is very little awareness of what is actually being played in the moment. Any awareness like that always derails the expressive potential my will is directing.
That’s the sum of what I can say about musical expressiveness at this point. I am sure others can volumize about these aspects and other tools available to the expression seeking musician.
Comments
This will take me some time to absorb but what I have already, I like. Thank you.
@LinearLineman said:
You have some really good insights and points. From my own experience I can also add the idea of process. In my musical journey I was at the beginning frustrated because even if I studied music theory I found it very difficult to compose and whenever I did so it did indeed sound with a lack of expression - more like an exercise or noodle. This is because many times I do not ”hear” a specific sound / melody / chord that I want to play - which is how most musicians work. Instead I get exactly this sort of willpower to make music, a sort of emotional surge that does not always manifest as sound in my mind but just as a drive. And music theory does not say a thing about this (well, it does...but not in the beginning, at least).
As I had little experience obviously improvising would not get me very far as the basic chord progressions and simple melodies I could come up with were too obvious in relation to my emotion. Plus that real-life did not allow me to gain as much practice and listening as needed (again a device most musicians resolve this situation). And even after gaining more knowledge, expression didn't necessarily improve.
Only when the process changed I found a sudden breakthrough. And to me it was the generative techniques and software. Working with small increments (note by note, chord by chord) was making me feel suffocated by the infinity of choices and imagination didn't help. But working with a "mass of sound" suddenly triggered this flow you are saying. With a generative pattern going somewhere I immediately have ideas to accompany it and make something contrasting. I am able to improvise and concentrate on emotion instead of notes. I feel like I am buried in the actual sound that I want instead of its disparate elements. Sure, this doesn't mean that this also unlocked a high quality level in my tracks but suddenly I know what to improve and how to improve and I am working constantly and most important finishing tracks.
Because I think this also has a great importance: finishing a track actually allows for greater expression in the next one because you tell the mind that something is done and you are moving further, you are advancing. Whilst countless drafts and never being satisfied with something to call it finished just tells your subconscious that you are going nowhere.
first thing to do is forget music theory. its blocking your way.
If theory is a roadblock for you then you’re doing theory wrong. It should be a generative tool just like the generative apps people buy. Except it doesn’t cost anything.
fkit im out
I think the final stage involves establishing this connection between the body and the sounds produced that are not overly processed by the conscious mind. @LinearLineman
has a massive thread in this a year or 2 back and it was very metaphysical.
Music theory was NOT a critical detail so "forgetting that body of knowledge" seemed like a part of the magic.
Maybe @LinearLineman can revive some of the core knowledge (or the path to this way of being while making music). I'm sure it will confuse (and maybe anger some) but it definitely brings it back to something most aspire to... being spontaneous in our efforts to
use these tools to create and master the internal voice that inhibits becoming one with the
music.
Ask @LinearLineman what he was thinking when he made something and he'll surprise you with his answers... its not about keys, chord progressions, time signatures... it's more like a letting the music work through him. Impossible to know it without doing it, I guess.
I'm sure I have small moments that are on the path but still pretty close to being in my own audience at the same time, listening and judging constantly.
I really get DJ's when I can see them create... they are in the zone and masters of those controllers. I watched my nephew build a track from scratch using Nanostudio 2 for the very first time and seeing him smile because it was controlled like he wanted an IOS app to be for his workflow. After mastering where everything was... he started to "play" and
I could see years of effort in his hands on the iPad GUI. He dances when he makes his music so we met on the love of a good groove... we just like different presets/sounds/instrumentation. But the rhythms are common between us.
I'd like to hear his take on theory. It's obvious that literacy and theory are not necessary to make great music. But as I wrote above--if theory is an obstacle for someone, then he's doing theory wrong. It should be a source of inspiration.
@Wrlds2ndBstGeoshredr, I am definitely not a theory guy. I have absolutely nothing against it for sure. It is part of my playing on a basic level, but it is not one of my strengths. I was fortunate to have a teacher who was only interested in developing my musical strengths. She was a master at theory, but she saw no impediment in my concentrating on other aspects of improvisation, notably melody and feeling. One uses the gifts and practices that produce a good result, IMO.
as @McD noted, I posted several essays two and a half years ago about fundamental lessons I learned from Connie Crothers, who was taught by Lennie Tristano. McD was referring to the essay on non judgmental playing. I will post the link, but be forewarned, if you read the comments I was not at my most equaniminous self. I think I have improved in that respect, thanks to this forum. But my falling into an ego trap back then in no way detracts from the substance of what Connie taught me.
https://forum.audiob.us/discussion/27029/part-3-the-judgemental-mind-and-why-its-worth-losing-for-a-musician
When I’m in a musical zone I feel like I’m an antenna picking up things rather than thinking about it too much.Right verses left brain basically. I had to use the hell out of my left brain to get to that point but then you basically have to let go in the end. I tell people when they ask about my musical workflow- I build a playground and then I play in it. I don’t know much about theory but I think I know a lot about what I play to make me feel a certain way.I take a journey and if other people can come along and enjoy it too - great!