![]() The motivic development in my improvising comes from many sources/influences (both consciously and unconsciously). It's pretty rare to hear a player not repeat themselves! With really good players, certain licks (even if they're repeated a lot) are simply a part of who they are. ![]() ![]() I can't control which way I end up creating my solos.the bottom line is, whichever way(s) I do it, I always try to play 'from the heart', or I'd rather not play a note. I don't think this kind of improvising is really contrived, but maybe just more mental than the first way mentioned. But on the other hand, since I've written a number of books on improv and have taught at Berklee for 25 years, there are many moments in my soloing that I am 'aware' of developing/ shaping my lines/ideas - using motivic development. That way, I'm like a child in 'wonder' of it all. I'm simply allowing the ideas to flow out from me freely, organically and uncontrived. Bill Evans - The Creative Process and Self-TeachingįL: If I had a choice (and I don't think I do), the highest or purist level of improvising, for me, would be the totally 'inspired' kind, where I'm not thinking or mentalizing about the music (including which 'devices' I'm using or not using). ![]() ![]()
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