moderately difficult.
As a continuation of my crusade towards contributing to a resurrection of the "classical" improvisation repertoire and tradition, I wrote a set of improvisations that use traditional notation and verbal directions for structuring the pieces. Not ever having had a real jazz education, I have been trying to come up with improvisational structures (and presentation of those structures) that a "classically trained" musician might be comfortable with. I have found that most people inexperienced in any sort of improvisational situation just want to be "right;" they want to be told what to do in they way that they usually are when looking at any other piece of music. Taking those issues into account, I made the instructions for performance rather strict, while still allowing some space for the performers to make things up.
17+" (this can be very long or very short; it's entirely up to you)
2004.
do consider making a donation (of any amount), if you choose to perform this piece, make copies of it, use it for educational purposes, if it has improved your life in any way (otherwise, yes, it's yours for free; it is copywritten, so give credit as necessary):
performance history: 5 July 2008. Goodbye Blue Monday (Brooklyn). thingNY: Paul Pinto, voice/percussion; Andrea La Rose, flute; Ivan Barenboim, clarinet; Andrew Livingston, bass; Barry Seroff, guitar; Noah Palmer, piano. 3 June 2005. Brooklyn Conservatory of Music. Christine Perea, flute; Rachel Golub, violin; Joanne Maffia, vibraphone. 17 May 2004. Levenson Recital Hall, Brooklyn College. (iv. wax/wane) Andrea La Rose, flute; Chris Bacas, soprano saxophone; Andrew Livingston, bass. 13 March 2004. The Pantheon. (NYC) Anti-Social Music:
Andrea La Rose, flute; Hubert Chen, violin; Pat Muchmore, cello. |