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Distinguished Member, Forum Contributor 2015-2016
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im not thinking but I feel like I'm reacting to the music I hear . thats the only way I can explain it. Like Im just feeling the music and responding through the sax if that makes any sense. If I start to think about it then I lose it. lol btw I didn't finish watching the video.....
 

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Distinguished SOTW Member, Forum Contributor 2013
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In my limited ability, some music requires much more thinking than others.

I however believe that a soloist owes it to their audience to think a little while they are playing. The key is to not HAVE to think. Then you're free to think of whatever it is you want to play in the moment.

And I tell ya when a dozen chords are going buy at a fast tempo that can be challenging.
 

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Live, I usually think about who's looking and listening. If recording I'm thinking about my favorite places that I have played at. I'm usually thinking of words I put to portions of my playing to give emotions to my phrases. I use all the great theory I've learned, but allow the music to lead me. Thinking more about human emotion frees me to follow all accents and spontaneous expressions of the other musicians playing. I don't focus on the theoretic possibilities...I did that when practicing and learning. Now I'm free to play what I like at the moment. A good example of the music leading me is when I play something without thinking about and then think Wow that sounded good, then I right it down and put words to the line so I can remember the feeling of the line.
 

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Distinguished SOTW Member, Forum Contributor 2009
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Thinking about anything is much different than hearing what you want to come out of the horn and letting it happen. I can give myself a running series of instructions, watch that flat nine, throw in a diminished chord, leave more space. but that always detracts from the recorded/heard product. So like Tim Price told me years ago . Take the little instruction man off your shoulder and ;put him in a case and tell him not now. later. Also, you really can't make up for your prep. If you really know the song and have your chops warmed up thats much better than, my hands are cold and I hope I remember the chords in the bridge. So, I try to hear, not think in soloing. like others have said ideally you react and play With your band mates . Not ignore them and treat them like an aeberrsold backing track > K
 

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I'm usually checking out the Waitresses..
 

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Discussion Starter #8
To our universal happiness, the clip is not called “How to think right (or not think) during improvisation.” How many musicians, so many approaches. For example, in the initial stage of improvisation, I intentionally combine it with a spoken language; but when the excitement of beginning goes away*, I turn to a subconscious play, leaving only the melodic intonation in focus.
 

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Maybe Jens Larsen in the original clip really should be thinking a little more about what he's playing ? All technique but no inspiration.
 

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Let's see - at our thanksgiving eve bar gig last night with a noisy crowd of about 300 people..

Can anyone here me?
I can't hear myself.
There's a young lady smiling at me (is my fly open?)
How many choruses can I play before the guitarist jumps in over me?
I like jamming on this tune
OK here's where I try to pull off a 32nd note run
Can I pull off a big altisimo finish? Nah, reed is to soft.
Some old guy is nodding his head to the music - hope he's digging it
What time is it? this set has been going on forever.
I need another beer.
I'll need to put in my earplugs (as I'm standing directly in front of the guitarist's amp).
A little applause - how nice :)
Pshew, I didn't embarrass myself
And at some point I remember closing my eyes and not thinking about anything- just playing - and that's the sweet spot.
 

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Let's see - at our thanksgiving eve bar gig last night with a noisy crowd of about 300 people..

Can anyone here me?
I can't hear myself.
There's a young lady smiling at me (is my fly open?)
How many choruses can I play before the guitarist jumps in over me?
I like jamming on this tune
OK here's where I try to pull off a 32nd note run
Can I pull off a big altisimo finish? Nah, reed is to soft.
Some old guy is nodding his head to the music - hope he's digging it
What time is it? this set has been going on forever.
I need another beer.
I'll need to put in my earplugs (as I'm standing directly in front of the guitarist's amp).
A little applause - how nice :)
Pshew, I didn't embarrass myself
And at some point I remember closing my eyes and not thinking about anything- just playing - and that's the sweet spot.
I did one of those last night too. Small bar, crowded, loud.
 

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Distinguished SOTW Member, Forum Contributor 2014
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Although the whole video is great, skip to 2:37. When Desmond opens his eyes, his pupils aren't usually there. When they are, he seems to be cross-eyed. What is he thinking about? Maybe whether his horn is a relacquer. Maybe whether he should switch reed brands. Maybe about his mouthpiece material. When he "comes to" the end of his solo, he tightens his ligature. Maybe that's what he was thinking about the entire time.

https://www.youtube.com/watch?v=PHdU5sHigYQ

Nah. From looking at his eyes, he was on an evening drive across the high desert with the top down.

Mark
 

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Grafton alto | Martin Comm III tenor
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I'm often just thinking about where the melody is going and where it's been.

Where it's going so it can have some shape, building tension and resolution, where it's been because it makes sense to refer back to what you said earlier and develop on it.

I may also be thinking the piano player is annoying me because they are playing the wrong chords or going off on one for themselves.

If it's a particularly sexy ballad I might be thinking about something particularly sexy.
 

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Discussion Starter #16
IMO is a wrong video. A completely different order is needed: the musician comes to the psychologist with the instrument, and at his request improvises something while psychologist listens attentively. After that, the psychologist asks what the musician was thinking about during the improvisation. Towards the end, the psychologist explains to the musician what his problems are; exactly this should be the main topic of video clip.
 

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Grafton alto | Martin Comm III tenor
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IMO is a wrong video. A completely different order is needed: the musician comes to the psychologist with the instrument, and at his request improvises something while psychologist listens attentively. After that, the psychologist asks what the musician was thinking about during the improvisation.
That's easy to answer. In that situation while improvising I'm thinking "I wonder if the psychologist would prefer a b9 or a #9"
 

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Let's see - at our thanksgiving eve bar gig last night with a noisy crowd of about 300 people..

Can anyone here me?
I can't hear myself.
There's a young lady smiling at me (is my fly open?)
How many choruses can I play before the guitarist jumps in over me?
I like jamming on this tune
OK here's where I try to pull off a 32nd note run
Can I pull off a big altisimo finish? Nah, reed is to soft.
Some old guy is nodding his head to the music - hope he's digging it
What time is it? this set has been going on forever.
I need another beer.
I'll need to put in my earplugs (as I'm standing directly in front of the guitarist's amp).
A little applause - how nice :)
Pshew, I didn't embarrass myself
And at some point I remember closing my eyes and not thinking about anything- just playing - and that's the sweet spot.
LOL this is what I was trying to say..just about sums it up ! :twisted:
 

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Grafton alto | Martin Comm III tenor
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