Hear art elodics
These past few months I’ve gone right to where in vs.out was born. I’ve gone back and forth from Bird to Ornette, from Warmin’ Up a Riff to Ramblin’. From Klactovestedstene to Endless. I’ve gone back to Cherokee and played over 500 choruses. I’ve spent at least that many hours constructing a melodic improvising methodology. Not exactly harmelodics, but kind of a branch on that tree, where the improvising is not the melody, but free melody is the goal at all costs. Along the way, I’ve had some revelations about harmelodics that I have been dwelling on for some time. Stand with me.
At the risk of bad comedy, playing chord changes is just like wearing clothes. They protect you. You can be mad basic, or very elaborate. You can make bad choices, or look stylish as hell. Most people would say that wearing clothes, or playing changes is required. Even democrats and republicans agree that wearing clothes is for the most part a good idea.
Playing without changes, is playing naked. Most people consider being naked a private experience. What happens when you take off your clothes? What kind of activities do you engage in? When you play free like this, the bottom line is that you’re vulnerable as hell on pretty much every level. The safety of structure and harmony are gone. It’s ALL on you now, and whomever is there with you. When you play free, there is absolute strength in unity, or group purpose. There are in fact several results that happen on a human level.
The fear factor. The first thing you may face or experience is fear. Who are you? What is your music? What is your sound? Can I pull this off? Does it make sense? What are my emotions? How do I feel deep down inside? What is life? Playing free opens a door to your spiritual reality. What is it? Who or what is God? For some people the need to play powers through that fear, but it’s understandable why most people would want to put their musical clothes back on.
Trust. Playing free also calls for you to trust yourself, and especially those who you’re playing with. One of the most powerful aspects of the 12 Houses is that they trust me. Trust should be earned.
Honesty. Playing free also calls for musical truth. Chord resolution and voice leading can be fun. Wynton Marsalis says that these kind of boundaries actually set you free, but what about those emotions that just can’t be contained by a 2 5 1 progression? What about those emotions that might be uncomfortable, but are human and need to, or MUST be expressed? Playing free opens you up to a tremendous spectrum of feelings that otherwise may not exist.
One further perspective is that playing without changes calls for an actual rewiring of the brain-mind-body-soul connection. The scariest aspect of harmelodics, and the most beautiful and profound one, is that you take one of the wires plugged into your mind and you remove it. To do this requires no fear, trust, and honesty.
Take this wire and plug it directly into your heart.
and set yourself . . . .
HEARTELODICS Chapter one.