The Philosophy of Improvisation

The Philosophy of Improvisation
Improvisation is one of the highest and most demanding forms of music composition. Many people try to learn how to improvise by studying scales, modes, licks and other "cheats". In my opinion, these mechanical cheats are not only intellectually and musically dishonest, but will also end up frustrating those of you who are truly talented, because they will not teach you how to improvise. They will merely turn you into monkeys who regurgitate licks, play scales super-fast other such non-musical garbage.
In this video I present a different philosophy to learning to improvise. In my view, mastering improvisation is comprised of three steps:
(1.) First, learn how to compose. Be able to say something "offline" before saying it "online"! If you can't come up with musical ideas without any pressure, how on earth are you going to do it on the fly? By training your composition skills you are building up a true musical vocabulary of ideas.
(2.) Once you can compose on the fly in your head, you must be able to recognize the notes your hear in your mind. If you hear a musical phrase in your imagination, you must be able to say which notes precisely it corresponds to.
This involves training your ear.
(3.) Finally, train your hands and master the technique necessary to play those notes you hear in your head in real time.
In my book, this is the ONLY honest way to improvise. I highly encourage all competent and curious musicians out there to steer clear of "licks" and "scales" and to embark on a much more satisfying - albeit probably much harder - journey.
More About Improvisation and Jazz from Wikipedia:
Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. Thus, musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music, and indeed many other kinds of music. One definition is a "performance given extempore without planning or preparation." Another definition is to "play or sing (music) extemporaneously, especially by inventing variations on a melody or creating new melodies in accordance with a set progression of chords."
Improvisation is one of the basic elements that sets jazz apart from other types of music. The unifying moments in improvisation that take place in live performance are understood to encompass the performer, the listener, and the physical space that the performance takes place in. Even if improvisation is also found outside of jazz, it may be that no other music relies so much on the art of "composing in the moment", demanding that every musician rise to a certain level of creativity that may put the performer in touch with his or her unconscious as well as conscious states. The educational use of improvised jazz recordings is widely acknowledged. They offer a clear value as documentation of performances despite their perceived limitations. With these available, generations of jazz musicians are able to implicate styles and influences in their performed new improvisations. Many varied scales and their modes can be used in improvisation. They are often not written down in the process, but they help musicians practice the jazz idiom.
For more, visit: en.wikipedia.org/wiki/Musical_...
Related Videos/Playlists:
My channel has many additional piano tutorial videos which I welcome you to check out. The main channel page is:
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[@davesaltzman1390]

I have been doodling around as a piano player for over 40 years, and this very modest man finally broke through a barrier I had. He laid down the truth about improvisation that I could never "get" - train your mind, train your ear to hear what your mind created, train your hands to play what your ear just heard. Elegant! VERY practical!! Thank you very much!

[@MangoldProject]

Dave Saltzman Hi Dave. Glad to hear you got a "moment" watching this. I actually think it's very impractical because it's such high level advice, but I'll keep my mouth shut and stop shooting myself in my leg (or both of them) :).

[@innacaloriremaxlux1997]

Definetly, agree with you.. I am just starting the pass, but it was very scarying before this video!..

[@xasancle]

Yes, at least it's where it will comen or if not, playing by luck.

[@aadeshs2490]

Faceless pianist and the great teacher.. Thank you for lessons.

[@KaramMusicAcademyByJesusGrace]

You can see his face in very earlier videos

[@ItamiPlaysGuitar]

Saying faceless sounds like swearing, like you don't have a face to show sort of thing

[@MendocinoCoastFilms2]

I think you're talking about creating from an internal place vs external place. When you train yourself to play the music that comes from "inside you" then you have an unlimited musical palette, This is so much more fun and creative than just mechanically learning licks playing them over and over. The process of discovery is what makes music FUN!

[@MangoldProject]

+MendocinoCoastFilms2 Agreed, with the sole exception that even within us we have a limited palette. I can't, for example, create music that sounds like Queen or The Beatles wrote it, even if I wanted to. My palette is therefore not infinite. I can only create my own music and my own improvisational lines, a synthesis of different genres and styles that make up my musical education.

[@laurieyork5186]

+MangoldProject Yes, but some people are musical chameleons mostly emulate what they've heard or been exposed to. I believe you're talking about finding your own internal voice and expressing the music from a deeper personal and original place.

[@yrussq]

I find this approach very smart, mature and i do believe the one we all should use. While sometimes playing rather randomly could accidentally bring some magical licks you'd never think of. There's no better improvisation than well prepared, nicely thought through improvisation.

[@premasru]

Wonder how this one escaped my viewing! Posted almost a year to the day. This is true gold, Mangold :)

[@Kevin-fk1sq]

Charmian O'Brien b

[@kip4966]

Your lessons are amazing, much love and gratitude! 14 months in and jamming with a band, wouldn't have thought it possible. Thank you thank you!!

[@dickie2544]

Thanks for your lessons. I've watched your augmented chords video which was really clear, half way through the diminished chords video and now the improvisation one. You're a great teacher and it's easier to understand the theory in English as my face-to-face piano lessons are in French!

[@DangarMarine]

Thanks so much for your lesson. This is exactly what I am hoping to learn. To me music is all about writing songs and playing along with other people rather than reading sheet music. You train musicians not technicians. Thank you!

[@MangoldProject]

+Dangar Marine Glad to be of help. Don't take this to mean that technique doesn't matter, though! Just make sure you use technique to support your music, not to dictate how it should sound.

[@trailblazer_98]

I couldnt agree more!

[@jakubujczak3063]

For you music is about writing songs, not to reading sheet music... And who's gonna READ your music? Cause it sounds so ridiculous. I am on the same side with approach but I think skills like reading music or classic music stuff in general are important for inner, in-depth knowledge, and it extends horizons in various way. Essa

[@trailblazer_98]

Jakub Ujczak I think what he means is: musicians don't only have to read the music they are giving. They can explore different techniques in their own composition writing

[@rosesecop8727]

Great Video clip! Excuse me for butting in, I am interested in your thoughts. Have you thought about - Riddleagan Smart Hands Remedy (Sure I saw it on Google)? It is a great one of a kind product for learning piano fast minus the headache. Ive heard some decent things about it and my mate after many years got excellent results with it.

[@ethynewesley1381]

At 2:24 you had me subscribing

[@electricwally]

Excellent lesson! Totally agree! Too many solos out there are without soul. Sitting down and composing, learning what notes work over a particular chord and then constructing those notes into soulful phrases, sentences and periods is the key to a great solo. We almost live in a culture where to much emphasis is placed on "speed" rather than substance. Speed with substance and/or the slowest tempo with substance is always a beautiful thing!

[@abrahamrobertmpazula3516]

Here in 2022 I've found the true masterpiece of improvisation! Great explaination ever

[@motionPush]

I totally agree with your concept.

[@ThePupidarko]

This is the best explanation on You Tube you can find, thank you sooooo much!

[@cablenorth3297]

Absolutely first class. It feels so obvious, but it's so overlooked and this video really demystifies what improvisation for the beginner. Brilliant. Very clever philosophy for building the skills needed to improvise.

[@ellatang1649]

Love your teaching style! Yes philosophical approach is a necessary path .. thank you

[@Thetonetemple.]

Thank you! I studied Jazz at University and you really summarize the whole deal in a perfect way. Write, write out solo , play it, know your intervals. I remember thinking at the piano in school on the fly because we had improv class daily. It was a bit of a nightmare for a pianist when the globalized view is not understood. Over time it sunk in. Also, listen..REALLy listen to the heads and solos and colors and tempos of this paintbox called jazz piano. How lucky are we, how lucky!

[@ihH6053]

This helped to rodiculous levels I cannot thnk u enough I was doing exactly wat u were saying just learnin scales and it didn't get me anywhere I thought it was a bad idea to compose a. Solo and it would make me not be able to solo and always become a composer but it helped and I rlly can't thnk u enogh

[@MLong3524]

Thank you! I've always been the improviser that just would play from scales and chords, this changed my life and elevated my soloing ability 100% non of my previous piano teachers taught this way

[@MangoldProject]

Thanks, and I'm happy to hear my video helped you progress as a player!

[@jorgemarcelo4708]

Your channel is amazing, exactly what I was looking for. Thanks

[@MangoldProject]

+Jorge Marcelo Then come along for the ride :)

[@marcosgomez237]

“True ease in writing comes from art, not chance, As those move easiest who have learned to dance. 'Tis not enough no harshness gives offense, The sound must seem an echo to the sense” -Alexander Pope

[@macky-HomelikeMusic]

Fantastic!I approve of your philosophy very much. I got courage from you:).Thank you for sharing!!

[@LucasZawacki]

This is excellent advice. My experience as a guitarrist and knowing I'm not a good improviser is that coming up with ideas is tricky but doable (I've done a lot of offline composing) and then translating them to notes on the fly is difficult, but can be done with some repetition and experimenting. Then after I find some ideas I try variations on them and glue it together with licks/scales I think are suitable for the mood I'm after. In the context of my band this improvising often leads to 'offline' compositions, but I guess we're not aiming at being a good improvising band. Coming up with good ideas faster and then actually playing them right is challenging for me, but this video makes me think I could dedicate some pratice time to this.

[@Kevin-fk1sq]

Thank you for this video. I have been playing the piano for 4 years now. And i just felt into improvisation. I never played piano before but started to learn from the internet. I indeed get frustrated by just playing notes and chords without having no connection to my own creativity. Sometimes my creativity takes over in a improvisation and i feel and hear the music inside. To me this are the most wonderful moments of my life. for a year now i just get stucked at how i should view my musical life, and how i could improve my musical senses to feel more like this creativity. This video has helped me alot and i will try this. If you have more video's or books about this topic, i would love to have it. Regards, Kevin (from the Netherlands)

[@littleone795]

This was very understanding man your a very great teacher and how you have a way with explaining thanks! :) Do you have a video where you teach how to play chords on the left hand while playing melodies in your right?

[@KenHudson]

Although this video may be several year old, I found it VERY helpful in considering your opinion as another option, toward improvising. I greatly appreciate your ideas here, and it came at a perfect timing for considering different approaches. Thanks for sharing.

[@MangoldProject]

Just be forewarned: The path I've outlined here is extremely demanding.

[@sabscot]

Hi Many many T H A N K S , for you , very interesting Philo , so hope to see you allways wiht a news védio, encore merci Cordialement

[@user-li7xi1yz7g]

Спасибо за понятное изложение основ музыки

[@travisdt]

Spot on lesson. Now I can tell between the good and bad improviser....

[@soyeux27]

Great advices! Thank you !!

[@horaciovenegas1950]

glad to see this wasn't a scale and patterns run through. I usually visualize the instrument in my head and where I would want my fingers to go. to match the sound I desire. this is like what you were talking about having an ear and also the technique

[@filipilif]

I have never watched a better video on improvisation, thanks a lot!

[@MangoldProject]

+Filip T You're welcome!

[@mralbyperry]

Your videos are so helpful as I am new to piano player thank you so much.

[@FedsBoy]

"But it's not really about making up your own ideas any more than speaking English is about making up new words. The more words you learn, the more variety or options you have in terms of talking about what it is you want to talk about. To me, when your playing jazz, the more solos you learn from the great musicians, the more ways you have to approach the song. When you have a guy that is only learning from books and only has 10 records, and then you have a guy that has 500 records and learns solos from 500 records, believe me, he's going to wax you every time." - Branford Marsalis

[@MangoldProject]

Very good point.

[@charloalba]

just great and real!!! thanks!!!

[@PeterLevitov]

Extraordinarily helpful video, thank you 🙏🏽

[@beethoven4online]

the biggest probrem with your method is that everyone don't have a musical ear as you say. for people that's starting out we can't hear something in our mind and know exactly what to play....that's why learning tricks, scales, modes etc. is a better way to go.... I do agree ear training is the key....but that takes years and years of ear training

[@MangoldProject]

Yep, but you end up practicing for years anyway, so why not do it properly? Some people might not be able to commit so deeply, so for those I agree a more technical approach might be better, but if one views him/herself as a serious musician and have the talent to back it up, I think the approach outlined in the video is the only way to go. I remember reading an interview with Lyle Mays ("Pat Metheny's pianist") many years ago in Keyboard Magazine where he voiced a similar opinion.

[@Darzaire]

MangoldProject So then you would agree that someone who doesn't just have music in their heads to translate onto the piano will never be serious musicians? That you either have it or you don't?

[@MangoldProject]

Darzaire The answer is more complicated than a simple yes or no. First, what is a "serious" musician? There are songwriters out there who are very formulaic and boring, yet who create hit songs heard by many. Are these serious musicians? Then you could have the prodigy who is a recluse and never publishes his music. Is he a serious musician? Putting that aside, I believe that talent plays a major role in the ability of a musician to innovate and be original, and that talent can either be "wasted" by learning to follow formulaic rules, or "nurtured" by learning that what happens in your head comes before what happens at your fingertips. In reality we all sin by mixing a bit of both - few if any musicians compose entirely in their heads, but I believe that should be our ideal. I also believe that talent is usually a continuous spectrum, not an on/off state, so there are very few people out there with zero talent. People with little or medium talent often have to try harder to achieve similar results to more talented people, but this still does not prevent them from achieving meaningful musical compositions/improvisations. Not sure if you got the answer you wanted :).

[@Yadeehoo]

MangoldProject I'm not an accomplished musician but I write. And I do so by figuring out notes on the keys or guitar from the melody I hear in my head or from a dream when I wake up. I always hear the music in my head first, and sometimes it takes me quite some time to be able to play it on the instrument like I heard it in my head. Your method is totally valid. But then everyone can do it the way they like

[@Psalm_27.4]

Rainbow Sam This was a very good, RESPECTFUL discussion! You BOTH brought good ideas to the table! Way to go! THANK YOU! 😁❤😁

[@chelsypiano3309]

thanks for sharing! these lessons are really helping

[@HurpleMonkey]

One of my drum students has expressed interest in improvisation and your video gave me a bit of eureka moment on how I could approach the concept with her. Thank you for sharing. :)

[@MangoldProject]

Reece Denton Thanks Reece! I'm a little surprised there are drummers lurking about a video showing a piano in its thumbnail :).

[@alexwinson]

perfect as always! thanx a lot for sharing your ideas!

[@MangoldProject]

My pleasure!

[@TheDavidlloydjones]

A very nice thoughtful "philosophy" or statement of taste and morals. Agreed on all points, although not really "agreed," because I hadn't' thought it all through. "Accepted" rather. Well said and thank you! -dlj.

[@smpmusiclinksstudio2769]

Thankyou for the great insights 💪

[@haleywalker5063]

Really enjoyed this video, thanks! My question is this: what do I do if I do not want to play the melody line on the piano, but instead sing it and use the piano as support for that? How can I use the left and right hand together to create interesting rhythms and harmonies that support, but do not mirror, the sung melody line? Perhaps this is something I'll have to figure out myself, but any advice would be helpful!

[@DimentioJ]

This channel is amazing.. thank you

[@LordAgyin]

thanks a lot. that is an honest disposition

[@NekromanKim]

hi Mangold! Thank you for your great channel! I have a question: if you say, don't just play the modes, then why would you need to learn them?

[@benjaminpearlman2625]

Improvising vocally and have accompaniment in mind

[@danharrow7458]

Thank you so much for this video. I like this approach very much. Rather than thinking chord tones, non chord tones, scales, diatonic, chromatic etc and the rest! I think this forces the player to realise the music in their mind. I have personally tried this approach and I don't find the need to actually sing my improvisation and I am getting better all the time. Also if I played sax I couldn't sing it and play it at the same time! I find that it is stretching my musical imagination. It's pretty well not the conventional means of "teaching" improvisation. Again many thanks for this and all your great videos.

[@MangoldProject]

My pleasure. You might also want to check out the "abbreviated" version of this video: kzbin.info/www/bejne/pHKvY2SndsuWf9U

[@NicoloVerrini]

I loved this video.

[@beethoven4online]

I absolutely love all your vids and not complaining or bashing your method at all... because if I had to rely on my ear at this point to improvise I think I would just give up and stop playing the piano,............. forever :(

[@MangoldProject]

Learning music is a lifelong process. We can't fault ourselves for being imperfect as long as we strive to become better. Even great composers, writers, directors, you name it, tend to look back at older works and think they would've done it differently had they known then what they know now. So not to compose/improvise/play now just because some day you'll be better is just plain wrong and not how the real world works.

[@pascalfernandes4675]

Sir, this is powerfull tunes.

[@sauceituppsway8004]

this is a great lesson thank you.

[@NiladriSaren]

It's the best way to improvise I feel,,

[@leimotiv9841]

Good advices. Thanks for sharing.

[@MangoldProject]

You're welcome Leimotiv. Always glad to know my stuff helps people out.

[@bluesypianoscales796]

Just fantastic ... thanks for cooking things down

[@MangoldProject]

Bluesy Piano Scales No prob, and thanks for watching!

[@km4hr]

I think this video really only speaks to the small group of elite musicians who have the talent to pull it off. I don't fit in that category but I've enjoyed playing piano at my modest level for many years. I know for a fact that I cannot possibly hear a tune in my head and play it on the keyboard without a lot of "hunt and peck". But I accept my limitations and have fun anyway. Most people will never be able to play tennis like Roger Federer either, but many can still enjoy playing the game and can become respectable players at some lower level. For the vast majority of aspiring musicians your "play from within" approach is ideal but the technical approach is the only practical way forward. Finally, I'm learning from your more "cook book" videos. I'm grateful to people like you who have the "gift" and will take time to spell things out for the rest of us.

[@MangoldProject]

+km4hr That is correct. It takes arduous practice and an innate talent to be able to attain that level, but it's the way a true musician should do things in my opinion.

[@garygross1085]

Thank you for trying to be so practical Ot helps

[@thepian0man]

Hi - Thank you for an interesting take on improvisation. Personally I can see one problem in this approach. Most beginners have a very very limited musical 'palette' so if they try to compose in their head over a progression it will always be confined by that limited palette. If a person has never heard or played for example, a diminished scale riff or a wholetone riff or altered scale or any of the hundreds of permutations they are very unlikely to 'hear' them in their head. The more you hear new sounds and play other established riffs based on those sounds the more you internalise them and THEN you will be able to draw on that inner 'data base' to create a more complex composition in your mind.

[@MangoldProject]

+thepian0man That's why - to paraphrase Lyle Mays - any student of improvisation should first take on composition and only then improvisation.

[@samsoonthegreat5477]

Great video, very informative. Thank you.

[@MangoldProject]

+Samsoon The Great You're welcome, Samsoon.

[@katrad333]

Such depth and sincerity, Thank-you.

[@MangoldProject]

+Katherine Radhuber You're welcome. I have to say I'm surprised, this video of mine generates the most comments (even though it doesn't have the most views).

[@katrad333]

That's interesting. I guess a person has to attempt improvising and put thought into the structure of music before they can appreciate a helping hand. Thanks again.

[@impro1981]

The most important thing during improvisation is getting in the 'zone', which you can only do, when your mind, ears and hands are trained enough, completely agreed.

[@jazzman1945ify]

Thank you for your frank video presentation! I think - along with so many, that improvisation was at the beginning. What is our conscious life? Continuous attempts to shape an endless chain of improvisations into a harmonious controlled composition. Therefore, the beginning of improvisation looks more logical through body movements and singing.

[@MangoldProject]

Well, when you hum something new to a beat, that's improvisation. You don't need to be a musician to improvise music. Michael Jackson used to do it all the time (he didn't play an instrument, he just used his voice), which is how he wrote many of his hit songs.

[@andruska4]

Thanks for Your video…. Like to add that I think it helps To know a particular style or groove of Music that’s a basic fundamental skill to work with much like the jazz musicians do so well…They create a solid steady framework or flow that makes space for coming up with new phrases…composing…in the spirit of try whatever comes to you…feeling it in the flow…a free nonjudgmental vibe with yourself or others. Keith Jarret has a lot to offer on this topic…

[@louisepricilia4770]

Thank You for sharing :) I love it :D

[@MangoldProject]

Louise Pricilia You're welcome Louise!

[@KC9KEP]

From What-It's-Worth dept .. In the example, I find it easier to hear the degree of the scale in order to translate the melody from one's head to the keyboard. In other words, instead of thinking of the first three notes as being G, E, C I find it easier to "hear" 5, 3, 1 which of course, translates to any key. (But, I'm no expert!) Thanks for this video! :-)

[@RadhaStead]

Thank you again. I cant wait till I have the privacy to work on your suggestions Thanks

[@tingting4649]

Your lesson is so easy to understand, although my English is so bad I can almost understand what you taught

[@nikolailu]

This is genius!

[@aslazaimi5824]

You're totally RIGHT

[@eirikro4212]

I can come up with a melody by ear, but I can't get a bass or left hand that goes with it. Any help would be much appreciated.

[@lynkkx]

I wish you could up the volume a bit or more of alot cuz I got mine maxed out and can barely hear what your saying. on a side note I agree with playing from what you compose inside your mind as it sounds more emotional. Its sounds so generic when people just play out of habit of what they do when they just practice running around scales.

[@MangoldProject]

Thanks lynkkx. I'll look into the volume issue - I knew it was low but I didn't think it'd bother anyone that much.

[@LuisShatter]

Hello, this is a very good video, thanks for sharing ideas :) I was wondering, what piano is that? It sounds great. Regards.

[@MangoldProject]

+Luis Shatter Hello Luis. It's a Roland RD700GX, now superseded by the RD800.

[@thriftylady662]

Very helpful..thnx

[@ramisharif8889]

sir your lessons is very helpful

[@rassstko]

Is there any other, in your opinnion, useful way of using chord scales?

[@HCMusicnStuff]

Thnx i agree, !

[@fragilempty6911]

How do you create music in your head and inmediately played that? You need a little time to think what are you hearing to play it in the piano. Anyway, i like your philosophy, all what you mentioned is really necessary for any musician.

[@MangoldProject]

Well, to paraphrase Thomas Edison, composition is 1% inspiration, 99% perspiration. You practice it just like any other skill. It takes a long time to get good.

[@teocruz7022]

well done sir.

[@MangoldProject]

Teo Cruz Thanks Teo!

[@briancraig4058]

Please make video on how to start the approach of these 3 rules in a example using a simple melody idea not a scale or lick but a melody

[@sallysigler727]

Brian Craig jj

[@mrbassacik9109]

Hi, this philosophy, in practice, logically leads to thinking about what to play next while playing what I had thought of seconds ago, or, in other words, being occupied by two melodies at once, the one im playing and the one in my head that im going to play next - this seems impossible for me. I rather think of chords, arpeggios and scales as vehicles to get started and once you begin mixing them up and breaking their boundaries, you listen to where your playing takes you and develop, repeat, play around your ideas, then resolve them and move on to keep it interesting. What do you think?

[@MangoldProject]

Well, you asked some deep questions so prepare for a long answer :). Once you're experienced enough there is always one melody involved, since you're actually making it up on the spot as you're playing. Just like you don't think about the next word when forming a sentence - it simply follows the word before it without you having to think about it, as long as you know "what you want to say". Keith Jarrett can be heard singing while improvising and he embodies this idea in the most theatrical way, and I think he's a fantastic improviser. I've explained why I think your approach is invalid, even though it produces the "right sounding solos": you're short-circuiting your creative brain and rerouting your creativity through your fingers instead. These "right sounding solos" plague 90% of all of the soulless jazz I hear. It's like conversing with ELIZA (Google it if you don't know what I'm talking about). The program produces all the right words, but would you like to carry out such a conversation?

[@Yadeehoo]

MangoldProject That was beautifully phrased

[@paulharris8551]

I agree 95% with your rant as you call it. My only possible disagreement is that a jazz solo should sound spontaneous. If it's too polished it hurts the mood. I am thinking of some live Miles Davis concerts 50s-60s. Drummer Tony Williams hated players who never made mistakes, played everything perfectly. But I agree that a solo should be a composition. The reason people learn to solo mechanically is that it is possible to teach that in videos or lessons but much harder to teach real creativity. More people can learn to 'cheat' than play 'honestly.' Thanks for another great video!!

[@MangoldProject]

I think we actually agree perfectly. As for teaching real creativity, that is tricky. One of the best approaches I've seen is to put your instrument aside and actually sing the solo (this works even for poor singers such as myself!). Many times we're limited by our technical abilities or by motifs we're used to playing, but singing takes that out of the equation and forces you to think without bounds.

[@Jason-le3bp]

I agree with what you're saying. I spend a lot time translating in my head when I'm not playing. It is analogous to being fluent in a second language to the point where you think in that language. Licks are boring. I've practiced them so much that they sound stale to me. However, I have to say licks are a really useful tool when my brain can't keep up or I run out of ideas. I also think improvisation is about mathematics. Sometimes I play a pattern that I know will sound good without hearing it in my head.first. Then when I hear them it surprises me and inspires me and I can build on it.

[@MangoldProject]

I think very few musicians can actually adhere to the rigorous concepts laid out in this video (I'm not one of them, although I try). That's why it's called the *Philosophy* of Improvisation ;).

[@Otravistafoto]

Finally. Now I know which way to go to unblock myself and progress.

[@valodaslanian2000]

In my opinion , the correct way to improvise a song is ! In what scale that you are keep the rhythm and create silent and syncopation in your right hand . That makes the music great and you have freedom to add too many color in your song Valod from Glendale

[@MangoldProject]

That is certainly one way, but my point in this video is that the most "natural" way to improvise is to call upon your real creative spirit in real time.

[@aaronmetz8707]

This makes a ton of sense to me. The only thing that doesn't make sense is how to apply this to improvisation with more than one voice. How do you extend this line of thinking into more harmonized kinds of improvisation?

[@MangoldProject]

Ooof, if you can master this in one voice then you're head and shoulders above 99.99% of all musicians out there. I wouldn't even know how to begin to extend this to multiple voices. That's way above my paygrade.

[@aaronmetz8707]

@@MangoldProject Fair enough. I only ask because this seems like a very intuitive way of working on melodic improvisation but for anyone playing instruments that are expected to comp then you'll have to also improvise when comping as well. It's not like you are improvising when you solo and then all of a sudden you aren't. When I listen to the great pianists, guitarists, or even bassists (double stops etc) they seem like they are as fluid and creative in their comping improvisation as their single line improvisation and I also really resonate with your opinion that "cheats/hacks" that most people use are an insufficient substitute for developing your actual creative voice. I've asked this same question to a couple people who also seem to share this view and it seems like no one has a great answer for how to tackle that aspect of improvisation as neatly. Maybe the more conscious aspect of improvisation that involves chord scales/harmony is just an inescapable part of comping. It seems like a superhuman feat to be able to consciously control more than one voice at a time like that (not to say that there aren't people that do).

[@IOxyrinchus]

This has been an obstacle for me for quite some time, I don't compose my own stuff (much) but I can make small improvisations on songs I can play (like small trills or changes in the chord etc) but nothing massively improvisational, it seems like such a reachable goal but it's so far. I've also had writer's block for quite some time now, I've only scraped the surface on that kind of thing, which is part of improv too. It can be frustrating when you can't figure out a solo by ear or heavily improvise on the spot, it's all part of it I guess

[@MangoldProject]

First, learn to sing/whistle slow melodies (nothing faster than 8th notes). If you can do that "on the fly", you can improvise.

[@BroskieManDudeBro]

You seemed very apologetic in this video based on the fact that there wasn't as much playing as there normally would be. I'd just like to say that I think theory is just as important as technique and this video is just as important to understanding piano as any of your other videos. Great job explaining this too, I never thought of improvisation that way.

[@MangoldProject]

Thanks. I was a little concerned it would come out as a rant. I wouldn't even call this a theory video, it's more about a particular conviction/point of view (hence the title).

[@BroskieManDudeBro]

I see it less as a rant, but more as a different way to look at things. And with piano I think it's important to explore different ways of playing as well as different ways of thinking. Mostly I just wanted to say that if there are more videos like this one in the future I would be completely fine with it. In the end just do what you want to do. That's what's most important.

[@VIsTheMusic]

Enjoy my live, spontaneous, intuitive and pure improvised instrumental music on my channel for example of most of what you're suggesting. Though I come from no classical training background, I'm completely selft taught. Your ideas of pre composing and singing is great, as well as listening. I still have a hard time live translating. I just create in the moment what I feel and hear directly from the instruments I play. I'm no master. I'm just really enjoying playing all the time.

[@nf4317]

Thank you for sharing :) Was wondering, what is your origin?

[@MangoldProject]

Israeli.

[@IncredibleDog]

I think you are right. Maybe every musician should it at least once.

[@iskandarmoscht9061]

I'm playing the piano for almost 9 years now, but I don't have any clue about reading music notes. What do you think, should I learn reading and composing these?

[@MangoldProject]

+Guete Morge That really depends on where you want to go with your playing. For playing classical pieces it's a must. Same for orchestration (for a "real" orchestra). More modern music styles rely less on traditional notation.

[@iskandarmoscht9061]

+MangoldProject I'm currently playing more modern music. Thank you :) (Btw: Your videos are well-made and I hope I'll learn from them ^^)

[@Modes9]

I've gotten caught up in the Nicolas Slonimsky Thesaurus approach. There's something magical about motivic playing. My favorite players systematically develop musical ideas. It may sound a bit dry to the average listener.

[@MangoldProject]

Interesting, I wasn't aware of Slonimsky. I will definitely check out some of his stuff. Thanks for the comment!

[@killerweedboy]

Hey man! Not sure how many years you spent doodling in "improv" between a few chords and scales until you realised this but I'm sure you just saved me heaps of time!!! Thank you so much. Words don't describe much I appreciate this exercise :D

[@soumyajitdas6598]

I have a doubt.Suppose I compose a song and play it adding different notes along with the main composition ,does that mean improvisation?

[@MangoldProject]

It's a great privilege to answer a question from Hans Zimmer :). That's a degree of improvisation, yes. In fact, most improvisations start out from a motif, or a line or melody, and gradually re-cast it in different forms.

[@otakurocklee]

I have a question. Is the goal to hear "everything" in your head before you play... left and right hands... I can imagine hearing the melody in your head and playing that... but I can't imagine say hearing a walking bass line, and a melody line simultaneously, and transferring those thoughts to both your hands on the fly. I can imagine memorizing a left hand stride pattern... then improvising just the right hand.

[@MangoldProject]

Ideally yes, but in practice I think most mortals wouldn't be able to do so :). If you can just do it with the melody I think you're already doing much better than most!

[@carlotapuig]

I've always been able to improvise and compose on the fly. Even before I was able to play any instrument at all I would improvise my own melodies as a child. I never really understood when I saw that most people were unable to improvise immediately. To me it's the most natural and the easiest part of music. Never had to do anything or think about any strategy to compose on the fly. On the other hand I lack industriousness and orderliness. I guess, everybody has his strong and weak points:)

[@FocusMrbjarke]

What did he say at 0:10?

[@Dedisurbakti]

thanks from indonesia,great!

[@MangoldProject]

You're welcome!

[@vernonclement]

thanks for the lesson, I play guitar but my ear is better on keyboard. I'm going to learn keyboard someone did a video and mentioned that the Great Duke Ellington played chords then wrote is music like this . thanks it helps a lot.

[@MangoldProject]

Almost every great composer wrote like this. Arrangers do it a lot as well (orchestral/big band in particular). This isn't a luxury - it's a necessity! Imagine writing an orchestral piece. You can't run to the piano every time you want to hear how something sounds. To work with ANY sort of efficiency, you must hear something in your mind and immediately write down the parts on paper. Anything else would just make the process extremely slow and inefficient.

[@ze_chooch]

I can hear Adorno chuckling.

[@TheEric03041]

i can arrange harmonies and chord progressions even by using secondary dominants and key changes but i dnt know how to compose melodies.

[@MangoldProject]

Try singing without sitting at a keyboard.