Improvisation

Each piece provides the opportunity to thematically develop a motif instinctively. This aspect of the music is of particular interest and acknowledges that the approach to making music is bi-varient. One where the metaphor is preconceived and the other where it is spontaneously developed. Having opportunities to explore both forms of interpretation adds to the potential of each composition. However as the score suggests to extemporise the material is left to the discretion of each Duo.

Question: When don’t we improvise? Answer: never. To state the obvious, improvisation is always by degrees, there are times when spontaneousness is acute and immediate or premeditated as in practicing the concepts of interpretation.

Without the ability to react instinctively none of us would be alive today. Similar to all animals, humans are characterised by their inner and outer tuitions which go to form the abstractions of our life’s experiences. All things are in motion and by physical measurement understood. Psychological time is determined by the amount of neurological activity being registered, the less import the slower times seem to be. If there is no change there is no motion, even if you don’t believe in time.

Displacement

The displacements from poly tempos stem from the initial interference of odd and even, first felt as the familiar crotchet triplet from Family two.

The expression of these forms of displacement presents a mannerism or quaila which needs to be appreciated by new comers. In the fullness of time we get to aurally recognise the Ones and feel the duration of the numbered code between the letters.

Displacement is a common compositional technique it’s musicological developments are many and can be registered in how Jazz exploited the element and more recently commodified by the intuitive out comes of DJ Turntable mixing.