Musiques Improvisations
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64200 Biarritz
FRANCE

www.musiquesimprovisations.com
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N°	Titles  (double click on the treble clef to hear the musicals extracts)	length
1	Commented introduction	6'28
Piano and Organ
2	Choral of J.S. BACH (slow tempo)	2'28
3	Choral of J.S. BACH (fast tempo)	3'00
4	Some conditions to improvise "naturally"	5'28
Discovering the "subliminal singing" by the natural improvisation
5	The song of Solveig by GRIEG	3'50
6	The Jardin Féerique of RAVEL	5'06
7	2nd movement Symphony N°5 of TCHAÏKOVSKI	4'34
8	The pensées of JANKELEVITCH - Musicologist/Philosopher	4'15
Concertos or four hands
9	Concerto for piano n°21 of MOZART 2nd mvt	3'10
10	Concerto for piano of GRIEG	3'46
11	Advices to the student	2'35
12	Concerto for piano n°2 of SAINT-SAËNS 1st mvt	5'00
13	Advices to the student	2'07
14	The danse Macabre "Totentanz" of LISTZ	3'52
15	Digitality or virtuosity: conceptual differences ?	5'55
The pianistic touch of the "natural improvisor" with violins and guitars
16	ALBINONI : Violin Concerto	3'25
17	TCHAÏKOVSKY : Violin Concerto
18	RODRIGO : Concerto of Aranjuez (guitars)	3'37
19	The GIPSYS and theirs violins	4'00
Jazz
20	EROLL GARNER	6'57
21	GRAPPELLI and what MENUHIN thought of the improvisation	4'30
They said or we noticed that...
22	Personal Improvisation in solo "on two notes"	4'17
23	Natural improvisation and mental representation: Personal Improvisation "Au fond de l'Océan"	3'53
Contemporary Music
24	Improvisation on contemporary music	4'01
25	Contemporary musical phraseology	2'10
They said or we noticed that...
26	Theory of "own organisation" : application to the neurones	0'57
27	Some Musicians ou Musicologists said	4'02
All these extracts were gathered to show the interest in such a natural and spontaneous learning process by the sudden involvment of all "born musicians" in the playing of an instrument, here the piano, but without having any theorical knowledge. This immediate involvment is possible because of what we call the "natural improvisation" practiced simultaneously with the listening of great classical opus, conversing personaly with the Composers, and in a second time, in solo. In fact,with this experience,it will then be possible to improve alone with an instrument, becoming in a way a "composer"... The improvisations coming from the extracts listed above were made "in one try" without corrections and for most of them, at the first hearing, therefore at the first recording session. Those improvisations in demonstration must be estimated with two descriptive notes : Why and how the "natural" improvisation is done The proper analysis that we suggest and that suites best, in order to appreciate the pianistic learning process coming out of those extract

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Synopsis of the complete prefatory note, available on demand alone with a demonstration CD of which the content is listed ahead.

Introduction :

• What is it about ?

Required conditions :

• Perfect pitch ear
• Great musical sensitivity
  Total "let go"
  A developed synthetic mind
  A very sensitive digital touch
  The modal and tonal discovering of the piano
  Stands
  Levels of setting up
• Digitality or virtuosity
  

Obstacles :

• Talent...
  The theory before the practice
  An exagerated cult of the written
  The lack of "breathing"
• The cultural throwing out of personal expression

Composer ? Improvisor ? Performer ?

• Who's whom ?