Does this site is dedicated to the musical improvisation that we say natural and spontaneous, but how have one to define it ?

It occurs before any use of only theoretical knowledge, memorizing training or reflexion... It acts well, in the circumstance, of an instantaneous and simultaneous response of our neurons to the sounds such those of an orchestra or those of an instrument in solo, for example those of the piano.

This kind of improvisation starting from a right formation of the ear, and of its familiarisation with the practised instrument, acts on what there is of more authentic in us. It allows our musical sensitivity "hidden" to be expressed and to open out.

This sensitive reaction joined the alchemy of our brain and its mysteries. It shows that we can, without a priori, the such animals who act advisedly by their only instinct, to use in us unsuspected resources since one lets them be exerted without constraint; the music in this particular case is the vector.

But, with the difference of the animal world, we can make the distinction between the instinct and the knowledge. Then why not to benefit from the alliance of these two concepts? The researchers in neuro-sciences delimited zones of our brain dedicated to the only recognition of the sounds and, consequently, to the effects of the music on our sensitivity and our emotions.

We all are indeed of the musicians, but according to circumstances' of our life, our "musical ear" was more or less well formed and opened with the richness and the diversity of the harmonics...

However, the practice of this improvisation known as natural by the amateurs, requires some conditions like that called "the absolute pitch or the ear known as just". It leads to an achievement of oneself really extraordinary until allowing the recording of your improvisations for example on your piano in solo, those taking the statute of musical works...

It thus brings a permanent motivation in practice immediate of an instrument and according to its level. It allows then in the second time to approach the theory, by avoiding the discouragement, which arrives at more than 80% of the pupils of schools of music which end up giving up early or late very practical of their instrument while being deeply discouraged.

Can this site contribute to encourage with :

- to make become aware with the parents and the teachers of the importance that there is to form the ear of the small touts, foetal age included/understood, with the most various sounds. With especially, to privilege the type-setters known as traditional, of Albinoni with Bartok to simplify whose richness and diversity harmonics of works are without equal.

- to practise an instrument by this improvisation qualified by us of "natural". Thus will be able to appear our creative imagination.

- to make collaborate with us in the last analysis, a certain number of people fascinated by this practice not yet conceptualized for the creation of a kind "of international Institute of the natural improvisation", with its own pedagogy, its contests and its spectacles.

- to facilitate the theoretical training of the music thanks to the powerful motivation resulting from this practice of this kind of improvisation on some level that it is.

Fortunately, the man at all times was conditioned towards an acquisition of a knowledge in constant evolution and renewal. But that gave him the idea that he had become to some extent a small god...

However some among the scientists in particular, escape from this lure. Fascinated by what they discover, they are full aware with what they have still to discover or of what they still do not know. The majority of them are thus of a simplicity and of a humlility confondantes.These values are not divided enough in our teaching which always privileged in our children the knowledge with the detriment of their innate resources. They is if reassuring to base itself on all that already well is established and written "black on white"...

As regards musical pedagogy, this led to a completely insufficient taking into account of the importance of the formation of the ear and use of our internal resources, to the profit of the study and analysis. To know that C is placed at such place of the keyboard, then of a partition, would be more important in this case than to initially recognize it with the ear.

Thus the priority given to the musical theory with its sighs and quaver rests, does not make sigh of ease our dear small heads fair or brown which would however require only to initially like the music before even as of knowing how it could be written. Progress one will say were made in this direction. Admittedly, but really reduced, and surely not with the only sounds of a drum as we often see it... On the other hand which aptitude and which application on their premises when it to them is offered the extended harmonic pallet of a chamber orchestra with their active participation, like it was tested with success in Japan for example.

These kind children do evil have already on our premises to enter in sixth while knowing to read and write.Why then to complicate the musical training at this age?

Conclusion :

Conclusion: It would be enough to a little good direction and to remember, for example, that we are alive with each thousandths of seconds of the fact even of the programming of the least piece of our hundreds of billion our cells outwards even of our own will...

Then, let us have a little more confidence with our innate possibilities and with our unsuspected talents,

Would not be vanity to trust our musical sensitivity, this would be it while being only satisfied, inter alia, of knowing the place of C

Bruno Viard

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