Hur mitt absoluta gehör påverkar mitt sätt att komponera och improvisera

• Main Author: Emilsson, Mikael
• Format: Others
• Language: Swedish
• Published: Kungl. Musikhögskolan, Institutionen för jazz 2018
• Subjects: improvisation; absolut gehör; jazz; Music; Musik
• Online Access: http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2733

This project aims to explore and substantiate the approach which I use in composing, practicing and improvising, from the perspective of me as a saxophone player with perfect pitch. This will be done through writing music and describing the process, my own practicing and the rehearsals in preparation for the examination concert. The approach relies on a musician´s ability to, like a painter, have a clear vision of the end result imagined. This is a big advantage as opposed to only knowing the rules and the norms regarding composing and improvising, as the musician then can have a clear idea of a sound which then can be performed, for example a musical melody that the musician can hear before playing it. The question I ask myself is how this ability can interact, and perhaps form a symbiotic relationship, with other abilities such as knowledge of music theory and the limits of my technical ability on my instrument and how I as a musician can learn from this in order to advance as an improviser and a composer. This project is done through my perspective as a saxophone player.  === <p>Medverkande på examenskonsert:</p><p>Mikael Emilsson - Saxofon</p><p>Oskar Lindström - Piano</p><p>Jonathan Lundberg - Trummor</p><p>Henrik Linder - Elbas</p><p></p><p>Repertoar: </p><p>Stronger Prologue - Mikael Emilsson</p><p>Double Bag - Mikael Emilsson</p><p>Tryna Sleep - Mikael Emilsson</p><p>Giant Steps - John Coltrane</p><p>Looser - Mikael Emilsson</p><p>We Make Party When We See Us - Henrik Linder/Erik Linder</p><p></p><p>Konserten spelades in och ljudfil finns bifogad.</p>