My approach follows what I call a four-tier hierarchical order of importance.
The top tier is sound. Sound at this level serves no other purpose other than to resonate. This can include the many manifestations of sound: notes, noises, and nuances—something I like to call the three N’S.
The second tier is sound manipulation. At this level, how to make the sound resonate has been established. Now, the goal is to extract many different timbres and nuances from the sound.
The third tier is language. Here, I explore different ways of threading and weaving together sound combinations that form musical sentences; thus, it evolves the beginnings of musical language.
The fourth tier is style. After forming together enough musical sentences, the next step is to find others with whom to communicate. This is essential because upon declaring it, the person or persons with whom you choose to interact with often time has come with an agreed-upon set of musical and sometimes cultural values. This often unspoken contract of aesthetics lays out the do’s and don’ts of improvisation.
Why is this approach important? Typically, when we learn to play, we start with tier four, evolve to tier three, often stopping at tier two. One is usually omitted altogether.
I’ve reversed the process. I start with absolute truth and create a o and around it, rather than starting with philosophy and trying to find the truth within it.'''
And just for record, what I have stated here is not absolute truth. It's simply fruit for thought.
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