harmolodic

• harmolodic uyum beklemez, iletişim beklemez, içgörü ister ve bu yolda ilerler. ancak belirli bir yolda ilerlediğini kabul etmez, edemez. çünkü bu kavramı yaratan ornette coleman belki de en özgür beyne sahip bilim insanı, müzik adamıdır. ve beklentisi, müziğin beklentisizlik temelli ileti bütünü olmasıdır. onun için tüm modalite nesir, harmolodic ise şiirdir. öte yandan, duyguları gizleyemediği için bir kez daha ornette coleman'a teşekkür ettiriyor.
  
  (bkz: free jazz)
  (bkz: free jazz a collective improvisation)
  (bkz: don cherry)
  
  edit:
  
  charlie haden 'a göre: "ornette asked me, when we were rehearsing…we would stop in the middle of a piece and he would say “what were you doing right there?” and i would say, “i was just listening to you and playing.” he’d say, “no, but you have to really know what you’re doing. you have to think about what you’re doing, and know about how it works, what makes it work.”
  
  so i thought about that afterwards. he was really right, because improvisation is very complex, it’s very difficult and emotionally draining. and the emotionally draining part of it takes you away from thinking about what it is that you’re doing technically. so from that point on i started really thinking about what it was that we were doing together. i know before i had met ornette, this was, like, in 1956 in los angeles….i was playing with different jazz groups in los angeles, playing at jam sessions and jazz clubs….mostly bebop, and when it came time for the bass to solo, sometimes i felt that i didn’t want to play on the regular chord structure or the chord changes of the particular piece that we were playing. we might have been playing a standard tune or a blues or whatever. and sometimes i wanted to play on the feeling, or or the inspiration of the piece rather than the chord structure, um, and i was really not free to do that, because… when i tried to do that… the people that i was usually playing with were used to solos being played on the chord changes and they were used to knowing where the soloist was in the composition, and they wouldn’t know where i was if i would play on the way i felt about the piece, and when i did try, that was usually what would happen, a negative thing that would happen. the musicians would be…they wouldn’t know where i was in the piece, they would say “hey, what are you doing?”
  
  so i always held back from doing that until i met ornette. and he was doing that. it was a way of life with him. that’s the way he improvised…was from the feeling of the piece, and creating his own chord structure spontaneously, anew, each time he played a composition, he would take his inspiration from that piece, or the feeling that he had for that piece…and he would create a new chord structure by a process of modulation, and intervals, phrasing, pitch and tonality.
  
  i learned more about listening playing with ornette than any other person, because…to play music with him you have to listen to every note he plays, and that’s…we were all raised in that language, don and dewey and i and edward blackwell and billy higgins. we played together for many years with ornette, and we’re very close to that way of playing. it’s very important for us to be able to be free in our way of improvising. the other part of the concept is the human part of it, which is very close to the sound of the earth or the sound of the human voice, or the sound of whatever it is that music is…whatever it is that life is.
  
  it’s an acoustic sound. on my particular instrument, i play on gut strings, because the gut strings enable the instrument to sound the way the maker of the instrument meant for it to sound. it’s a wood sound, and…the gut strings, as opposed to…a lot of bassists play metal strings, and that’s more a metallic sound. part of the sound of each instrument in this music is that a musician…and it’s really phenomenal when you think about it; a musician hears music a certain way, when he’s creating, or she’s creating, and to be able to play your instrument the way your ears are hearing the sound is very important thing.
  
  for instance, what i’m trying to say is that charlie parker could play anyone else’s alto saxophone, and that alto saxophone would sound the way that his ears were hearing the music. and the same with other instruments. whenever you hear bud powell touch the piano keys, you know right away that it’s bud powell, because he is able to make the instrument sound the way his ears hear music, which is really a great gift, and very important to the music.
  
  a lot of people… have different concepts about the harmolodic concept, which is what ornette calls the way he plays, and he has, or i have, music that he’s written, or exercises, that show, that illustrate what the concept is. he’s always after me to write a book about the way that the bass is…functions in the music…maybe before i do that, i want to really learn more and more, and grow more and more in the music, and experience it more. but don is right: i think all of us probably see everything about the concept of improvisation very close to each other and yet when we explain it in words you might be hearing different things."
  
  coleman'ın silah arkadaşı don cherry ise şöyle izah etmiş:
  
  "ummm…i don’t know how to say this….to me, it’s a very personal concept that was originated by ornette coleman, and probably only he would be able to give you a technical explanation of exactly what it is. but it’s obvious from the beginning that it’s a combination of harmony and melody, where the harmony can be the melody or vice versa. it’s very difficult to describe the music in words….for me it is…for example, you know, when you look in the dictionary for the definition of music, you know they give you a lot of words, but it doesn’t really explain what music is. music is so mysterious. something that you can’t see, and you can’t touch it, but you can feel it, and…so it goes into the mystique of what music really is. i don’t really know how to describe music. um…i guess it’s easier to say what it does than what it is. but to me…. the only thing that i can think about when it comes to music is that music is sound….other than that, i mean, you attempt to describe it, you know, you get into all kinds of semantics, and this and that, and it really doesn’t tell you exactly what it is. most times it tells you what it does, or the effects of it."
  
  (editlenen bölüm warrensanders.com'dan alıntıdır.)