Romania: Florin Raducanu New Videoclip – Jazz Master class at “P.I. Ceaikovski” Conservatory in Kiev, Ukraine

In fact , the musical improvisation is a compositional procedure that every musician, consciously or intuitively, adopts. Almost all the musicians, during their childhood and adolescence, had improvisation attempts in various styles and musical genres. Moreover, any talented composer can affirm that, within the complex creative process of musical creation, there is a moment of improvisation – usually at the piano – in which the ideas begin to materialize through sounds, and afterwards taking “shape” in the writing process. Although in Baroque, the act of improvisation was part of the natural training of any professional musician, towards the end of the 17th century, the musical improvisation appears increasingly less in the interpretative act. Barely in the Romanticism, have Chopin and Liszt restarted the practice of improvisation.  Of great notoriety  was the meeting between Liszt and Romanian folk musician Barbu Lautaru in Iasi,  when the great Hungarian piano player and composer performed  a genuine demonstration of improvisational mastery.

The Third Stream phenomenon which I describe in particular  here   – being a proper research, not having a specialized literature containing a chronology of the specific events of  this style – is also the practical subject of his creations enclosed in the Jazz Ecumenica,  jazz symphonic poem-, are a “practical demonstration” of the theoretical elements of the art improvisation I detail in the book  Guide of Art of Improvisation.  This structure and the order of stages from this method is the outcome of personal practice and didactic experience accumulated within the work with pupils and students, this system guaranteeing the capacities of improvisation, after covering the content in an accurate manner. All technical components described in the book are applied in practice in discography projects.