My way of being a composer

From the following video, published on my youtube channel at: https://www.youtube.com/watch?v=B0vrTYSPR90 Raymond Devos says " my dog is someone ", but love, love for someone is someone who loves us in return, and if the... two feelings are, how will we say, present " In both ways ", without wanting to do too much,... Ah, hey, what do you think? We call it mutual love... as there is no symmetry between gender, both gender, nor between people in general, of the same sex... here you go, there's never symmetry, so when we say "mutual love", in fact, what is it? What did I mean tonight? Look at this facebook page. Actually I posted today a video. It is very difficult to separate the one who produces something, like an artist, if I can give myself this qualifier, which is more than a qualifier, which is a condition or a profession, from his productions. For me, as I do an artistic work, I would like to say that it is very difficult to separate myself from my artistic productions. Today I did something. In Life, there are very serious things, like this video. It is made of a composed and mixed piece, composed by mixing, but composed, it's composition because, first, it's improvised, it's made from a totally improvised piece, from the beginning to the end - it’s my way of doing -. I know how to read music, but I'm not heading to composition by writing on staves. I think I could write music, but it's not my way of doing and I think improvisation is still what makes me compose, play music, record and mix, since I'm present on Youtube, around November 2018. The first song, which is called "Autumn song", I composed it when I was... 20 years old, or a little before, I don't know anymore exactly, maybe a little after. I stopped studying classical piano at the age of 20, after 12 years of study, thanks to my parents who funded these lessons. There are probably some traces of this classical piano learning in my music, I don't doubt it, but I've never learned improvisation, but can you learn improvisation? There are improvisation classes, I think, in some schools, but I guess you don't learn... everything. We learn the « antonins », this kind of things, in jazz, but I don't know much about them. Sometimes I improvise in tone - respecting the tone - sometimes, not at all, when I compose atonal music - I started like this, in my improvisations - and now I also record sound, sound videos, where are present, if I thought about all this, after, after, both the tone and the atonality. Sometimes, for example, the left hand is a bit atonal with respect to the tone of the right hand, but you can make it good, one way or another. You know, for those who wonder... well of course, those who know, especially the jazzmen, will recognize, but for those who don't know, there is something, especially when you have the ear, I guess, and enough technique in the fingers, enough flexibility in the fingers, the ear quite fine, a good knowledge of your instrument, visually and in your memory, you can - if you make a note that does not satisfy - at the moment we play because we don't have it completely... we don't calculate, I don't calculate the notes I play, or very little, since I don't write, but actually when you play a note that is clumsy, between two keys, for example - in classical piano, when you do a concert, an audition, when you pass a music contest, you are reproached these notes with, it can make us down on the ladder of rewards - it can happen to me, I realize it when it happens, but in fact, it can catch up in the rest of improvisation, and that, it's something the jazzmen know, I guess. Classical musicians also know it, I guess, but they're supposed to play differently from what's written. But in improvisation, there is a lot « different from what is planned », almost constantly. In the atonal music, it's easier, but it doesn't mean that there is no... it's not anything either. You don't have to believe that music is playing anything any way. Eventually, it can, children know how to do it. But there are patterns, an organization that must be somewhere in the head, mentally, that make us have influences, of course, and apply a certain pattern, in any case in the beginning, and At the end of the track and sometimes in repetitions that are between the introduction and the conclusion of the track. In between, we can repeat patterns or go freely, but anyway we have a certain requirement or certain aesthetic criteria that makes that in our improvisations, we build something, one way or another, and if we are not satisfied at a moment of the piece, we come back, in the suite, by making imperfections or mistakes up and we can continue to build, further, things that we started to build at the beginning of the piece or in the middle. I do this without having learnt it, but can you learn it? Christophe Gervot, musician, writer, concept artist, psychoanalyst, translator and trainer, October 26, 2019.

To listen to a atonal music by Christophe Gervot: follow this link to the track: "This morning's not been sleeping's piece" https://www.youtube.com/watch?v=A7ljAoXqfeA&t=24s To see and listen to the video on which I talked about my way of making music, follow this link to the video: "Yes we can (insist) » https://www.youtube.com/watch?v=xh2lkdoUQfM&t=17s To see the clip of my first composition, "Autumn song", follow this link (the original recording is analog and I have digitalized it): https://www.youtube.com/watch?v=HdvUefxKckQ