Berklee
 College
 Of
 Music:
 Valencia
 Campus
 
Master
 of
 Music
 
Contemporary
 Performance
 


 

 

 

Piotr
 Orzechowski
 


 

 

 
Roots
 of
 Artistic
 Identity
 
Themes
 of
 Traditional
 Polish
 Dances
 
in
 Modern
 Improvised
 Music
 

 

 

 

 

 

 
July
 2014
 

 

 

 
Valencia,
 Spain
 

Contents
 

 
Introduction
 .............................................................................................
 3
 

 
Polish
 Dances
 ...........................................................................................
 5
 

 
Dances
 in
 triple
 meter
 ....................................................................................
 7
 
Oberek
 ....................................................................................................................
 7
 
Mazur
 ...................................................................................................................
 10
 
Kujawiak
 .............................................................................................................
 14
 
Polonez
 ................................................................................................................
 16
 

 
Dances
 in
 duple
 meter
 .................................................................................
 19
 
Krakowiak
 ..........................................................................................................
 19
 
Zbójnicki
 .............................................................................................................
 22
 

 
Summary
 ...........................................................................................................
 25
 

 
Modern
 Improvised
 Music
 ................................................................
 27
 

 
Improvisation
 in
 Classical
 Music
 ............................................................
 28
 
Improvisation
 in
 Jazz
 ...................................................................................
 32
 
Modern
 Trends
 and
 Improvisation
 .......................................................
 35
 

 
Summary
 ...........................................................................................................
 36
 

 
Conclusions
 ............................................................................................
 37
 

 
Steps
 to
 be
 taken
 by
 a
 Creative
 Musician
 ............................................
 38
 
My
 First
 Step
 ....................................................................................................
 39
 

 
Closing
 Statement
 .........................................................................................
 43
 

 

 

 

2
 

Introduction
 

 
In
  the
  first
  place
  I
  should
  admit
  that
  the
  following
  work
  is
 
intended
 to
 expound
 my
 personal
 understanding
 of
 the
 topic,
 my
 
own
  path
  of
  discovering
  the
  roots
  of
  improvisation
  and
  the
 
connection
  between
  folkloric
  music
  in
  general
  and
  personal
 
musical
  statement
  of
  a
  modern
  artist.
  Besides
  describing
  the
 
Polish
 music
 itself,
 naming
 and
 specifying
 diverse
 types
 of
 dances
 
coming
  from
  different
  parts
  of
  the
  country
  and
  time
  periods,
  I
 
would
  like
  to
  highlight
  my
  own
  theory
  regarding
  its
  enigmatic
 
relation
  to
  the
  genre
  we
  refer
  to
  as
  Jazz
  and
  contemporary,
 
improvised
 music.
 

 
What
  I
  would
  like
  to
  prove
  here
  is
  that
  we,
  as
  performing
 
artists,
 should
 not
 perceive
 our
 musical
 language
 only
 as
 a
 result
 
of
  gathering
  a
  number
  of
  inspirations
  from
  the
  external
 
environment,
  different
  and
  fresh
  ideas
  which
  can
  become
  strong
 
impulses
  for
  our
  creation,
  but
  also,
  partly,
  as
  an
  outcome
  of
  our
 
cultural
  origins
  which
  constitute
  an
  inherent
  part
  of
  our
  psyche.
 
The
 process
 of
 searching
 for
 artistic
 originality,
 understanding
 the
 
individuality
 in
 improvisation
 is
 always
 littered
 with
 fascinations
 
in
  fulfilled
  musicians
  who
  “discovered
  themselves”,
  but
  at
  the
 
same
 time
 (consciously
 or
 not)
 we
 are
 constantly
 dealing
 with
 this
 
mysterious
  element
  which
  is
  modelling
  our
  final
  musical
 
statement,
  which
  is
  making
  us
  special,
  unusual,
  and
  this
  is
  our
 
background:
  as
  far
  as
  musicians
  are
  concerned,
  the
 
aforementioned
 background
 is
 folkloric
 music.
 Our
 culture
 exerts
 
the
  indelible,
  continuous
  impact
  we
  are
  carrying
  all
  the
  time,
 
hidden
  in
  shame
  or
  shown
  with
  pride,
  forgotten
  with
 
disappointment
 or
 discovered
 with
 enthusiasm,
 used
 with
 respect
 
and
 wisdom
 or
 just
 lost
 in
 the
 ocean
 of
 strong
 influences.
 

 
In
 my
 case
 my
 musical
 root
 is
 Polish
 music,
 wonderfully
 and
 
poetically
  portrayed
  by
  our
  great
  classical
  composers
  like
 
Fryderyk
  Chopin,
  Karol
  Szymanowski,
  Henryk
  Wieniawski,
 
Stanisław
  Moniuszko,
  Witold
  Lutosławski,
  Krzysztof
  Penderecki,
 
Wojciech
 Kilar,
 Grażyna
 Bacewicz
 or
 Ignacy
 Paderewski.
 
 

 

3
 


 
The
 purpose
 of
 my
 work
 is
 not
 to
 analyse
 their
 œuvre,
 it
 is
 
not
  my
  point
  to
  focus
  on
  rearranged,
  stylized
  music,
  even
  if
 
sometimes
 it
 truly
 represents
 the
 prototype
 well,
 because
 my
 goal
 
is
  to
  list
  and
  describe
  the
  origins,
  rhythms,
  melodies
  and
  chord
 
changes
  coming
  from
  ancient
  times,
  formed
  through
  our
  Slavic
 
and
 Lechitic
 civilisation,
 through
 Christianity
 until
 now.
 

 
I
  believe
  that
  the
  most
  interesting
  part
  of
  the
  process
  of
 
personal
 realization
 of
 the
 significance
 of
 the
 ethnic
 impact
 in
 my
 
music
 was
 just
 observing
 myself
 in
 the
 process
 of
 discovering
 my
 
uniqueness
  not
  only
  while
  playing
  jazz,
  constructing
  jazz
  or
 
classical
 improvisation,
 but
 also
 while
 composing.
 From
 my
 early
 
years
 I
 had
 always
 been
 convinced
 that
 my
 own
 musical
 language
 
in
  artistic
  invention
  would
  be
  the
  key
  to
  my
  personal
 
accomplishment,
  but
  afterwards
  I
  understood
  that
  the
  way
  to
 
achieve
 my
 own
 language
 is
 to
 be
 honest
 in
 creation,
 whatever
 it
 
means
  in
  practical
  terms.
  Now,
  after
  a
  one
  year
  separation
  from
 
my
 motherland,
 after
 my
 experience
 with
 artists
 from
 all
 around
 
the
  world
  here
  in
  Berklee
  Valencia,
  I
  have
  finally
  come
  to
  the
 
conclusion
 that
 being
 honest
 and
 following
 inner
 rules
 artistically
 
means
  to
  be
  attached
  to
  my
  own
  culture
  and
  to
  fulfill
  its
  eternal
 
“assumptions”.
 

 
The
  reason
  I
  have
  decided
  to
  centre
  on
  Polish
  dances
  is
 
because
  besides
  folkloric
  rites
  and
  rituals,
  witchcrafts,
  songs
  and
 
chants,
  forms
  like
  Oberek,
  Mazur,
  Polonez,
  Zbójnicki,
  Krakowiak,
 
and
  Kujawiak
  are
  the
  strongest
  points
  of
  my
  interest
  right
  now
 
and
 apart
 from
 that
 they
 are
 manifesting
 our
 ethnic
 attributes
 in
 
the
  best
  possible
  way
  by
  showing
  different
  rhythms,
  melodies,
 
and
 harmonies.
 I
 hope
 it
 will
 be
 the
 right
 choice
 to
 make,
 in
 order
 
to
 describe
 the
 beauty
 of
 music
 from
 my
 country
 and
 at
 the
 same
 
time
 a
 good
 point
 of
 reference
 to
 elaborate
 on
 the
 possibilities
 of
 
using
 these
 forms
 or
 its
 characteristics
 in
 modern
 music.
 

 

 


 

 

4
 

Polish
 Dances
 

 
The
  Polish
  culture
  is
  probably
  the
  most
  homogeneous
  one
 
in
  East
  Central
  Europe,
  but
  at
  the
  same
  time
  it
  has
  a
  very
  varied
 
structure.
  To
  consider
  forms
  of
  the
  dances
  we
  have
  to
  split
  the
 
country
 into
 a
 few
 significant
 regions
 related
 to
 the
 period
 of
 time
 
when
  Poland
  as
  a
  country
  was
  formed.
  In
  order
  to
  illustrate
  the
 
origins
  and
  characteristics
  of
  each
  form
  we
  shall
  distinct
  three
 
crucial
  areas
  where
  the
  directions
  of
  musical
  development
  were
 
particularly
 extraordinary
 and
 unique.
 
 

 
The
 first
 one,
 the
 Mazovia,
 is
 a
 low-­‐lying,
 east-­‐central
 region
 
of
  Poland,
  situated
  across
  a
  middle
  course
  of
  the
  Vistula
  River,
 
where
  the
  Mazur
  dance
  comes
  from.
  The
  second
  one
  is
  the
 
Kuyavia,
  the
  north-­‐central
  region
  situated
  in
  the
  basin
  of
  the
 
middle
 Vistula
 and
 upper
 Noteć
 rivers,
 where
 the
 Kujawiak
  dance
 
was
  shaped.
  The
  third
  region,
  referred
  to
  as
  the
 Lesser
 Poland,
  is
 
located
  in
  the
  southern
  part
  of
  the
  country,
  in
  upper
  confluence
  of
 
the
  Vistula
  River,
  covering
  large
  upland,
  where
  dances
  such
  as
 
Krakowiak
  (name
  based
  on
  the
  city
  Kraków)
  and
  Zbójnicki
  (from
 
the
 region
 closest
 to
 the
 Tatra
 Mountains)
 come
 from.
 

 
In
  this
  chapter
  my
  intention
  is
  to
  demonstrate
  the
 
similarities
  and
  differences
  between
  six
  Polish
  dance
  forms
 
divided
  into
  two
  groups
  generated
  by
  myself,
  which
  are
  mainly
 
correlated
  to
  the
  divergences
  in
  time
  signature
  and
  rhythm.
  The
 
first
  group
  contains
  four
  dances
  in
  triple
  meter:
  Oberek,
  Mazur,
 
Kujawiak
  and
  Polonez,
  and
  the
  second
  group
  includes
  two
  duple
 
time
 ones:
 Krakowiak
 and
 Zbójnicki.
 
 

 
Besides
  describing
  the
  features
  of
  the
  abovementioned
 
forms,
 I
 will
 attempt
 to
 demonstrate
 their
 philosophical
 meaning
 
and
  the
  sense
  of
  a
  final
  shape
  of
  each
  dance,
  which
  has
  been
 
forming
 through
 hundreds
 or,
 in
 some
 cases,
 thousands
 of
 years.
 
 

 

 

 

 

5
 


 
My
  point
  in
  doing
  so
  is
  to
  demonstrate
  the
  power
  of
  the
 
human
  forces
  called
  origins,
  ingrained
  deeply
  within
  us,
  exerting
 
their
  own
  indelible
  impact
  on
  all
  our
  daily
  activities,
  particularly
 
in
  the
  realm
  of
  art.
  My
  conclusions
  in
  that
  matter
  will
  also
  include
 
an
 introduction
 to
 ideas,
 which
 I
 set
 out
 to
 analyse
 within
 the
 next
 
chapters.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

6
 

Group
 I
 

 
 
 
 
 
 
 
 
 
 
 
 Dances
 in
 triple
 meter
 

 
The
 Oberek
 

 
The
 Oberek,
 also
  referred
  to
  as
  the
 Ober
 and
  the
 Obertas,
  is
 
one
 of
 national
 Polish
 dances,
 danced
 by
 couples
 to
 instrumental
 
music
  (violin,
  bass
  and
  a
  drum,
  sometimes
  with
  a
  type
  of
 
accordion
  called
  Harmonia)
  in
  triple
  meter
  of
  3/8.
  Very
  fast
  and
 
vigorous,
  joyful
  AABB
  form
  contains
  a
  huge
  number
  of
  various
 
stamps,
 jumps,
 lifts
 and
 shouts.
 The
 name
 Oberek
 derives
 from
 the
 
Polish
  expression
  obracać
  się,
  which
  means
  to
  spin
  and
  it
  is
  not
 
related
  to
  any
  region
  of
  the
  country
  in
  contrast
  to
  the
  vast
 
majority
  of
  others.
  It
  was
  often
  danced
  during
  wedding
 
celebrations,
 rites
 or
 other
 secular
 ceremonies.
 
 

 
The
  instrumental
  accompaniment
  to
  this
  dance
  can
  be
 
added
  either
  to
  singing
  or
  just
  to
  dancing.
  Musicians
  respond
  to
 
the
 opening
 verse
 sung
 or
 played
 by
 a
 soloist,
 which
 in
 many
 cases
 
is
  the
  first
  A
  section
  of
  the
  form
  (it
  is
  also
  common
  to
  start
  the
 
piece
  with
  4
  bars
  upbeat,
  the
  anacrusis
  consists
  two
  dotted
 
quarter
 notes
 and
 six
 eight
 notes
 with
 crescendo
 and
 rubato
 in
 the
 
end).
 

 


 


 


 
 
 example
 no.
 1
 

 

7
 


 
The
 main
 melody
 is
 performed
 or
 sometimes
 spontaneously
 
improvised
  on
  the
  violin,
  accordion
  or
  sung
  by
  a
  singer
  with
  an
 
accompaniment
  of
  the
  bass
  instrument
  playing
  fifths
  rhythmically
 
on
 simple
 chord
 changes
 based
 on
 dominant
 and
 tonic.
 The
 drum
 
(or
  a
  tambourine),
  besides
  pointing
  every
  eight
  note
  in
  the
 
measure
  is
  following
  the
  melody
  by
  accenting
  some
  more
 
important
 notes
 and
 the
 endings
 of
 every
 section.
 
 

 

 

 


 
 
 
 
 example
 no.
 2
 


 


 


 

 
Although
 the
 first
 written
 documents
 mentioning
 this
 form
 
come
  from
  the
  seventeenth
  century,
  it
  is
  clear
  that
  the
 
quintessence
  of
  the
  Oberek’s
  musical
  characteristics
  had
  been
 
existing
 and
 had
 been
 developing
 for
 centuries.
 
 

 
We
 can
 observe
 these
 unique
 characteristics
 not
 only
 in
 this
 
form
  but
  also
  in
  many
  other
  similar
  ones
  from
  different
  parts
  of
 
Poland
  including
  main,
  national
  dances
  like
  Mazur
  (big
 
similarities),
  Kujawiak
  or
  Polonez.
  However,
  there
  is
  no
  doubt
 
about
  the
  fact
  that
  the
 Oberek
 exemplifies
  or
  represents
  them
  in
 
the
  most
  profound
  and
  apparent
  way,
  at
  the
  same
  time
  not
 
bearing
 any
 relationship
 to
 any
 particular
 region.
 

 

 

 

 

8
 


 
To
 summarize
 –
 this
 form
 emerged
 in
 the
 Polish
 culture
 as
 a
 
way
  to
  celebrate
  and
  enjoy
  different
  kinds
  of
  occasions.
  It
  also
 
perfectly
  shows
  the
  character
  of
  cultural
  mentality
  and
  the
  daily
 
behaviour
  of
  Polish
  people,
  presenting
  the
  national
  spirit
  and
  in
 
my
 opinion
 can
 be
 treated
 as
 a
 foundation
 underlying
 all
 national
 
dances
 included
 in
 the
 group
 of
 triple
 meter.
 The
 Oberek,
 thanks
 to
 
its
  all-­‐demonstrable
  features
  is
  very
  much
  like
  a
  prototype
  of
 
others
 and,
 as
 a
 dance
 form,
 it
 perfectly
 expresses
 the
 core
 of
 the
 
Polish
 musical
 sense,
 the
 way
 of
 perceiving
 the
 reality
 and
 the
 way
 
of
 gaining
 motivation
 to
 share
 in
 general.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

9
 

The
 Mazur
 

 
The
  Mazur,
  or
  the
  Mazurek
  is
  also
  a
  national
  Polish
  dance
 
originating
  from
  the
  Mazovia
  region,
  very
  often
  mistakenly
 
identified
  with
  the
  Oberek
  because
  of
  their
  almost
  identical
 
musical
  features.
  However,
  apart
  from
  the
  same
  time
  signature
 
(3/8),
 a
 lively
 tempo,
 type
 of
 introduction,
 set
 of
 sections
 (AABB),
 
instrumentation,
 dancers
 movements
 and
 the
 general
 tone
 we
 can
 
notice
 some
 differences
 between
 these
 two
 dance
 forms
 as
 well.
 
 

 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 
First
  and
  foremost,
  while
  in
  the
  Oberek
  a
  plan
  of
  set
  up
 
accents
  is
  more
  loose
  and
  unplanned,
  in
 the
 Mazur
 we
  can
  easily
 
distinguish
  some
  regularity
  and
  common
  behaviours
  in
  that
 
matter.
  Strong
  points
  are
  usually
  placed
  on
  the
  third
  beat
  of
  the
 
measure
 (sometimes
 irregularly
 replacing
 with
 the
 second
 beat).
 

 


 

 

 


 
 
 
 
 
 
 
 
 
 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 


 


 

 


 

 


 

 

 
 
 
 
 
 
 
 
 
 
 example
 no.
 3
 


 


 

 

 

10
 

The
 accuracy
 in
 emphasizing
 accents
 is
 probably
 somehow
 
related
  to
  the
  tempo
  of
  the
  dance,
  which
  is
  usually
  a
  little
  bit
 
slower
  than
  in
  the
  Oberek.
  This
  specific
  aspect
  undoubtedly
 
exerted
 a
 kind
 of
 impact
 on
 modelling
 the
 melody
 as
 well,
 because
 
typically
  it
  is
  very
  transparent
  and
  memorable,
  more
  centred
 
upon
  the
  attractive
  element,
  which
  is
  the
  beauty
  of
  the
  melodic
 
line.
 
 
 

 

 


 
 
 example
 no.
 4
 


 


 

 
Finally,
 the
 Mazur
 dance
 form
 is
 nothing
 more
 than
 a
 special
 
kind
 of
 the
 Oberek
 coming
 from
 the
 Mazovia
 region,
 with
 a
 slightly
 
altered
  contour
  thanks
  to
  the
  strong
  Mazovian
  community
 
providing
  its
  own
  identity
  and
  a
  very
  interesting
  final
  purport.
 
The
  transparency
  of
  the
  name
 clearly
  points
  to
  the
  relation
  with
  a
 
particular
  area
  of
  the
  country,
  bearing
  very
  noticeable
  and
 
obvious
 similarities
 to
 Oberek.
 
 

 
At
 the
 same
 time
 it
 might
 have
 a
 bit
 more
 “catchy”
 melodic
 
line
  for
  an
  average
  listener,
  that
  makes
  this
  form
  more
 
demonstrative
 and
 much
 more
 official
 as
 well.
 

 

 

 

11
 

Owing
  to
  its
  better
  recognition,
  the
  Mazur
  form
  became
  a
 
huge
 inspiration
 for
 a
 number
 of
 Polish
 composers
 like
 Fryderyk
 
Chopin
 (who
 wrote
 58
 stylized
 Mazurkas,
 mainly
 for
 solo
 piano),
 
Karol
  Szymanowski
  (22
  Mazurkas,
  also
  for
  solo
  piano),
  Oskar
 
Kolberg
  (as
  a
  researcher
  he
  gathered
  around
  10
  thousand
 
folkloric
  melodies,
  composed
  a
  number
  of
  stylized
  Obereks
  and
 
Mazurkas),
 Henryk
 Wieniawski
 or
 Grażyna
 Bacewicz.
 
 

 
Moreover,
  the
  form
  was
  very
  popular
  and
  influential
 
amongst
 classical
 composers
 all
 around
 Europe
 such
 as
 Alexander
 
Scriabin,
  Pyotr
  Tchaikovsky
  and
  Alexander
  Borodin
  from
  Russia,
 
Bedřich
 Smetana
 and
 Antonín
 Dvořák
 from
 the
 Czech
 Republic
 or
 
Claude
 Debussy
 and
 Maurice
 Ravel
 from
 France.
 

 
In
  addition,
  a
  significant
  piece
  of
  information,
  worth
 
mentioning
  in
  my
  thesis,
  is
  that
  even
  the
  Polish
  national
  anthem
 
Mazurek
 Dąbrowskiego
  is
  based
  on
  the
  form
  of
  Mazur,
  composed
 
by
  Józef
  Wybicki
  in
  1797
  (two
  years
  after
  the
  Third
  Partition
  of
 
Poland
  had
  turned
  into
  the
  removal
  of
  the
  Polish–Lithuanian
 
Commonwealth
 from
 the
 map
 of
 Europe),
 inspired
 by
 an
 original
 
folkloric
 melody.
 
 

 

 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

example no. 5


 


 

 

12
 


 
Whereas
  the
  examples
  of
  the
  Mazur’s
  interpretations
  I
 
provided
  are
  essential
  to
  show
  the
  momentous
  role
  of
  this
  form,
 
at
  the
  same
  time
  my
  intention
  is
  to
  highlight
  a
  delicate
  matter,
 
namely
 the
 phenomenon
 of
 discounting
 the
 Oberek
 in
 the
 cultural
 
output
  and
  weakening
  its
  importance
  and
  position
  among
  other
 
national
 dances.
 

 
As
 I
 previously
 emphasized,
 in
 my
 opinion
 the
 Oberek
 form
 
with
  all
  its
  attributes
  is
  more
  like
  a
  mysterious
  prototype
  of
 
almost
 all
 the
 other
 dances,
 while
 the
 Mazur
 is
 one
 of
 the
 ways
 to
 
interpret
 it.
 In
 other
 words,
 if
 someone
 asked
 what
 the
 idiom,
 the
 
core
 of
 the
 Polish
 musical
 characteristics
 is,
 we
 should
 admit
 that
 
Oberek
 portrays
 it
 in
 the
 most
 perfect
 way
 and
 Mazur’s
 additional
 
features
 were
 just
 formed
 according
 to
 that.
 
 

 
It
 is
 not
 the
 question
 of
 a
 conflict
 between
 these
 two
 forms
 
but
  of
  a
  difference
  between
  their
  dissimilar
  relationships
  to
  the
 
very
  origin;
  unlike
  the
  rest,
  Oberek’s
  fundamental
  characteristics
 
exist
  in
  almost
  every
  Polish
  type
  of
  dance
  with
  a
  number
  of
 
modifications.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

13
 

The
 Kujawiak
 

 
The
 Kujawiak
  is
  a
  national
  Polish
  dance
  from
  the
  region
  of
 
Kuyavia,
  also
  danced
  by
  couples
  to
  instrumental
  music
  with
  a
 
setup
  of
  players
  similar
  to
  that
  of
  the
  Oberek
  and
  the
  Mazur
 
(sometimes
  supplemented
  by
  the
  clarinet
  or
  different
  kind
  of
 
flutes)
  in
  triple
  meter
  (this
  time
  more
  accurate
  to
  put
  3/4).
  In
 
terms
  of
  further
  parallels
  it
  is
  not
  difficult
  to
  notice
  the
  same
 
AABB
  form,
  an
  analogous
  kind
  of
  introduction
  or
  even
  a
  similar
 
rhythm
 structure.
 

 


 


 

However,
  there
  is
  also
  a
  number
  of
  significant
  differences
 
that
  make
  the
 Kujawiak
  exceptional
  and
  absorbing.
  First
  of
  all,
  the
 
tempo
 of
 this
 dance
 is
 much
 slower
 here
 in
 comparison
 with
 the
 
two
  previous
  examples.
  The
  melody
  is
  usually
  in
  the
  minor
  key
 
with
  a
  very
  lyrical
  or
  even
  sentimental
  melodic
  line.
  The
 
melancholic
 tone
 has
 its
 impact
 on
 the
 resonance
 of
 every
 section
 
starting
 from
 the
 introduction,
 which
 in
 this
 case,
 due
 to
 its
 longer
 
duration
  acquires
  a
  new,
  enigmatic
  meaning,
  through
  A
  and
  B
 
sections
  with
  a
  very
  calm
  and
  transparent
  way
  of
  leading
  the
 
melodic
 phrase
 and,
 finally,
 the
 endings
 of
 these
 sections
 finished
 
with
  accents,
  this
  time
  performed
  more
  decisively,
  resolutely,
 
sometimes
 even
 with
 a
 kind
 of
 desperation.
 


 

14
 


 
 
 
 
 
 example
 no.
 6
 


 
The
  Kujawiak
  with
  all
  its
  characteristics,
  created
  by
  the
 
Kuyavian
  people,
  pictures
  ideally
  the
  magnificent
  landscape
  of
  the
 
Kuyavia
 region
 in
 a
 metaphoric
 way.
 It
 is
 also
 a
 great
 example
 of
 
how
  diverse
  the
  Polish
  folkloric
  music
  can
  be,
  how
  many
  points
  of
 
view
 and
 ways
 to
 interpret
 the
 reality
 we
 can
 perceive.
 

 
Nevertheless,
 the
 evident
 connections
 with
 the
 Oberek
 and
 
the
  Mazur
  raise
  the
  question
  of
  the
  origins
  again;
  we
  can
 
distinguish
 the
 differences
 in
 the
 Kujawiak,
 a
 discourse
 about
 the
 
beauty
 of
 details
 and
 inner
 reasons
 for
 their
 existence,
 but
 at
 the
 
same
  time
  we
  let
  ourselves
  become
  seduced
  by
  its
  secretive,
 
immortal
  parallels
  emerging
  from
  the
  Polish
  history,
  and
  we
  pay
 
tribute
 to
 them.
 

 
This
  exuberant,
  sorrowful
  dance
  form
  stays
  in
  great
 
contrast
  to
  the
  enthusiastic,
  joyful
  tone
  of
  the
  Oberek
  and
  may
 
correctly
  be
  treated
  as
  an
  opposition;
  as
  a
  way
  of
  expressing
 
reverse
  emotions
  but
  based
  on
  the
  same
  musical
  groundwork
 
identical
 to
 all
 dances
 included
 in
 the
 triple
 meter
 group.
 

 

 

15
 

The
 Polonez
 

 
The
  Polonez,
  or
  in
  French
  Polonaise
  is
  probably
  the
  most
 
internationally
  recognizable
  dance
  form
  coming
  from
  a
  group
  of
 
national
  Polish
  dances.
  Danced
  by
  couples,
  walking
  around
  great
 
reception
  dance
  halls
  or
  in
  the
  open-­‐air
  in
  a
  very
  distinguished
 
and
 elegant
 way
 with
 moderate
 tempo.
 Accompanied
 by
 different
 
sets
  of
  instruments,
  in
  triple
  meter,
  usually
  with
  AABB
  setup
  of
 
sections.
  In
  this
  case,
  the
  rhythm
  structure
  and
  arrangement
  of
 
accents
  are
  relatively
  unusual
  in
  comparison
  to
  the
  dance
  forms
 
mentioned
  earlier
  (emphasizing
  the
  first
  beat
  in
  every
  measure
 
with
 a
 longer
 step).
 

 

 

 
 
 
 
 
 
 
 
 
 
 


 
 


 


 


 


 


 


 

 

 
 
 
 
 example
 no.
 7
 


 


 

 
In
 the
 first
 place
 it
 is
 principal
 to
 stress
 that
 this
 form
 owes
 
its
 uniqueness
 to
 its
 ceremonial
 and
 splendorous
 character,
 which
 
obviously
  has
  a
  strong
  reflection
  in
  musical
  characteristics.
  The
 
melody
  is
  usually
  composed
  with
  some
  short
  phrases,
  very
 
majestic
  and
  sometimes
  ornamented.
  The
  key
  is
  typically
 
undefined.
 

 

 


 

 

16
 


 

 


 
 
 
 
 example
 no.
 8
 


 


 

 
Analogously
  to
  the
 Oberek,
 the
  name
  Polonez
  is
  not
  related
 
to
 any
 region
 of
 the
 country,
 but
 this
 time
 the
 reason
 for
 that
 fact
 
is
  more
  correlated
  with
  a
  social
  role
  of
  the
  dance
  shaped
  by
  the
 
history.
  In
  the
  past,
  the
  Polonez
  used
  to
  be
  named
  Taniec
  Polski
 
(the
  Polish
  Dance)
  or
  Chodzony
  (the
  Walking
  Dance),
  and
  it
  was
 
performed
 during
 folk
 or
 secular
 wedding
 celebrations
 and
 formal
 
balls.
  The
  processional
  character
  of
  the
  dance
  and
  its
  final
  form
 
was
  being
  shaped
  within
  a
  period
  of
  time
  when
 the
  Polonez
  was
 
adopted
  by
  the
  upper
  class
  of
  the
  Polish
  society
  and
  when
  it
 
became
 popular
 all
 around
 Europe.
 

 
Due
  to
  its
  very
  sophisticated
  form
  and
  numerous
 
differences
  in
  comparison
  with
  other
  Polish
  dances,
  the
  Polonez
 
became
  an
  important
  reference
  for
  many
  great
  classical
 
composers
  like
  Johann
  Sebastian
  Bach,
  Wolfgang
  Amadeus
 
Mozart,
  Ludwig
  van
  Beethoven,
  Franz
  Schubert,
  Robert
 
Schumann,
  Franz
  Liszt,
  Modest
  Mussorgsky,
  Nikolai
  Rimsky-­‐
Korsakov,
  Pyotr
  Tchaikovsky,
  Alexander
  Scriabin,
  and
  of
  course
 
Polish
  authors
  like
  Fryderyk
  Chopin,
  Karol
  Szymanowski,
 
Stanisław
  Moniuszko,
  Henryk
  Wieniawski,
  Zbigniew
  Noskowski,
 
Wojciech
  Kilar
  and
  many
  others.
  Its
  form
  is
  also
  used
  in
  many
 
national
 songs
 or
 several
 Christmas
 Carols,
 like
 Bóg
 się
 Rodzi,
 (God
 
Is
 Being
 Born).
 
 

 

 

 

17
 

example
 no.
 9
 


 


 

 
Obviously,
  this
  dance
  form
  has
  strong
  roots
  in
  a
  Polish
  form
 
referred
  to
  as
  Chodzony,
  which
  is
  possibly
  related
  to
  some
  ancient
 
ritual
  of
  exorcising
  ghosts
  from
  the
  village
  cottages
  with
  sung
 
accompaniment
  and
  marching
  step
  but
  the
  modern
  shape
  of
  the
 
Polonez,
 apart
 from
 its
 foundation
 remains
 under
 a
 strong
 musical
 
influence
  of
  other
  dances.
  It
  is
  more
  like
  an
  aristocratic
 
personification
  of
  a
  mixture
  of
  different
  characteristics,
  almost
 
like
  an
  official
  hybrid
  of
  all
  national
  dances
  presented
  in
  a
 
symbolic
  and
  representational
  way.
  This
  probably
  explains
  why
 
one
 of
 its
 names
 is
 Polski
 (the
 Polish).
 
 

 

 

 

 

 

 

 

 

 

 

 

18
 

Group
 II
 
Dances
 in
 duple
 meter
 

 
The
 Krakowiak
 

 
The
 Krakowiak
 is
 a
 national
 Polish
 dance
 deriving
 from
 the
 
Lesser
  Poland
  region;
  its
  name
  comes
  from
  Kraków,
  the
  former
 
capital
  town
  of
  the
  Polish
  Kings
  and
  nowadays
  the
  third
  biggest
 
city
 in
 Poland.
 

 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 

 This
 vigorous
 dance
 form
 consists
 of
 different
 elements
 like
 
running,
  shuffling,
  passing
  and
  jumping.
  Very
  fast
  and
  dynamic,
 
danced
 by
 couples
 with
 the
 leading
 man
 directing
 the
 dance
 from
 
the
  first
  pair,
  in
  duple
  meter
  (2/4)
  to
  instrumental
  music
  with
 
very
  specific
  syncopation
  and
  rhythm
  structure,
  supposedly
 
imitating
 horses
 gallop.
 

 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 example
 no.
 10
 


 


 
Its
 form
 is
 also
 quite
 unusual;
 A
 and
 B
 sections
 are
 repeated
 
twice
  but
  instead
  of
  coming
  back
  to
  the
  top,
  we
  are
  moving
  to
 
doubled
 section
 C,
 D
 and
 so
 on,
 wherein
 every
 following
 segment
 
is
 evidently
 altered.
 
 

 

 

19
 

Another
  remarkable
  feature
  is
  the
  fact
  that
  each
  melodic
 
phrase
  is
  symmetrically
  repeated,
  which
  creates
  nearly
  identical
 
pairs
 of
 melodies
 in
 every
 section.
 The
 melodic
 line
 itself
 is
 usually
 
quite
 resolute
 and
 haughty;
 very
 concise
 in
 the
 basic
 state,
 but
 it
 
can
  be
  ornamented
  with
  lots
  of
  extra
  rhythmic
  figures,
 
spontaneous
 triad
 passages,
 and
 additional
 dotted
 notes.
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 


 
 


 


 


 


 


 


 


 


 


 


 
 
 example
 no.
 11
 


 


 

 
The
 Krakowiak
 is
 the
 most
 famous
 and
 representative
 dance
 
in
  duple
  mater
  with
  its
  own,
  strong
  individuality
  but,
  besides
  a
 
number
  of
  evident
  differences
  (mainly
  completely
  contrasting
 
time
  signature),
  it
  perfectly
  exposes
  the
  Polish
  national
  spirit
 
compared
  to
  the
  Oberek
  and
  other
  Oberek-­‐oriented
  dances.
 
Furthermore,
  we
  can
  even
  characterize
  some
  interesting
 
structural
  connections
  between
  these
  two
  dance
  forms,
  for
 
example
  both
  of
  them
  use
  the
  same
  syncopated
  rhythm
  pattern,
 
which
  is
  only
  articulated
  in
  a
  dissimilar
  way
  and
  used
  in
  a
 
different
 beat
 in
 the
 measure.
 

 

 

 

20
 

Possibly,
  the
  people
  from
  the
  Lesser
  Poland
  created
  this
 
form
  as
  a
  kind
  of
  mixture
  consisting
  of
  some
  Polish
  triple
  meter
 
dances
  and
  the
  classical
  music,
  most
  probably
  secular
  dances
 
originating
  from
  the
  Renaissance
  period
  (in
  duple
  meter),
  when
 
Kraków
 occupied
 a
 very
 strong
 position
 in
 the
 field
 of
 music
 and
 
the
 Kraków’s
 scene
 was
 fairly
 influential
 in
 the
 region,
 the
 country
 
and
 all
 over
 Europe.
 

 
The
  other
  worthwhile
  theory
  would
  be
  that
  the
  Krakowiak
 
is
  in
  fact
  a
  hybrid
  of
  a
  triple
  meter
  dance
  like
  the
  Oberek
  and
 
another
 dance
 coming
 from
 the
 most
 southern
 part
 of
 Poland,
 just
 
over
 the
 border
 with
 Slovakia,
 at
 the
 foot
 of
 the
 Tatra
 Mountains,
 
named
 the
 Zbójnicki.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

21
 

The
 Zbójnicki
 

 
The
 Zbójnicki
 is
 a
 very
 specific
 dance
 form
 which
 originated
 
in
 the
 Podhale
 region
 (the
 southernmost
 part
 of
 the
 Lesser
  Poland
 
occasionally
 titled
  the
  Polish
 highlands),
  danced
  by
  a
  group
  of
  men
 
called
  Zbójnik
  which
  means
  a
  robber
  from
  that
  particular
  area.
 
Incredibly
  enthusiastic
  and
  vital
  in
  the
  variable
  tempo,
  performed
 
with
 an
 accompaniment
 of
 a
 small
 string
 ensemble
 in
 duple
 meter,
 
with
 many
 kinds
 of
 steps
 and
 rampant
 figures,
 especially
 jumping
 
and
 knee-­‐bending.
 

 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


 


 
The
 whole
 form
 of
 the
 dance
 can
 be
 compared
 to
 a
 kind
 of
 a
 
suite,
  which
  includes
  an
  ad-­‐libitum
  introduction,
  sung
  couplets
 
and
  fast
  marching
  in
  circles
  with
  diverse,
  extra
  figures.
  Men,
 
Zbójnicy
 always
 dance
 with
 their
 decorative
 axes
 called
 Ciupagas,
 
which
 play
 an
 important
 role
 in
 some
 movements.
 A
 feature
 that
 
is
  very
  emblematic
  of
  the
  music
  from
  the
  Podhale
  region
  is
  that
 
harmony,
 chord
 changes
 and
 the
 melody
 are
 all
 based
 on
 a
 unique
 
scale
 called
 Skala
 Góralska,
 which
 means
 the
 Mountaineer’s
 Scale.
 

 

 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 


 


 
 
 
 
 
 
 
 
 
 
 
 
 example
 no.
 12
 


 

22
 

Short
  melodic
  phrases
  are
  strongly
  linked
  with
  downbeats
 
of
  the
  measure,
  which
  makes
  them
  very
  short,
  resolute
  and
 
concise.
  After
  presenting
  the
  theme
  melody
  during
  the
  first
 
couplet
  in
  a
  slow
  tempo
  or
  even
  tempo
  rubato,
  when
  men
  start
 
dancing
  in
  the
  circle,
  the
  pulse
  is
  gradually
  changing
  to
  a
  fast
 
tempo
  and
  the
  melodic
  line
  becomes
  ornamented
  in
  many
  ways
 
by
  the
  leading
  instrument,
  which
  in
  most
  cases
  is
  the
  violin
 
accompanied
  by
  very
  metrical
  hits
  of
  the
  rest
  of
  the
  string
 
ensemble.
 

 

 


 
 


 


 


 


 
 
 example
 no.
 13
 


 


 

 
The
  musical
  characteristics
  and
  dance
  patterns
  of
  the
 
Zbójnicki
  form
  are
  evidently
  typical
  of
  many
  dances
  of
  this
  region,
 
also
  of
  forms
  coming
  from
  the
  opposite
  side
  of
  the
  Tatra
 
Mountains
 –
 Slovakia
  and
  Hungary.
  The
  most
  probable
  version
  is
 
that
 the
 prototype
 of
 this
 dance
 was
 the
 procession
 dance,
 which
 
was
  the
  main
  form
  of
  dance
  for
  ancient
  nations
  from
  this
 
highlands
 area.
 

 
It
  wonderfully
  shows
  the
  temperament
  and
  vitality
  of
  the
 
people
  who
  have
  been
  living
  there
  for
  centuries.
  An
  additional,
 
extraordinary
  confirmation
  of
  these
  attributes
  would
  be
  that
  the
 
culture
 of
  Podhale
  is
  still
  alive,
  it
  is
  easy
  to
  notice
  people
  in
  folk
 
costumes
  and
  men
  with
  Ciupagas
  even
  in
  the
  streets
  of
  the
 
highland
  “capital”,
  Zakopane
  city,
  not
  to
  mention
  the
  countless
 
villages
  around,
  where
  the
  Zbójnicki
  and
  other
  dances
  like
 
Góralski,
 Krzesany,
 Drobny
 are
 still
 danced
 regularly.
 

 

23
 


 
The
  rhythmical
  and
  overall
  similarities
  between
  the
 
Zbójnicki
 and
 the
 Krakowiak
 are
 very
 strong,
 but
 at
 the
 same
 time
 
highly
  important
  and
  therefore
  worth
  mentioning.
  The
  reason
  I
 
selected
  Zbójnicki
  from
  a
  group
  of
  dances
  coming
  from
  the
 
Podhale
  region
  is
  not
  only
  its
  huge
  popularity,
  but
  also
  the
 
strength
  of
  the
  way
  it
  has
  affected
  and
  changed
  the
  cultural
 
environment
 of
 the
 entire
 Lesser
 Poland
 area
 and
 beyond.
 

 
This
  form
  was
  born
  and
  was
  growing
  in
  the
  mountains,
 
developed
  by
  small,
  strong
  male
  communities
  as
  a
  symbol
  of
  their
 
independence,
  inner
  powers,
  bravery
  and
  fearlessness.
  At
  some
 
point
  back
  in
  the
  day,
  this
  exceptional
  land
  was
  discovered
  by
 
others
  and
  their
  culture,
  music,
  social
  practices
  were
  gradually
 
absorbed,
 which
 we
 can
 perceive
 based
 on
 this
 specific
 example.
 
 

 
The
  Krakowiak,
  with
  its
  2/4
  time
  signature
  (the
  only
 
national
 Polish
 dance
 form
 that
 does
 not
 represent
 triple
 meter),
 
the
 kind
 of
 dance
 movements
 and
 the
 general
 musical
 tone
 bears
 
clear
  references
  to
  the
  music
  from
  the
  Polish
  highlands
  region,
 
especially
 to
  the
  Zbójnicki
  dance.
 After
 all,
 my
 further
 observation
 
is
  that
 Krakowiak
 is
  still
  well
  known
  and
  occasionally
  danced
  by
 
villagers
 in
 the
 Podhale.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

24
 


 
Summary
 

 
The
  main
  purpose
  of
  presenting
  these
  six
  most
 
characteristic
 and
 well-­‐known
 Polish
 dances
 is
 not
 only
 putting
 all
 
distinctions
  and
  common
  features
  together
  and
  showing
  the
 
musical
 diversity
 but
 also
 explaining
 the
 origins
 of
 specific
 dance
 
forms.
 
 

 
Having
  gone
  through
  all
  these
  various
  ways
  of
  musical
 
expression
 quite
 carefully,
 we
 are
 getting
 closer
 to
 the
 questions,
 
which
 are
 the
 key
 to
 understanding
 the
 main
 thesis
 of
 this
 entire
 
work;
 namely,
 the
 question
 why
 these
 forms
 have
 the
 final
 shape
 
as
 described
 above.
 

 
Besides,
  the
  matter
  is
  why,
  despite
  all
  differences
  and
 
variations,
  we
  can
  still
  admit
  that
  Oberek,
  Mazur,
  Kujawiak,
 
Polonez,
  Krakowiak,
  Zbójnicki
  and
  others
  are
  truly
  Polish
  dances
 
by
  naturally
  perceiving
  and
  extricating
  the
  secretive
  core,
  which
 
remained
 unchanged
 throughout
 history.
 

 
Lastly,
  if
  the
  real
  folkloric
  music
  becomes
  less
  and
  less
 
popular,
  the
  dancing
  practice
  in
  fact
  vanishes
  in
  the
  air,
  it
  is
 
advisable
 to
 ask
 where
 we
 can
 find
 this
 core
 nowadays,
 besides
 a
 
few
 remaining
 villages
 scattered
 throughout
 Poland.
 Is
 it
 lost?
 Or
 
we
  just
  do
  not
  need
  it
  anymore
  in
  order
  to
  create
  our
  music
 
because
 of
 an
 extremely
 vast
 number
 of
 influences
 all
 around
 the
 
world.
 Have
 we
 already
 replaced
 our
 national,
 cultural
 personality
 
structure
  with
  external
  inspirations
  and
  blindly
  keep
  on
  following
 
the
 movement
 of
 globalization
 and
 the
 social
 progress?
 

 
From
  the
  my
  point
  of
  view,
  in
  order
  to
  answer
  these
 
questions
  it
  is
  necessary
  to
  understand
  the
  primary
  meaning
  of
 
the
 improvisation
 as
 a
 principal
 element
 forming
 our
 reality
 by
 a
 
spontaneous
 act
 of
 creation.
 

 

 

 

25
 

The
  real,
  instinctive
  improvisation
  is
  a
  complex
  process
  of
 
demonstrating
  our
  identity,
  which
  not
  only
  includes
  our
  artistic
 
imports,
  influences,
  overheard
  genres
  or
  personal
  taste
  moulded
 
by
  life,
  but
  also
  contains
  something
  separated
  from
  our
 
consciousness,
  something
  constant
  and
  everlasting,
  something
 
which
  created
  ethnic
  groups
  and,
  in
  the
  end,
  whole
  nations
  by
 
separating
  one
  culture
  from
  another.
  Here,
  we
  can
  observe
 
improvisation
  in
  this
  sense
  as
  folkloric
  creation;
  dance
  forms
 
invented
  naturally,
  in
  the
  purest
  way
  by
  human
  communities
 
living
  in
  harmony
  with
  nature
  and
  in
  peace
  with
  the
  principal
 
rules
 of
 life.
 

 
We,
  as
  artists,
  by
  understanding
  the
  real
  meaning
  of
 
improvisation,
  should
  conceive
  of
  the
  opportunity
  to
  find
  our
 
roots
 by
 exploring
 our
 own
 culture,
 but
 at
 the
 same
 time
 we
 shall
 
remember
  that
  even
  if
  we
  have
  no
  intention
  of
  doing
  so,
  it
  will
 
remain
  existing
  somewhere
  inside
  us,
  hidden
  or
  used
 
subconsciously.
 Again,
 this
 is
 an
 integral
 part
 of
 our
 identity.
 

 


 

26
 

Modern
 Improvised
 Music
 

 
In
 this
 chapter
 I
 will
 strive
 to
 showcase
 the
 phenomenon
 of
 
improvisation
  in
  different
  contexts,
  and
  attempt
  to
  demonstrate
 
the
  role
  of
  spontaneous
  creation
  in
  forming
  the
  musical
  styles
  like
 
classical
 music,
 jazz
 and
 modern
 trends.
 

 
As
  I
  stated
  before,
  sense
  of
  improvisation
  has
  a
  much
  wider
 
meaning
  to
  me;
  it
  is
  not
  only
  about
  a
  live
  act
  of
  unrehearsed
 
performance,
 just
 a
 solo
 in
 a
 jazz
 piece
 or
 free
 music,
 it
 is
 a
 state
 
of\mind,
 which
 allows
 us
 to
 create.
 Sometimes
 this
 state
 inspires
 
us
  to
  write
  a
  composition,
  sometimes
  it
  forces
  us
  to
  move
 
specifically
  with
  music
  and
  create
  dance
  forms,
  sometimes
  it
 
allows
  us
  to
  play
  a
  particular
  type
  of
  music,
  which
  we
  had
  no
  idea
 
about
  before.
  It
  is
  a
  vehicle
  for
  the
  expression
  of
  our
  feelings,
 
either
  intense
  or
  fleeting,
  positive
  and
  negative
  aspects
  of
  our
 
existence
 in
 our
 own,
 sophisticated
 way.
 
 

 
While
 listing
 all
 these
 ways
 mentioned
 above,
 we
 can
 notice
 
not
  only
  differences
  but
  also
  similarities;
  we
  can
  detect
  some
 
interesting
  parallels,
  which
  shaped
  groups
  of
  cultures,
  and
  their
 
own
 independence.
 

 
Therefore,
  it
  is
  highly
  significant
  to
  expose
  how
  this
 
exceptional
 state
 of
 mind
 has
 already
 evolved
 in
 the
 history,
 how
 
it
  is
  progressing
  nowadays,
  and
  if
  it
  still
  has
  the
  potential
  to
  affect
 
the
  future
  of
  music,
  especially
  the
  genres
  more
  connected
  with
 
live
 improvisation.
 In
 the
 next
 topics
 I
 am
 going
 to
 focus
 on
 these
 
matters.
 

 

 

 

 

 


 

27
 

Improvisation
 in
 Classical
 Music
 

 
Besides
 the
 European
 refined
 concept
 of
 the
 perfect
 type
 of
 
music
  understood
  more
  as
  a
  branch
  of
  science
  based
  on
  cosmic
 
rules,
 biblical
 values
 and
 the
 primary
 meaning
 of
 beauty
 and
 truth,
 
classical
  music
  was
  strongly
  affected
  by
  the
  human
  aspect
 
throughout
 history,
 which
 has
 been
 modelling
 the
 shape
 and
 has
 
been
  creating
  the
  actual
  result
  of
  a
  composer’s
  creation.
  This
 
human
 aspect
 contained
 some
 features
 like
 impacts
 from
 outside
 
of
  Europe,
  fusions
  of
  cultures
  on
  the
  European
  continent
  and
 
factors
  of
  accidental
  nature
  as
  well,
  but
  essentially
  it
  was
 
overwhelmed
  by
  the
  identity
  of
  individual
  composers,
  their
 
cultural
  background
  and
  national
  attachment.
  As
  I
  previously
 
pointed
 out,
 these
 identities
 were
 manifested
 by
 different
 kinds
 of
 
improvisation
 outcomes.
 

 
What
  is
  easy
  to
  notice
  is
  that
  having
  started
  from
  Gregorian
 
Chants,
  having
  gone
  through
  medieval
  mannerism,
  the
 
Renaissance
  and
  the
  Baroque,
  the
  general
  direction,
  which
  was
 
the
 previously
 chosen
 course,
 was
 shifting.
 In
 other
 words,
 to
 put
 
it
  in
  even
  simpler
  terms,
  the
  role
  of
  the
  classical
  music
  had
  the
 
constant
  tendency
  to
  become
  more
  understandable,
  entertaining
 
and
  enjoyable
  for
  the
  audience,
  which
  reached
  its
  highest
  point
  in
 
the
 Classical
 period.
 

 
This
 propensity
 can
 be
 interpreted
 as
 a
 massive
 movement
 
of
 searching
 for
 a
 perfect
 balance
 between
 universal
 doctrines
 and
 
indelible
 human
 impact,
 or
 as
 an
 illustration
 of
 the
 symbolic
 fight
 
between
  the
  divine
  and
  the
  human
  nature,
  but
  besides
  the
 
meaning,
  the
  fact
  of
  this
  long-­‐term
  trend
  would
  be
  difficult
  to
 
deny.
 

 
From
  the
  historical
  point
  of
  view,
  composers
  began
  to
  focus
 
more
  on
  their
  own
  invention,
  they
  started
  signing
  their
  works
 
with
  real
  names
  and
  put
  a
  lot
  of
  effort
  into
  incorporating
 
subjective
 musical
 impressions
 into
 them
 in
 order
 to
 immortalise
 
them
 and
 to
 individualise
 the
 character
 of
 the
 composition
 itself.
 

 

28
 


 
The
  role
  of
  a
  creator-­‐composer
  was
  gradually
  switching
 
from
  a
  model
  of
  soulful
  servant
  with
  pure
  intentions
  of
  building
 
the
  artistic
  monument
  in
  the
  name
  of
  God,
  to
  a
  self-­‐centred
 
careerist,
  mainly
  focused
  on
  his
  reputation
  and
  recognition
  or
 
alternatively
 on
 the
 idea
 of
 progress,
 as
 the
 only
 target
 and
 main
 
sense
 of
 art
 in
 general
 (further
 development).
 An
 interesting
 point
 
to
  mention
  here
  is
  the
  very
  clear
  difference
  between
  these
  two
 
attitudes.
 
 

 
In
  the
  first
  case
  the
  author
  believed
  that
  all
  his
  musical
 
discoveries
  were
  coming
  from
  a
  non-­‐materialistic,
  ideal
  world
 
which
  we,
  as
  humans
  can
  hardly
  explore
  and
  draw
  conclusions
 
based
 on
 our
 observations,
 distinguish
 the
 rules
 and
 use
 them
 in
 
the
  process
  of
  creation.
  In
  the
  second
  extremity
  a
  composer
  is
  not
 
attached
 to
 any
 rule
 except
 for
 the
 audience's
 taste,
 sense
 of
 style
 
or
  intelligence
  of
  the
  listeners,
  an
  actual
  trend
  or
  mode,
  his
  own
 
caprice
 or
 such
 a
 prosaic
 matter
 as
 the
 material
 situation.
 

 
That
  is
  why
  Romanticism
  was
  in
  a
  way
  the
  process
  of
 
unchaining
  the
  art
  from
  the
  advanced
  musical
  simulation
  or
 
illusion,
  which
  was
  based
  on
  some
  previously
  discovered
  rules,
 
but
  commonly
  covered
  by
  a
  commercial
  layer,
  entertaining
  rather
 
than
  enlightening
  role.
  The
  direction
  of
  this
  era
  was
  a
  kind
  of
 
strong
  response
  to
  the
  Classicism’s
  falsity
  and
  its
  window
 
dressing
  to
  the
  delight
  of
  the
  people,
  later
  leading
  through
  big
 
thoughts
  and
  ideas,
  through
  passionate
  Expressionism
  to
  the
  next
 
extreme
 –
 mental
 chaos
 rationalized
 by
 the
 idea
 of
 the
 progress
 as
 
a
 purpose.
 

 
At
  the
  end
  of
  this
  process
  classical
  music
  lost
  its
  initial
 
postulations,
 commercial
 values
 and
 its
 powers
 to
 touch
 people’s
 
feelings
  except
  shock,
  disgust
  or
  just
  confusion,
  which
  we
  can
 
notice
 nowadays.
 Romantic
 and
 Neoromantic
 inclination
 towards
 
folk
 music
 is
 not
 accidental
 here.
 

 

 

 

29
 

While
 in
 previous
 musical
 eras
 folk
 music
 was
 treated
 as
 a
 
lower-­‐class
 genre,
 starting
 form
 Classicism
 through
 Romanticism
 
until
 now
 this
 situation
 has
 been
 changing.
 
 By
 putting
 more
 effort
 
into
  developing
  the
  individuality,
  composers
  started
  to
  look
  for
 
new
  inspirations,
  among
  others
  derived
  by
  absorbing
  features
 
from
  folkloric
  music,
  which
  turned
  its
  highest
  point
  in
 
Romanticism,
  when
  composers
  showed
  their
  biggest
  interest
  in
 
that
  matter
  within
  different
  kinds
  of
  works,
  from
  solo
  forms,
 
through
 chamber
 music,
 to
 orchestral
 pieces.
 

 
In
 my
 opinion
 it
 was
 the
 natural
 tendency
 to
 leave
 artificial
 
musical
  construction
  behind
  and
  start
  looking
  for
  sincerity,
 
authenticity
  by
  getting
  closer
  to
  their
  own
  roots;
  at
  the
  same
  time
 
giving
  up
  evanescence
  and
  naivety
  in
  favour
  of
  passion
  and
 
unfettered
 expression.
 However,
 no
 one
 imagined
 that
 with
 time,
 
this
  expression
  would
  unchain
  from
  any
  rule,
  any
  principle
  and
 
would
  became
  the
  reason
  for
  their
  disappearance
  and
  further
 
artistic
 blindness.
 

 
Improvisation
  in
  the
  meaning
  of
  a
  live
  spontaneous
  act
 
existed
  in
  classical
  music
  as
  well,
  firstly
  as
  a
  tool
  used
  by
 
musicians
  to
  improve
  a
  performance
  by
  adding
  complex
 
ornaments
  to
  the
  notes
  (mainly
  Renaissance,
  Baroque),
  virtuoso
 
cadenzas
 in
 instrumental
 concerts
 or
 in
 basso
 continuo,
 later
 even
 
as
  a
  whole
  improvised
  performance,
  mainly
  solo
  (initially
  in
 
Classicism,
  but
  more
  often
  in
  Romanticism).
  But
  here
  it
  is
  really
 
important
  to
  emphasize
  that
  even
  if
  the
  whole
  performance
  was
 
unprepared
 and
 impulsive,
 this
 kind
 of
 improvisation
 has
 nothing
 
to
 do
 with
 the
 improvisation
 invented
 by
 Jazz.
 
 

 
While
  in
  classical
  music
  the
  whole
  improvised
  show
  was
 
about
  imitating
  and
  fantasizing
  an
  already
  existing
  composition
 
form
  with
  the
  potential,
  emotional
  outcome,
  in
  Jazz
  the
  order
  is
 
opposite;
 the
 show
 is
 illustrating
 emotions
 in
 the
 first
 place,
 with
 
the
 potential
 outcome
 of
 the
 form.
 

 

 

 

30
 


 
Fryderyk
  Chopin
  once
  said
  that
  for
  him
  the
  composition
 
process
 is
 nothing
 more
 than
 catching
 the
 very
 first
 creative
 idea
 
in
  its
  pure
  state
  and
  trying
  to
  put
  it
  on
  the
  paper
  without
  any
 
accretions;
  for
  him
  it
  was
  the
  actual
  challenge.
  He
  believed
  that
 
the
  closer
  composition
  is
  to
  improvisation;
  the
  truer
  the
  musical
 
statement
 of
 the
 author
 is.
 

 
To
  continue
  this
  reasonable
  point,
  according
  to
  Chopin’s
 
musical
  output,
  I
  would
  say:
  the
  more
  honest
  improvisation
  and
 
musical
  statement
  of
  the
  author,
  the
  closer
  the
  distance
  to
  own
 
origins,
 to
 folkloric
 music.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

31
 

Improvisation
 in
 Jazz
 

 
The
 phenomenon
 of
 Jazz
 is
 manifested
 and
 proved
 by
 
 
 
several
 important
 facts
 as
 follow:
 
 

 
-­‐ It
  is
  a
  genre
  with
  the
  foundation
  of
  African
  folk
  music
 
mixed
 with
 achievements
 in
 classical
 music;
 

 
-­‐ Jazz
  alters
  the
  role
  of
  improvisation
  firstly
  by
  enriching
 
its
  significance
  and
  the
  power
  of
  shaping
  the
 
composition,
  later
  by
  changing
  its
  meaning
  from
  just
  an
 
extended
  ornament
  or
  the
  way
  to
  build
  a
  temporary
 
musical
 piece,
 into
 improvisation
 act
 as
 an
 equivalent
 of
 a
 
musical
 piece;
 

 
-­‐ Jazz
  has
  a
  tendency
  to
  develop
  by
  adapting
  new
 
influences
 taken
 from
 other
 genres;
 by
 losing
 its
 primary
 
attributes
  coming
  from
  folk
  music,
  it
  saves
  improvisation
 
as
 a
 last
 bastion
 possible
 to
 distinct;
 

 
-­‐ Jazz,
  firstly
  stated
  as
  a
  popular,
  dance
  music,
  becomes
 
known
 worldwide
 as
 a
 new
 art
 form;
 

 
-­‐ Jazz
  creates
  the
  new
  model
  of
  an
  artist,
  composer,
 
interpreter,
 performer
 and
 improviser
 in
 one
 package.
 

 

 
Improvisation
 is
 a
 natural
 form
 of
 human
 expression,
 which
 
has
 existed
 in
 every
 culture
 and
 in
 each
 human
 community
 able
 to
 
interpret
  the
  outward
  reality.
  Folkloric
  music
  was
  in
  a
  way
 
designed
  by
  instinctive
  improvisation
  based
  on
  the
  analyses
  of
 
surroundings
  and
  the
  previously
  settled
  mental
  character;
  there
 
was
  never
  any
  need
  to
  manifest
  the
  existence
  of
  improvisation,
  or
 
to
 assign
 a
 dominant
 role
 to
 it.
 Even
 if
 in
 some
 specific
 cultures
 the
 
importance
 of
 improvisation
 live
 act
 is
 easier
 to
 distinguish,
 it
 was
 
still
 linked
 closely
 with
 the
 whole
 piece
 or
 a
 dance,
 in
 most
 cases
 it
 
was
 not
 celebrated
 separately.
 

 

32
 


 
While
  in
  Europe
  classical
  music
  was
  invented
  without
  an
 
impact
  of
  spontaneous
  improvisation,
  or
  even
  as
  an
  intended
 
perfect
 contrary
 to
 pagan,
 “artless”
 folk,
 the
 rest
 of
 the
 world
 was
 
still
 mainly
 linked
 with
 their
 native
 culture.
 
 

 
Deportations
  of
  African
  people
  to
  the
  United
  States
  and
  a
 
long
  period
  of
  slavery
  on
  a
  massive
  scale
  created
  the
  favourable
 
circumstances
  to
  renew
  the
  original
  music
  from
  Africa
  but
  in
  a
 
more
 unconscious
 way,
 with
 strong,
 new
 influences
 of
 European-­‐
American
  music;
  this
  is
  how
  Blues,
  Ragtime,
  Gospel,
  Minstrels,
 
Spirituals
 and
 others
 were
 invented.
 The
 element
 of
 improvisation
 
was
  obviously
  present
  in
  every
  newly
  created
  genre
  due
  to
  its
 
close
 relationship
 with
 folk,
 but
 at
 the
 beginning
 its
 role
 was
 not
 
leading;
 at
 that
 time
 the
 interesting
 phenomenon
 was
 the
 type
 of
 
rhythm
  syncopation,
  an
  innovative
  sense
  of
  time
  of
  African
 
people,
 called
 Swing.
 

 
After
  the
  Swing
  era
  where
  improvisation
  was
  undoubtedly
 
developing,
  Bebop
  style
  was
  initiated,
  which
  finally
  renewed
  the
 
meaning
  of
  improvisation
  forever.
  It
  became
  an
  unusual
  way
  to
 
express
  personal
  feelings,
  happiness,
  anger,
  nostalgia,
  fury,
 
curiosity
  and
  ecstasy,
  a
  way
  to
  portray
  the
  prosaic
  part
  of
  our
 
existence,
 hardships
 of
 everyday
 life
 and
 a
 subjective
 point
 of
 view
 
on
 the
 sense
 of
 life.
 
 

 
Later,
 when
 Jazz
 music
 was
 propagated
 more
 in
 Europe
 and
 
on
  other
  continents
  as
  an
  art
  form,
  with
  a
  gradually
  vanishing
 
foreign
  Swing
  feature,
  a
  role
  of
  improvisation
  took
  on
  the
 
characteristics
  of
  individualism,
  firstly
  by
  different
  fusions
  with
 
other
  young
  genres
  like
  funk,
  rock,
  hip-­‐hop
  or
  with
  Latin
  music,
 
later
  by
  stronger
  connection
  with
  classical
  music
  and
  Jazz
 
interpretations
  by
  European
  musicians.
  Artists
  from
  all
  around
 
the
 world
 started
 looking
 for
 their
 own
 musical
 way
 of
 expression
 
in
  Jazz,
  their
  individual
  language
  in
  improvisation
  and
  jazz
 
composition
 with
 many
 different
 results.
 
 

 

 

33
 

The
  reason
  why
  Jazz
  with
  its
  exceptional
  kind
  of
 
improvisation
  became
  so
  popular
  and
  respectable
  in
  Europe
  is
 
because
  of
  a
  gap,
  created
  by
  a
  strong
  division
  between
  ideal
 
classical
 music
 movement
 and
 European
 folkloric
 music
 treated
 as
 
a
  relict
  of
  the
  past
  for
  centuries.
  People
  weaned
  away
  from
  this
 
sort
  of
  expression
  found
  a
  new
  genre
  very
  attractive
  and
  fresh
 
while
  musicians
  started
  to
  think
  entirely
  differently
  about
  the
 
concept
 of
 sharing
 feelings
 through
 music.
 
 

 
Finally
  Jazz
  has
  become
  a
  symbol
  of
  individuality
  expressed
 
by
  unchained
  improvisation,
  in
  any
  form,
  with
  any
  musical
 
characteristics
  and
  accretions.
  Nowadays
  musicians
  are
  looking
 
for
 their
 uniqueness
 by
 mixing
 the
 genres,
 mixing
 their
 favourite
 
styles
 presented
 by
 great
 masters,
 but
 sometimes
 also
 by
 trying
 to
 
understand
 their
 own
 musical
 roots.
 The
 last
 tendency
 is
 the
 one,
 
where
 Jazz,
 after
 a
 long
 trip
 through
 many
 styles
 is
 coming
 back
 to
 
its
  own
  origins,
  the
  folkloric
  music,
  but
  this
  time
  with
  a
  wide
 
palette
  of
  different
  cultures.
  For
  now
  it
  is
  more
  about
  literal
 
connecting
  folk
  themes
  and
  different
  jazz
  attributes,
  inter
  alia
 
swing
  (coming
  from
  African
  culture),
  but
  I
  believe
  this
  direction
 
can
  and
  will
  lead
  us
  to
  more
  sophisticated
  ideas
  and
  musical
 
discoveries.
 

 
The
  main
  invention
  coming
  from
  the
  Jazz
  movement
  is
 
ultimately
  improvisation
  with
  its
  new
  meaning,
  stimulating
 
musicians
  from
  all
  around
  the
  world
  to
  find
  their
  own
  way
  to
 
express
 themselves
 in
 this
 incomparable
 manner,
 inspiring
 other
 
genres
 to
 use
 the
 improvisation
 as
 well,
 but
 if
 the
 last
 noticeable
 
attribute
 of
 Jazz
 will
 be
 just
 an
 improvisation,
 then
 is
 it
 still
 Jazz?
 

 
 
 
 
 
Well,
 it
 depends
 on
 a
 definition,
 but
 we
 cannot
 deny
 that
 the
 
direction
  of
  development
  of
  this
  kind
  of
  music
  perfectly
  proves
 
the
  extremely
  significant
  role
  of
  improvisation
  in
  our
  lives
  and
  art
 
at
 the
 same
 time
 showing
 us
 its
 folkloric
 origins.
 Now
 it
 is
 only
 our
 
responsibility
  to
  learn
  this
  lesson
  and
  move
  forward
  while
 
bearing
 in
 mind
 that
 only
 honest
 improvisation
 has
 the
 power
 to
 
express
 our
 identity,
 create
 new
 genres
 and
 change
 the
 future.
 

 

34
 


 Modern
 Trends
 and
 Improvisation
 

 
As
  I
  previously
  mentioned,
  Classical
  Music,
  by
  putting
 
money
 on
 expression,
 firstly
 as
 an
 opposition
 to
 the
 dispassion
 of
 
Classicism,
  later
  as
  contrary
  to
  the
  musical
  rules
  in
  general,
 
created
  the
  tendency
  to
  loose
  its
  own
  indissoluble
  attributes.
  It
 
lost
  its
  early
  postulations
  based
  on
  perfect
  rules
  coming
  from
 
biblical,
 Christian
 values,
 it
 lost
 the
 commercial
 feature,
 which
 was
 
making
  it
  the
  leading
  type
  of
  music
  in
  Europe,
  and
  in
  the
  end
  it
 
lost
 the
 ability
 to
 touch
 the
 feelings
 of
 ordinary
 people
 because
 of
 
musical
 extremism.
 

 
In
  Europe,
  the
  commercial
  feature
  of
  Classical
  Music
  was
 
rapidly
  inherited
  by
  an
  incredibly
  wide
  palette
  of
  recently
  born
 
genres
  like
  Pop
  in
  general,
  Rock,
  Punk,
  Rhythm
  and
  Blues,
  Funk,
 
Drum
  and
  Bass,
  Hip-­‐Hop,
  World
  Music,
  Electronic
  Music
  like
 
Disco,
  Big
  Beat,
  Techno,
  House
  and
  many
  others
  (for
  some
  time
 
Jazz
 played
 this
 role
 as
 well,
 mainly
 in
 the
 Swing
 era).
 According
 
to
  the
  enlightening
  role,
  real
  passion
  and
  the
  educative
  impact
 
caused
  by
  the
  capacity
  to
  move
  people’s
  feelings
  and
  morals,
 
Classical
  Music
  lost
  the
  fight
  with
  Jazz
  and
  related
  genres
  like
 
Third
  Stream,
  new
  concepts
  of
  Free
  Jazz,
  alternative
  electronic
 
music
  and
  many
  different
  fusions
  of
  modern
  improvised
  and
 
conceptual
  music.
  Without
  these
  features,
  and
  without
  its
  own
 
roots
  constructed
  on
  universal
  perfection,
  Classical
  Music
  is
  now
 
standing
 on
 the
 verge
 of
 a
 cliff,
 with
 a
 completely
 dazzled
 idea
 of
 
progress
 through
 expression
 without
 any
 limits
 or
 standards.
 

 
Thousands
  of
  new
  kinds
  of
  music
  and
  the
  global
  music
 
business
  does
  not
  further
  an
  increase
  in
  the
  general
  level
  of
 
genres,
 their
 content
 of
 art
 or
 the
 amount
 of
 progressive
 musical
 
movements
 focused
 on
 authentic
 improvisation,
 refined
 concepts
 
of
  composition
  or
  innovative
  live
  acts.
  However,
  we
  can
  detach
 
some
  of
  them,
  be
  aware
  of
  its
  existence
  and
  development,
  at
  the
 
same
 time
 observing
 the
 progress
 of
 Classical
 Music,
 which
 more
 
and
  more
  often
  becomes
  involved
  in
  affairs
  with
  popular
  music
 
and
 other
 genres,
 including
 Jazz.
 
 

 

35
 

Summary
 

 
By
  describing
  the
  role
  of
  improvisation
  in
  the
  most
 
important
 musical
 movements
 of
 the
 last
 few
 centuries
 I
 made
 an
 
effort
  to
  emphasize
  its
  role
  in
  shaping
  a
  structure
  of
  different
 
kinds
 of
 genres,
 but
 also
 to
 show
 an
 evident
 relationship
 between
 
improvisation
  and
  folkloric
  music,
  which
  is
  not
  accidental
  or
 
previously
 planned,
 but
 inseparably
 interlinked.
 

 
My
 observations
 in
 this
 matter
 are
 leading
 back
 to
 the
 initial
 
assumptions
  of
  my
  thesis:
  our
  artistic
  creativity
  and,
  ultimately,
 
our
 musical
 outcome
 is
 not
 only
 a
 consequence
 of
 some
 influences
 
and
 stimulations
 from
 the
 outside,
 but
 also,
 because
 we
 might
 be
 
the
  source
  of
  inspiration
  to
  others,
  we
  have
  our
  identity,
  which
 
has
 been
 evolving
 in
 our
 unique
 culture
 and
 has
 been
 shaping
 this
 
culture
  as
  well.
  With
  the
  historical
  reference
  and
  with
  the
 
awareness
  of
  modern
  tendencies,
  this
  statement
  can
  be
  treated
 
not
  only
  as
  a
  way
  of
  interpreting
  the
  facts
  but
  also
  as
  an
 
interesting
  indication
  for
  next
  generations
  of
  musicians
  and
 
authors.
  It
  is
  essential
  to
  dispel
  all
  doubts
  about
  the
  meaning
  of
 
folkloric
 music,
 to
 show,
 that
 it
 is
 not
 just
 an
 out-­‐of-­‐date
  musical
 
genre,
  but
  this
  is
  the
  music
  generated
  entirely
  by
  improvisation,
 
by
  our
  special,
  individual
  attributes,
  which
  now
  any
  progressive
 
artist
 is
 seeking.
 

 
Nowadays,
 after
 decades
 of
 building
 the
 modern
 civilisation,
 
when
 we
 are
 no
 longer
 living
 in
 small
 communities,
 with
 recently
 
increasing
  globalization
  movement,
  immersed
  in
  the
  ocean
  of
 
cultures,
  languages,
  points
  of
  view,
  political
  systems,
  moral
  values
 
and
  finally
  musical
  genres,
  it
  is
  very
  difficult
  to
  find
  our
  own
 
identity,
 especially
 when
 our
 intention
 is
 to
 play
 innovative
 types
 
of
  music
  like
  Jazz.
  Nevertheless,
  according
  to
  my
  theoretical
 
research,
 in
 order
 to
 find
 individuality
 in
 the
 musical
 statement
 it
 
is
 necessary
 just
 to
 identify
 the
 origins
 of
 individuality.
 Of
 course,
 
our
  indelible,
  cultural
  characteristics
  are
  not
  the
  only
  factor
  to
 
structure
 the
 artist’s
 musical
 outcome,
 but
 this
 is
 the
 only
 one
 we
 
cannot
 abandon.
 

 

36
 

Conclusions
 

 
My
  first
  milestone
  point
  in
  this
  topic
  was
  when
  I
  realized
 
how
  many
  features
  my
  previous
  artistic
  outcome
  and
  lately
 
revealed
 Polish
 folkloric
 music
 had
 in
 common.
 By
 learning
 more
 
about
  the
  characteristics
  such
  as
  rhythms
  of
  dances,
  way
  of
 
leading
  the
  melody
  by
  folk
  players,
  type
  of
  accentuation
  and
 
syncopation
  in
  dance
  movements,
  I
  became
  convinced
  about
  an
 
important
  statement;
  thanks
  to
  my
  determined,
  long-­‐term
 
attempts
  to
  find
  my
  own
  musical
  identity
  without
  a
  proper
 
knowledge
 of
 folkloric
 music,
 I
 was
 unconsciously
 getting
 closer
 to
 
my
  cultural
  background.
  In
  other
  words
  I
  finally
  understood
  what
 
it
  really
  meant
  to
  “be
  honest”
  in
  improvisation,
  composition
  or
 
any
 other
 way
 of
 musical
 expression.
 

 
Therefore,
  in
  Berklee
  Valencia
  I
  took
  a
  strong
  decision
  to
 
investigate
 my
 origins
 in
 a
 more
 profound
 way
 and
 dedicate
 time
 
to
 finding
 an
 answer
 to
 several
 key
 questions
 such
 as:
 

 
-­‐ What
  is
  my
  artistic
  identity
  and
  how
  is
  it
  related
  to
  my
 
cultural
 background?
 

 
-­‐ What
 is
 the
 role
 of
 improvisation
 in
 folkloric
 music
 and
 in
 
other
 genres?
 

 

 
 
 
 
 And
 finally:
 

 
-­‐ If
  the
  characteristics
  of
  Polish
  folkloric
  music
  are
 
common
  to
  my
  sense
  of
  musicality
  expressed
  through
 
improvisation
 and
 composition,
 what
 should
 be
 my
 next
 
artistic
 step?
 What
 am
 I
 going
 to
 do
 with
 this
 knowledge?
 

 
I
 believe
 that
 the
 last
 question
 should
 not
 only
 refer
 to
 me
 
but
 also
 to
 all
 musicians
 who
 are
 planning
 to
 improve
 their
 artistic
 
statement
 by
 making
 it
 more
 truthful,
 powerful
 and
 reliable.
 The
 
question
  is
  what
  we,
  as
  composers,
  improvisers
  and
  all
  music
 
creators
 should
 do
 with
 this
 knowledge.
 

 

37
 

Steps
 to
 be
 taken
 by
 a
 Creative
 Musician
 

 

 
According
  to
  my
  understanding
  I
  have
  identified
  three
 
possible
 steps,
 which
 a
 modern
 musician
 shall
 take:
 

 

 
1.
 
 First
 Step:
 Exploration
 and
 Experience
 

 
To
  mix
  folkloric
  themes
  and
  forms
  with
  already
  existing
 
musical
  language,
  which
  consists
  of
  a
  number
  of
  influences,
 
favourite
  genres
  as
  well
  as
  unconscious
  cultural
  elements.
  It
  is
 
necessary
  to
  mention,
  that
  in
  most
  cases
  this
  way
  will
  be
  more
 
about
 discovering
 and
 learning
 than
 creating
 art.
 Of
 course
 it
 can
 
generate
  some
  musical
  profits
  but
  it
  is
  advisable
  to
  be
  aware
  of
 
the
  difference
  between
  folkloric
  musical
  outcomes
  and
  the
 
characteristics,
  which
  are
  modelling
  these
  outcomes.
  At
  the
  end,
 
by
  quoting
  previous
  forms
  literally
  in
  our
  music,
  we
  can
  only
 
study
 and
 practice
 with
 the
 aim
 of
 creating
 something
 new.
 

 

 
2.
 Second
 Step:
 Consciousness
 and
 Creation
 

 
To
  create
  music
  or
  represent
  other
  genres
  with
  a
  proper
 
knowledge
 of
 folkloric
 musical
 characteristics,
 and
 the
 awareness
 
of
 its
 essential
 meaning
 for
 artistic
 identity.
 
 

 

 
3.
 Third
 Step:
 Imagination
 and
 Invention
 
 

 
To
  try
  to
  find
  a
  new
  formula,
  in
  which
  folkloric
 
characteristics
  would
  not
  only
  be
  an
  important
  component
  but
 
rather
  the
  main
  foundation
  of
  the
  entire
  musical
  structure
  with
 
the
 potential
 ability
 to
 transform
 into
 a
 new
 genre.
 

 

 

 

 

38
 

My
 First
 Step
 

 
Despite
  the
  fact
  that
  it
  has
  never
  been
  my
  intention
  to
 
create
 stylizations
 of
 dances,
 in
 Berklee
 Valencia
 I
 decided
 to
 take
 
the
 First
 Step
 from
 my
 list,
 compose
 three
 musical
 pieces
 based
 on
 
Polish
 dances,
 arrange
 them
 with
 completely
 different
 approaches
 
and
  finally
  record
  the
  results
  in
  a
  studio.
  To
  accomplish
  my
  goal,
  I
 
used
 various
 instrumentation
 setups
 and
 section
 deployments.
 

 
As
 I
 stated
 in
 the
 Polish
 Dances
 chapter,
 the
 Oberek
 is
 in
 my
 
opinion
  the
  most
  representative
  and
  concise
  dance
  form
  among
 
the
  group
  named
  Dances
  in
  triple
  meter
  and
  that
  is
  why
  I
  have
 
chosen
 it
 to
 prepare
 two
 original
 interpretations.
 
 

 
In
  the
  first
  case
  I
  composed
  a
  tune,
  which
  consists
  of
  a
 
bunch
 of
 melodies
 referring
 to
 the
 Oberek’s
 style.
 I
 partly
 rejected
 
the
  routine
  AABB
  form
  and
  did
  some
  reharmonization
  and
  time
 
signature
  changes
  but
  the
  most
  important
  factor
  here
  is
  the
  way
 
of
 developing
 the
 form
 by
 improvisation
 of
 the
 solo
 piano.
 
 

 
In
 my
 interpretation
 I
 was
 striving
 to
 intensify
 and
 highlight
 
the
 rest
 of
 Oberek’s
 characteristics
 like
 syncopation,
 accentuation
 
and
 others.
 
 


 

39
 

Oberek I
A

#
& # 38
## œ . œ
&
G

5

# 3
& # 8

A

9

A

D

œ œ œ œ œ.

œ
œ œ

D/F #

œ
œ œ œ

œ. œ œ

17

œ œ œ œ œ.

œ œ œ

&

##

C #-

# œ # œ œJ

# œ œ nœ.
& #

(D/F #

D

#
& # œ. œ œ œ œ œ
G

B

Piotr Orzechowski

Open Intro on Cue 4 bars

A/C #

j
œ

C/G

B b/F

D

œ œ œ œ œ œ œ. œ œ. œ œ

F #b9/A # G/B

œ. œ œ
G

3

C #-13

G

C #b9/F

3

C #-7

35

&

41

&

##
##

C # 9/E b

bœ œ nœ
C7

A b/C

B b 13/F

E b 7/B b

Ab

œ

j
œ œ
œ

C/G

F7

œ.

œ

C 7b9/E

C #/F

œœ
œ
J

bœ œ œ bœ œ nœ
nœ œ œ
E b7 4 -

Ab

3
nœ bœ œ œ œ bœ œ nœ nœ bœ œ
bœ œ nœ. œ nœ œ œ bœ œ bœ bœ J J J
œ
J J J

bœ
bœ bœ œ nœ nœ œ
3

œ.

B 7/F #

œ œ œ.

F7

C #-/G #

œ œ œ.

# nœ bœ nœ. œ œ
bœ nœ. œ nœ œ nœ bœ œ œ bœ œ œ
& #
F7

29

D

F #/A

D 7/G

œ œ
œ

D/F #

œ œ œ
œ œ œ

#œ

œ.

3
28 œ 3
38
œ œ œ œ
œ

E-

A7

œ. œ œ

E-

œ œ œ œ œ œ œ. œ œ. œ œ

D/A

œ.

œ

24

G

F-

bœ nœ œ
J J J

- 3

C7

œ nœ

F-

œ nœ

bœ œ

œ

‰

© Piotr Orzechowski


 
 
 
 


 


 


 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 example
 no.
 14
 

40
 

My
 second
 treatment
 of
 the
 Oberek
 form
 is
 more
 complex;
 I
 
created,
 as
 presented
 below,
 a
 minimal-­‐style
 counterpoint
 played
 
by
  piano,
  guitar,
  electric
  bass
  and
  drums,
  on
  the
  top
  of
  which
 
suddenly
  appears
  an
  improvised
  Oberek’s
  melody,
  performed
  on
 
the
 piano.
 By
 analogy,
 the
 way
 of
 approaching
 improvisation
 and
 
interpretation
 is
 the
 key
 factor.
 
 
 

 

 
Oberek II
For Guitar, Piano Bass & Percussion
Piotr Orzechowski

A

Guitar

Double Bass

b
& b b b b 44 .. œ œ œ œ œ œ œ

œ

œ œ œ œ

œ

œ œ œ œ
œ ‰ ‰ œJ ‰ ‰
Œ ‰ œj œ
J

? b b b 44 .. Œ
bb

œœœœœœ
œœœœœœ

..
.
œ.

B

Gtr.

D.B.

b
& b b b b .. œ œ œ œ n œ n œ

œ ..
œ œ bœ œ bœ œ œ œ
œ bœ œ œ œ œ œ œ œ nœ nœ nœ œ œ
œœœ
4
œ œ nœ œ œ
? b b b .. œ œ œ œ œ œ œ œ Œ œ n œ b œ
J
œ
œ
‰Œ
J ‰ Œ ..
bb
œ
bb
& b b b ..

BRIDGE

8

Gtr.

!

? b b b .. Œ n œ œ œ œ
bb
nœ nœ

11

D.B.

D

BRIDGE

b
& b b b b ..

11

Gtr.

!

? b b .. Œ œ œ œ
bbb
nœ nœ nœ

8

D.B.

Open

D

!

.. ..

!

.. ..

!

.. ..

!

.. ..

Guitar Solo

Piano Solo

!

..

!

..

!

..

!

..

C

Gtr.

b
& b b b b .. œ œ œ œ œ œ œ

b
& b b b b .. œ œ œ œ œ œ œ

17

Gtr.


 


 

œ

œ œ œ

œ

œ œ œ œ œ œ œ

œ

œ œ œ

œ

œ œ œ œ œ œ œ

©


 


 

..
..


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 example
 no.
 15
 


 

41
 

From
  the
  second
  group:
  Dances
  in
  duple
  meter
  I
  chose
  the
 
Zbójnicki,
  because
  of
  very
  strong
  characteristics,
  which
  had
  a
 
significant
  role
  of
  affecting
  other
  dances,
  like
  for
  instance
  the
 
Krakowiak.
  I
  composed
  the
  melody
  referring
  to
  the
  themes
  of
 
Zbójnicki
 dance
 and
 arranged
 it
 for
 the
 piano
 and
 double
 bass
 duo.
 
I
  tried
  to
  retain
  the
  suite
  form
  of
  the
  dance
  and
  to
  express
  the
 
sublime
  vibe
  by
  using
  its
  characteristic
  scale
  in
  the
  melody
  but
 
again,
  the
  most
  important
  things
  happen
  beyond
  the
  notes
 
presented
 below,
 in
 the
 studio.
 

 

 
Zbójnicki
Piotr Orzechowski
INTRO (fast)

## 4 . B& 4 . !
7

&

12

&

##
##

A (slow)

j
œ. œ œ œ œ

#
& # .. œ . œj œ œ œ
24

&

##

j œ œ
œ. œ œ

D/F

solo piano
E b/A b

#
& # .. œ œ # ˙ .

29

œ . œj # œ
œ œ

E/G

œ œ #˙.

solo bass
B-

#
& # .. # œ n œ
˙.

33

(slow)
(D/B b
D

#
& # .. œ . œj œ œ œ

37


 

 

œ . œj # œ œ œ

E/F

#œ nœ ˙.
j
œ. œ #œ œ œ

E/F

(E/C

!

Eb

!

B-

!

#œ nœ ˙.

E b/A b

1.

E b/A b

!

accel.

B-

œ œ #˙.

!

!

#œ nœ ˙.

B-

œ œ #˙.

..

!
!

#œ nœ ˙.

E b/A b

E/G

E/F

B-

j
œ. œ #œ œ œ œ œ
#˙.

D/F

(fast)

E b/A b

œ . œj # œ
œ œ œ œ #˙.

j œ œ
œ. œ œ

D

!

E/F

D

B

!

D

!

#œ nœ ˙.

..

!

!

..

!

!

..

E b/A b

(Eb/C #

œ œ #˙.

© Piotr Orzechowski

B-

(Bmaj)

#œ nœ ˙.

!

..


 
 
 
 
 
 
 
 
 
 example
 no.
 16
 


 
42
 


 
Closing
 Statement
 

 
I
  am
  deeply
  convinced
  that
  the
  First
  Step
  taken
  in
  Berklee
 
Valencia
  is
  a
  stepping
  stone
  to
  my
  further
  development.
  In
  my
 
opinion
  the
  next
  Steps
  can
  be
  within
  reach
  but
  attainable
  only
 
thanks
  to
  strong
  determination
  and
  intransigence
  in
  following
  the
 
previously
 taken
 direction.
 

 
With
  the
  knowledge
  I
  have
  already
  gained
  here
  I
  will
 
definitely
  persevere
  in
  my
  efforts
  to
  learn
  more,
  compose
  new
 
tunes
  and
  take
  next
  approaches
  to
  improvisation;
  I
  am
  going
  to
 
shift
  fluently
  between
  two
  first
  Steps
  for
  some
  time,
  with
 
strenuous
  awareness
  of
  the
  existence
  of
  the
  third
  one.
  I
  believe
 
this
 is
 the
 only
 possible
 way
 to
 reach
 the
 third
 level,
 which
 would
 
be
 one
 of
 my
 chief
 artistic
 goals
 in
 the
 future.
 

 
For
  me
  personally,
  the
  birth
  of
  such
  exceptional
  musical
 
movement
  as
  Jazz
  is
  a
  proof
  that
  reaching
  the
  third
  level
  is
 
actually
  possible
  and
  even
  more,
  it
  is
  unavoidable.
  I
  believe
  that
 
exploring
 our
 own
 culture,
 understanding
 it,
 ultimately
 identifying
 
with
  own
  roots
  and
  exploiting
  its
  characteristics
  can
  naturally
 
lead
  to
  some
  new
  artistic
  beginning,
  understood
  as
  a
  gradual
 
realization
  of
  that
  matter
  by
  specific
  groups
  of
  musicians.
  Some
  of
 
us
 will
 remain
 observers,
 some
 of
 us
 will
 unconsciously
 concur
 to
 
this
  movement,
  but
  there
  are
  also
  artists,
  whose
  role
  will
  be
  to
 
blaze
 a
 trail
 and
 take
 the
 risk.
 

 
After
  all
  I
  consider
  the
  authenticity
  the
  most
  important
 
factor
  in
  modern
  improvised
  music.
  In
  order
  to
  share
  our
  real
 
emotions,
 feelings,
 thoughts
 and
 ideas
 through
 music,
 we
 have
 to
 
be
 authentic,
 we
 have
 to
 be
 ourselves.
 
 

 
But
  what
  does
  it
  mean
  to
  be
  myself?
  Well,
  when
  the
  answer
 
to
 this
 question
 will
 became
 more
 important
 than
 our
 music
 itself,
 
then
 some
 day
 the
 rest
 of
 our
 doubts
 will
 be
 finally
 dispelled.
 
 

 

 

43