Self-Esteem And Improvisation
In the context of jazz, improvisation can be defined as the spontaneous creation of melodic lines; it is by no means an artform reserved for the best of the best. While a degree of one’s improvisatory prowess to create these beautiful melodic lines may be attributed to talent, it is undeniable that diligent practice and study just as important if not more.
The more willing and open you are to put aside your self-image - i.e., ego - and improve yourself as a musician, the better your musical skill set and judgement will be. The technical quality of your improvisations are thus likely to improve. Additionally, the more confident and comfortable you are with yourself and your instrument, the better your musical judgement and by extension, your improvisations. The confidence to improvise publicly despite the risk of mistakes, and simply enjoying the music you create will undoubtedly yield improvisations that sound more free and natural.
The more willing and open you are to learning new crafts, the more new ideas will present themselves to you. "In Jazz, improvisation isn't a matter of just making any ol' thing up. Jazz, like any language, has its own grammar and vocabulary. There's no right or wrong, just some choices that are better than others." - Wynton Marsalis, trumpeter and artistic director of Jazz at Lincoln Center. By studying the language of jazz more technically, one can improve the quality of his musical decisions and skills. By extension, one’s ability to improvise will increase. It may be especially challenging for classical musicians who is already comfortable and confident in their craft, to put themselves out there with improvisation and studying jazz theory. To learn this new craft may make them feel like a novice, which could be a blow to self-image. If you find yourself in a similar position, keep in mind that excessive focus on self-image may be the very thing preventing your growth in furthering your craft. While this may not directly affect your improvisatory abilities on stage, it certainly will limit your growth in improvising.
Increased technical proficiency from further studying alone is insufficient. This proficiency must be coupled with the confidence to put it to work and face the risk of making mistakes. This is especially the case in front of an audience - the nerves of performing for others coupled with the nerves of trying new techniques and/or material may understandably deter one from improvising freely. If one has the confidence to accept that mistakes are part and parcel of musical growth, their improvisation will not only excel over time but may also sound more free and enjoyable. In the words of Miles Davis, “Do not fear mistakes, there are none.” The ability to face the fear of making mistakes, ultimately stemming from one’s self-image and esteem, would thus either improve or limit one’s improvisation.
Self-image and self-esteem can affect your improvisatory prowess by either allowing it blossom, sounding more relaxed and free, or by causing it to remain stagnant. This depends on your vulnerability as a beginner for the sake of self-improvement, and ultimately how comfortable you are with the risk of making errors in your improvisation journey.
