Creativity and the Technique

As I mentioned in the previous writings so many possibilities are done in the history of music and the piano which is a very old instrument as well. And when I look at the piano technique which I would closely need to understand the positive and the negative sides of myself and the history of it since the creativity doesn't have a certain calculation program in it but it's mostly a messy and a complex process because of its nature. One side will be depended on the previous works on the technique and the other side would be taking the creativity by its own nature and make it performed with the technique.

If you are a person like me who needs to use the unwritten or unperformed insides then you will need to see the keys first before the technique ability of yours and it can be a bit cliche but sometimes you will need to go back to the roots such as repeating over and over again a scale or a chord that needs to be played with different fingerings as the texture requires a new version of a fundamental detail, maybe you did work on it years ago but this time it needs to be played with new fingering numbers that can only be played in this way and if you don't do it, you would be missing a "new" touch or a new music making tool on the way.

Because of this process' detailed and unforgivable way might loose the motivation of trying something new since we musicians have also a kind of vocabulary a comfort zone and going further would feel uncomfortable most of the time. That's why what I see when it comes to analyzing musicians is that many of it using the "normal" path. Such as, if a jazz player knows bebop he/she would go with the bebop scales or if there is a classical trained one this person would go with a certain repertoire and will make new pre-written compositions join his/her repertoire. What I have been doing is way different than this since I have been playing music with almost no vocabulary based approach. However, I have a vocabulary where I can play for hours that I gained in the way of making music. But, how honest I'm to myself. I question this when I play from my pre-exist materials.

That's the reason almost each day I'm more like a scientist than a musician and experimenting the "new" is my only way to enjoy the music making. It's my nature. Because for me, an artist should push the limits by understanding the needs of his/her century and what others had done in the instrument (what's left?) and in the music so far. My recommendation would be let the creativity talks by its nature and know your weakness and strong parts when it comes to technique and even sometimes it looks impossible to play just work on the content with breaking down into the small steps. This will also make you gain a strong fundamental of your owns.