Cutting Through the Noise

by Joshua Roman

We’re so fast.

So. Fast.

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It’s breathtaking, really, if you think back even ten years, to the advent of the iPhone. The internet was something to be checked on a few times a day, unless you happened to be sitting in front of a computer. Very few people were constantly plugged in. Now, it’s the complete opposite.

This is not a new trope; only an acceleration of a theme common throughout human development especially after the industrial age. As we create more and more ways to bring convenience into our everyday life, time for reflection and articulation becomes harder to find. In a world of increasingly instantaneous sharing, the pressure to be immediate exerts itself in ways we do not yet fully understand, and our sense of balance can get lost.

I’m not anti-technology; I’m not even against a fast-paced life. I love living in New York City! But I cherish the moments I get in nature, in silence, in solitude. With the constantly increasing noise surrounding us as we try to stay up-to-date, I think it is important that we embrace the opportunities we have to work on a longer game with the same energy we embrace the new, the latest, the most up-to-date.

I’ve been working on drafts of a post to respond to emotions that are running high all around for the last couple of weeks, including mine. Something designed not to simply soothe, but hopefully to have a positive impact, however small it may be. One thing that strikes me as an avid follower of the news is that in fact, my emotions have been running high for over a year, not just recently. And I’ve felt a sense of urgency that doesn’t have a clear set of actions to solve whatever issues are bubbling underneath the surface.

I’m talking about life right now, but this is also relevant for artand for music. It’s so temptingand again, sometimes necessary and goodto be quick with what we do. Find the easiest fingering for a passage. The phrasing that is good enough. The interpretation that we might already have a knack for. That has served me well; my last post was about my experience and thoughts around improv. It doesn’t get much more immediate than that!* To contrast, though, there are times when something substantive demands a more thought out approach.

(*I will add that the most complete improv experiences I’ve had have been led or inspired by artists with the experience to approach even the moment-to-moment interaction with deep thoughtfulness)

I’ve been pondering and probing the various ways I can serve through my art—as a cellist, a composer, a curator, a writerand there are many. I’m working on concrete plans (again, the scale may not always be large, but the statement and course correction are important) that I will share soon. Some of them are simple codifications of practices and habits that are already manifest in some (disorganized) form, and some may end up being new directions as I seek input to help understand the actual results that affect other people.

Back to #Bach. This time with @ted.

A photo posted by Joshua Roman (@joshuaromancello) on

I felt an incredible amount of tension and animosity in the air in the days after the election and so I responded with Bach. This was not my original idea, but I could not find a quick way to articulate something with words that I believed would be true and also not make its way into one of the echo chambers that surround many of us, reinforcing only what we already think. In Bach I found something universal, something human, something that transcends the temporal. Is it enough? For someone with strong opinions like me, no. So there will be more.

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At the moment, though, I’m challenging myself to be true, rather than fast. To be thoughtful, rather than convenient. In both my art and in my life, as I work on depth rather than speed, slowing down is difficult and yet feels so right. There’s plenty of quick thinking and fast responding (just ask my girlfriend about my obsession with facts and “OK Google” on my phone), and finding the right balance is a constant adjustment.

My challenge to you: think before you _______. (*)

*Speak
*Write (music, that Facebook post, a text)
*Get out of bed
*Put bow to string, fingers to keys, lips to mouthpiece, etc…

Experiment with this balance between the hectic and immediate vs. the slow and thoughtful. It’s a pendulum which works best when swinging in tandem with your own internal rhythm, so take the time to notice what happens when you change it up. Look for other perspectives, explore; how does this practice affect your conversations? How does it affect your practice routine?

Art exists for many purposes, and one of the great benefits of practicing art is learning how to observe and tweak your own internal processes.

As I alluded before, this post comes in the middle of a time of reflection and preparation. Sometimes a period like this does not result in a huge outward change, but an inner realignment of the compass. I look forward to sharing the results of this process with you, and encourage you to take the time to slow down and give yourself a chance to grow in all that you do, so that your actions, words, and sounds may have the full weight of purpose behind them. In doing so, perhaps you’ll manage to cut through some of the self-perpetuating noise out there and find a measure of confidence and peace on our shared journey as musicians, as artists, as humans.

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Four Tips for Classical Musicians Beginning Improv (I wrote this on the fly)

by Joshua Roman
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If you’re a classically trained musician, chances are you can play a number of complex pieces on demand, by memory, you can look at a piece of music you’ve never seen before and decipher the symbols on the page in real time (sight reading), or at least you can rather quickly learn a piece and bring it to performance level. Are you, however, comfortable playing along with music you like on the non-classical station? Can you sit in with your friends and make up a tune, a countermelody, or catch the bass line the first time around?

With the “classical” sensibility that has been cultivated over the last century, the latter set of skills may sound superfluous. Crack open that history book, though, and you’ll see that improv has been integral to musicianship for centuries. Bach, Mozart, Beethoven, Brahms, Chopin, Liszt (name pretty much any musician from before the 20th century) – they all knew how to improvise. Their level of improv was fairly high, in some cases arguably the main reason for their original fame. While that’s an intimidating standard, I’ve come to realize that the benefits of even a basic level of improv comfort are tremendous.

The most difficult part of improv for someone who is used to preparing for hours, days, weeks before letting anyone hear a piece of music, is letting go of that control. The fear of playing something wrong is important to overcome, but I’ve discovered a few helpful mantras/tools:


1. Don’t compare your improv to the music you usually play.
If you spend most of your time playing the music of the greats, you might have totally unrealistic expectations. Those sounds were organized by veritable masters, and have proven the test of time. That’s not necessary for improv purposes! Simple, easy, accessible, creative, and above all, YOU, is what’s important here.

2. Start small.
I mean this in every way possible. Start in a room where no one can hear you, if you need to! Sometimes it’s useful to just play one note over and over again (an ostinato) until you get tired of it and naturally move on. Or, put on a song you listen to all the time, figure out the melody or the bass line, and then gradually begin to find other notes in between. Sometimes I even like to hold one note through a chord pattern, and feel the tension modulate as the chords underneath shift.

3. Allow yourself repetition.
When I was ten or eleven, my dad started having me play with his band on Sunday nights at church. I’ll never forget his reply when I asked about the sheet music – he said “you’ll figure it out. If you don’t like the note you’re playing, play a different one.” Kind of to the contrary, he also said “if you play a ‘wrong’ note, play it until you make it the ‘right’ note.” Basically, if you do something that doesn’t quite fit, you can incorporate the “mistake” into your next phrase, thereby “fixing” the mistake retroactively by use of repetition. So much of music is about how we play with expectations – so a keen awareness of patterns can take us into super cool and new places, and help us let go of the fear of “messing up” in improv.

4. Do your thing.
The most beautiful thing about improv is that it comes from you. It can begin to reflect your own unique voice – your sense of style and the elements of music that are most important to you. Find yourself listening to Lady Gaga when you’re not practicing excerpts? Great place to start! Simple chord patterns, a consistent beat, tunes you can pick up easily. Love the structure of techno with its beat drops and long arcs? That’s a fun way to learn to read what’s coming next. Want to get inside the mind of Dvorak and his Cello Concerto? Take the main theme and riff on it – how would you develop the material differently? One of my favorite things to do in school was to turn out the lights in a practice room and just start “following the sound.” Sometimes melodic, sometimes strange and wonderful fragments, sometimes just a rhythm would emerge. Letting go of expectations is key.

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Photo Credit: Bret Hartman

The benefits of learning to improv become apparent very quickly. First off, it opens up so many collaborative possibilities! It also gives you a very powerful entry point into any composer’s music. When you start to see all of the choices the composer did not make, the choices they did make paint a stronger picture. One of the more amusing results of becoming comfortable with improv is less fear of memory slips. I say “amusing” as I think of the times I’ve heard myself and others wander off script, and the hilarious (and therefore less awkward) paths back to the written score. Perhaps most importantly, as this skill develops, it gives you insight into your own artistic voice. When all the musical choices are yours, your priorities emerge much more clearly. This process of self-discovery is absolutely essential in order to cultivate an understanding of what you offer to your listeners and colleagues.

In my own musical life, improv has gone far beyond those beginning days of an added cello line to the band. I improvise all of my cadenzas when I perform Haydn Concertos, I’ve improvised entire pieces on stages including the TED stage, and collaborations with artists such as Anna Deavere Smith, DJ Spooky, Anne Patterson, We Are Golden (“Just Every Fisher’s Folly” and “Allen in February and March”), Mason Bates, have all come about because of comfort making notes up on the spot. And I’m not even very good at it, just willing!

Let’s hear what you’ve got. Share your stories, through improv video or otherwise.