{"id":3144,"date":"2008-11-12T22:38:00","date_gmt":"2008-11-12T21:38:00","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=3144"},"modified":"2016-11-13T23:37:16","modified_gmt":"2016-11-13T22:37:16","slug":"sobre-la-composicion-y-la-improvisacion","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/sobre-la-composicion-y-la-improvisacion\/","title":{"rendered":"Paul Bley: sobre la composici\u00f3n y la improvisaci\u00f3n"},"content":{"rendered":"<p><a href=\"http:\/\/www.tomajazz.com\/perfiles\/bley_paul-time_will_tell.png\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft\" style=\"border: 1px solid black;\" alt=\"\" src=\"http:\/\/www.tomajazz.com\/perfiles\/bley_paul-time_will_tell.png\" width=\"200\" height=\"268\" border=\"1\" title=\"\"><\/a>\u00abHay una diferencia realmente simple entre composici\u00f3n e improvisaci\u00f3n. Consiste en que no hay diferencia. La composici\u00f3n y la improvisaci\u00f3n son ambas \u201chacer m\u00fasica\u201d y si hay alguna diferencia se debe a la falta de capacidad por parte del ejecutante. Uno deber\u00eda estar componiendo cada vez que toca m\u00fasica&#8230; es que no es m\u00e1s que componer en tiempo real.\u00bb<\/p>\n<p>Paul Bley<\/p>\n<div>Paul Meehan. <em>Time Will Tell. Conversations With Paul Bley<\/em> Berkeley Hills Press (ISBN 1-893163-54-7). Publicado en noviembre de 2003.\u00a0Traducci\u00f3n de Fernando Ortiz de Urbina.Traducci\u00f3n del primer cap\u00edtulo \u00abDe Montreal a Nueva York\u00bb publicado en <a href=\"http:\/\/www.tomajazz.com\/\" target=\"_blank\">Tomajazz<\/a> en noviembre de 2008: <a href=\"http:\/\/www.tomajazz.com\/perfiles\/bley_paul-time_will_tell.htm\" target=\"_blank\">http:\/\/www.tomajazz.com\/perfiles\/bley_paul-time_will_tell.htm<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"<p>\u00abHay una diferencia realmente simple entre composici\u00f3n e improvisaci\u00f3n. Consiste en que no hay diferencia. La composici\u00f3n y la improvisaci\u00f3n son ambas \u201chacer m\u00fasica\u201d y si hay alguna diferencia se debe a la falta de capacidad por parte del ejecutante. Uno deber\u00eda estar componiendo cada vez que toca m\u00fasica&#8230; es<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/sobre-la-composicion-y-la-improvisacion\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":11167,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17863,17847,4313,14708,9531,1038,4758],"tags":[465,31,7688,8700],"class_list":["entry","author-pachi","post-3144","post","type-post","status-publish","format-standard","has-post-thumbnail","category-fernando-ortiz-de-urbina","category-pachi-tapiz","category-bun","category-especial-paul-bley","category-especial-contenidos","category-contenidos","category-blogs","tag-fernando-ortiz-de-urbina","tag-pachi-tapiz","tag-paul-bley","tag-paul-meehan"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2008\/11\/bley_paul-time_will_tell.png","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":21753,"url":"https:\/\/tomajazz.com\/web\/paul-bley-1932-2016-in-memoriam-time-will-tell-capitulo-1-de-montreal-a-nueva-york-por-norman-meehan\/","url_meta":{"origin":3144,"position":0},"title":"Paul Bley (1932-2016) In Memoriam: Time Will Tell. Cap\u00edtulo 1: de Montreal a Nueva York. Por Norman Meehan","author":"Tomajazz","date":"5 enero, 2016","format":false,"excerpt":"Cap\u00edtulo 1: \"De Montreal a Nueva York\" Montreal Paul Bley empez\u00f3 a estudiar piano en serio a la edad de siete a\u00f1os. Aunque hab\u00eda empezado a tocar de o\u00eddo a los cinco, sus primeras lecciones fueron con el viol\u00edn y, aunque salieron bien, no pasaron de ser un preludio de\u2026","rel":"","context":"En \u00ab*_Fernando Ortiz de Urbina\u00bb","block_context":{"text":"*_Fernando Ortiz de Urbina","link":"https:\/\/tomajazz.com\/web\/category\/fernando-ortiz-de-urbina\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2016\/01\/time-will-tell.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":10995,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recupera-entrevista-con-paul-bley-el-pianista-integral\/","url_meta":{"origin":3144,"position":1},"title":"Tomajazz recupera: Entrevista con Paul Bley: el pianista integral","author":"Tomajazz","date":"13 marzo, 2014","format":false,"excerpt":"Paul Bley\u00a0es uno de los pianistas m\u00e1s importantes de la historia del Jazz.\u00a0Agust\u00ed Fern\u00e1ndez\u00a0lo introduce con su escrito\u00a0El pianista integral. \u00c9ste art\u00edculo encabeza la primera parte de la entrevista al pianista canadiense que el pasado 28 de octubre de 2008 realizaron Ken Weiss (Jazz Improv Magazine) y Nobu Stowe (Jazz\u2026","rel":"","context":"En \u00ab*_Fernando Ortiz de Urbina\u00bb","block_context":{"text":"*_Fernando Ortiz de Urbina","link":"https:\/\/tomajazz.com\/web\/category\/fernando-ortiz-de-urbina\/"},"img":{"alt_text":"\u00a9 Hirohiko Kamiyama, 2008","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2013\/10\/bley_7.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":8932,"url":"https:\/\/tomajazz.com\/web\/entrevista-con-paul-bley-el-pianista-integral-primera-parte\/","url_meta":{"origin":3144,"position":2},"title":"Entrevista con Paul Bley: el pianista integral, primera parte","author":"Sergio Cabanillas","date":"1 mayo, 2009","format":false,"excerpt":"Paul Bley es uno de los pianistas m\u00e1s importantes de la historia del Jazz. Agust\u00ed Fern\u00e1ndez lo introduce con su escrito El pianista integral. \u00c9ste art\u00edculo encabeza la primera parte de la entrevista al pianista canadiense que el pasado 28 de octubre de 2008 realizaron Ken Weiss (Jazz Improv Magazine)\u2026","rel":"","context":"En \u00ab*_Fernando Ortiz de Urbina\u00bb","block_context":{"text":"*_Fernando Ortiz de Urbina","link":"https:\/\/tomajazz.com\/web\/category\/fernando-ortiz-de-urbina\/"},"img":{"alt_text":"Ilustraci\u00f3n: \u00a9 Naiel Ibarrola, 2009","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2013\/10\/bley_paul_ilustracion.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":8944,"url":"https:\/\/tomajazz.com\/web\/entrevista-con-paul-bley-el-pianista-integral-segunda-parte\/","url_meta":{"origin":3144,"position":3},"title":"Entrevista con Paul Bley: el pianista integral, segunda parte","author":"Sergio Cabanillas","date":"1 mayo, 2009","format":false,"excerpt":"Segunda parte de la entrevista a Paul Bley que el pasado 28 de octubre de 2008 realizaron Ken Weiss (Jazz Improv Magazine) y Nobu Stowe (Jazz Tokyo). El cuestionario fue realizado con aportaciones de Nobu Stowe, Ken Weiss, Kenny Inaoka (Jazz Tokyo) y Pachi Tapiz (Tomajazz). Un agradecimiento especial a\u2026","rel":"","context":"En \u00ab*_Fernando Ortiz de Urbina\u00bb","block_context":{"text":"*_Fernando Ortiz de Urbina","link":"https:\/\/tomajazz.com\/web\/category\/fernando-ortiz-de-urbina\/"},"img":{"alt_text":"\u00a9 Hirohiko Kamiyama, 2008","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2013\/10\/bley_1.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":21760,"url":"https:\/\/tomajazz.com\/web\/homenaje-a-paul-bley-hdo-0058-audioblog\/","url_meta":{"origin":3144,"position":4},"title":"Homenaje a Paul Bley. HDO 0058 [Audioblog]","author":"Tomajazz","date":"6 enero, 2016","format":"audio","excerpt":"El pasado 3 de enero de 2016 fallec\u00eda el pianista Paul Bley a los 83 a\u00f1os. En homenaje a su figura pero especialmente a su m\u00fasica, en HDO realizamos un repaso a algunas de sus obras que sirven a su vez para mostrar distintas facetas de su manera de entender\u2026","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"Paul Bley grabando a piano solo en 2006. Fotograf\u00eda por Carol Goss.","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2016\/01\/Photo-of-Paul-Bley-recording-solo-piano-in-2006-photographed-by-Carol-Goss.-200x267.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":43648,"url":"https:\/\/tomajazz.com\/web\/hdo-510-tres-gigantes-del-piano-bill-evans-paul-bley-y-horace-tapscott-podcast\/","url_meta":{"origin":3144,"position":5},"title":"HDO 510. Tres gigantes del piano: Bill Evans, Paul Bley y Horace Tapscott [Podcast]","author":"Tomajazz","date":"4 junio, 2019","format":false,"excerpt":"Por\u00a0Pachi Tapiz. En HDO 510 suenan tres grabaciones publicadas en 2019 de tres gigantes del piano: Bill Evans (doble CD grabado en directo en Ronnie Scott en 1969), Paul Bley (acompa\u00f1ado de Gary Peacock y Paul Motian en un concierto de 1999, publicado por ECM), y Horace Tapscott (con The\u2026","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/05\/Collage_programa-0510_maestros-del-piano.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/05\/Collage_programa-0510_maestros-del-piano.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/05\/Collage_programa-0510_maestros-del-piano.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/05\/Collage_programa-0510_maestros-del-piano.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/3144","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=3144"}],"version-history":[{"count":4,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/3144\/revisions"}],"predecessor-version":[{"id":11169,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/3144\/revisions\/11169"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/11167"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=3144"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=3144"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=3144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}