Imma unleazh da PIMP ORAGE
DIZ zong is about a giant octopus going on a RAPIZT rampage. Ma PHD research led moi to conclude dat da PIMP unleashed it wiz ADDED middle notez in all da RH octs.
Az fo da OP 111, da second movement is a mofo shitting into a colonoscopy bag after getting gang raped by da first movement closing sects.
All da philosophical nonsense attached to the work is bigger bullshit den da Ho’s famous statement dat he is not ghey.
Haha well da difference in PERFORMIN ability talent vz COMPOZIN ability talent iz evident
ZInce improviz ezzentially zpontaniouz compozin…
Iz it POZZIBLE to be a wikid improvizah n a zheeyat cumpoza?
Why do JAZZ mofoz alwayz play varying verzionz ov da zame zheeyatz…why do dey neva juz hone in on da ULTIMATE verzion, n make it a definitive zheeyat lyk a cumpoza?
Dere zeemz to be an inherent element ov interchangeability in Jazz.
Clazzical zeemz az though tiz cazt in ztone, carved in granite, a maztapiece dere fo all tym. Honed to perfection.
N a Jazz recordin zoundz lyk a huge element ov chance iz taken every tym, n da zpontaneity ov invention trumpz 
da ethoz ov perfection dat clazzical haz
Da Jazz IDIOM iz zo freewheelin alzo dat da clazzic phraze ‘dere are no wrong notez’ exemplifiez diz…if clazzical improv became mainztream it wud haf to be in a chromatic idiom dat allowed fo ‘wrong notez’ to becummah ‘gensui unpredicktable modulationz’ 
Hahaha diz da propah topic fo da candain to riide on hi gensui high horse 
N I think wut da comme iz trying to zay pozzibly lyk
Imagine if da KAP didn’t tell noone dat zheeehat iz all written down
Hahaha I wuzn’t makin ztatementz zo much az azkin queztionz
If da izzue iz muzical quality - clazzical ethoz iz bazed upon a ‘perfect unchangable maztapiece dat cud not be any otha way’ and I iz azkin how - from a quality ztandpoint - any Jazz rec cud compare wiz dat given dat …it cud hav gone many otha wayz and been juzt az good.
Well, I’ve said all I have to say about this. Except maybe to note that the only musicians who really do improvise in public are jazz people, since whether classical, pop, rock, rap - or even plays, painting, etc - you can do anything better if you give it time and thought and apply some craftsmanship.
A more relevant and interesting question today however I think is “Why Don’t Classical Musicians Compose?”. That one really does bug me. And to connect to the OP I think in order to change it you will have to encourage young budding musicians to improvise.
Hahah zame az da reazon dey don’t improvize
da high ztandardz, inzecurity via cumparizon
I mean Beethoven wuzn’t intimidated by Bach n Mozart dat cummah befo
But zo many young muzicianz are zo inzecure about deir abilitiez
Part ov da izzue iz finding diz balance -
U iz eitha plagiarizin tonal cumpozaz n zound lyk eztablizhed artiztz
Or u zound frezh n innovative…yet cumpletely zheeyat to da widah audience becuz to be innovative u haf to be unliznable 
An original diztinct yet appealing-to-wide-audience voice in modern clazzical iz inzanely rare
U cud argue dat it barely exiztz except if u look to da zoundtrack world ov movie zcorez n video game zcorez
Also a bit of this I think
Znobbery tru and alzo da fact dat MOZT clazzical liztenerz are relatively cazual and da muzic dat exiztz already iz zimply
More dan enough to fill deir lifetime ov muzical enjoyment n dizcovery
Iz dere really an appetite for nu clazzical muzik? Zmall zcale tru but large zcale…not really.
Yes snobbery but also that notion that you always have to be new and radical. Just aim to be expressive instead.
Because when they go to college, performance and composition are seen as two separate disciplines, so they usually end up going down one path rather than both? Whereas in the 19th century, this dichotomy wasn’t pushed onto them?
Composition, improvisation, making arrangements and playing one or more instruments on a high level were all part of the “package” of a classical musician until the beginning of the 20th century, I’d say.
It’s this constant specialization that has been bad for classical music, possibly.
Now you have top level pianists who can’t even improvise on “Happy Birthday” when they’re asked to.
And you have cumposers who can’t play a single instrument properly.
Alzo da izzue wiz bein a modern clazzical concert penizt iz dat da ztandardz are zo high and competitive dat tiz bazically zeen az a wazte ov tym dat cud be dedicated to learnin rep & perfectin piecez fo competitionz etc.
On the piano side, a lot of jazz is just wordy rambling. To me it often comes across as unfocused and irresolute with mostly soft emotion and usually no climax. That Cecil Taylor you posted above, I used to listen to in the noughties when I’d explore modern compositions from mid/late 20th C. I’d say it can take a notable place within that time, but god knows I never want to hear it again.
hahaha i think tha WHALE quote iz pozz in tha WHALE documentary on tha MART channel 
I love da concise TATUM standards
Amen.
Wtf.
Comparable to the Chopin minute waltz. That’s cute and all, but of very low musical value to me
Oh man.
Ok, we’re all entitled to our opinion
Please explain the intense emotional impact you get from that stupid tatum piece