Freeflow

Silvard has the ability to play a musical composition that he is making up on the spot - something he calls "Freeflow," (similar to, but more descriptive than, "impromptu"). What results is a brand new musical piece that Silvard himself is hearing for the first time. It is a one-time composition; one he will never be able to play again in exactly the same way.

During concerts, and even on live television appearances (such as on QVC), Silvard usually plays a few Freeflow pieces. Judging from the response from the audience, they always turn out to be the favorites! This positive response motivated Silvard in the year 2000 to begin recording Freeflow pieces in the recording studio, and to release the best ones on CD. His two resulting Freeflow CDs, Postcard from Cape Cod and Touched by the Sea, contain exclusively Freeflow compositions of varying style, tempos and feel. The two recordings reached #6 and #1, respectively, on the International New Age and Instrumental Radio charts! 

Actually, all of Silvard's original, but non-Freeflow, compositions started once as impromptu Freeflow compositions. These musical "diamonds-in-the-rough" eventually would evolve (over months or even years) into original compositions. Silvard has three albums (Picture of Time, Transcendent Voyage and Life is Grand...) with these more "polished" and structured compositions, where certain phrases are . That is structured to the point where lyrics could be (and have been) written to them. Silvard can of course play these (non-Freeflow) compositions again.

About his recording of Freeflow compositions, Silvard says: "It is a technique of impromptu composing that I use during my performances or in the recording studio. To record Freeflow music, I go into the recording studio without knowing what I will be playing - literally! When the sound engineer tells me that 'we are rolling,' I relax, I open myself to inspiration, and I begin to play what I feel flowing through. It is as if music is being played through me. I become the instrument, whereby the piano is merely an extension of my own body. Like a radio, I pick up signals and translate them into music. It is essential to stay in this Freeflow mode and not to try to control what I am playing; I literally just go with the flow and feel intuitively where to end the piece. Some Freeflow pieces are better than others; some require some edits (usually consisting of cutting out a section with a wrong note), whereas others are left untouched.