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Looper's Delight
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>>> matthias@grob.org 09/25/01 12:50AM >>> >>> i wonder if it is possible to improvise entirely without licks... ><snip> >> I've wondered at times, that after lengthy exploration of your >instrument and it's normal and extended techniques, if you "run out" of >completely surprising moments available to you due to your familiarity >with your instrument? Not that I'm anywhere near something like that, but >I do sometimes feel that I've developed a "toolbox" of techniques and sounds which I'm often compelled to try and reach beyond. > I am waiting for this point for years. When I took the decision to only >improvize, I talked to an advanced musician and he said I would get to a >boarder soon, without studying new things. I limited my range of effects >and use the same for years and its still going foreward. When sex get >boring, you can: - buy gadgets - get another partner - take a break - change your attitude ...but you cannot change your instrument :-) Great point Matthias! Can't get around that one... *-) >> but it seems to me that those new musical ideas that flow during >improvisation come mostly from recombinations of other ideas in the >musical meme pool rather than entirely new concepts. > what would "entirely new" be? Isnt it very subjectif? I use the same >words and expressions every day, but do I say the same? I may pick up a >groups expressions to "be one of them", or even repeat what others say, >as I do here: I think the key here is to give yourself permission to listen with patience and not pressure yourself to "perform" in any given manner. Solo or with others. Just listen. >> Assemblage of "known" phrases and response to others playing is pretty >much the bulk of what happens in improv. Truly reinventing oneself >(epiphany) and playing *entirely* new, unknown passages seems to be the >exception. Aspiring to that is the path, I guess... Using a combination >of a "blank sheet" approach to improv passages, and trying to think >thematically on my feet, seems to get me the most mileage. This presumes >that I and my partners are listening well and spontaneously reacting to >each other. > right. But its very different to listen to each other or to listen to >the whole! Another good point... I've listened to recordings right after playing, and found that the piece sounded quite different to me when I could re-focus on the whole rather than be involved in executing my part. Learning to listen while playing and reacting and using technology etc. is a real test of your focusing abilities. >> The fact remains, that all players are burdened by a certain range of >sounds and techniques available to them at any given point in their >career, and are bound by whatever limitations those imply. The creative >use of those are what takes it into the sublime. > exactly! Usually I dont figure out what expressions I may use before I >speak nor do I keep a vocabulary at home. In some toolbox there may be >more sounds, in others more licks or chord changes, its what the water >has to deal with when it comes through your hose, its what you offer to >the spirit that may want to speak through you. (so the more you practise, >the more the spirits become interested so you have more to select from... >me on ice again :-) -- ---> http://Matthias.Grob.org Building up your voodoo-mojo by staying involved... I think I get where you're going. I'm feel that staying involved in some form of musical practice regularly increases your chances of merging with the muse. Miko Biffle - Miko.Biffle@asml.com "Running scared from all the usual distractions!"