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** okay, i'll try this one out:
generally, i'd say for solo or group stuff, it comes down to trying to put in texture or groove potential into an improv situation (quartet, strio, duo, solo) - - though the grooves are, shall we say, somewhat less groove-like than something bootsy would do. i tend to do more of it when there are fewer participants - - also when things don't need to move so rapidly. try to do things that don't trap the other improvisors for long periods of time.
for me, the hardest part of doing the looping thing has been to integrate it in an organic way into the way i write music (which, briefly, is along sort of a third-stream way with lots of opportunities for free improv woven into the compositions). since a lot of what i do is for improv without meter and that could *go anywhere* - - and needs to in a short time - - looping isn't always the best strategy for what i do. (i also don't always feel comfortable using effects in my writing as i'm really interested in being able to replicate the written parts *almost* exactly at any given time - - by *anyone*.)
that all being said, i have at least one piece that uses looping with written stuff over the texture that's been performed a couple of times and have another that needs to be performed at some point.
stig
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