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there is no need to change to another
instrument.
in attending and giving workshops i have witnessed
and used some tricks to avoid playing your "darlings":
- let a pianist use his left hand for melody
playing, only.
- let a guitarist play on one string,
only.
- give a horn player just the range of a 5th to
move in.
- let any player who can see his/her finger
movements look to the ceiling (resp. close their eyes).
- make an eigth-note-line-fetishist play anything
but eigth-notes.
- make a chord-arpeggio-aficionado play rhythmic
variations on one note, only (may adapt chromatically to chord
movement).
- make a drummer dance, tap-dance and
clap.
- and the best: make'em sing.
tilmann
----- Original Message -----
Sent: Thursday, July 24, 2008 7:23
PM
Subject: Re: Do you actually loop with
the instrument you are most proficient on? (Re: What would loopers do without
power?)
Taking up a new instrument to avoid the cliches of your playing
on a current instrument just results in cliches on a new instrument, usually
played slower than previously. It takes a while to recognize them, but
cliched playing is the fault of the musician, not the instrument.
On 7/24/08, Per
Boysen <perboysen@gmail.com> wrote:
I
don't think piano players may suffer this problem as much as
guitar
players. As you're saying we (guitarists) are building up
tiny
muscular reflexes in order to access expression through
the
instrument, but these "body mutations" also makes it harder to
play
differently - if you should want to. Norwegian guitarist Eivind
Aarset
told me he took another road to pass this typical barrier by
setting
out to deliberately kill his darlings, as opposed to learning a
new
instrument. He made up his mind to never play one single note
that
"lives in his fingers".
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