Re: Musicianship, live technique, etc...

[future perfect <artmusic@gte.net>]

Michael Peters wrote:
> 
> Romeo sez ...
> 
> > it seems like we're having two monologues rather than a conversation.
> > One problem I've been having is that the music just goes on and on
> > and there aren't any breaks...
> > it feels like a need to keep the music going no matter what, and
> > this seems really tiring after a while, like "hey, we're trying to
> > overload your circuits, relentlessly".
> > I'm very interested in how you loopers deal with this, since looping
> > essentially means endless music.
> 
> I haven't found a way to deal with this, but I recognize it as a problem 
>as
> well ... Looping improvs with several loopers are essentially different
> from solo loops. I did a couple of live loops with 2 other loopers and we
> weren't really happy with the outcome just because of this ... no breaks
> etc. I guess it takes a lot of looping improv hours together to find ways
> to opening this up, and enabling open spaces and interesting dynamic
> changes to happen. Has anyone found good recipes?
> 
> Michael Peters
> 
> 100041.247@compuserve.com
> http://ourworld.compuserve.com/homepages/mpeters
One idea is to set predetermined time limits on pieces...bring an alarm
clock, something to totally disrupt the flow. It is also imperative to
listen to each other, the audience can tell if there is little or no
interaction between the musicians, and if a partner is not interested in
what you are playing, then its unlikely the audience will be too. When
we play for an audience, the other musicians become the audience too.
They listen, we react, the audience reacts and it helps the music along.
Visual cues are imperative in improvised music, this is part of the
interaction, and it shows we're listening to each other.