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Re: One (possibly) Redeeming Quality of Solo Looping (wasImprovisation Ears)
I see what you're saying, and I agree in so far as I understand what you're
However, to your three gestures, I'd like to add a fourth -- a non-moving
very slow moving gesture. Moving slowly, the listener need not focus on it
too. The hard thing is finding a person who is good at sitting in that
space in an improv.
Of course, really this is all just playing with ideas. :-) It's the music
comes that out we care about most.
----- Original Message -----
From: "Travis Hartnett" <email@example.com>
Sent: Sunday, February 27, 2005 7:25 PM
Subject: Re: One (possibly) Redeeming Quality of Solo Looping (was
> I'm with Per on this one.
> On Sun, 27 Feb 2005 23:09:57 +0100, Per Boysen <firstname.lastname@example.org> wrote:
> > On Feb 27, 2005, at 22:29, Emile Tobenfeld (a.k.a Dr. T) wrote:
> > I like to think about human perception of music as "gestures". No
> > matter the amount of instruments, musicians or looping effect boxes
> > involved - my favorite number of "gestures" is three! In music I like
> > to listen to and play there is optimally three simultaneous gestures
> > going on at the same time. On such gesture can be made up by
> > tremendously complex details of sound, but I don't listen to the
> > complexity at all when improvising. I listen to the gesture and let it
> > accompany my own gestures.
> > This gives that the perfect group for playing free improvisation is
> > three musicians. When you are part of an improvising trio you can
> > pretty much play things that differs from what the other play and it
> > will still come out as meaningful music. As soon as there are more
> > musicians you have to start looking for gestures in music that is not
> > "the noise created by a singular musicians", i.e. musicians have to
> > form cells within the group sound and such a cell should harness the
> > same gesture.