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Re: another survey (wasRe: OT, but getting close to not-OT:guitar/sax improv sessions)

Quoting Paul Mimlitsch <pmimlitsch@mac.com>:

> On Oct 6, 2007, at 6:24 AM, Paul Mimlitsch wrote:
> 1) how many people on the list do solo non looping gigs?
Most of the time I play solo non-looping gigs.  As a classical organist
my work includes solo recitals and church services.  In my current
position, I am expected to improvise and the bulk of my work (when I
am not accompanying others) is solo improv sans looping or fx.

My paid gigs other than organ work (I've only been playing theremin  
for a couple of years)
on theremin include looping and non-looping work.  Some all real-time,
some that include my own tracks that are integral to the music (i.e.  
-- not mere "backing" or accompaniment tracks).  I also play some  
selections solo with no looping.  The variety of textures and forms  
enables me to hold an audience's interest.  Based on suggestions from  
some members of this list and others I keep adding to my musical  
> 2) "the beauty of the single note line" - how many guitar players/
> players of multitimbral instruments can do an improv. gig using only
> single note lines and hold an audiences attention? for how long?
Sometimes I include sections that are one-note, monophonic.  These
sections definatly are dramatic -- people don't want to breath!

When I do such on an organ I use the mutations (non-unison stops 2  
2/3', and 1 3/5' stops) or solo stops rich in harmonics (bass  
clarinet, bassoon, or earlier sounds such as krumhorn or dulzian.   
Occasionally I will select a clear flute (ocarina-like) in the high  
register.  The stop will be one that is under expression (volume  
controllable from a pedal).

The point here is that when I reduce the texture down to a single  
melody, one note at a time -- I choose an interesting timbre that I  
can play expressively.

Again, I don't think anyone would want to sit through an entire church  
service or recital of one-note-at-a-time organ music however at  
certain times, such a texture demands attention.
> 3) if you're not comfortable doing this, is that because of preference
> (ie: vertical vs. linear hearing)?  Being raised on a particular
> instrument?  Or did you gravitate towards your preferred instrument due
> to how you hear things?
Ironically, it is linear hearing that attracted me to the organ: one
of the premiere instruments for contrapuntal music.
> 4) if you play a mono timbral instrument (horns etc) is the desire to
> "loop" a means of filling up vertical space to compliment your single
> note line play?
When I am not playing the organ and synthesizers, I play the theremin  
(which is monophonic). For me, looping is a way for me to create  
canons and other imitative structures.
However, I don't limit myself to monophonic melodies... that is, I use
loops to achieve parallelism as well as counterpoint.
> Not sure if this makes sense - Just curious.
Enjoyed answering your questions.  I am behind on email and I haven't  
read but one or two responses.  I decided to post my response and then  
read the others.

-- Kevin