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Re: Creating Space
I'll approach this from a different angle - somewhat inspired by this
mornings FB conversation with Per. Another way to deal with dense
polyphonic texture is to distribute the sound spatially. I notice a
lot of users on here limit themselves to stereo reproduction -
understandably so - it is difficult to access more than a stereo PA!
However, if you have the means to use more than one or two speakers
within a performance environment, I would highly recommend that you
investigate the distribution of your loops spatially. Just another
approach versus space being associated somewhat synonymously with
silence. You can let multiple loops become as polyphonic as you wish,
if they occupy their own physical/acoustic performance space.
Even two amplifiers on stage makes a difference. As Sjaak may attest
to, one of the most impressive live looping gigs you can experience is
Hellmut Neidhart's, "N" - allowing continuous drones to evolve and
continuously compliment each other.
On Wed, Jan 11, 2012 at 9:45 AM, <email@example.com> wrote:
> Great perspectives, Per! Definitely worth applying and ruminating over.
> Funny. I was showering this evening and a song came to mind that I wrote
> some time ago called, "All the things I don't say."
> It's a pseudo-looping tune. Some looping but vocals and some solos are
> overdubbed. I blogged about it in conjunction with a provocative
> interview with Andrew Pek of ivibeglobal.com. The blog was about
> innovation but it's apropos for music/looping as well. The song and
> lyrics are included.
> -----Original Message-----
> From: Per Boysen [mailto:firstname.lastname@example.org]
> Sent: Wednesday, January 11, 2012 1:26 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: Creating Space
> I would say that the solution to this, as to most other musical
> issues, is to listen more. This may seem obvious for many, but for
> those who typically plays instruments like the guitar and the piano it
> can easily happen that learning to play the instrument, as a
> bi-product, also causes the musically rather destructive habit of
> approaching music-making as "positions on the fretboard where you push
> down strings when plucking them" rather than viewing music as sound
> and expression of emotional content. I've been stuck into that trap
> myself and know that it can be a depressive experience. You need to
> "de-learn" the instrument in order to rediscover music and one way can
> be to try playing for a while in a manner that always avoids the
> typical notes and phrases that "just pours out through the fingers".
> If you don't feel that a certain note will fit in perfectly well to
> play next - shut up and listen for another second until you really get
> the feeling of what note that makes musical sense to continue with.
> This teaching may seem counter-productive to a lot that is taught in
> jazz, since jazz to a great deal is about implying phrases, scales and
> melody runs. But this conflict doesn't really exist because that level
> of jazz teaching only works at the level where music is understood as
> "sound and expression of emotional content". This because scales and
> melodies do have there own colors just as specific notes (related to a
> key) have. Or told in other words: the true meaning of a melody is not
> the order of the notes but the emotional content it brings.
> This can of course be applied to live looping as well, since the
> looper also is an instrument.
> Greetings from Sweden
> Per Boysen
> On Wed, Jan 11, 2012 at 6:47 AM, <email@example.com> wrote:
>> We all know that music is as much about the silence as it is about the
>> notes. However, when doing live shows, I often struggle with finding
>> of stripping down the performance (I use an EDP or Boomerang when I
>> What do the members of this esteemed group do to help give silence her