Clarity,
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London.
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United Kingdom
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bruce
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Thanks, Jerry. Never too sure about posting this type of touchy-feely stuff. But you know, it comes to you, you get a good vibe from it, so why not pass it along?
Here's a nother I received this week:
A knock
Here's a nother I received this week:
A knock
martin
(deceased)
- Joined
- Oct 2, 1971
- Messages
- 2,705
- Reaction score
- 61
Loved it, Bruce. Touching & feeling is everything, right?
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bruce
Guest
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bruce
Guest
(hope you don't have to sign up to hear) should just open WMP.
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bruce
Guest
Did you have to sign up with Soundclick, Angel?
This was a rough ?out the door? mix. Should have a finished mix next week sometime.
Beautiful Bruce - love that style - only it's too short
Tell me something - someone tried to convince me once that there's no such thing as "improvising" - that musicians just practise so much, that every riff they play has been practised already. Is that true?
Tell me something - someone tried to convince me once that there's no such thing as "improvising" - that musicians just practise so much, that every riff they play has been practised already. Is that true?
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bruce
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Gotcha. Thanks for being my beta tester!
I wasn't satisfied with the take, but there was limited time to get it down. The purpose is for a studio website clip, so they'll only use a short piece of it, anyway. Probably the ending.
A bit grumpy hearing it this morning, cuz I know I can do better.
Oh well. DOWN, ego! DOWN!
I wasn't satisfied with the take, but there was limited time to get it down. The purpose is for a studio website clip, so they'll only use a short piece of it, anyway. Probably the ending.
A bit grumpy hearing it this morning, cuz I know I can do better.
Oh well. DOWN, ego! DOWN!
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bruce
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Hi Pakua,
They?re both sorta correct. There?s definitely improvising. In fact, during this whole take, I had little idea where I was going with it. The continuity got a bit lost and I just winged it. The other side of improv is that you work (mostly) within what you know ? scales, patterns, riffs ? your musical vocabulary, so to speak. But spontaneity is what improv is really about. Some can and some can?t do that. I say ?mostly? because when in the groove, things happen that reach beyond what you consciously know how to play. I once heard Jeff Beck say about a cut on one of his albums, ?I?ll never be able to play that again.? That?s definitely improv.
On the shortness, the background is a ?backing track?, authorized for purposes such as this. Only 3 minutes of it burned to home CD correctly, the rest went bad, somehow. So it was cut short. But soloing for 3 minutes or more without letup is pretty challenging, if you want to keep it interesting. In a live band set up, you can pass the ball to others, which adds versatility to the sound.
They?re both sorta correct. There?s definitely improvising. In fact, during this whole take, I had little idea where I was going with it. The continuity got a bit lost and I just winged it. The other side of improv is that you work (mostly) within what you know ? scales, patterns, riffs ? your musical vocabulary, so to speak. But spontaneity is what improv is really about. Some can and some can?t do that. I say ?mostly? because when in the groove, things happen that reach beyond what you consciously know how to play. I once heard Jeff Beck say about a cut on one of his albums, ?I?ll never be able to play that again.? That?s definitely improv.
On the shortness, the background is a ?backing track?, authorized for purposes such as this. Only 3 minutes of it burned to home CD correctly, the rest went bad, somehow. So it was cut short. But soloing for 3 minutes or more without letup is pretty challenging, if you want to keep it interesting. In a live band set up, you can pass the ball to others, which adds versatility to the sound.
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bruce
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Pakua, I just read your post again, and laughed! Whoever told you that improv players know every riff known is on some mighty fine drugs!
And even if any one player did know every scale, pattern and nuance (impossible), that?s like cutting up a book with everything ever written, and then trying to read the pieces. It?s a cognitive process: using the available and accessible data to create a form with continuity. That?s structure, and it is square. The element which can ?talk to? another soul is not in a book, it?s in deep emotion and genuineness. That?s curvy and ?touchy-feely?. Neither one by itself makes music.
And even if any one player did know every scale, pattern and nuance (impossible), that?s like cutting up a book with everything ever written, and then trying to read the pieces. It?s a cognitive process: using the available and accessible data to create a form with continuity. That?s structure, and it is square. The element which can ?talk to? another soul is not in a book, it?s in deep emotion and genuineness. That?s curvy and ?touchy-feely?. Neither one by itself makes music.
Sorry, I meant, the musician playing the riff has already practised it many times, and if every combination he plays has been practised by himself many times already, where is the improvisation? Is it in the way they are put together? Do you create new ones on the fly, while performing, or is that done during private rehearsal times?
I couldn't agree with her, but her boyfriend was a jazz musician, so I couldn't say much.
I couldn't agree with her, but her boyfriend was a jazz musician, so I couldn't say much.
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bruce
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Considering how vast musical possibilities are, how many tones, tempos, and rhythms, keys, dynamics, etc. there are, plus the infinite possibilities of style, interpretation and nuance, it?s unlikely there?s ever been a musician who can play it all. If someone does master an instrument, they?re probably a master of a particular style. Some master players can and do cross over to more than one style, but it?s pretty rare. Can you imagine Hendrix playing Segovia, or vv?
I?m honestly not surprised to hear this perspective from jazz players, who tend to stay within a specialized niche, where technique and music theory is often the measure of skill. But great jazz players know better. And they?re better improvisers.
But again, all that aside, improvisation isn?t about what you know, but how you sew it all together with your intuition ? all that touchy-feely stuff ? the balance between what you consciously know and control, and spirit which moves you to play things outside of what you know and control.
The good thing is, there are those who can sight-read the print off a score, but can?t adlib a lick, and there are those who can?t read worth squat (raises hand), but can connect with improvisation. S?all good.
I?m honestly not surprised to hear this perspective from jazz players, who tend to stay within a specialized niche, where technique and music theory is often the measure of skill. But great jazz players know better. And they?re better improvisers.
But again, all that aside, improvisation isn?t about what you know, but how you sew it all together with your intuition ? all that touchy-feely stuff ? the balance between what you consciously know and control, and spirit which moves you to play things outside of what you know and control.
The good thing is, there are those who can sight-read the print off a score, but can?t adlib a lick, and there are those who can?t read worth squat (raises hand), but can connect with improvisation. S?all good.
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bruce
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Thanks, Jeff
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bruce
Guest
Btw, do you mean "Deep Purple", on your profile?