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RE: Unsettling Ambiences
>1) Be interested yourself.
>Even if you're struggling trying to make something happen, the audience
>will hang in there with you
>if they can tell that you're "into" what you're doing.
Since that strong sentence got chopped up, I repeat it.
>2) How to get yourself interested? One way I use is to throw myself a
>such as start building your "springboard loop" in a different key, or
>noise, or let's say with a different loop length. As per this last one you
>might, after explaining to the audience how your Looper devices work, let
>someone from the audience come up and initiate loop record/length while
>noodle away, thus capturing a non - planned initial loop that you, now
>a sudden have to do something with. Also, when one audience member becomes
>involved, in effect they all are, on a number of levels. On one level they
>are drawn in by becoming part of the performance and on another level they
>could be drawn in by way of a competative "let's see if we can stump the
>musician" kind of thing. Either way you've got their attention and
>your own. :-).
Interesting that you propose the involvement of the public to get
interested in your own work. Its the inversion of point one. If the public
is not interested you will not get either?
With "springboard loop", you propose to leave the sparc with the accident.
Could the simple pleasure to hear a quality of sound you cannot get
anywhere else - because its yours and because is live - be a sufficiant
reason to be interested in your own playing?
I sometimes think that some value of my music comes from the fact that I do
not play much, and only when and what I really feel like. So I have a lack
of perfection and broadness compared to a professional musician, but I
maybe saved a very clean and positive relationship to my own music without
a problem to "get interested".