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Looper's Delight
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> >1) using only "White" notes >> >2) spelling musical words with a seven letter alphabet (ABACAB...DUG) >> >3) creating only acending or descending melody lines >> >4) not using a particular fret-range. i.e. 3-12 > >That's an interesting idea. The point is apparently to force yourself to >break the rules and play sequences only for their place in this >"language", taking you into new sonic realms. > >What about using a small random letter generator program to come up with >strings of varying lengths using the "musical alphabet"? The player could >determine individual note duration/velocity/etc., or some or all of these >characteristics could be produced randomly as well. It seems that by >using the word system described above, you are abandoning one restrictive >system for another. Has anyone tried the random letter program idea? > I had an interesting conversation with Michael Vlatkovich, an avant-garde jazz trombonist and composer from L.A., about some of his "jump start" compositional ideas. One of his techniques is to take a person's name (or sometimes even a pet, he has one piece that's built from the names of his 3 cats), and assigning the letters of the alphabet to 26 consecutive notes (2 notes more than 2 octaves), he spells out the name in pitches. Then he uses the resulting melody as the basis for a composition. What's interesting is that a lot of his pieces that are written this way sound surprisingly tonal, and not like system music. A lot of this has to do with the harmonization. He has a couple of records on the 9-winds label that are worth checking out, though not particularly loopy. >Also, why use only "white" notes? Once again, doesn't this severely limit >the musical depth? Yeah, I would find that limiting too, but sometimes it's interesting to limit your creativity in one aspect to force you to use other approaches. I had a jazz piano teacher who used to play little mental games while soloing on standards, like trying to play an entire chorus on only the black keys, or white keys, or in the key of E major (creates some cool harmonies since most standards are in F, Bb, Eb). These things can really force you out of established habits and into some creative thinking, and isn't that what improvising all about? Also, I heard an Arvo Part choral piece on the radio the other day that was entirely within the key of C major, but still manged to develop some interesting dissonances. ________________________________________________________ Dave Trenkel, NEW EMAIL ADDRESS: improv@peak.org self promotional web-site: http://www.peak.org/~improv/ "A squid eating dough in a polyethelene bag is fast and bulbous, got me?" -Captain Beefheart ________________________________________________________