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I was thinking I was thinking I was thinking I was thinking We could loop it I was thinking I was thinking We could loop it We could loop it I was thinking I was thinking We could loop it I was thinking I was looping We could think it I was looping I was looping I was looping I was loop it I was loop it I was loop it thinking thinking looping thinking looping thinking I was could it I was could it looping thinking thinking looping could it could it I was could it it was could I I was loop it thinking thinking loop it loop it could I could I thinking looping looping could I could I think it think it looping looping looping I was thinking thinking could I could I think it looping thinking thinking could I could I loop it thinking thinking looping looping think I think I loop a looping think a could I loop a thinking I was looping looping looping Think a I was was a thinking thinking thinking loop a I was looping thinking thinking I was looping looping I was looping thinking thinking I was I was I was loop I was looping I was thinking I was could I could I thinking I was loop I think I was loop think ing I was was was was was was loop loop loop think I was think loop was I think loop could ... ... ... jeff rich wrote: > > >1. graphs > > -when I feel limited in a particular piece I'll often work from a >graph. > >for instance, my ambient project used to play a chart of stock market > >returns over the past 50 years. very fun! we would "notate" the graph >with > >colors for moods (blue=sad, red=intense, green=layered, etc) and >indicate > >how long (length of time) each section would roughly take. some great > >results with this one. > > I had a couple of interesting performances a few years ago based on this > idea. The performance was called Kaballah Clocks and it was a half hour > piece, based tonally on the 10 'stations' of the mystical Kaballah. Each > station has a 'color' associated with it. Color resonates at a certain > light frequency, and we associated those (angstrom?) frequencies with Hz > frequencies of sound, so each 'station' had a tonal drone that we > improvised within. Each member of the ensemble had a clock in front of > them and we played in each 'station' for 3 minutes, and then mutated to >the > next, and to the next, culminating at the top station of the Kaballah, > associated with Brilliant White light. > > Definitely a noisy piece, but what a crescendo! We were purely > improvising, and made no grandiose pretensions about how good the piece >was > going to be. Afterwards, though, we had people coming up and saying how > amazing it was, and that they had drifted off into some state of >meditation > during the piece, even though we had not introduced it in any way...it >just > was the end of our set. > > Super fun and musically/experimentally/spiritually rewarding > > rich