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Looper's Delight
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> > <smile> Thanks so much for bringing up the musical idea of looping >rather than just the whole tech thing, looping has such beautiful possibilities. dear Goddess starting from the end... thanks to you for answering and dedicating your time to this reflection! And thanks to Mark Sottilaro and Nemoguitt as well... you offered some really interesting cues Anyhow this issue didn't show up to be very stimulating for the rest of the looping community... in effects looks like technical issues are much more interesting for the majority of us. Obviously I do not pretend that what I propose should be interesting, but the fact that the discussion is so often about gear and not about music points toward a hidden taboo... something not very clear that worries me a little bit (and that goes also together with the fact that if you spend some time listening to MP3 of loopers from around the world - especially the guitar players ones - they often sounds boooringly similar...) The approach you describe is very similar to some thoughts I had in the last years playing mostly improvisational music: repetition and recognition are always oasis of peacefulness in the troubled sea of the streaming musical flow and offering some buoys to the listeners (and to yourself playing) has often good results but I'd really love to listen and understand how someone else interpretate that... ciao a tutti b:k BTW: my repeater is noisy too... I keep it the way it is... it was kinda of taking me too much time to solve that so I choosed playing (with some noise in the background... not very professional ;-) > Bruno, one approach I like a whole lot is something I've sort of named >Structured Improvisation. Personally, I find that it tends to make >loop-based peices a bit more accessible to an audience who may not >completely be familiar with the genre. At the same time, it also allows >for some very creative and flexible interprettation of musical and sonic >ideas. You could compare it with the ideas of motief or chord structure >within a piece, with the looped environment having a reoccurring melodic >or >harmonic or sonic motief, which may then almost, or completely change or >even disappear, and then return later in the piece. It can also be >transposed, modulated or modified in some way as well in the course of a >loop piece. It makes the music more interesting, and gives it a form, >rather than simply playing complete stream-of-conciousness material >throughout. Now, looking at this idea as an environment, or as a chord >progression in a song, you might use certain sounds or chords to create a >specific ambiance where yu can then play a particular melody or >stream-of-conciousness solo as a counterpoint and then let the environment >change, and then return to it later. > > I like this way of playing, because within the framework of musical >form >you can then let the environments or motiefs transmute, and take you as >the >musician on a musical journey, letting them guide you to places you may >not >expect, and then in turn, guide them back from wherever they've taken you >and the audience. It's a musical dance and dialogue. All and all, the >piece not only moves, grows, and changes, and has incredible dynamic >textures and expression, but also has tangeable musical form people can >recognize and relate to, even if the music itself is different from what >they may usually hear. So it becomes more accessible and can communicate >some complex and beautiful ideas in a very intuitive way. > > >Smiles, > >G-Girl > >At 04:42 PM 6/25/02 +0200, you wrote: >>dear all >> >> >>whenever I've time I take tours in your webpages >>trying to listen and understand what everybody do with the looping >> >>It's very interesting trying to identify the not always conscious >>process underlying >>the operation of looping. >> >>Most of the times the first, almost instictive use of this technology >>is a kinda of antidote to solitude > >I.e.: I play by myself, but myself is me and my looping tools, that >>multiply me and create other me (mainly comping, riffing or >>droning...) so that I can play over that my solo, my solo, my >>solo...and so on. >> >>This is what I call the lonesome guitarist complex... >>looks very blue-eyed, I know, but believe it or not, it's what most of >us do >>(I'm not calling myself out...) >> >>out from there opens a vaste land of possibilities: >>where technology is no more a way to represent something >>or to fill a gap >> >>I thought it would be interesting and usefull trying to describe >>these operations >>and try to build an archetypal or structural alphabet or a list of >>possible processes >>analyzed not in their concrete sequences of interactions with the >>machine/machines >>but under a more abstract point of view, whichever is the concrete >>interpretation one can give >>of that >> >>I'll bring just a couple of examples of looping- concepts I sometime use: >> >>THE HIDDEN PLOT >>Start overdubbing layers with seemingly no rythmic sense. >>the rythmic meaning comes at the end of the overdubbing >>as a inexpected final result >> >>COMP MOVING >>instead of looping the comping, loop the melody. >>Then start comping over moving and changing the harmonic sense >>of the phrase. >> >>I m's just considering now a tipical static way of interpretating the >>loop thing. >>Obviously structures become more and more complex when they become >>dynamic, for instance with feedback, substitutions, etc. >> >>so what do we do when we loop? >>Is there someone willing to share this? >> >>thank you >> >>bruno >> >> >> >>-- >> >> > > >--- > > "The only things I really think are important, are love, and eachother. >-Then, anything is possible..." > >http://home.earthlink.net/~thefates > >Please visit The Guitar Cafe. > >http://groups.yahoo.com/group/the-guitar-cafe -- ___________________________ Bruno E. Kleinefeld IdeaStudio Officine Editoriali via Friuli 8c - 20135 Milano Ph. +39-0254116266 Fax +39-0255010222 __________________________*