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Looper's Delight
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I see what you're saying, and I agree in so far as I understand what you're pointing at. However, to your three gestures, I'd like to add a fourth -- a non-moving or very slow moving gesture. Moving slowly, the listener need not focus on it too. The hard thing is finding a person who is good at sitting in that space in an improv. Of course, really this is all just playing with ideas. :-) It's the music comes that out we care about most. David ----- Original Message ----- From: "Travis Hartnett" <travishartnett@gmail.com> To: <Loopers-Delight@loopers-delight.com> Sent: Sunday, February 27, 2005 7:25 PM Subject: Re: One (possibly) Redeeming Quality of Solo Looping (was Improvisation Ears) > I'm with Per on this one. > > > On Sun, 27 Feb 2005 23:09:57 +0100, Per Boysen <per@boysen.se> wrote: > > On Feb 27, 2005, at 22:29, Emile Tobenfeld (a.k.a Dr. T) wrote: > > > > > > > I like to think about human perception of music as "gestures". No > > matter the amount of instruments, musicians or looping effect boxes > > involved - my favorite number of "gestures" is three! In music I like > > to listen to and play there is optimally three simultaneous gestures > > going on at the same time. On such gesture can be made up by > > tremendously complex details of sound, but I don't listen to the > > complexity at all when improvising. I listen to the gesture and let it > > accompany my own gestures. > > > > This gives that the perfect group for playing free improvisation is > > three musicians. When you are part of an improvising trio you can > > pretty much play things that differs from what the other play and it > > will still come out as meaningful music. As soon as there are more > > musicians you have to start looking for gestures in music that is not > > "the noise created by a singular musicians", i.e. musicians have to > > form cells within the group sound and such a cell should harness the > > same gesture. > > >