The greatest difficulty you will have in creating music which does not conform to any previously established standard is in convincing your brain to abandon its strong love of rememberance. There is no note you could have played wrong. In a water-fall of sound, each rivulet washes together until coming together in the clear waters of the stream below. There is a context you hadnt anticipated for this arrant note. It is only a wrong note when you bludgeon your audience with the insistence that it was never supposed to be there. Like, Jess Lewis, as she apologizes in her embarrassment for not playing her piece perfectly correctly, in that way which reminds you of all young performers, so keenly aware that they are being critically observed. She apologizes despite the fact that her audience cannot even tell the difference, its only she that knows, and then betrays herself of this fact in the brandishing of her cheeks and self-effacing gestures. Notes are over-estimated, as a piece of music and, interval is sorely under-appreciated. There is a percussive index to every piece of music. You will create untimely music when you adopt a synchronicity for yourself which has barely been explored before. Like, Rag-time, where Scott Joplin says, your time-signature need not be neatly contained within a single bar. Here, I give you an odd division for your notes to fall in to. And, you want to understand what made KoRn so great for a short time? Their music is technical in a way that it is not complex. Only do their notes fall between notes, as you should expect them to arrive, and forces you to appreciate a pattern untold.
Posted on: Sun, 24 Aug 2014 08:06:31 +0000
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