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I jam a lot with the drummer in our cover band. He plays a Chad Wakerman/Chester Thompson kind of style ..yet he's never listened to Zappa. When the 2 female vocalists are taking a break, we attempt to play instrumental Jazz/fusion and it's flowing nicely with our bassist who works the orchestra pit part time. I have this "Chamber Rock" piece I've been working on for years and some new material in the Jazz/Fusion vain, a band member owns the studio/rehearsal room in his mansion, I could be laying these tracks down, but time won't allow it. It's a cover band and I need the money. We have between 3 to 4 different light shows, 5 P.A.'s, trucks, and the gigs are already booked for 2 months. Every musician/vocalist in the band has 30 years experience in the business. It's high pressured and so..we sometimes jam at practice, but it's half work which requires you to tow the line for other people's high ideals and half play time with instrumentals. We jam on "Scatterbrain" , but it's boring as hell and I'm jaded with it because it's been in my face the whole of my life. Now we are playing Jean Luc Ponty instead of jamming or "Birds Of Fire", "Steaming Pipes" by Happy the Man..which is what Im luring the bass player and drummer into doing. I play the violin parts and Kit Watkins keyboard parts on guitar, the drums and bass are spot on, but where is this all going? Even if the 3 of us sounded like the Brand X trio on Manifest Destiny ..who would care? Why would people, generally speaking, care anything whatsoever about music like this? It takes from my time needed to compose ..except it's worse today because you're walking on egg shells to slip in an instrumental progressive piece between juke box garbage. Years ago you had the freedom to play something obscure in a venue and people ate it requesting more.
Joined: April 01 2009
Location: Atlanta
Status: Offline
Points: 26138
Posted: April 03 2013 at 10:07
TODDLER wrote:
I jam a lot with the drummer in our cover band. He plays a Chad Wakerman/Chester Thompson kind of style ..yet he's never listened to Zappa. When the 2 female vocalists are taking a break, we attempt to play instrumental Jazz/fusion and it's flowing nicely with our bassist who works the orchestra pit part time. I have this "Chamber Rock" piece I've been working on for years and some new material in the Jazz/Fusion vain, a band member owns the studio/rehearsal room in his mansion, I could be laying these tracks down, but time won't allow it. It's a cover band and I need the money. We have between 3 to 4 different light shows, 5 P.A.'s, trucks, and the gigs are already booked for 2 months. Every musician/vocalist in the band has 30 years experience in the business. It's high pressured and so..we sometimes jam at practice, but it's half work which requires you to tow the line for other people's high ideals and half play time with instrumentals. We jam on "Scatterbrain" , but it's boring as hell and I'm jaded with it because it's been in my face the whole of my life. Now we are playing Jean Luc Ponty instead of jamming or "Birds Of Fire", "Steaming Pipes" by Happy the Man..which is what Im luring the bass player and drummer into doing. I play the violin parts and Kit Watkins keyboard parts on guitar, the drums and bass are spot on, but where is this all going? Even if the 3 of us sounded like the Brand X trio on Manifest Destiny ..who would care? Why would people, generally speaking, care anything whatsoever about music like this? It takes from my time needed to compose ..except it's worse today because you're walking on egg shells to slip in an instrumental progressive piece between juke box garbage. Years ago you had the freedom to play something obscure in a venue and people ate it requesting more.
I feel your frustration. I've been in a band for 8 years, but we're only just starting to seek "real" gigs, i.e. ones that pay money. I'm learning that for the most part, people only will pay for you to play if you're going to "entertain", that is, play Margaritaville for a pool party or Mustang Sally for all the baby boomers. We've been playing obscure covers for fun for years, and have had a couple of good gigs playing new original material, but most of the offers we get are to basically provide background music for a party. If we're playing for free (which we're trying to minimize, as it's a huge undertaking to lug all our gear and PA there), then we can feel free to play whatever we want, but if we're getting paid.... it somehow behooves us to play the kind of show the person with the money wants. Like you, I have some fairly unusual new material bubbling around in my head, but in the end, who cares? Why am I doing this?
My other avatar is a Porsche
It is easier for a camel to pass through the eye of a needle if it is lightly greased.
I jam a lot with the drummer in our cover band. He plays a Chad Wakerman/Chester Thompson kind of style ..yet he's never listened to Zappa. When the 2 female vocalists are taking a break, we attempt to play instrumental Jazz/fusion and it's flowing nicely with our bassist who works the orchestra pit part time. I have this "Chamber Rock" piece I've been working on for years and some new material in the Jazz/Fusion vain, a band member owns the studio/rehearsal room in his mansion, I could be laying these tracks down, but time won't allow it. It's a cover band and I need the money. We have between 3 to 4 different light shows, 5 P.A.'s, trucks, and the gigs are already booked for 2 months. Every musician/vocalist in the band has 30 years experience in the business. It's high pressured and so..we sometimes jam at practice, but it's half work which requires you to tow the line for other people's high ideals and half play time with instrumentals. We jam on "Scatterbrain" , but it's boring as hell and I'm jaded with it because it's been in my face the whole of my life. Now we are playing Jean Luc Ponty instead of jamming or "Birds Of Fire", "Steaming Pipes" by Happy the Man..which is what Im luring the bass player and drummer into doing. I play the violin parts and Kit Watkins keyboard parts on guitar, the drums and bass are spot on, but where is this all going? Even if the 3 of us sounded like the Brand X trio on Manifest Destiny ..who would care? Why would people, generally speaking, care anything whatsoever about music like this? It takes from my time needed to compose ..except it's worse today because you're walking on egg shells to slip in an instrumental progressive piece between juke box garbage. Years ago you had the freedom to play something obscure in a venue and people ate it requesting more.
I feel your frustration. I've been in a band for 8 years, but we're only just starting to seek "real" gigs, i.e. ones that pay money. I'm learning that for the most part, people only will pay for you to play if you're going to "entertain", that is, play Margaritaville for a pool party or Mustang Sally for all the baby boomers. We've been playing obscure covers for fun for years, and have had a couple of good gigs playing new original material, but most of the offers we get are to basically provide background music for a party. If we're playing for free (which we're trying to minimize, as it's a huge undertaking to lug all our gear and PA there), then we can feel free to play whatever we want, but if we're getting paid.... it somehow behooves us to play the kind of show the person with the money wants. Like you, I have some fairly unusual new material bubbling around in my head, but in the end, who cares? Why am I doing this?
I think we are both doing this because we have nothing else in life to substitute the pain/agony we feel when we deprive ourselves of playing live..whether that may be doing covers or originals it does not matter. The numbness or jaded affect it can have compares to the feeling one gets when he/she is past the point of starvation and their stomach has shrunk...Yet who wants to wake up every day and have the same routine? If I perform till 3:00 Am ..at least it changes reality around me and when I wake up the next day, it doesn't feel like life has a rope around my neck. I would rather mow the lawn Sunday morning remembering that a few drunks liked my playing the night before than to have spent my evening channel surfing through garbage on T.V....I know it is pathetic to enjoy lame credit or gratification , but sometimes it's better than staring at the 4 walls or working toward a goal which is not practical and ending up in the same swamp in Hell as Vincent Crane.
Joined: February 10 2010
Location: Barcelona Spain
Status: Offline
Points: 5154
Posted: April 04 2013 at 05:22
I never played well enough to gig seriously so when I played with my friends it was only for our personal fun and enjoyment, no pressures.
We did not jam much, we tended to work on clearly structured covers with little if any improvisation, but when we did jam it was mostly on the background progressions of some prog classic such as the soloing sections of Floyd's Time or Comfortably Numb, Rush's Xanadu, Yes Hold On, Marillion's Script or Jigsaw and stuff like that. We just went into the soloing section and kept extending it until nothing decent came out anymore or we burst into laughter or exhaustion.
Joined: April 01 2009
Location: Atlanta
Status: Offline
Points: 26138
Posted: April 04 2013 at 07:23
TODDLER wrote:
HolyMoly wrote:
TODDLER wrote:
I jam a lot with the drummer in our cover band. He plays a Chad Wakerman/Chester Thompson kind of style ..yet he's never listened to Zappa. When the 2 female vocalists are taking a break, we attempt to play instrumental Jazz/fusion and it's flowing nicely with our bassist who works the orchestra pit part time. I have this "Chamber Rock" piece I've been working on for years and some new material in the Jazz/Fusion vain, a band member owns the studio/rehearsal room in his mansion, I could be laying these tracks down, but time won't allow it. It's a cover band and I need the money. We have between 3 to 4 different light shows, 5 P.A.'s, trucks, and the gigs are already booked for 2 months. Every musician/vocalist in the band has 30 years experience in the business. It's high pressured and so..we sometimes jam at practice, but it's half work which requires you to tow the line for other people's high ideals and half play time with instrumentals. We jam on "Scatterbrain" , but it's boring as hell and I'm jaded with it because it's been in my face the whole of my life. Now we are playing Jean Luc Ponty instead of jamming or "Birds Of Fire", "Steaming Pipes" by Happy the Man..which is what Im luring the bass player and drummer into doing. I play the violin parts and Kit Watkins keyboard parts on guitar, the drums and bass are spot on, but where is this all going? Even if the 3 of us sounded like the Brand X trio on Manifest Destiny ..who would care? Why would people, generally speaking, care anything whatsoever about music like this? It takes from my time needed to compose ..except it's worse today because you're walking on egg shells to slip in an instrumental progressive piece between juke box garbage. Years ago you had the freedom to play something obscure in a venue and people ate it requesting more.
I feel your frustration. I've been in a band for 8 years, but we're only just starting to seek "real" gigs, i.e. ones that pay money. I'm learning that for the most part, people only will pay for you to play if you're going to "entertain", that is, play Margaritaville for a pool party or Mustang Sally for all the baby boomers. We've been playing obscure covers for fun for years, and have had a couple of good gigs playing new original material, but most of the offers we get are to basically provide background music for a party. If we're playing for free (which we're trying to minimize, as it's a huge undertaking to lug all our gear and PA there), then we can feel free to play whatever we want, but if we're getting paid.... it somehow behooves us to play the kind of show the person with the money wants. Like you, I have some fairly unusual new material bubbling around in my head, but in the end, who cares? Why am I doing this?
I think we are both doing this because we have nothing else in life to substitute the pain/agony we feel when we deprive ourselves of playing live..whether that may be doing covers or originals it does not matter. The numbness or jaded affect it can have compares to the feeling one gets when he/she is past the point of starvation and their stomach has shrunk...Yet who wants to wake up every day and have the same routine? If I perform till 3:00 Am ..at least it changes reality around me and when I wake up the next day, it doesn't feel like life has a rope around my neck. I would rather mow the lawn Sunday morning remembering that a few drunks liked my playing the night before than to have spent my evening channel surfing through garbage on T.V....I know it is pathetic to enjoy lame credit or gratification , but sometimes it's better than staring at the 4 walls or working toward a goal which is not practical and ending up in the same swamp in Hell as Vincent Crane.
I think you're right. I feel kind of listless when we don't have a gig we're working towards.
My other avatar is a Porsche
It is easier for a camel to pass through the eye of a needle if it is lightly greased.
I jam a lot with the drummer in our cover band. He plays a Chad Wakerman/Chester Thompson kind of style ..yet he's never listened to Zappa. When the 2 female vocalists are taking a break, we attempt to play instrumental Jazz/fusion and it's flowing nicely with our bassist who works the orchestra pit part time. I have this "Chamber Rock" piece I've been working on for years and some new material in the Jazz/Fusion vain, a band member owns the studio/rehearsal room in his mansion, I could be laying these tracks down, but time won't allow it. It's a cover band and I need the money. We have between 3 to 4 different light shows, 5 P.A.'s, trucks, and the gigs are already booked for 2 months. Every musician/vocalist in the band has 30 years experience in the business. It's high pressured and so..we sometimes jam at practice, but it's half work which requires you to tow the line for other people's high ideals and half play time with instrumentals. We jam on "Scatterbrain" , but it's boring as hell and I'm jaded with it because it's been in my face the whole of my life. Now we are playing Jean Luc Ponty instead of jamming or "Birds Of Fire", "Steaming Pipes" by Happy the Man..which is what Im luring the bass player and drummer into doing. I play the violin parts and Kit Watkins keyboard parts on guitar, the drums and bass are spot on, but where is this all going? Even if the 3 of us sounded like the Brand X trio on Manifest Destiny ..who would care? Why would people, generally speaking, care anything whatsoever about music like this? It takes from my time needed to compose ..except it's worse today because you're walking on egg shells to slip in an instrumental progressive piece between juke box garbage. Years ago you had the freedom to play something obscure in a venue and people ate it requesting more.
I feel your frustration. I've been in a band for 8 years, but we're only just starting to seek "real" gigs, i.e. ones that pay money. I'm learning that for the most part, people only will pay for you to play if you're going to "entertain", that is, play Margaritaville for a pool party or Mustang Sally for all the baby boomers. We've been playing obscure covers for fun for years, and have had a couple of good gigs playing new original material, but most of the offers we get are to basically provide background music for a party. If we're playing for free (which we're trying to minimize, as it's a huge undertaking to lug all our gear and PA there), then we can feel free to play whatever we want, but if we're getting paid.... it somehow behooves us to play the kind of show the person with the money wants. Like you, I have some fairly unusual new material bubbling around in my head, but in the end, who cares? Why am I doing this?
I think we are both doing this because we have nothing else in life to substitute the pain/agony we feel when we deprive ourselves of playing live..whether that may be doing covers or originals it does not matter. The numbness or jaded affect it can have compares to the feeling one gets when he/she is past the point of starvation and their stomach has shrunk...Yet who wants to wake up every day and have the same routine? If I perform till 3:00 Am ..at least it changes reality around me and when I wake up the next day, it doesn't feel like life has a rope around my neck. I would rather mow the lawn Sunday morning remembering that a few drunks liked my playing the night before than to have spent my evening channel surfing through garbage on T.V....I know it is pathetic to enjoy lame credit or gratification , but sometimes it's better than staring at the 4 walls or working toward a goal which is not practical and ending up in the same swamp in Hell as Vincent Crane.
I think you're right. I feel kind of listless when we don't have a gig we're working towards.
What I find interesting is how some of the higher paying gigs are landed through sexual activity between a band member and an agent, manager, or club owner. There is networking, production, radio promotion and yet so many important gigs are landed that way. People want to touch another body just to reassure themselves they are not phantoms and they are vampires in the music business. Mofia and corporate criminal activity got the best of me. Maybe Tibet has the answer. Maybe we should all save our money and invest in an island where proggers meet for the weekend, playing prog through a huge sound system.
Joined: July 20 2009
Location: Tucson, AZ USA
Status: Offline
Points: 7264
Posted: April 09 2013 at 11:02
jasonofthestorm wrote:
I haven't been practicing improvising very much, but sometimes I like to pop in Miles Davis' Live-Evil and jam along to the first couple tracks. It has some really relaxed, slow grooves with plenty of room to noodle around, and the progressions are easy enough to experiment over without sounding 'off.'
...and then John McLaughlin shreds my face off and I throw my guitar out the window...
Ain't it the truth!! I've had Holdsworth make me want to fling my Les Paul....
When I first was learning to play lead, I would put on a jazz-rock LP like Stanley Clarke's first solo album. As you said, there was plenty of room to noodle around. I don't improvise on bass much, mostly try to learn the songs note-for-note.
Joined: November 14 2011
Location: Cardiff
Status: Offline
Points: 113
Posted: April 16 2013 at 09:06
I pretty much improvise along with anything, I've done an array of different blues, Jazz gigs and have over the years tried broadening out my skills to deal with all the idioms required for each style. I guess the way to do it is just research every guitarist you like and incorporate it into your personal bag of improvisational tricks.
When I do the prog gigs with my band, the majority is structured but when we do improvised sections it's all very organic and I try different things out every gig, incorporating jazz ideas, make a noise with effects pedals, shamelessly shred whilst trying to create a melody...it's all part of the fun!
Particular songs I have always loved improvising too though are Hendrix songs, The Pump by Jeff Beck/Larry Carlton/Lukather is a great one and any of Guthrie Govan's solo album is always a mind boggling challenge, that leaves you coming out of the other side feeling quite dizzy!
Joined: January 04 2007
Location: Grok City
Status: Offline
Points: 17484
Posted: April 21 2013 at 17:03
Dayvenkirq wrote:
...
Are you a guitarist? A keyboardist? An oboist? A tubist? What tracks do you improvise to? Are they other artists' tracks? What are those tracks?
NOTE: Very long and detailed rehearsal techniques! If you don't care for theater/film and how to possibly expand this to music, please do yourself a favor and skip it!
Gonna try this from a writing, and acting design. Acting, I have a lot of experience with working with actors and I can easily tell you I specialize in improvisation with them ... guided or ungiuded. As a writer, because everything I have tried has helped me write and change what I write and HOW.
Exercise: (Couple hours needed for a short script!) (For actors in a scene of two - let's say) ... (and then I will adjust this for musicians!)
Find a dark space. Sit. Or lay down.
Go through the whole scene/act by just reading the lines ... do not worry about anything else.
When done relax.
Now, go quietly in your head through the movement that you can do with each line as you go through the whole scene. Stay in order and focused on the continuity ... usually takes a little "discipline" ... in your notes later you will find that you wanted to get around and do something else when you had to go here or there and say X. When finished relax.
Now go through the script with your partner -- in character -- but concentrate on the VISUAL side of things you are doing, so you can see yourself and your partner move on the stage. Concentrate on "watching" your partner (instead of yourself like you did the exercise before!). You are STILL siting down during this exercise ... this is about your "visual" part of things.
When done relax
Now go ahead, get up and do the whole scene/act with your partner ... silently ... just the physical motions all the way to the end of the scene. Concentrate on what you think might be the best expression now that you can not say a word of it! You are still siting in the corner!!!!!
When done shake it off ... relax and smile ...
Now, at the end of these two hours, doing a full rehearsal is counter productive, and you want to just go home, relax and come back fresh tomorrow ... and when you do the rehearsal tomorrow, notice how the concentration and attention to detail has gotten so very strong ... that it makes the whole thing better all around ...
For writing, for me, the only problem I might have is that any "writer's block" for me is more about ... I want to do something else, and I feel trapped. Thus free forming it, is best ... and I have a lot of things that I have no idea what to do with ... and sometimes they meet something else, and sometimes they don't ... every artist has that problem ... so I'm quite ok with that.
Music ... a guitarist ... I do this with my bass, btw.
I have DIFFERENT aptitude in music that I can not describe. So I will accept that it is possible that some of this might not work, but I have tried it a couple of times with a few people and parts of it worked.
Music, just like writing, to ME, is less about my "mechanics", so conversely, in a musician it would be less about the notes and the chords. Ex: ... a lot of music is "pre-defined" as sad or happy. But did you know that Bach intentionally composed things in different keys to disprove that? Like wise ... this is the strongest and most important premise in this exercise ... to define that detail FOR YOURSELF ... not about music, not about notes ... or ideas ... and hopefully, you will find a thread that helps you "listen" so deeply, that you automatically KNOW what to do and use all the time ... and this, inadvertantly or not, is usually the differentce between the great ones and the rest ... they have learned to "fly" (it really is that!) with their sight and vision and thoughts ... and this is not something that you can define in "notes and chords" until AFTER you did it ... it's sort of like the pretention of class room composing that you will compose a small piece on the piano that shows you crying from beginning to the end ... you can't do it ... until "after" it happens and you lived through it.
Requirements: 25 different sound effects, one each from the 3rd track of each LP from the BBC sound effects library. Or the 4th. Or the 5th!
Now here comes the pudding! You arm your guitar ... no effect needed ... and play the 1st sound effect ... and try to blend the guitar playing to it. Try it again ... You're gonna get frustrated. Try it again ... STOP. Put the guitar down and go take a walk around the block. Have your smoke -- avoid drugs for these exercises! Now try it again, and you will find a few notes and sounds to go with it. Ok ... now you can create some sequences around that vacuum cleaner sound. Cool ... that was fun ... Do it again! Now play the 2nd effect. Oops ... a saw? ... and you will have the same problem. Keep it going as much as you can.
The essence, you will soon find, is that you are "listening" to what is OUTSIDE YOU, and this will make you a much better musician in a group ... because you now can see/know what others are doing, and it will make it easier for you to accentuate and define a moment with the folks you play with.
Do the next exercise ... and as time goes by, these become fun and a challenge ... but you can NOT know what the next effect is ... it has to be a surprise -- which works best.
Next day, in silence, start playing something that you might have remembered that you did with a sound effect ... and it will feel like you "know" that part ... and you will be able to develop it some. You might even distort and break apart the exercise sound and speed it up and down and drop it on the ground or slow it down to a halt! ... and guess what ... you stayed with it the whole time.
In the end, what all these exercises do is help you pay attention to YOURSELF even better than you thought you might have been able to, or understood. It also takes away the "self-consciousness" that goes with the majority of actors on stage and 85% of all the musicians I have ever seen in my life ... even Damo Suzuki, was not "free" on stage doing what he is good at ... he was "trapped" in a time warp! And musicians that could not help him, and take an idea out of town and create something new!
My problem about improvising around sceles or songs? ... WTF ... is like telling me to go improvise around Prufrock ... or Shakespeare ... and that's stupid ... you either have an idea of what you want to do in an improvisation or it is NOT an improvisation ... and too many musicians have this strange notion that they can find more "hidden chord" and one more "hidden note" somewhere behind the song you are improvising on ... and that's -- in my book -- a waste ... why? ... it's not your song, and you can't change it!
So, create your own ... improvisation. Anything is a good enough start to help you figure it out ... but the only thing that matters is how much you stick to it and how much you learn from it ... and in general for me ... I do not improvise on "Prufrock" ... because there is nothing to find over there that matters anymore!
Hope this helps ... and this whole write up is ... a "do" thing ... and not a material thing that can be discerned in the mind, as parts of it might have to be adjusted while doing it ... which we did in the acting exercises, and I would help with the guitar examples.
Edited by moshkito - May 25 2013 at 17:22
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told! www.pedrosena.com
Joined: January 04 2007
Location: Grok City
Status: Offline
Points: 17484
Posted: April 21 2013 at 17:09
HackettFan wrote:
I've started improvising to peyote music
This would work great if you were at the big pow wow's that got us the early Amon Duul stuff ... or a really good Grateful Dead powow ... that the members themselves used to join in for fun!
Hehe!
Actually , this is still done, and I know 2 folks in California that still do these meditations and exercises, although one of them is vehemently against the drugs and would throw you out and not give you your money back within 5 minutes!
You don't need it. Your own body produces the best Lysergic there is via your Pineal Gland ... so why do you need substitutes?
But yeah ... I've had some good trips a lot of mescaline and acid in those days ... but I'm a veteran ... I quit it a long time ago, and I'm crazier now without it, than I was then with it!
Can't you tell?
BTW ... you can induce this in your dreams and meditations ... EASILY!
Edited by moshkito - April 21 2013 at 17:24
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told! www.pedrosena.com
Joined: December 08 2012
Location: Pacoima,CA,USA
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Points: 3145
Posted: April 24 2013 at 03:20
This thread should be renamed and called "What music do you jizz to" . On the subject of improvising, I always try to improvising while jamming with the guitar in an attempt to catch a new sound. I don't use any music to improvise to, I just play whatever comes to mind. That's when improv is good
Edited by ProgMetaller2112 - July 10 2014 at 01:59
“War is peace.
Freedom is slavery.
Ignorance is strength.”
― George Orwell, Nineteen Eighty-Four
"Ignorance and Prejudice and Fear walk Hand in Hand"- Neil Peart
Joined: January 04 2007
Location: Grok City
Status: Offline
Points: 17484
Posted: May 01 2013 at 14:54
ProgMetaller2112 wrote:
This thread should be renamed and called "What music do you jizz to" . On the subject of improvising, I always try to improvising while jamming with the guitar in an attempt to catch a new soun. I don't use any music to improvise to, I just play whatever comes to mind. That's when improv is good
Some of the rehearsals I did with folks got funny and weird ... but it really helped. So, if you caught me walking through the middle of your rehearsal with a vacuum cleaner ... you better not drop the ball! ... and that was the point ... you do not have to drop anything, and in fact, you can actually bend it to accomodate a different step or two or funny second or two that fits!
And, generally, for me, this is the part that a lot of "new music" is missing ... it is soooooooooo hogtied ... ooopppsss dawtied that the folks playing it don't even realized how jailed they are to that meter, instead of the reality, beauty, ugliness, and whatever other feelings you had in that specific second of time ... which is where the majority of creativity comes from ... but you end up learning more about "continuity" and "musicality" than sometimes we give ourselves credit for ... but I guarantee you that it will take you away from the DAW and help the band tremendously!
Well, at the very least we wold have a Faust a la Faust now! But I think we would be better than them!
Many folks improv themselves on a sound ... The Edge does ... Robert Fripp does ... and many others ... but even then, working off sound effects, after a while you tell yourself some damn thing like ... the next time I hear that saw, that pedal with this much ___________ is gonna get a workout! And at that point, it is fun to play around with things!
Edited by moshkito - May 01 2013 at 14:56
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told! www.pedrosena.com
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What kind of music do you improvise to and how?
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TODDLER wrote:
. On the subject of improvising, I always try to improvising while jamming with the guitar in an attempt to catch a new sound. I don't use any music to improvise to, I just play whatever comes to mind. That's when improv is good 
