Where to start (keyboard)?

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 AFlowerKingCrimson wrote:

I own a keyboard but I don't know how to play either. I started to but never really got very far. Now here's the crazy part. I can still shred like a professional keyboard player but I don't really know what I'm doing or why it sounds good. I can't play any actual songs though. I'd like to learn just so I can better and actually play and not just do wild soloing.

Hi,

Here's food for thought!

A poet creates words as he goes along and it is not exactly something he/she has written at all, and it's liveliness is from the rendition and has nothing to do with anything else.

Painting, is (generally) a horribly static art ... my own younger sister, who has done many shows all over Europe for many years, spends an incredible amount of time on one piece or another, and making this detail ... like this, instead of like that. 

Here in Vancouver, I met and worked with someone that could draw some incredible pictures, and they started with fast "scratches" that somehow became some amazing pictures, many of which she considered were "angels" ... but sadly her family did not wish her to continue, and she had to go back to whatever it was, mostly arts and crafts of which she was a master. But the speed with which one of these pictures came alive, was something my sister did not like, or understood, for example, probably as she might have thought that it did not come off right, or needed this or that. In the "angel's" artist, it didn't matter ... many of the pictures had such an incredible liveliness in them that it was difficult to think that they were not "finished" or "perfect" in their own way ... but in essence, for my taste, she was the best artist I have ever met and seen, and her capability, was, sadly, cut short.

(This experience, which I helped her develop also involved my knowledge of having worked with actors in improvisation, and in her case I requested that she explain what she saw and drew, so I could also see it. This she developed incredibly well.)

Writing, is the same for me. I write what I see, is how I describe it, and what I see is just like a dream, and somehow it continues the next night like nothing was missing. It has its own logic and continuity and I am more concerned with the story "living" than I am with any thoughts or ideas of what it might mean, or be. I don't really care what they are or mean ... I care more for the fact I can "see them", and then be able to write it down ... fastttttt and faster ... so I can keep up!

If I ever got to the stage again, I doubt I would ever do the same thing twice, and it would be just like the stories from Jodorowsky's theater work (that got busted for sex on stage in Mexico city!) ... or from "The Living Theater" (Beck and Molina) which created live theater that was not ever the same.

It is possible in this commercial age, that a lot of this might not exactly be appreciated, but then that would mean a lot of experimental artists that never quit, are silly or crazy ... and yeah ... I don't think I would be worried about an audience, and probably do a show as if it were a podcast ... and I bet that some folks are going to love it ... 

Lots of ways to get around the social/commercial thing that has a tendency to intimidate us, and us think that even our family will not like it ... but in the end, you have to decide if you want to live your art, or you are just not going to bother with the ideas and then you get a job and go home to nothing.

Much of my work, might get published once I'm gone. Not because I don't want to be exposed for this or that, but mostly because sometimes my experiments, as you can tell by these writings, are something that many folks can not relate to in their daily lives of 40 hours and then home, and maybe a day off here and there for a chance to go to the beach! 

But if I had to, I would start doing my thing, and I might still do a podcast of some of my poetry "live" while experimenting with my synthesizer and various VST's ... sounds that gave me words, that created a feeling that I could continue on ... but will I be able to redo them on stage somewhere else? NEVER, and neither would I even try that! On that stage will be a new piece, and I might ask a child in the audience to come over to the synthesizer and move all kinds of knobs and sliders as much as they want, and what is there is what I start with ... there is no fear there for me ... it's all about you coloring your vision and how it gets to you, and sound is one thing that wakes me up fast.