A Quote by Allan Holdsworth
I'm trying to play tunes in a new way, using all the same scales, harmonies, structures, but twist everything a little bit so that it comes out sounding different.
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I've learnt new scales through playing different types of music, like Indian raga scales, gipsy scales and harmonically-based jazz scales.
The way jazz works is that we take a theme, and then we write using the same structure, same chord changes, and then we can do different tunes.
I enjoy doing new tunes. It gives me a little bit to perk up, to pay a little bit more attention.
And I love the twist. I love to fool you once, I love to fool you twice, and on the very last page, quite often - very last paragraph sometimes - I like to just play with your perception one more time in a way that makes everything that came before just a little bit different.
Culture and tradition have to change little by little. So 'new' means a little twist, a marriage of Japanese technique with French ingredients. My technique. Indian food, Korean food; I put Italian mozzarella cheese with sashimi. I don't think 'new new new.' I'm not a genius. A little twist.
I'm not trying to create an aesthetic that's my own; I'm trying to create a way understanding things through drawing and painting. That's the common thread. Things can look different, but that's not what's important. What's important is the process is the same, the ideas are the same, I'm using the same building blocks, but they're different. The larger framework is the same; it's the pieces that change. For me, it's about these different elements, but you're still fitting them together into sentences, words, paragraphs, and stories.
You see new shows coming out with the same format, slightly high end, a little bit more glossy. You think, "S - . It's just the same s - but different day."
My father would say, 'Play a scale,' and I'd play one and he'd say, 'What about the rest? There must be one above,' so we'd figure them out. I'd start the scale on the root of the chord and I'd go as far as my hand would reach without going out of position, say, five frets, and then I'd go all the way back. So when ! practised I'd start right away on scales. As well as the usual ones, I'd play whole tone scales, diminished, dominant sevenths, and chromatic scales. Every chord form, all the way up, and this took an hour.
I believe I've accomplished my goals of trying to get better every year, and a little bit of that, a little bit of luck, a little bit of everything just falls in place, and you end up on top.
When I'm making a new ballet, I usually read through the score a little bit, and then I have to go back and translate or transcribe all the counts for dancers because the way that you hear it is completely different from the way the musicians read and play it.
It's very interesting because as an actor, you play a litany of different roles, but to play both of them within the same day multiple times, in quick successions, it's different and sort of a really rare opportunity that I was initially terrified by and a little bit daunted by.
Nothing is the same. I don't have one emotion that's the same. Everything is totally different; I'm a different person, the whole industry is totally different from when Glassjaw was first trying to approach it and put a record out.
Everything that creates itself upon the backs of smaller scales will by those same scales be consumed.
And I have a dream of a New American Language, one with a little bit more Spanish. I have a dream of a new pop music, that tells the truth with a good beat and some nice harmonies.
I'm just trying to establish myself, play the game the right way with my teammates, have fun, make the right plays, and get adjusted to the pro game. It's different from college. It's a little bit faster, so I'm just trying to get as comfortable as I can on the court.
I did write more mainstream stuff with DK. But you could always tell the records that I wrote in contrast with everybody else's because the format was a bit different. The harmonies were used in a different type of way. Way more metaphors in the mix.
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