A Quote by Roscoe Mitchell
What I'm after is a composed music that will sound like improvised music when improvisors play it. You shouldn't be able to tell what parts are being improvised and what parts were written out beforehand; it should sound like the same music.
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At a certain point, I started playing improvised music. After a couple of years of this, I did a little bit of analysis and found most improvised music the kind I was listening to at least, which was mainly European to be as, if not more, formulaic than any other kind of music. For example, improvised pieces would often begin and end in the same way.
In the U.K., classical music is composed by individuals and written down. Indian music is based on certain sequences called ragas. When I perform live, 95% of the music is improvised: it never sounds the same twice.
As there are more online archives of improvised music, it becomes more like the daily practice of playing it. It lessens the idea of there being masterpieces of improvised music through benchmark recordings.
I am an improviser, ... I improvise music. Whatever you want to call it all, it is all improvised music. I may capture it and go back and write it down for others, but it was originally improvised.
And we would play together, like fine musicians should, And it would sound like music, and the music would sound good. But in real life I'm stuck with that same old formula, me and my monophonic symphony, six string orchestra.
I've always liked the idea of improvised music. Improvised anything. It's what conversation is.
Guys like Future and me, we help create and shape the sound of music - not just Atlanta music, but music all over. If you really pay attention to the music being made, a lot of that is very heavily influenced by the stuff that we created. I listen to so many songs that's like, 'Damn, this sounds like my music!'
That's what I was trying to say when we were talking about sound. I think that every person, whether they play music or don't play music, has a sound - their own sound, that thing that you're talking about.
I've always been very independent, and I love being able to enjoy different parts of music. It's amazing to be able to hear the sound in your head and instantly make it come to life.
To me, the coolest riffs are composed of two guitar parts that interlock like gears. You need both parts to make whole. I work things out on an electric that's not plugged in to make sure a good tone isn't forgiving a part that couldn't stand up naked. Only after the parts are written will I struggle to find a tone that supports the creativity.
How to play music may be known. At the commencement of the piece, all the parts should sound together. As it proceeds, they should be in harmony while severally distinct and flowing without break, and thus on to the conclusion.
Folk music - and what people are now perceiving as being folk music - is music that's quite close to the ground. The songs sound quite old, even if they're new. They sound like they've been sung by different people for years.
The weirdest thing I've been fascinated with nowadays is the new contemporary country music, which to me sounds like very strange '70s pop, and sometimes like rock music. But some of the themes in there - maybe it's because I know how the songs were written, but it really does sound like it was written by two or three people, with the idea to appeal to the most general audience.
I always think about fashion when it comes to making music and music videos... what the colours will look like, what the material will be, how will it work with the sound of the music.
I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
What I think of when I think of nu-metal: structured, heavy music that has a point. It's angry just like all the other music, but the bigger parts are bigger and the powerful parts are more powerful and the slow parts slower.
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