How Emotions Change The Way Musicians' Brains Work

 

 
Hey look!  I stayed on topic!  

Hi,
 
"Music expresses that which cannot be put into words and that which cannot remain silent...”
 
Notice that this was stated by a writer!
 
So, you know that writers, also have that state. Btw, so do all artists for the most part. And it is the reason why so many of them isolate themselves from the rest of people/society, because it is difficult to describe and discuss.
 
When I tell you folks that a lot of what I write comes from "visions" and "dreams", you really have no idea what I am saying, and how I translate these two "ideas" ... when in fact, for me, they are NOT ideas, but a part of my inner reality. I call them "my magic theater", if you do not mind me using a literary allusion I love dearly!
 
Many writers, and other cultural and social fields, spend their time discussing what they do and how ... and some of these make it all look and sound like a very structured and mental process. And sometimes, it is not.
 
I have mentioned in the past some ideas, which came from theater and the work of Peter Brook, that this can be taught, but the actors, musicians, artists, writers, have to be open minded to the flow of ideas, and not "stop" so you can record them or what not ... the only thing that teaches you in these moments is the "flow" and the continuity of the work itself.
 
In rock music, going back to many years, there is very little of this being done, and I believe most of this takes place because of the commercial aspect is so strong, that no one can conceive the idea/concept of doing something different ... it's always a song, with the same beat or the same bridge, or break ... and just sticking to the flow of the thing, is not always the defining context of the piece of work at hand.
 
There is a reason why I like "improvisations", because they bring out the inner person, in a way that you can not describe, and (sometimes) that you didn't know. This is done, A LOT, in theater and film, but almost exclusively ignored in music and painting, although if I use my sister as an example, she uses her work as a form of meditation and it shows in her work.
 
Listening to "improvisations" in music, is challenging, and you can almost detail immediately which ones are based on notes and chords, and which ones are so free form, that something else is defined. For example, if you hear "Yeti", the AD2 improvisation title piece, it makes you wonder how one transition ever lead to another ... yet it does and it comes together strongly. Now, you go listen to Jon McGlothlin play with some Hindu masters ... and it is totally different, and I'm not sure that these are musically attached as much as they might be "mechanically" and "physically" attached to his fingers and movement ... or hearing the early work of Egberto Gismonti, it is hard to think that this is "composed" at all. Rock music, otherwise, has very little improvisation per se, at least the improvisations that are well defined or detailed. Robert Fripp and his work with King Crimson, uses a lot of the Gurdgieff exercises for concentration, with adaptation of these definitions to music. It works well with King Crimson, very well, in fact.
 
I have, over the years, discussed these a lot, and many different variations of exercises ... that can be done with music, just like I would with actors on the stage. Sadly, most folks are not willing, or capable, of "Letting go", to learn something ... that I have no words for, and neither would they ... and it would help define them as a musician if they were interested. Sadly, I have never heard a single reply in the positive side of things in this area, and I have seen it work and have worked with musicians in my earlier days, and know that there are many things that can be done, and they are not all ... that was just an example or two, and the issue might just be that it has to be spontaneous and can not be "pre-thought", for it all to come out well ...
 
One last detail ... you have to learn to not think that all of it is "important". I would divide these moments so that on one day it gets recorded, but the next day you can not record it ... so that you learn to concentrate on what you are playing, and not on the "external" that interrupts the flow of that inner place ... and this is probably the most important part of it all ... the concentration that helps you bring it all alive, can not be "split" for things to work right. A recording would break your inner thought later, and not allow you to go back and "relive" it for yourself ... the experience of which is different than you listening to it later, when you find that you can be more technical about it.
 
Sad that the words I write are ignored, and they are almost the same thing as those written up on that article, and I have been more detailed and defined than otherwise, specially when it comes to different types of improvisations for music! 

Moshkito
Hi,
 
you really have no idea what I am saying

 
Coffee Honed.

bapu

Moshkito
Hi,
When I tell you folks that a lot of what I write comes from "visions" and "dreams", you really have no idea what I am saying, 

Hi,
 
Then why in the name of all that is good do you keep saying it?

So, you have never believed anyone that lived that created a painting, a piece of music, a book ... you are just not a believer, that's all ... so yeah, you are better off dancing!
 
Btw, the greatest "seers" EVER, never quit! It's why we remember them!

BobF
I remember when Sears was cool.

And even carried a limited amount of musical gear!

craigb

BobF
I remember when Sears was cool.

And even carried a limited amount of musical gear!

BobF
Silvertone rocks!!

Roebuck rocked the mall!!

UbiquitousBubba

 
 

You could even buy your matching sweaters while you were there.  Try THAT at GC!!

UbiquitousBubba

 
 

Gotta LOVE the location of the snare. And the floor tom, too, for that matter. Marketing over matter.

TheMaartian

UbiquitousBubba

 
 

Gotta LOVE the location of the snare. And the floor tom, too, for that matter. Marketing over matter.

That was the first thing that hit me when I saw this. The sweaters were second. I also like the way the bassist is micing his bass. The guitarist next to him is using an imaginary mic (the most brilliant invention by an annoyed audio engineer in history). The most interesting thing to me, however, is looking at the left hands for the bassist and the two guitars. What are they playing? How awful must that sound? Have I seen these guys at the House of Blues?

craigb
 

 
Hey look!  I stayed on topic!  

You did Craig - you did!
 
You finally did it!
 
For the first time ever!
 
I'm so damn proud of you,...why I'm...well...[in light of this thread]...I'm starting to feel somewhat emotional here myself, dang-nab-it! 

Hi,
 
Good one Sharke ... I was actually thinking of a different one from Peter Hammill ... "where do the actors go, after the show ..." which applies to musicians and any artist, really.