[HN Gopher] Thelonious Monk's Tips for Musicians (1960)
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Thelonious Monk's Tips for Musicians (1960)
Author : jynxxx
Score : 145 points
Date : 2022-12-22 06:33 UTC (16 hours ago)
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| Yhippa wrote:
| Ooh, some good ones in there even for us concert band folks:
|
| > Pat your foot and sing the melody in your head when you play.
|
| I usually just tap my toes quietly within my shoe.
|
| > Don't play the piano part, I am playing that. Don't listen to
| me, I am supposed to be accompanying you!
|
| Sub piano for whatever solo or soli instruments have the
| spotlight.
|
| > What you don't play can be more important than what you do
| play.
|
| > A note can be small as a pin or as big as the world, it depends
| on your imagination.
|
| > Those pieces were written so as to have something to play & to
| get cats interested enough to come to rehearsal!
|
| I love seeing articles like this.
| UIUC_06 wrote:
| > I usually just tap my toes quietly within my shoe
|
| Right. The conductor will hate seeing you tap your feet. So
| just don't let them see.
| dwringer wrote:
| I don't think I ever met a conductor who would openly
| disapprove of foot tapping unless it were loud or _maybe_
| someone sat on the very end directly in front of the audience
| and did it in a very distracting way. The alternative of
| musicians keeping poor time would be far worse.
| to1y wrote:
| it's considered very bad form, especially in orchestra's ,
| _especially_ by the conductor because it means 1. you're
| not following them 2. it's very distracting for the
| audience/other members of the band 3. it's a 'beginner'
| tendency, shows lack of self-control.
| dwringer wrote:
| I've played in a few orchestras in my life and never
| heard that opinion (other than the part I previously
| mentioned, when it becomes a distraction to the
| audience), but I suppose some conductors may feel
| differently.
| hammock wrote:
| >Don't listen to me, I am supposed to be accompanying you!
|
| As a conductor and director in my experience this is the
| hardest one for many musicians to learn, and it even goes a bit
| against the "keep the time is #1" rule.
|
| As accompaniment, harmony, etc you need to understand who the
| lead is at any given moment and follow it. If you just keep the
| time robotically and don't pay any attention you will destroy
| any possible magic. If you are homophonic harmony but you are
| out of time with the lead, it won't be tight and may be bad
| (unless a loosely hinged style is what you want). The lead may
| be taking micro beats of time here and there with the line and
| you'll want to follow this.
|
| Even this has nuance though. Sometimes the lead might be taking
| time (or rushing time) and actually expect you to be keeping
| time, to stay in the pocket, to give him a landing zone to
| anchor back to once he's decided he wants to come back in time
| on a cadence or a downbeat or something. And you need to know
| that too, as the lead goes in and out of the pocket what is his
| intention there?
|
| In this way it's beautiful how the really best music doesn't
| require only experienced musicians, or even musicians
| experienced with each other (understand each others styles,
| tastes and intentions) but also requires a level of trust
| between them to be able to leverage those experiences in a
| special way. And that could be generalized to other areas of
| work and life
| asplake wrote:
| "Make the drummer sound good"
| 082349872349872 wrote:
| which makes perfect sense to anyone who believes a band is
| there primarily for the benefit of those dancing to its music.
|
| https://en.wikipedia.org/wiki/Thelonious_Monk suggests Monk
| belonged to this confession: _... during performances: while
| other musicians continued playing, Monk would stop, stand up,
| and dance for a few moments before returning to the piano._
| SpiralLibrarium wrote:
| I wish I could be even a smidgen as cool as he was.
| scarecrowbob wrote:
| When I play pedal steel in my country band, I do a lot of
| laying out and dancing.
|
| It feels good, and I wish more folks felt free to layout for
| long sections of most songs.
| quacked wrote:
| Oh yeah, Monk is 100% right. Keeping time is far more important
| than both intonation and feel. (And intonation is more important
| than feel.)
|
| Young music students in the US are usually taught in a pre-
| conservatory style (analogous to how young students are taught in
| a pre-academic style). This leads to the mental prioritization of
| playing the correct notes, giving recitals once or twice per
| season, and following the movements of the ensemble leader. These
| are all terrible habits if you want a society where lots of
| people can play songs together and don't take music too
| seriously.
|
| If you've ever been to a kid's recital and all the pieces sound
| awful, it's not because they can't play their instruments, it's
| because their teachers taught them the mental habit of stopping
| when they made a mistake, and then assigned them pieces at the
| upper limit of their competence. You must play through mistakes
| like they're not there, keep the rhythm with your foot and the
| melody line in your head. Also don't play the hardest stuff you
| just learned in recitals, play stuff you can do with your eyes
| closed while holding a conversation.
|
| If you're a hobbyist musician, stop focusing on scales, theory,
| improvising, and correcting miniscule mistakes and start focusing
| on keeping perfect time and memorizing a whole shitload of songs.
| If you look up "Victor Wooten Music Lesson" on YouTube and
| basically watch every single thing he has to say you'll make more
| progress on your sound in one year than you did in the previous
| ten.
|
| Music is meant to be played together, and to play together you
| need to keep time.
| analog31 wrote:
| My kids both went through music lessons, and I believe a lot of
| this "culture" is brought by hyper competitive parents. It's
| not inherent to the process. The Suzuki method (which is the
| dominant variant in the US today) starts kids playing by ear,
| and involves them in as much group playing as possible. You
| can't get in the habit of stopping, if nobody else stops.
|
| Imposed on top of this is a culture of treating it like a
| contest. This is an easy trap to fall into, because the
| repertoire is organized by difficulty. But I quickly noticed
| that the most laid back parents were the ones who were
| performing musicians themselves. I'm a performing jazz musician
| so my kids have heard me play plenty of clams on the bandstand
| without stopping. ;-)
|
| The _parents_ have to get out of the habit of stopping their
| kids when they make a mistake. I read a comment from a famous
| teacher, that he doesn 't stop his students when they make
| mistakes, because it kills their flow. Unless the mistake is
| repetitive. Isolated mistakes are not teachable, repetitive
| ones are.
|
| My daughter's teacher had a really nice thing, an open recital
| at his house every Friday evening. Because it was so frequent,
| kids could just show up and play whatever they were working on.
|
| There are alternatives to traditional classical teaching. In
| addition to their classical lessons, my family has gotten into
| fiddling. That's a totally different vibe. We went to a fiddle
| jam, and recognized one of the fiddlers from the previous
| night's symphony concert.
|
| Now for my own opinionated opinions, not necessarily contrary
| to yours: 1) At least in classical and jazz, a player has to
| get over the hump and learn to play in tune at some point. In
| any event, intonation problems typically reveal technique
| problems. 2) "Feel" is not orthogonal to technique. Wherever
| the note belongs, your brain and body working together have to
| put it there. And "feel" is anything but absent from classical
| music -- you just have to listen harder for it because it's
| more subtle. You can hear it when it's too rigid.
| quacked wrote:
| Great comment, I agree with pretty much everything you said.
| I'm definitely going to steal the "Friday recital" idea.
| kwyjibo1230 wrote:
| Cannot +1 this enough. I learned so much more when I took
| lessons from an improvisational jazz bass teacher who focused
| on
|
| (1) Learning as many songs and standards as is reasonable each
| week
|
| (2) Focusing on improvising along to my teacher playing the
| melody on piano. He wouldn't stop unless I asked, so I needed
| to keep time with him. If I made a mistake, and lost my place,
| he would keep playing and I'd listen to where he was and jump
| back in when I found it again
| mtalantikite wrote:
| I've also been studying with a jazz bass player (I'm on
| piano) and from the beginning he always emphasized just
| getting back into the tune. He never interrupts me.
|
| The other big one is singing the lyrics to every song I'm
| learning, which I really didn't like at first. He told me the
| story of Ahmad Jamal recalling a time playing with the sax
| player Ben Webster when Ben just stopped playing a tune:
| "Why'd you stop Ben?" "I forgot the lyrics!".
| marconey wrote:
| _You must play through mistakes like they 're not there, keep
| the rhythm with your foot and the melody line in your head.
| Also don't play the hardest stuff you just learned in recitals,
| play stuff you can do with your eyes closed while holding a
| conversation._
|
| Brilliant life advice in general, keep your head in the game,
| carry on and maintain the flow.
| aidenn0 wrote:
| My son is learning the piano and I cannot seem to teach him
| rhythm. Aside from the habit of stopping at every error (which
| bugs me to no end), he can hear a song once or twice and pick
| out the correct notes, but rhythm is still a mystery to him.
|
| I learned rhythm so long ago (it was a core part of my
| elementary school music class before I ever started learning an
| instrument on my own) that I have no clue how to help him.
| kashunstva wrote:
| Metronome diet.
|
| I play professionally and still use the metronome every
| single day. I tell students if I can, they can too. Some may
| see it as a crutch that prevents one from developing an
| internal pulse. I disagree; but maybe it's a fake it 'til you
| make it circumstance.
|
| If you set the metronome to accent the downbeat, it is
| difficult to allow yourself the luxury of stopping and
| restarting on errors.
|
| The most frequent issue though is starting the learning
| process faster than you can consciously process the music.
| When a student asks me about the correct tempo, my answer is
| always the same: it's the tempo of perfection. If you play a
| piece no faster than you can play it perfectly, most things
| take care of themselves.
| mtalantikite wrote:
| Also I'd have them try setting the metronome to half speed
| so it counts the 2 and the 4. It forces you to internally
| feel the downbeat. Plus it's nice to switch things up
| during your practice session.
| aidenn0 wrote:
| double speed?
| quacked wrote:
| > it's the tempo of perfection
|
| I believed in this as well for many years, but I've taken
| some lessons with famous bluegrass guitarists and all three
| of them said that you can't really play _fast_ (which in
| bluegrass is "blistering") unless your body has a feeling
| for what it's like to be moving quickly at speed without
| tensing up. All three recommended occasionally taking a
| swing a tempo that was too fast just to get the feel there.
|
| I've ended up on the following practicing diet, all to
| metronome:
|
| CYCLE THROUGH:
|
| - 1 rep Slow, No Mistakes (you can think really
| deliberately about what comes next)
|
| - 1 rep Medium, 1 Mistake Max (you're using mostly muscle
| memory)
|
| - 1 rep Fast, 3-5 Mistakes Max (focusing on how your body
| feels moving this quickly without tensing)
|
| Then at the end of the practice session I'll take one or
| two (or admittedly five or six) inappropriately fast just
| for fun. I've been informed that this is possibly undoing
| some of the work I did in the practice session, but I'm
| playing music to enjoy myself, not to get as good as
| possible as quickly as possible.
| biggieshellz wrote:
| Not sure how old your son is, but this is what I'm doing with
| my 5 year old with the same issue. Find some good old-school
| funk from the late '70s / early '80s with a four-on-the-floor
| type of drum beat. Zapp, Cameo, Gap Band, or something like
| that. Get your son to count along "1-2-3-4" with each of the
| beats and clap his hands on "2" and "4". Once he's reliable
| at doing that when you don't start it for him, then get him
| to stomp his foot on "1" and "3", or just "1". Once he's got
| that down, there are all sorts of things you can do. He can
| copy rhythms you clap, or if he's good with notation, he can
| practice writing down a rhythm you clap.
|
| Alternatively, you could always get him drum lessons. This is
| the meat and potatoes of what a good drum teacher would
| cover.
| chemeng wrote:
| If you've done all the standard stuff, clapping out beats,
| playing drums, etc and it's not clicking. The best tool I've
| ever found is dance. Try to get him to learn how to move his
| body in time to music. Doesn't matter what he's doing or what
| kind of dance. Rhythm is something you feel.
| quacked wrote:
| It really depends what his temperament is like. If he's like
| I was when I was young and is really stubborn, resistant to
| practicing stuff that matters in favor of stuff that's fun,
| and doesn't listen to your advice, then you'll probably need
| to find a local talented adult musician that he latches onto
| and hero-worships to teach him rhythm. I don't know what
| they'd do so I can't predict anything there.
|
| If he listens to you really well and wants to collaborate:
|
| 1) You can play a lot of rhythm games all the time. Here are
| a few starter videos with source material to improvise rhythm
| games off of:
|
| Rhythm Yardstick: https://www.youtube.com/watch?v=8Sw_trDFJw8
|
| Counting Lesson: https://www.youtube.com/watch?v=dALpbzL7xqo
|
| Counting to Seven:
| https://www.youtube.com/watch?v=Njy7pMVKJ8Q
|
| As a game for when you're waiting around with him in line or
| in the car or whatever, I also recommend challenging him to
| try to keep time differently with different limbs--can he tap
| quarters with left foot, eighths with left hand, halfs with
| his right foot, and the melody with his right hand? Can he
| cycle these responsibilities randomly on his limbs?
|
| You can also play songs and challenge him to identify the
| time signature and count along to it, or sing the songs and
| clap along at the same time.
|
| 2) Listen to a lot of music together, and dance/snap/tap/head
| nod to the music. Really rhythmic music is good in this case
| --Irish, Bluegrass, Gospel, R&B, and Motown are typically the
| most exciting and danceable.
|
| 3) Play "call and response" improv games. Sit at the piano
| with him, play a jazz backing track, and play and sing him
| simple rhythmic phrases to play back by ear alone. "Quarter
| Quarter Quarter Dotted-eigth-sixteenth!" etc.
|
| 4) Get him drum lessons.
|
| 5) If he's totally rhythmically deficient, let him have piano
| as just a fun random hobby and teach him to fight instead ;)
|
| The most important thing to remember is that a good sense of
| rhythm can take 5-10 years to really develop. It's more
| important to attack the same thing every day until it's
| really mastered than it is to press forward for unearned
| progress.
| holri wrote:
| Play with him together. Ask him to play a very easy bass line
| while you are playing / improvising a simple melody, and then
| change. Do no stop when he stops. Keep the time rigorously
| and request that from him. My teachers lesson always starts
| with such a simple improvisation together. It is fun and he
| will learn a lot.
| kashunstva wrote:
| > If you've ever been to a kid's recital and all the pieces
| sound awful, it's not because they can't play their
| instruments, it's because their teachers taught them the mental
| habit of stopping when they made a mistake
|
| Professionally I'm a collaborative pianist. My job is
| accompanying pre-college instrumental students in auditions,
| recitals, master classes. Trust me, there's a near infinite
| variety of ways to sound awful, only some of which relate to
| the mode of practice you describe. (Stopping on mistakes is not
| an inherently bad thing, but it does require that you
| consciously reintegrate it, which most students do not do.)
|
| I do agree with the observation that some of these problems
| relate to playing in isolation. This is true of the vast
| majority of piano students, most of whom will never in the
| course of their training play in chamber music settings, or
| even accompany others. This is a very neglected area of piano
| pedagogy. It also relates to the great difficulty of most
| chamber works for piano. There's practically nothing out there
| for piano trio (piano, vln, cello), quartet, quintet, etc
| that's not a RCM grade 10++ difficulty. By the time students
| reach this level, the rhythmic/collaborative horse is out of
| the barn.
| quacked wrote:
| > This is a very neglected area of piano pedagogy. It also
| relates to the great difficulty of most chamber works for
| piano.
|
| You are SO right. I really wish that modern composers would
| come up with a bunch of chamber stuff that actually sounds
| good (i.e. like real baroque/classical/romantic music) but
| isn't incredibly difficult. I have never once played in a
| chamber ensemble as a pianist, and I was up to about the
| level of the easier Beethoven sonatas by the time I "quit"
| and started focusing on guitar. All of my favorite chamber
| piano pieces (Mendelssohn piano trios, Schubert Trout
| Quintet, Brandenburgs, etc.) would require 2-5 years of
| intense daily practice to even play a movement at speed with
| mistakes.
|
| > Trust me, there's a near infinite variety of ways to sound
| awful
|
| Yeah, yeah, okay, fair enough. But I'd bet that the biggest
| improvement most of them could make right off the bat would
| be keeping time properly. (Maybe not if you're on a wind
| instrument and can only honk.)
| aiwv wrote:
| Yeah, I was astounded by how quickly my singing improved
| when I started practicing with a metronome. Keeping time
| seems to me the easiest thing to improve if you focus on it
| (but that's just my subjective opinion). Once you can keep
| good time, the rhythm of the song imposes restrictions on
| you that actually help you figure out how to physically
| perform the movements demanded by the music and then
| subsequently groove them so that you can focus on all the
| other elements of making music.
| biggieshellz wrote:
| I agree with you on the vast majority of this, but I think it's
| a bridge too far to put intonation above feel unconditionally.
|
| You are correct that keeping time (what an engineer would call
| "maintaining a common time base between transmitter and
| receiver") is necessary to play together with other musicians.
| But what musicians would call "feel" is what an engineer would
| call "phase modulation" -- whether a note is ahead of the beat,
| on the beat, or behind the beat; and by how much. Especially in
| Black American music (jazz, blues, soul, R&B, and a bunch of
| pop that's been influenced by those styles), there is a lot of
| crucial information there beyond what is conveyed in the
| "gridded" rhythms that are conveyed in Western musical
| notation. If you are not aware of this, you will still have
| problems playing with other musicians. From personal
| experience, it is anxiety-inducing to play with musicians who
| are ignorant of their beat placement and as a consequence have
| what an engineer would call "jitter" -- their timekeeping is
| correct on average, but on each given beat, they might be a
| little bit ahead or a little bit behind. You can play with a
| metronome for ages and never realize you're doing this wrong,
| as you're not consistently rushing or dragging, you're just
| inconsistent.
| mtalantikite wrote:
| There's a video up of Barry Harris giving a class around
| feeling the and that this reminded me of. Not sure why you're
| being down-voted, because feel is super important to
| practice: https://www.youtube.com/watch?v=_uMNrujMdJU
| the_cat_kittles wrote:
| words of wisdom, no idea who is downvoting this
| quacked wrote:
| > whether a note is ahead of the beat, on the beat, or behind
| the beat; and by how much. Especially in Black American music
| (jazz, blues, soul, R&B, and a bunch of pop that's been
| influenced by those styles), there is a lot of crucial
| information there beyond what is conveyed in the "gridded"
| rhythms that are conveyed in Western musical notation.
|
| I agree wholeheartedly, but I actually lump this in my head
| under "rhythm" rather than "feel". One of the reasons that
| black musicians tend to have on-average better <"feel" for
| you, "rhythm" for me> is that they often have spent a lot of
| time physically dancing or playing live gigs at church/with
| their adult friends, and had to learn how to place notes just
| by hearing other people do it. This is a more effective
| method for training feel/rhythm than showing someone note
| durations on a sheet of music and telling them to figure it
| out themselves.
|
| I think the way to correct the bad "feel" habits you're
| talking about is to play a lot with talented, on-beat
| musicians who will correct your playing in rehearsal. They
| will also assign you parts that you can handle that serve the
| sound of the band, rather than serving the intentions of the
| composer per the sheet music. Another issue that young
| western musicians have is that they most often play with
| other players at about their skill level, which stops them
| from being able to quickly learn good habits from better
| musicians.
| sporkl wrote:
| As a music student at a conservatory, I believe this is true in
| that setting as well! (Though I would say feel is more
| important than intonation, as long as a baseline level of
| intonation is in place, and of course ideally you have both)
| quacked wrote:
| It's of course my own interpretation of what's important
| about music, but I've found that an arrangement sounds better
| if everyone's in tune and playing robotically than if
| everyone's out of tune and playing with a lot of passion. You
| kind of said it with "as long as a baseline level of
| intonation is in place"; if someone's playing way out of tune
| but with a lot of feel and passion... you get folk punk and
| "gifted kid" middle school folk ensembles.
| aiwv wrote:
| > If you look up "Victor Wooten Music Lesson" on YouTube
|
| I can't recommend Victor Wooten enough. His book "The Music
| Lesson" is also great.
| UIUC_06 wrote:
| OMG, yes. Any conductor will tell you they'd much rather you
| play or sing the wrong note _in time_ than the right note with
| the wrong rhythm
|
| I was at a recital of adult piano students. "Kill me now" was
| my reaction when one of the students had that habit of stopping
| and playing every note "right" before continuing.
| quacked wrote:
| I grew up with the same habit, and sometimes could actually
| see the wincing in the audience during recitals. It was so
| disheartening. Last year I started deliberately playing
| incorrect notes during practicing, ceasing to play, and
| getting back on the melody line without losing the beat. It's
| improved my live playing a great deal.
| wholinator2 wrote:
| Sadly cannot view the website on mobile. Adblock detected popup
| is larger than the screen and cannot be dismissed.
| 082349872349872 wrote:
| try
| https://cdn8.openculture.com/2017/12/17225415/monkgigtips4.j...
| for most of it.
| Lio wrote:
| Try turning on the Reader view. At least in Firefox that
| bypasses the Adblock blocker and shows the text of the article.
| biggieshellz wrote:
| I think the article takes the "discrimination is important" quote
| as cryptic and philosophical when it has a very real meaning.
| Compare it to an interview with the great Dizzy Gillespie:
|
| > Interviewer: What's it take to make a great trumpet player?
|
| > Dizzy Gillespie: (long pause) Well, the first thing is to be a
| master shit detector. Detect what is valid and what is not.
|
| And to the well-known Feynman quote:
|
| > The first principle is that you must not fool yourself and you
| are the easiest person to fool.
|
| What Monk is getting at is that when you're woodshedding
| (practicing by yourself) and trying to build up your playing and
| improvisation, you have to be your own critic a lot of the time.
| Are you really playing something hip, or are you playing
| something corny? Are you swinging? Are you making the chord
| changes? Are your time and intonation as good as you think?
| Amongst all the other musicians you hear, live and recorded, are
| you selecting the influences that are really going to build your
| playing in the way you want? If you're coming up with ideas on
| your own, are they really fresh and valid, or are they just the
| first thing that came to your mind?
| idontwantthis wrote:
| Any idea what "all reet" means?
| yesenadam wrote:
| In the vout dictionary, 'reet' is defined as 'right, yes,
| okay'.
|
| https://fromtheothersideofthemirror.com/2009/04/09/the-
| origi...
|
| Vout is Slim Gaillard's (very silly) language. Hear it spoken
| here with Bird and Dizzy, uh I mean Daz McSkiven Vout-o-
| roonee : https://www.youtube.com/watch?v=yvxpIFZGfAE
| biggieshellz wrote:
| Same thing as "all right" but different, you dig?
|
| See https://www.youtube.com/watch?v=r4deSYYzffM by Cab
| Calloway
|
| Or the lyrics before the solo break in Zappa's "Zomby Woof".
| throw7 wrote:
| When I read that, I thought of this quote: "Most people
| wouldn't know music if it came up and bit them on the ass." -
| Zappa
| kevinwang wrote:
| Right, and it also connects to what he wrote about not playing
| all those fancy notes, and about how what one doesn't play is
| important. An undiscriminating musician plays everything that
| comes to mind. A discriminating musician chooses what notes to
| play.
| 2devnull wrote:
| "Get up and walk around in circles for a few bars."
| chiyc wrote:
| Hahah, love it. A couple examples for anyone curious about
| this:
|
| https://www.youtube.com/watch?v=qweSlfP6BtI
|
| https://www.youtube.com/watch?v=jgPQkMX75pY
| nadow wrote:
| https://www.youtube.com/watch?v=tBxjacxRshE
|
| good video from adam neely explaining this list
| angst_ridden wrote:
| There's a quotation, which I think may have been Monk, which I've
| been trying to track down the exact source. It's along the lines
| of "All I want is a simple melody, and I gotta go through all the
| bullshit again."
|
| Ring any bells? I had someone tell me that I was completely high
| and it was Ellison, not Monk, but I cannot confirm.
| twelvechairs wrote:
| I dont know for sure but it doesnt sound Monk--like to me. He
| wasnt the type to complain about music much. He was generally
| positive, collegiate, etc as here
| scarecrowbob wrote:
| "Those pieces were written so as to have something to play & to
| get cats interested enough to come to rehearsal!"
|
| Of all these thoughts, this is the one I have found most
| applicable, and applicable to many areas of my life:
|
| a lot of what I do as an artist is not for a general audience,
| but for the people I am working with directly.
|
| When I write songs or come up with a set list, I focus a great
| deal on what the other musicians will want to do.
|
| The same is the case with my other projects: what kind of
| projects can I do that are going to attract the kind of talented
| people with whom I want to work?
| cypherpunks01 wrote:
| _Don't play everything (or everytime); let some things go by.
| Some music just imagined.
|
| What you don't play can be more important than what you do play._
| 082349872349872 wrote:
| in visual arts, cf _lost edges_
| diehunde wrote:
| I love jazz music. I've spent two years learning Jazz tunes and
| some theory after 20 years focusing on rock and other genres.
| Something I've realized is that everything was already done in
| Jazz. Anything you can find in modern music that you think sounds
| innovative was probably already done in Jazz before the 70s.
| These guys were really pushing the limits of music. It's sad so
| many of the greats died so young because of drugs and other
| health issues.
| mrob wrote:
| Jazz pushed the limits of what could be done by human
| performers improvising live on traditional instruments. There's
| still plenty of novelty left to find if you relax those
| constraints. Even back then, people were pushing beyond them,
| e.g. Conlon Nancarrow wrote piano music at the same time as
| Thelonious Monk, some of it inspired by jazz, but it sounds
| completely different because he used a machine to play things
| beyond human ability.
|
| Now we have computers and digital audio workstation software,
| the possibilities are still greater.
| kupopuffs wrote:
| Even dubstep surprisingly. Wobbly, groovy bass sounds (like a
| wheezy trumpet)
| [deleted]
| sailfast wrote:
| You got to DIG it to dig it, you dig? Absolutely.
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