07.08.2011
06.08.2011
au!56 - paloma
Man kann zum Monstrum werden, wenn man nicht mehr weint. Was mich davon abhält, falls ich es nicht längst schon bin, das ist nicht viel, höchstens der Satz: Ich weiß, du kommst wieder.
Ich habe meinem Heimweh schon lange trockene Augen beigebracht. Und jetzt möchte ich noch, dass mein Heimweh auch herrenlos wird. Dann sieht es nicht mehr meinen Zustand hier und fragt nicht mehr nach denen von Zuhause. Dann sind auch in meinem Kopf keine Personen mehr daheim, nur noch Gegenstände. Dann schiebe ich sie auf dem wunden Punkt hin und her, wie man die Füße schiebt bei der Paloma. Gegenstände sind klein oder groß, manche vielleicht viel zu schwer, aber sie haben ein Maß.
Wenn mir das auch noch gelingt, ist mein Heimweh nicht mehr empfänglich für Sehnsucht. Dann ist mein Heimweh nur der Hunger nach dem Ort, wo ich früher einmal satt war.
Ich habe meinem Heimweh schon lange trockene Augen beigebracht. Und jetzt möchte ich noch, dass mein Heimweh auch herrenlos wird. Dann sieht es nicht mehr meinen Zustand hier und fragt nicht mehr nach denen von Zuhause. Dann sind auch in meinem Kopf keine Personen mehr daheim, nur noch Gegenstände. Dann schiebe ich sie auf dem wunden Punkt hin und her, wie man die Füße schiebt bei der Paloma. Gegenstände sind klein oder groß, manche vielleicht viel zu schwer, aber sie haben ein Maß.
Wenn mir das auch noch gelingt, ist mein Heimweh nicht mehr empfänglich für Sehnsucht. Dann ist mein Heimweh nur der Hunger nach dem Ort, wo ich früher einmal satt war.
(Herta Müller: Atemschaukel)
04.08.2011
au!55 - Helpful precursors to improvisation pt.2
Let me see if I can explain this. There are only three chords in music, period. Minor, major, and dominant. A dominant chord wants to go somewhere because it has a tritone in it. A G dominant chord wants to go to C. That principle is physics. That’s not something that was assigned to music by theorists. When two strings are vibrating together a tritone apart, there are so many overtones that all you feel is tense, and the notes want to squish together into the home chord.
...
Herbie Hancock has this thing about an informed vocabulary but a childlike approach. He plays simple, simple, catchy melodies, but all his chord voicings have forty or fifty years of this theory in them. So when he gets onstage it can be all childlike. Not childish. But if you ever stopped a Hancock recording and looked at a few measures of what he’s playing, you’d be floored. The voice leadings are filled with all these ideas. It doesn’t sound complicated, but it’s a more mature, elegant palette of emotions. These guys can hit an emotional chord that a lesser player couldn’t. It’s the same way a great writer with a great vocabulary can bring out subtler emotions.
...
Herbie Hancock has this thing about an informed vocabulary but a childlike approach. He plays simple, simple, catchy melodies, but all his chord voicings have forty or fifty years of this theory in them. So when he gets onstage it can be all childlike. Not childish. But if you ever stopped a Hancock recording and looked at a few measures of what he’s playing, you’d be floored. The voice leadings are filled with all these ideas. It doesn’t sound complicated, but it’s a more mature, elegant palette of emotions. These guys can hit an emotional chord that a lesser player couldn’t. It’s the same way a great writer with a great vocabulary can bring out subtler emotions.
(T.Anastasio - Believer Interview)
03.08.2011
au!54 - Winzigkeit
Die Pygmäen des Longinos verhinderten, weil sie auf ihre Winzigkeit stolz waren, ihr Wachstum durch Käfige (ligatures). De te fabula narratur, du kleinmütiger Mensch, der du zu denken fürchtest.
(Diderot: Salons)
02.08.2011
div. VIII2011
diverse august 2011
nur notdürftig geschlossene Brachflächen /// "takes me away from...from...wait, what was I saying?" /// "Ähnlich den Bienenwaben" /// "Ehe, die ihr unerwartetes Ende findet" /// Filter ultraviolet rays in style" /// "Entwürfe für Soldatenfriedhöfe" /// "andere Wörter versinken allmählich" /// "Dame mit Federhut in Rückenansicht" /// "...auf dem eine Lilie explodiert" /// "nackte Schönheit überlebensgroß" /// Wollen und Können /// "ein Mann mit hängenden Armen und Heiligenschein" /// "Zielbewusst ertränkt das Mädchen den Vater ihres zukünftigen Kindes" /// Befreiungsbewegung /// "Das Antichambrieren demütigt, die Maitressenwirtschaft desgleichen" /// "Alles in allem versuche ich, mich als angenehm zu erweisen, ohne falsch zu werden, was höchst heikel ist" /// "subtile roboterhaftigkeit" /// "ein Engel ohne Flügel" /// "Glauben heißt die Welt so schön machen, wie sie nicht ist." /// "eine Art heitere Umnachtung" ///
31.07.2011
30.07.2011
au!53 - Helpful precursors to improvisation pt.1
I saw King Crimson around that time, too. Robert Fripp was playing these crazy mathematical patterns. He’d be playing in a time signature of 7/4 while the other guy, Adrian Belew, played in 5/4, and they’d meet up thirty-five notes later. This kind of thing. But you have to put yourself in 1978. I was born in ’64. So I was fourteen. I saw Stanley Jordan in that same place. And Wynton Marsalis. All those concerts were in one year, and that’s the year I got into improvisation. That was the year before I left Princeton, New Jersey.
TA: We had this series of exercises that we developed, called “Including Your Own Hey.” It sounds weird, but we did them a lot. They start off with a pulse. [Snaps in time] The first level is, I play a four-note phrase [sings “do-do-do-do”]; Page [McConnell] is on my right, and he imitates it on the piano; Fish [Jon Fishman] does his best to play it on the drums; then Mike [Gordon] does it on the bass. Now everyone goes around the room in a circle and everyone starts one.
BLVR: It’s a copycat listening exercise.
TA: Yeah, and then there were more levels. The next level is, I start a pattern and then Page harmonizes with it. We make a jigsaw-puzzle pattern. Then Mike finds his place in the pattern, and Fish finds his place in it. And we’re all listening to each other. Now, only when you hear that all the other musicians have stopped searching, once you hear they’ve locked in with what you’re playing, you say, “Hey!” So, since we’re still listening so intently to each other, we should all say “Hey” at the same time, but if we don’t—if someone says “Hey” when you’re still searching, they’ve basically just told you, “I’m not listening to you.” So we found, very quickly, that it meant you had to always be listening to three people other than yourself. And the music, we found, improved immensely by not navel-gazing. So now the idea is, I’m not paying any attention to myself at all. I’m just responding to what they’re playing.
Then there were other levels, where you’d leave a hole in a musical phrase, and the other person could only play in that hole. That was called “Including Your Own Hey Hole.” [Laughs] So the bass lands, then the cymbal, then the guitar. [Sings, “Ba-bo-da-bing, ba-bo-da-bing.”]
TA: We had this series of exercises that we developed, called “Including Your Own Hey.” It sounds weird, but we did them a lot. They start off with a pulse. [Snaps in time] The first level is, I play a four-note phrase [sings “do-do-do-do”]; Page [McConnell] is on my right, and he imitates it on the piano; Fish [Jon Fishman] does his best to play it on the drums; then Mike [Gordon] does it on the bass. Now everyone goes around the room in a circle and everyone starts one.
BLVR: It’s a copycat listening exercise.
TA: Yeah, and then there were more levels. The next level is, I start a pattern and then Page harmonizes with it. We make a jigsaw-puzzle pattern. Then Mike finds his place in the pattern, and Fish finds his place in it. And we’re all listening to each other. Now, only when you hear that all the other musicians have stopped searching, once you hear they’ve locked in with what you’re playing, you say, “Hey!” So, since we’re still listening so intently to each other, we should all say “Hey” at the same time, but if we don’t—if someone says “Hey” when you’re still searching, they’ve basically just told you, “I’m not listening to you.” So we found, very quickly, that it meant you had to always be listening to three people other than yourself. And the music, we found, improved immensely by not navel-gazing. So now the idea is, I’m not paying any attention to myself at all. I’m just responding to what they’re playing.
Then there were other levels, where you’d leave a hole in a musical phrase, and the other person could only play in that hole. That was called “Including Your Own Hey Hole.” [Laughs] So the bass lands, then the cymbal, then the guitar. [Sings, “Ba-bo-da-bing, ba-bo-da-bing.”]
(Believer Mag Interview - Trey Anastasio)
28.07.2011
27.07.2011
au!52 - enoughenoughenough
Enough! Enough! Enough!
somehow I have been stunn'd. Stand back!
Give me a little time beyond my cuff'd head, slumbers,
dreams, gaping,
I discover myself on the verge of a usual mistake.
That I could forget the mockers and insults!
That I could forget the trickling tears and the blows of the
bludgeons and hammers!
That I could look with a separate look on my own crucifixion
and bloody crowning!
I remember now,
I resume the overstaid fraction,
The grave of rock multiplies what has been confided to it, or
to any graves,
Corpses rise, gashes heal, fastenings roll from me.
I troop forth replenish'd with supreme power, on of an aver-
age unending procession,
Inland and sea-coast we go, and pass boundary lines,
Our swift ordinances on their way over the whole earth,
The blossoms we wear on our hats the growth of thousands of
years.
Eleves, I salute you! come forward!
Continue your annotations, continue your questionings.
somehow I have been stunn'd. Stand back!
Give me a little time beyond my cuff'd head, slumbers,
dreams, gaping,
I discover myself on the verge of a usual mistake.
That I could forget the mockers and insults!
That I could forget the trickling tears and the blows of the
bludgeons and hammers!
That I could look with a separate look on my own crucifixion
and bloody crowning!
I remember now,
I resume the overstaid fraction,
The grave of rock multiplies what has been confided to it, or
to any graves,
Corpses rise, gashes heal, fastenings roll from me.
I troop forth replenish'd with supreme power, on of an aver-
age unending procession,
Inland and sea-coast we go, and pass boundary lines,
Our swift ordinances on their way over the whole earth,
The blossoms we wear on our hats the growth of thousands of
years.
Eleves, I salute you! come forward!
Continue your annotations, continue your questionings.
(W.Whitman: Leaves of Grass)
25.07.2011
19.07.2011
17.07.2011
15.07.2011
au!51 - 158
"Alle köstlichen Szenen der Liebe, der Freundschaft, der Wohltätigkeit, der Großmut und der Herzensergießung spielen am Ende der Welt."
(D.Diderot: 'Salons')
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