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i'm a believer
:: Posted by cantspelldiKc on January 05, 2014
as a drummer i don’t qualify to the position of musician but i think what differentiates great from good is direct devine intervention, a form of two way communication
:: Posted by cantspelldiKc on January 04, 2014
fishin for Likes in England is a good way to starve, glad i dig cheeseburgers
Species C'point and...
:: Posted by schizoidman on January 04, 2014
Dear Mr. Coalman,
Thank you for replying to my posting on the DGM Live! Guestbook.
Species Counterpoint is an essential part of any composer’s training. It certainly was in mine and is something I return to periodically. It’s tough stuff but a lot of fun and something which many people have forgotten about.
I completely agree with you about the preparation it takes so a creative person may receive what’s there to be given (it could be argued that when one works hard it drives this something other firing into existence). However, when one considers a composer like Schubert there’s absolutely no doubt in my mind that something else was at work; something which goes beyond the training/preparation we’re discussing. Mozart, too. Purcell is another composer who springs to mind whose music had this sense of ’otherness’ . Benjamin Britten possibly had the same genius (I’m unsure genius is, in fact, quite the right word) and, certainly, John Tavener. Nick Drake was someone else who also springs to mind. Of course, some may say it’s down to genetics which is also probably true.
I suspect that early death was cast over the work of Mozart, Schubert, Purcell and Drake which casts a mysterious shadow over their output giving it an archetypal flavouring. Perhaps that’s the word for which I’m searching: archetype. I think Robert Fripp has talked about a similar process.
The same is true in terms of a practical musician. The term ’practice makes perfect’ is a truism. From my own experience, during the 1970s at music college, I set myself a twelve month routine: to practice the flute for eight hours a day. In the mornings I spent two hours on tone studies followed by two hours on scales; afternoons were spent with two hours on studies (Boehm, Anderson, Kohler etc. etc) followed by two hours on pieces. I can tell you from experience that it works amazingly well and meant that I’ve never forgotten how to play the flute, but there were others who didn’t follow the same regime who went on to do much better than me! They had this thing I’m talking about and it’s probably the thing that differentiates the excellent from the merely good. The thing I failed to realise at the time was this: it’s important to make a strength of one’s weakness not merely copy others.
Thank you, too, Mr. Garbonzo. I’m pleased the Comsat Angels Guide has been useful to you. They were an amazingly musical group particularly their vocalist/guitarist/writer, Stephen Fellows. The first two and last albums are the ones to seek out.
Yours, Andrew Keeling
Kindle version of Sid Smith book
:: Posted by midwestdrums on January 03, 2014
This is my first time posting to this forum. I’m curious if anyone (including Sid Smith) knows if there are any plans to release his excellent book ("In The Court Of The Crimson King") onto Kindle? I, and I’m sure plenty of others, would love to have a digital copy.
On a separate note:
To Robert Fripp--really looking forward to seeing and hearing the new KC later this year. Putting in three drummers along with Tony Levin has this drumming educator excited! I don’t know how you get the visions that you do, but I’m thankful nevertheless!
Although there's no details yet, there will be an e-book edition of the toxic tome available.
:: Posted by thelistener on January 03, 2014
sometimes..... when i´m listening to fripps music........
sometimes i´m forced to think......fripp is god.......
but otherwise.... when i´m listening to real life....
god must be fripp
Andrew Keeling's CS Angels' book
:: Posted by garbonzo on January 03, 2014
Just purchased Mr. Keeling’s "The Concise Musical Guide to the Comsat Angels" and, 1. I trust it will be as thorough as his treatment of the KC LP’s he has written about and, 2. I can’t believe the good fortune all C.S. Angels’ fans have by Andrew’s making this "treatise" available to us. During the late 80’s (or early 90’s) a colleague at SSA lent me their "Land" LP; I was immediately hooked. Then...a year or so later The C.S. Angels played a small club in Baltimore, MD, USA, a show I was fortunate enough to have attended. Of course, they were awesome. After being apprised that this book was forthcoming, I tried to purchase some of their albums on compact disc, most of which are out of print and exorbitantly over-priced. I did manage to get the BBC sessions and "My Mind’s Eye" at reasonable cost; both of which I tend to play over and over. Here’s praying this treatise stimulates more interest in this underrated yet clearly creative band. May some bold record company see fit to reissue all their wonderful albums in a re-mastered format and post haste! Thank you, Andrew Keeling.
KComposers Keeling Ornately
:: Posted by davidly on January 03, 2014
I appreciate Mister Coal Man’s astute amendment to Mister Keeling’s already insightful contribution to the DGMGB.
Regarding ’woodshedded fluency’ V ’called upon creativity’--I hope I am not paraphrasing too much here--I believe the Venal Goat has likened this to the player/creator being ready for the creative impulse when it arrives.
Gatefolds and jewel cases
:: Posted by jbanks on January 02, 2014
I’m 53 years old and I miss the old clutching-your-gatefold-and-devouring-the-notes-with-headphones-on/squinting-at-CD-liners days too, but there is sufficient info on the Web about most artists to replace all that, not to mention interviews, videos, reviews and lots more stuff.
Years yes, but...
:: Posted by emory0 on January 02, 2014
"nobody realizes or appreciates that a string player works for YEARS to fully intonate and develop the sound of a single note"
It’s probably more accurate to say that it takes DECADES. Any pro string player has pretty much been playing since they were 4 or 5...I believe 6 years old is the outer limit. And then, if they eventually play string quartets they are emerging from conservatory with a bachelor’s in music. So even a young professional string quartet will have at least 80 years of collective practice to make a decent sound.
Just a couple of months back I was walking down a street in Brooklyn Heights and stumbled upon an outdoor wedding. There was a string quartet playing and, even though this isn’t a particularly uncommon sight, I still found it astonishing. And, you know, some of those pieces are shockingly beautiful.
:: Posted by AndrewJohn on January 02, 2014
Some of us don’t know how to control or direct our lives, those of us who can are lucky.
I envy those with drive and ambition. I am lucky in love, always - but heartbroken at times,
My path has always been close to home and fairly following the straight and narrow. My achievements are modest. An awkward start to adult life with KC gone before I had begun and then an unexpected resurrection in 1981. A difficult ’80s decade with KC fizzling out it seemed to this UKer.
However a strong family with loving children & wife, all enjoying good health with no serious bad luck over the last 23 years in the light of experience is an achievement in itself. ’Keep going’... Bruford shouted in ’74...I heard that when I was 17...but more clearly now in last years RtoR. Now that resonates again.
My wife was pregnant at the Mar15’97 event and our first was born 29June, thought to be the last ’70s KC gig (well it wasn’t). D.A. welcomed her so warmly I recall and made her feel special whilst I drifted into an unreal haze with the ’awesomeness of the company’ - not even recognising GL immediately! Our second girl was born Mar152002.
Not that I think there is any real significance in these alignments, but I trusted my gut when I began the KC sojourn as a mere fan (small mobile financial supporter!) and its proved me right.
KCCC has been great and I trust the muse to move everyone at DGM to reap the musical dividend, to change an bend when required because that’s the priceless nugget we crave when KC hits our ears.
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