Jumping on the discussion (not a frequent poster, but I do follow), I must say I agree with Marco... but one question (kinda related, but at the same time isn't): what would consist, then, "improvisation" when using Pd?
I mean, if you consider *free* improvisation the only thing I can think of, in five seconds, is "live coding". However, if you think of an instrument there are also "pre-given" structures one must follow, that is, pitch range, playability, timbre and so on. Roughly, with traditional instruments (from western tradition) you can't go that far away from the 12-tone paradigm (of course, a few exceptions here and there with guys like Otomo Yoshihide for the guitar or Coltrane/Evan Parker for Saxophone), but then, again... what is *true *improvisation in the context of Pd, Max, whatever? I'm asking because, like I said, I do agree with Marco - recombining patterns doesn't consist of improvisation for me as well... and if improvisation in that case consists of playing notes over the riffs and patterns, why use a gestural controller? Just for the sake of technology? Such topic interests me a lot, I'd love to hear your thoughts :) On Mon, Jun 20, 2011 at 1:43 PM, Marco Donnarumma <[email protected]>wrote: > Ingo, > thanks for your explanation, I think to understand how he's playing. > > >> The movement looks to me secondary - it's more like a dance movement and >> not >> too much music control. >> >> > This might be a very personal take, but if movement is secondary in > gestural control, why one uses gestural control at all? > I believe that effective and ancillary gestures are what reinforce our > perception of an instrument as a musical tool, rather than a mere "device". > Imho many gestural controllers would benefit of a better focus on this > aspect. > > >> How would you play such melodic lines (like those jazz licks) - in time - >> simply with gestural control? > > > Setting an array of preset chords, triggering them with multiple switches, > deploying a timeline which holds the trigger until the onset of the next > beat or quarter, etc... > I guess the list here could come up with many other methods. > I'm not saying that's trivial, I only think that it's not the "future" as > it is presented in the video. > > >> How would you improvise on scales, pattern or >> harmonic structures? After all he's a jazz player calling his music "beat >> jazz". >> > > What do you call improvisation in this case? > How much is he improvising? > I can imagine he's "improvising" with the melodic lines, but playing > samples and presets chords doesn't match my own definition of improvisation. > > cheers, > M > > > > > > -- > Marco Donnarumma > Independent New Media and Sonic Arts Professional, Performer, Instructor > ACE, Sound Design MSc by Research (ongoing) > The University of Edinburgh, UK > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > Portfolio: http://marcodonnarumma.com > Lab: http://www.thesaddj.com | http://cntrl.sourceforge.net | > http://www.flxer.net > Event: http://www.liveperformersmeeting.net > > _______________________________________________ > [email protected] mailing list > UNSUBSCRIBE and account-management -> > http://lists.puredata.info/listinfo/pd-list > > -- Pedro Oliveira www.partidoalto.net soundcloud.com/iburiedpaul
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