Oh yes, and double trouble if one wants to jump genre borders. People tend to keep inside their chosen genre, and I don't know why; Is it the double trouble, or is it a habit of mind, or is it the better quality they get when they produce in the familiar genre, or something else.Constructed Identity wrote: ↑Tue Jan 23, 2024 2:16 am For each genre there is a learning curve, but for the casual listener, they never know.
Quantity, quality and variety
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- KVRian
- Topic Starter
- 539 posts since 1 Oct, 2019
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
I don't believe in 'genre' or borders, cut off your nose to spite yer face shit.
I don't find 'for each genre there is a learning curve' anything either. We're musicians or we aren't. I guess those that think there are hard divisions have their head screwed on differently than do I.
I saw Robert Fripp describe his big epiphany when he was deciding on music rather than real estate as 'all of this music is music' ie., the divisions or borders vanish.
Stravinsky Rite of Spring, the first melody is an old Lithuanian folk tune. Bartok did deep research into the folk music of his milieu. Why does Debussy sound like that? He crossed borders...
for one show I did, a kind of high concept art thing with eventually a motion picture depicting the (anti-war narrative) idea literally, the song I chose for the ending and denouement was Green Green Grass of Home. The young man seduced into the war machine comes back home ('from Nam') shattered. My front man for the show (later Satriani's bass player) was not the singer for this number. Which left me. I was never a singer, and I was never involved in either Country or Western
.
Not a huge problem, though. It's not a difficult song to learn (I gave the group the Tom Jones 45 to learn off of. lol) and I figured out how to frame my vocal for it (and the right key
) and it worked gangbusters on that audience (we got lucky, Franz Kline had an exhibition open right below us there in the old combination Opera House and Museum o' Modern Art). Then I formed a country band since I found that (the songs would morph radically into other kinds of musical behavior; the C&W version of our Airport Lounge Band concept), and of course a pedal steel player materialized to suit it.
I don't find 'for each genre there is a learning curve' anything either. We're musicians or we aren't. I guess those that think there are hard divisions have their head screwed on differently than do I.
I saw Robert Fripp describe his big epiphany when he was deciding on music rather than real estate as 'all of this music is music' ie., the divisions or borders vanish.
Stravinsky Rite of Spring, the first melody is an old Lithuanian folk tune. Bartok did deep research into the folk music of his milieu. Why does Debussy sound like that? He crossed borders...
for one show I did, a kind of high concept art thing with eventually a motion picture depicting the (anti-war narrative) idea literally, the song I chose for the ending and denouement was Green Green Grass of Home. The young man seduced into the war machine comes back home ('from Nam') shattered. My front man for the show (later Satriani's bass player) was not the singer for this number. Which left me. I was never a singer, and I was never involved in either Country or Western
.Not a huge problem, though. It's not a difficult song to learn (I gave the group the Tom Jones 45 to learn off of. lol) and I figured out how to frame my vocal for it (and the right key
) and it worked gangbusters on that audience (we got lucky, Franz Kline had an exhibition open right below us there in the old combination Opera House and Museum o' Modern Art). Then I formed a country band since I found that (the songs would morph radically into other kinds of musical behavior; the C&W version of our Airport Lounge Band concept), and of course a pedal steel player materialized to suit it.
