With that incredible voice that he [Alan Rickman] could play like a sort of wonderful instrument, like a cello or something. He played his voice, and he could be the most subtle of actors. And he could also be quite a big actor. He could do the grandiose performances as well.
I could create music that sounded as strange as any electronic music, because you see, my opinion about electronic music is that the real composer is the guy who invented the instrument. Pressing buttons is not composing. Composing is about creating something.
I think of myself of a primitivist. I have never had any of these electronic instruments and I have never had the slightest interest in using them. I use the computer as a tool, simply because it makes composing a lot faster. But I don't go on stage with a computer and make a lot of goofy sounds.
An actor is like an instrument, tune them, play them the right way.
I'm not a singer, a walking instrument like Aretha Franklin. When you get an Iggy Pop record, you don't get "Iggy Sings." I am also a style of music, an approach.
My first instrument is piano, I play some piano and guitar. So my solo music is more like real singer/songwriter type stuff.
I'm not a perfect song writer, but I am song writing problems with dynamics, instrument change and arrangements.
Don't be lazy. Learn your instrument and the kids should be learning that stuff. We have to get back to the musicianship of the music. It's called music, so at some point somebody has to learn how to play an instrument.
Earl Scruggs had this thing that it wasn't just the technique or even the instrument. It was him. There was this soulful quality that came through that made you - if you're somebody like me who was, I guess, supposed to play the banjo, it made you stop in your tracks, and you couldn't do anything until you got done hearing him play, and then immediately you'd have to go try and find a banjo.
If a band isn't coming up with two to four of those when they pick up their instruments, then they have problems - even if none of them turn into a song. If that's not happening in a band, it's time for therapy or breaking up.
I got into one of the Scottish classical styles called piobaireachd, which is a very old music that started around the 1700s or something. I really got into this music. After that, I started to compose bagpipe music in my notations. Then I started building bagpipes by myself, and then I started to perform with the instrument myself in the 1980s.
For a long time in the 1970s, I was experimenting to build musical instruments and use them. I did a lot of ethnic music studies and other things, like electronic music. Making homemade musical instruments and performing was my major activity from the time.
Initially, when I was making the bagpipes and reed instruments, it was different from the other instruments. In terms of sound itself, it may not be different, but in performing with it, it was a necessity to build it if I was going to perform and make scores with it. By making the instruments, it helped me compose the way I want.
I think part of being a parent, to love one's child, is to accept them as they come - not to see them as instruments of our ambition or as creatures to be molded, as if they were themselves commodities.
I think people who want to use genetic technologies to gain a competitive edge for their children are engaging in a kind of overreaching that could really undermine our appreciation of children as gifts for which we should be grateful and, instead, to view them as products or instruments that are there to be molded and directed.
Adding instruments to parts of a song and having them somehow find a pocket. That to me was a huge lesson. Like, there's more than 808s in the universe.
Memory is just as much of an instrument as anything else in music, so I wanted to create soundscapes that are evocative of places that only exist in your head - that's where the fun, psychedelic stuff happens anyway.
It's important to me in the creation of it because I figured as soon as I crossed that threshold into effects and loops it would completely undermine the premise of how I go about creating things physically, with the instrument.
There are mics inside the instrument, a contact mic on my throat, and countless mics clustered around the air of the horn and throughout the room. I wanted to make something that was specific to the medium of recording.
I think you've got to worry when you start flying flags. There's a lot of political connotations that come with waving flags around the stage. But the flag will make an appearance. I think it's more likely to be draped around an instrument than waved around.
You have to understand that the bass guitar is the party instrument. It only has four strings. If you see a bass player playing five strings, take your shoe off and throw it at him.
I'd been collecting different ethnic instruments here and there, and then I started making little bell type stuff, looking for weird little sound toys.
I started working with synthesizer players, and I had to find new instruments. I needed a more complex sound, so I went to a surplus place and got a bunch of hard plastic stuff and stainless steel stuff, and that stuff worked. So from that point on, from the 70s on, I've made instruments.
In some ways, I feel like I've been such a dilettante for so many years, just picking up instruments and stretching myself so thin.
I applied, and I got in as a pianist. Their idea in the music department was that pianists, if they were good enough to get in, they were good enough to learn a new instrument. They felt sorry for pianists being alone in the practice room all the time, and they really wanted to socialize us pianists.
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