A good try! Gratifying!
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Sound City Soundtrack??? That’s like the name someone in a TV show comes up with on the spot for their fake band they made up to impress a girl. I have nothing nicer to say about the song than the band name. (Just saw it was seities and now I feel slightly bad).
Never listened to much Aesop Rock, this is great though.
It’s no jazz flute, that’s for sure.
I was going to defend cassette but changed my mind. BOO THIS MAN
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If you check out his wikipedia article, it’s pretty crazy.
“In 1985, Melnyk set two world records, documented on film and with full audio, at the Sigtuna Stiftelsen in Sweden. He sustained speeds of over 19.5 notes per second in each hand, and played between 13 and 14 notes per second for one full hour.”
At the concert, during Windmill, I saw people closing their eyes so I tried it. It gets easier to absorb it.
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Best (most entertaining) reveal so far imo. Let the butthurt flow.
Check out the rookie in 2nd spot!!
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I’m not seeing 10,000 hours in any of those except Oriental Fantasy which should in fact have been named Carpal Tunnel Fantasy.
10k really isn’t that much. An hour a day’ll get you there in no time.
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extrapolating those results, Louis wins if 3,500,000 play a grab bag? no, that’s the odds of being killed in a tornado.
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Amusingly the original study that Fraudwell stole this from and mangled to death was about violin students who put in 10,000 hours (on average) before age 20. It was really about doing it over 10 years using a concept the authors called “deliberate practice” and also focused on teacher-designed practice. It’s a retrospective study from 1993 by Ericsson et al. Since then, evidence has accumulated against the Ericsson paper in numerous studies. For example, a recent prospective study with better research design failed to replicate those findings. In fact, they find that the elite players practiced less than the merely good players.
We did not replicate the core finding that accumulated amounts of deliberate
practice corresponded to each skill level. Overall, the size of the effect was substantial, but considerably smaller than the original study’s effect size. Teacher-designed practice was perceived as less relevant to improving performance on the violin than practice alone.
While the less accomplished violinists had accumulated less practice alone than the more accomplished groups, we found no statistically significant differences in accumulated practice alone to age 18 between the best and good violinists. In fact, the majority of the best violinists had accumulated less practice alone than the average amount of the good violinists.
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Man, this guy is one wild cat.
Interviewer, first question: What have you learned about yourself through the piano and continuous music?
Melnyk, the wild cat: Oh, well, that would take about two weeks to say because continuous music, the music I do, is an entirely new universe. Classical pianists have no idea how to play this music and have no idea of the meaning of this music. Also, the classical audience does not understand this music at all. They’re so used to being fed a certain type of music, so my music doesn’t mean anything to them. And so, when you ask me now, what has this music opened for me or what it means to me? The answer may not be quite possible to understand. However, I will try. This is a completely-completely different piano universe from everything that has existed before. There are so many things that this music has brought, it brought new dimensions not just to music, but also new dimensions into the pianist himself or herself. And so this I think is what your main question is, what kind of differences does it make for me? It opened up a universe that is not musical: it opened up the physical possibility to do things that were impossible to do for even the greatest classical concert pianists, because their bodies were focused on creating a certain thing – to play the Sonata, to play the concerto. Continuous music opened up a different universe where the pianist is creating the sound. The pianist uses the material that is in the composition. Let’s say, if you think of continuous music, like a cake, that you are going to bake or better a soup, that you’re making in the kitchen – I, the composer, gives you an idea of the ingredients. And so, in classical and traditional music, even in jazz music, you have to play this thing in a certain way, whereas in continuous music, you don’t. Every day you play it, it will be somewhat different but not completely different, because the soup still has to have a basic taste. But one day, you might make the soup with a little bit more of this or a little bit less of that. There’s an act of creation.
For this act of creation to happen every day the body of the pianist, and not just the fingers, but the entire body has to be transformed. Because in order to make these very small changes and very small decisions that I make when I’m creating music, or when I playing the music, it has to happen at a faster speed of time than any other music. The mind has to control many things. So the decisions happen in another dimension than what the fingers are doing. Part of my mind controls the fingers, part of my mind controls my hand, part of my mind is controlling my entire body, part of my mind is thinking about something else, and part of my mind is combining everything. For the body to be able to reach this enormous universe, which is huge, it has to be changed. This is what continuous music is about; all these things that I’ve told you about all the different things that I’m controlling: the touch on the notes, AND the sound of this. The ability to perceive the sound of the piano is different in metaphorical ways. For example, playing a certain type of piece. Now, before I go on, I want to mention that whatever I say is referring to one particular tiny little spectrum of playing the piece. It does not apply to everything. It just happens somewhere here, it will happen somewhere there or something. There is nothing that I say, which will adequately describe all the time when you’re playing.
Returning to the perception of the piano sound as a metaphor… I might change it in the same moment, one minute when I’m playing a certain group of notes, the rain might be falling with a certain speed on the ground and hitting the ground, and these drops are the touches of my fingers that touch the keys. I can change that touch not by thinking of the touch, but by thinking of the rain. And so I change the size of the raindrops, I change their speed. They’re still coming at 14 drops per second or 12 per second, or in extreme cases, much higher than that,…(( but after 14 drops of rain per second on the piano, there isn’t much more control it’s simply all bout the speed. So let’s ignore that and work on the rain falling on the keys where I can control it or any pianist that controls it. The speed, the pressure of the raindrops changes — Is there a wind coming in moving them around? That also changes the dimension. The continuous music has taught me to do things that pianists cannot even imagine, and have never been able to imagine. Because the music they were playing simply wasn’t made for that. Beethoven did not write his piano concertos with this stuff in mind. He had an aesthetic of beauty that he heard and that he gave to us, and it carries a certain form. Continuous music has different forms that pianists cannot comprehend yet.
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This is one of the most psychotic things I’ve ever read.
LC with a very impressive Canadamattesque performance
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As a result of @crash_face almost winning my category with a Richard and Linda Thompson song I put on an album of theirs at the weekend. It was decent and its title track is below.
It obviously resonated with my son who last night got properly upset because he couldn’t see “the bright lights tonight” (it was still sunny at bed time).
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Did not expect to podium with Rocky Road to Dublin. I was drinking a glass of Irish whiskey and listening to pub songs and sea shanties (@Yuv including the Dropkick Murphys) and I thought “hey this song seems hard to sing”
Dumb luck but I’ll take it
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Tonight my time (CEST). Going out for dinner and a couple of drinks in a few.
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Nano is sad that after searching for novel songs and finding Free Bird she was punished for familiarity. You guys are mean.
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seities is sad that even so, she is still 10 points ahead of him.
But we gotta look on the bright side. At least we aren’t CM3004, masquerading as Louis, and still in last place.
I’ll say one thing before heading off:
One entry I received was far superior to the nine others
I dare to hope.
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Thinking like that is pretty mean to Louis. He wishes he could reach the dizzy heights of being ‘punished’ by a sixth place.
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