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or tomorrow” – I like that…”

Posted on October 28, 2011 by Kenneth Udut Leave a comment

I’m always around for tomorrow” – I like that… “

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Hey, I’m at 110 wpm with 99% accuracy. You want that 1%? You better pay.
All good points. My fascination with this is that it won’t be performed the same way twice. I’m of the era of recording media as are you and us all. A performance that is a singular event can be captured and replayed through mechanical means but not with precision in a future active performance. That is the magic of it for me. I turned down Julliard at 11 because I could not see myself playing the same pieces repetitively. It struck me as madness. Why would you want to create the same piece again? So, learning that this existed by that teacher at 14 was eye opening: it suits how I think. I can’t play the same thing twice on a piano or any instrument, much as how I can’t write the same words twice. Each time is a unique event. They may be similar but never identical. For identical, we have computers and recording/playback equipment. As a human, I don’t want to be those things and don’t understand why anybody would want to.
I write, quickly scan what I wrote for glaringly obvious error, and hit send. Then I move on. It’s how I treat speaking.
Damn frustrating too, having a missing piece. School shut down in 1991 and that piano teacher’s not in the yearbook. I know it can’t have been a style of improvisational composition invented after 1986/7. So now I just tracked down a copy of John Cage: “Notations”, 1969. It’s got to be in there. I’ll be REALLY pissed if it’s just that music teacher’s own ‘thing’.
I learned an avant guarde notation at 14 years old that I’ve used now and again. I’m trying to find out what it’s called. But it was marking impressions left to right of the “feel” of the composition. It was less about precision of notes – not at all really – as it’s designed for interpretation by the performer so that the same score will be played differently by anybody who works with it while capturing completely the sense being conveyed. I want to say it was a John Cage thing or maybe from the Jazz world. I’m going to have to find it. I had those lessons in the mid 1980s.

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