The muscles are there simply to serve the head. But that isn’t how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They’re using their whole body to make music, in fact.
There’s a kind of edge to what you’re doing, the kind of leading edge of what you’re doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. “I’ve pulled that one out before. Oh, no, I can’t I’m just fed up with that.
In fact, quite a lot of what I do has to do with sound texture, and, you can’t notate that. You can’t notate the sound of “St. Elmo’s Fire.” There’s no way of writing that down. That’s because musical notation arose at a time when sound textures were limited.
At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.
The Marshall guitar amplifier doesn’t just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
Quite often, and in fact more often, I would say, I’m struggling all the way through to think, “What is it I like about this? What is the personality of this thing I’m hearing that I like so much?”
When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they’re not obvious at the time. So, when I look back at my own work.
![Brian Eno Quote - There’s a kind of edge to what you’re doing, the kind of leading edge of what you’re doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. “I’ve pulled that one out before. Oh, no, I can’t I’m just fed up with that.](https://minimalistquotes.com/images/theres-a-kind-of-edge-to-what-youre-doing-the-kind.jpg)
