If you think of the way a composer or say a pop arranger works – he has an idea and he writes it down, so there’s one transmission loss. Then he gives the score to a group of musicians who interpret that, so there’s another transmission loss.
BRIAN ENOI had an interesting day. I was in the studio with a group of musicians, who shall remain nameless, and I said to them “Our exercise today is not to use ‘undo’ at all. So, there’s no second takes. Or, if you do a second take, you have to do the whole take.
More Brian Eno Quotes
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My guitar only has five strings ’cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
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Lyrics are the only thing to do with music that haven’t been made easier technically.
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A big ego isn’t necessarily a bad thing. A big ego means that you have some confidence in your abilities, really, and that you’re prepared to take the risk of trying them out.
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What happens with notation is that it reduces things to a language which isn’t necessarily appropriate to them. In the same way that words do, you get a much cruder version of what was actually intended.
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I don’t want to do free jazz! Because free jazz – which is the musical equivalent of free marketeering – isn’t actually free at all. It’s just constrained by what your muscles can do.
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It’s amazing how quickly people get used to bad quality.
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As soon as you externalize an idea you see facets of it that weren’t clear when it was just floating around in your head.
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I believe in singing.
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Well, there are some things that I just can’t get out of my head, and they start to annoy me after a while.
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People in the arts often want to aim for the biggest, most obvious target, and hit it smack in the bull’s eye.
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I want to rethink surrender as an active verb.
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Avant-garde music is sort of research music. You’re glad someone’s done it but you don’t necessarily want to listen to it.
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Most of those melodies are me trying to find out what notes fit, and then hitting ones that don’t fit in a very interesting way.
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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.
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The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement
BRIAN ENO