Improvised solo electric guitar live.
Copyright 2018 John Bruce Wallace
Traditionally what one looks for is the socially-accepted rubric that music, especially music perceived through the European ey
...
es, must follow a set pattern that contains a frame that is well established,
upon which is draped a fabric that equally is creased in all the
proper places. To the extent that my music adheres to a defined
form, for example, ABC, ABD, AB, AB, etc., it may, but usually
does not. To the extent that the situation is based upon the
notion of a chordal backbone supported by the appropriate
rhythmic, percussional and bass dialogue over which a melody is
set and upon which an improvisation is based (upon correct
selection of modual temperment flows), again it may, but usually
does not. At present my concern is more with the generation of
a dialogue or several concurrent but perhaps unrelated dialogues,
between tonal characters or qualities, the resulting micro and
macro harmonics, various textures of tension brought on by
adversely enjoined time structures, discordant tonal enjoinments,
a totally potpourri of issues coming to debate all at once, or in
a gradual grating by introduction, attention grabbing, and being
thrust asunder to be regrouped and again come to the fore.
There is very often a battle or rather several battles for
attention, not unlike the battle in society of one interest group
with another for the attention of a given audience willing to
listen to their cause. Indeed each of these many contrasts does
have a structure in that they depict the tensionality there is in
a cohesive of the context that holds, just as there is a cohesive
within the society that holds, what otherwise appears as a non-
structured chaos.
