A short reflection from my meeting with Sten Sandell
A brief reflection from my conversation with Sten Sandell. Among the things that we discussed where the similarities between linguistic and musical constructions. Hence, we have clauses and subordinate clauses in both the linguistic and the musical language. Regarding the musical language, you might ask yourself: The techniques that I work with, how do I put them together in sentences and how do I manage to put the sentences together so that they form a comprehensible story?
When I construct my improvisations, I sometimes figuratively resemble my contemporary techniques to poker cards that can be picked when needed. Described that way, it can mistakenly be interpreted in the sense that when the entire deck of cards has been laid on the table, then the techniques have run out. What I have not yet mentioned are all the imaginable combinations. If I, for example, mix technique A and B, how do I balance the dynamics between them? And how does that dynamic balance, that can be either static or floating, affect the musical result? And if one of the techniques are arco, where on the scale between sultasto and ponticello will it be performed? Do I put any pressure on the bow? Will I alternate ”normal” arco with one or maybe many other techniques? The variations are infinite.
