Re: [Harp-L] Summertime on A Diatonic

[IcemanLE@xxxxxxx]

but of course. most musicians play too many notes. Miles spent many years  
figuring out the notes he could leave out rather than learning new patterns to  
play at faster and faster speeds. For a great visual on this, check out the  
transcribed Miles solo books - what he plays looks like almost nothing when  
placed on two dimensional paper.
 
Later in life he would give his young sidemen koan-like suggestions, such  as 
"start your phrase and stop playing before you get to the end of it" or  
"start your phrase leaving out the first three notes". My favorite is his "think  
of a note and then don't play that one".
 
The idea of silence between notes can be given a new understanding if you  
perceive the silence as an active insertion in a line rather than the pause that 
 happens while you try to think of what you will play next.
 
For the most effective example of using this silence, check out Miles' live  
version of "Bye Bye Blackbird" from Live at the Blackhawk - scary good.
 
 
In a message dated 9/30/2008 3:18:35 P.M. Eastern Daylight Time,  
winslowyerxa@xxxxxxxxx writes:

It was  not only Miles' choices of notes, but also his choices of silences 
between the  notes - I think Iceman will agree on this - that made his playing  
effective




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