Derek Bailey's music
May. 16th, 2006 09:44 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
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For listeners unfamiliar with experimental musics, Bailey's distinctive style can be
initally quite difficult. Its most noticeable feature is what appears to be its extreme
discontinuity, often from note to note: there may be enormous intervals between
consecutive notes, and rather than aspiring to the consistency of timbre typical
of most guitar-playing, Bailey interrupts it as much as possible [...]
Many of the key features of his music -- radical discontinuity, the self-contained
brevity of each gesture, an attraction to wide intervals -- owe much to Bailey's
early fascination with Anton Webern, an influence most audible on Bailey's earliest
available recordings, Pieces for Guitar (1966-67, issued on Tzadik).
from wikipedia
For listeners unfamiliar with experimental musics, Bailey's distinctive style can be
initally quite difficult. Its most noticeable feature is what appears to be its extreme
discontinuity, often from note to note: there may be enormous intervals between
consecutive notes, and rather than aspiring to the consistency of timbre typical
of most guitar-playing, Bailey interrupts it as much as possible [...]
Many of the key features of his music -- radical discontinuity, the self-contained
brevity of each gesture, an attraction to wide intervals -- owe much to Bailey's
early fascination with Anton Webern, an influence most audible on Bailey's earliest
available recordings, Pieces for Guitar (1966-67, issued on Tzadik).
from wikipedia
