Fripp's thoughts on practice, craft, music, life ..

[xilddx]

I like Robert Fripp's thoughts

[b] The Road To Graceland
by Robert Fripp[/b]


[b] I[/b]


Music is a process of uniting the world of qualities and the world of existences, of blending the world of silence and the world of sound.
In this sense, music is a way of transformation.
What we do is inseparable from how and why we do what we do.
So, the transformation of sound is inseparable from a transformation of self.
For example, we attract silence by being silent.
In our culture, this generally requires practice.
Practice is a way of transforming the quality of our functioning, that is, a transformation of what we do.
We move from making unnecessary efforts, the exertions of force, to making necessary efforts: the direction of effortlessness.
In this the prime maxim is: honor necessity, honor sufficiency.


[b] II[/b]

When we consider our functioning as a musician, that is, what we do in order to be a musician, we find we are considering more than just the operation of our hands.
The musician has three instruments: the hands, the head and the heart, and each has its own discipline.
So, the musician has three disciplines: the disciplines of the hands, the head and the heart.
Ultimately, these are one discipline: discipline.
Discipline is the capacity to make a commitment in time.
If the musician is able to make a commitment in time, to guarantee that they will honor this commitment regardless of convenience, comfort, situation and inclination of the moment, they are on the way to becoming effectual.
An effectual musician is a trained, responsive and reliable instrument at the service of music.


[b] III[/b]

So, practice addresses:
1. The nature of our functioning; that is, of our hands, head and heart.
2. The co-ordination of our functioning; that is our hands with head, our hands with heart, our heart with head, and in a perfect world, all three together in a rare, unlikely, but possible harmony.
3. The quality of our functioning.


[b] IV[/b]

It is absurd to believe that practising our instrument is separate from the rest of our life.
If we change our practice, we change our lives.
Practice is not just what we do with our hands, nor just how we do what we do, nor why we do what we do.
Practice is how we are.
[b] V[/b]

A practice of any value will be three things:
1. A way of developing a relationship with the instrument;
2. A way of developing a relationship with music;
3. A way of developing a relationship with ourselves.
So, the techniques of our musical craft are in three fields: of playing the instrument, of music and of being a person.
I cannot play guitar without having a relationship with myself, or with music.
I cannot, as a guitarist, play music without having a relationship with myself and my guitar.
And, by applying myself to the guitar and to music, I discover myself within the application.


[b] VI[/b]

A technique simulates what it represents, and prepares a space for the technique to become what it represents.
For example, the manner in which I live my life is my way of practising to be alive.
There is no distance between how I live my life and how I practice being alive.


[b] VII[/b]

Once a quality is within our experience, we recognise its return and may allow its action to take place upon us.
But how and why it is present, or comes to visit, is rather harder to describe.
If this quality is present with us, description becomes easier: we describe the world in which we live.
If we live in the way of craft, the craft lives in us; as we describe this way, the craft reveals itself through us.
Any true way will be able to describe itself through its craftspeople.


[b] VIII[/b]

The quality we bring to one small part of our life is the quality we bring to all the small parts of our life.
All the small parts of our life is our life.
If we are able to make one small act of quality, it wiil spread throughout the larger act of living.
This is in the nature of a quality - a quality is ungovernable by size and by the rules of quantity: a quality is ungovernable my number.
So, one small act of quality is as big as one big act of quality.
An act of quality carries intention, commitment and presence, and is never accidental.


[b] IX[/b]

Once we have an experience of making an effort of this kind, we may apply this quality of effort in the other areas of our life.
The rule is: better to be present with a bad note than absent from a good note.
When our note is true, we are surprised to find that it sounds very much like silence, only a little louder.


[b] X[/b]

If music is quality organised in sound, the musician has three approaches towards it: through sound, through organisation, or through quality.
The apprentice will approach the sound, the craftsperson will approach the organisation of sound, and the master musician approaches music through its quality.
That is, the master musician works from silence, organises the silence, and places sound between the silence.



[b] XI[/b]

Where we are going is how we get there.
If where we are going is how we get there, we are where we are going.
If we are where we are going, we have nowhere to go.
If we have nowhere to go, may we be where we are.


[b] XII[/b]

Music is a benevolent presence constantly and readily available to all.
May we trust the inexpressible benevolence of the creative impulse.

[Happy Jack]

Very Zen.

I felt I should be sitting cross-legged as I read it.

[SteveK]

Couldn't read all the above, but whatever he says is all right by me.

IMV the music world of today is sadly devoid of characters/musicians of Robert Fripp's ilk...
where the f*** are the Robert Fripps of today?

[xilddx]

[quote name='SteveK' timestamp='1322756371' post='1455503']
Couldn't read all the above, but whatever he says is all right by me.

IMV the music world of today is sadly devoid of characters/musicians of Robert Fripp's ilk...
where the f*** are the Robert Fripps of today?
[/quote]
Alain Caron?

[risingson]

[quote name='SteveK' timestamp='1322756371' post='1455503']
IMV the music world of today is sadly devoid of characters/musicians of Robert Fripp's ilk...
where the f*** are the Robert Fripps of today?
[/quote]

I had a music lecturer at Uni that inspired me so much to want to pick up my bass and really learn. He was one of the only people who's lectures I really looked forward to, a complete genius and former student of Dave Holland's. He imparted a lot upon me as a musician.

You're definitely right in saying that the music world is certainly lacking this kind of character right now.

[bremen]

[quote name='risingson' timestamp='1322758296' post='1455553']


You're definitely right in saying that the music world is certainly lacking this kind of character right now.
[/quote]

It was when Fripp burst upon us, too. He was head and shoulders more interesting than anyone else.

[SteveK]

[quote name='silddx' timestamp='1322756720' post='1455513']
Alain Caron?
[/quote]
He's a great musician, a great talent...but, what I meant was, where are the [i]young, up-and-coming[/i] Robert Fripps of today? No disrespect, and it's not really relevant outside of this discussion, but Alain Caron's about my age...93!

Whereas,
[quote name='bremen' timestamp='1322758366' post='1455554']
It was when Fripp burst upon us, too. He was head and shoulders more interesting than anyone else.
[/quote]
RF was only 23 when he introduced himself with[url="http://www.youtube.com/watch?v=zBfCzhYbWBk"] this[/url]

Edited December 1, 2011 by SteveK

[Spoombung]

[quote name='silddx' timestamp='1322754670' post='1455470']
I like Robert Fripp's thoughts

[b] The Road To Graceland
by Robert Fripp[/b]


[b] I[/b]


Music is a process of uniting the world of qualities and the world of existences, of blending the world of silence and the world of sound.
In this sense, music is a way of transformation.
What we do is inseparable from how and why we do what we do.
So, the transformation of sound is inseparable from a transformation of self.
For example, we attract silence by being silent.
In our culture, this generally requires practice.
Practice is a way of transforming the quality of our functioning, that is, a transformation of what we do.
We move from making unnecessary efforts, the exertions of force, to making necessary efforts: the direction of effortlessness.
In this the prime maxim is: honor necessity, honor sufficiency.


[b] II[/b]

When we consider our functioning as a musician, that is, what we do in order to be a musician, we find we are considering more than just the operation of our hands.
The musician has three instruments: the hands, the head and the heart, and each has its own discipline.
So, the musician has three disciplines: the disciplines of the hands, the head and the heart.
Ultimately, these are one discipline: discipline.
Discipline is the capacity to make a commitment in time.
If the musician is able to make a commitment in time, to guarantee that they will honor this commitment regardless of convenience, comfort, situation and inclination of the moment, they are on the way to becoming effectual.
An effectual musician is a trained, responsive and reliable instrument at the service of music.


[b] III[/b]

So, practice addresses:
1. The nature of our functioning; that is, of our hands, head and heart.
2. The co-ordination of our functioning; that is our hands with head, our hands with heart, our heart with head, and in a perfect world, all three together in a rare, unlikely, but possible harmony.
3. The quality of our functioning.


[b] IV[/b]

It is absurd to believe that practising our instrument is separate from the rest of our life.
If we change our practice, we change our lives.
Practice is not just what we do with our hands, nor just how we do what we do, nor why we do what we do.
Practice is how we are.
[b] V[/b]

A practice of any value will be three things:
1. A way of developing a relationship with the instrument;
2. A way of developing a relationship with music;
3. A way of developing a relationship with ourselves.
So, the techniques of our musical craft are in three fields: of playing the instrument, of music and of being a person.
I cannot play guitar without having a relationship with myself, or with music.
I cannot, as a guitarist, play music without having a relationship with myself and my guitar.
And, by applying myself to the guitar and to music, I discover myself within the application.


[b] VI[/b]

A technique simulates what it represents, and prepares a space for the technique to become what it represents.
For example, the manner in which I live my life is my way of practising to be alive.
There is no distance between how I live my life and how I practice being alive.


[b] VII[/b]

Once a quality is within our experience, we recognise its return and may allow its action to take place upon us.
But how and why it is present, or comes to visit, is rather harder to describe.
If this quality is present with us, description becomes easier: we describe the world in which we live.
If we live in the way of craft, the craft lives in us; as we describe this way, the craft reveals itself through us.
Any true way will be able to describe itself through its craftspeople.


[b] VIII[/b]

The quality we bring to one small part of our life is the quality we bring to all the small parts of our life.
All the small parts of our life is our life.
If we are able to make one small act of quality, it wiil spread throughout the larger act of living.
This is in the nature of a quality - a quality is ungovernable by size and by the rules of quantity: a quality is ungovernable my number.
So, one small act of quality is as big as one big act of quality.
An act of quality carries intention, commitment and presence, and is never accidental.


[b] IX[/b]

Once we have an experience of making an effort of this kind, we may apply this quality of effort in the other areas of our life.
The rule is: better to be present with a bad note than absent from a good note.
When our note is true, we are surprised to find that it sounds very much like silence, only a little louder.


[b] X[/b]

If music is quality organised in sound, the musician has three approaches towards it: through sound, through organisation, or through quality.
The apprentice will approach the sound, the craftsperson will approach the organisation of sound, and the master musician approaches music through its quality.
That is, the master musician works from silence, organises the silence, and places sound between the silence.



[b] XI[/b]

Where we are going is how we get there.
If where we are going is how we get there, we are where we are going.
If we are where we are going, we have nowhere to go.
If we have nowhere to go, may we be where we are.


[b] XII[/b]

Music is a benevolent presence constantly and readily available to all.
May we trust the inexpressible benevolence of the creative impulse.
[/quote]

I sense Toyah's influence.

[peteb]

Personally I think that some people tend to over-intellectualise things!

[lonestar]

I'd suggest reading Bill Bruford's biography if you want the reall measure of 'The Owl" as Bill refers to him; not altogether affectionately.

[peteb]

[quote name='lonestar' timestamp='1322927832' post='1457411']
I'd suggest reading Bill Bruford's biography if you want the reall measure of 'The Owl" as Bill refers to him; not altogether affectionately.
[/quote]
I have unfortunately!

Fripp is painted as rather a malevolent, unpleasant sort of a fellow and Bruford comes across as possibly the dullest man alive!

Edited December 3, 2011 by peteb

[Bilbo]

The Fripps of today are all in Jazz. There is no room for them anywhere else.

[lonestar]

[quote name='peteb' timestamp='1322928117' post='1457416']
I have unfortunately!

Fripp is painted as rather a malevolent, unpleasant sort of a fellow and Bruford comes across as possibly the dullest man alive!
[/quote]

Yep that sounds a pretty good summing up of the book to me Pete.

I always like the idea of listening to very avant garde, technically brilliant, out there music as practised by both of these two but when I listen to solo Fripp projects and Bill Bruford's later output I find myself asking what it is that people actually find to like in such "challenging" music.

[peteb]

[quote name='lonestar' timestamp='1322928795' post='1457430']
Yep that sounds a pretty good summing up of the book to me Pete.

I always like the idea of listening to very avant garde, technically brilliant, out there music as practised by both of these two but when I listen to solo Fripp projects and Bill Bruford's later output I find myself asking what it is that people actually find to like in such "challenging" music.
[/quote]
I think that we may be in agreement here!

[merello]

"Bollox!'
Joe Strummer

[lonestar]

[quote name='merello' timestamp='1322940707' post='1457619']
"Bollox!'
Joe Strummer
[/quote]
on re-reading this you know your dead right ! The man needs more fibre in his diet.
or as Zappa said "Talking about music is like fishing about architecture".

[Bassman Sam]

I saw K.C. live for the1st time in 1970, just after Greg Lake left and had been replaced by Boz Burrell. Both these players had a huge influence on me and Robert Fripp is one of the nicest guys I have ever met. Why diss someone because you don't get them. It's not big and not clever. BTW, I also like the Quo so I am definitely not a musical sob.

[xilddx]

[quote name='lonestar' timestamp='1323019923' post='1458359']
on re-reading this you know your dead right ! The man needs more fibre in his diet.
or as Zappa said "Talking about music is like fishing about architecture".
[/quote]

It's [i]'writing about music is like dancing about architecture'[/i]. No-one knows who said it first. It does not relate to the Fripp piece in the OP, Fripp is not talking about music recordings, nor is he a music critic which is who the your quote is amied at primarily, at least by Zappa.

You think Fripp's musings are hard to understand or to apply to your music? Interesting.

[Monckyman]

It was all quite interesting until that final bong.
If you can explain what "If we have nowhere to go, may we be where we are" Means, I`d be truly grateful.
Woof.

[xilddx]

[quote name='Monckyman' timestamp='1323080161' post='1458872']
It was all quite interesting until that final bong.
If you can explain what "If we have nowhere to go, may we be where we are" Means, I`d be truly grateful.
Woof.
[/quote]


[b]XI[/b]

Where we are going is how we get there.
If where we are going is how we get there, we are where we are going.
If we are where we are going, we have nowhere to go.
[b]If we have nowhere to go, may we be where we are.[/b]


[b]XII[/b]

Music is a benevolent presence constantly and readily available to all.
May we trust the inexpressible benevolence of the creative impulse.


I think it can be interpreted in a couple of ways. It could mean that one has achieved self actualisation, or it could be a Zen type expression about achieving Sartori. Perhaps it was meant to have a question mark at the end. Who knows? Fripp wrote it

[Monckyman]

Yes.right.
I`m afraid I do totally the wrong kind of drugs for all that "we may be where we are or not be" stuff.
The Organisation of Silence however makes a great deal of sense, as does the Head Hands and Heart tryptych.
Like I said, interesting until he hit that last Camberwell carrot.

[arabassist]

[quote name='lonestar' timestamp='1322928795' post='1457430']
Yep that sounds a pretty good summing up of the book to me Pete.

I always like the idea of listening to very avant garde, technically brilliant, out there music as practised by both of these two but when I listen to solo Fripp projects and Bill Bruford's later output I find myself asking what it is that people actually find to like in such "challenging" music.
[/quote]

[quote name='peteb' timestamp='1322928117' post='1457416']
I have unfortunately!

Fripp is painted as rather a malevolent, unpleasant sort of a fellow and Bruford comes across as possibly the dullest man alive!
[/quote]

I agree with both of these. Maybe Mr. Bruford agrees too

[url="http://www.youtube.com/watch?v=j-f0P7-fxUQ"]http://www.youtube.com/watch?v=j-f0P7-fxUQ[/url]

[Spoombung]

[quote name='peteb' timestamp='1322928117' post='1457416']
I have unfortunately!

Fripp is painted as rather a malevolent, unpleasant sort of a fellow and Bruford comes across as possibly the dullest man alive!
[/quote]

Another agreement here.

What puzzles me about Bruford's autobiog is there is absolutely ZERO affection for any of his colleagues - just dry observations about the record industry. Very public school.

[peteb]

[quote name='Spoombung' timestamp='1323353242' post='1462358']
Another agreement here.

What puzzles me about Bruford's autobiog is there is absolutely ZERO affection for any of his colleagues - just dry observations about the record industry. Very public school.
[/quote]
[size=4][color=#222222][font=Arial]I actually found Bruford quite annoying![/font][/color]

[color=#222222][font=Arial]There he was, having pretty much hit the jackpot as far as being a rock musician goes, in a well regarded band with great players, great music and a number 1 album! As someone said in the Chris Squire thread, it must have been a blast being on the Yes tour bus at that time with Squire and Rick Wakeman in tow![/font][/color]

[color=#222222][font=Arial]Yet, all he can do is moan about Squire being always late and that the manager is supposedly a bit of a cockney wide boy![/font][/color][/size]

Edited December 8, 2011 by peteb

[Spoombung]

[quote name='peteb' timestamp='1323368994' post='1462654']
[size=4][color=#222222][font=Arial]I actually found Bruford quite annoying![/font][/color]

[color=#222222][font=Arial]There he was, having pretty much hit the jackpot as far as being a rock musician goes, in a well regarded band with great players, great music and a number 1 album! As someone said in the Chris Squire thread, it must have been a blast being on the Yes tour bus at that time with Squire and Rick Wakeman in tow![/font][/color]

[color=#222222][font=Arial]Yet, all he can do is moan about Squire being always late and that the manager is supposedly a bit of a cockney wide boy![/font][/color][/size]
[/quote]

Yes, he did come across as a big moaner. He seemed to have nothing but humourless disdain for his fellow musicians - as if he just put up with them for the sake of it. I also got the impression he had almost no understanding of songwriting: the monologue was all about musical playing standards, chops, American versus British - and a belief that the British favour amateurs over 'professional' every time. What a crushingly, boring viewpoint...