Timbre doesn’t matter. At least that’s what David Borden says — he claims he’s interested “only in the notes”, and yeah, I agree. The only reason why I know he exists is because someone on Turntable played Continuing Story of Counterpoint and I immediately got hooked. I must’ve listened to the whole album a dozen times already — it has all the traits of minimalism that I love but the music actually develops and gets from one place to another.
Something got shuffled around in the trunk of my car about a year ago and because of that there’s a big crack on the display case of the keyboard. So most of the time I have no idea what patch I’m using since all I see is a big blotch on the front end of the screen. Could I have fixed it or replaced it with a new one? I ain’t rich but the keyboard wasn’t that expensive so I probably could have if I wanted to…but why bother? Just the notes, patches don’t matter.
Continuing Story inspired me to take bigger risks in my piano improvisations — more harmonic variation, bigger changes in mood, and sweeping alterations in rhythmic patterns. Most of the other tracks move from one place to another really gradually, but his music made me want to push the envelope much more quicker than usual.
Paying respect to the original piece, I made this one out of my broken synthesizer. Let’s see if I can apply these ideas acoustically, for the next one. It’s looking like the second batch of tracks are going to have a lot more energy than the first.