I totally disagree with this analogy. Learning an instrument teaches you ways in which the instrument works and allows you to stumble into more interesting things - the more you are a master of your instrument, the more you can push the limits of the instrument. Otherwise, I feel like you just think you're discovering something that a seasoned guitar player would tell you guitarists have been doing forever. The part about the composer stuff is funny; "writing stuff down on sheet music takes out the riffing." My bro, the entire baroque movement of music would like to have a word with you. Most harpsichord music is a left hand bass line with sketches for chords and then you riff the entire melody on top of it - that was a normal part of music making in Western music for hundreds of years. smh
@@nobodylovesyoupodcast Appreciate it. I just don't like people who speak in absolutes either direction in music. Are there classically trained violinists who cannot improvise their way out of a paper bag? Yes, of course. But there are also classically trained violinists who have played so much technically difficult music that they've also joined the list of players who have expanded what the instrument can do. One of my teachers, Mari Kimura, expanded the range of the violin, as well as composed some amazing pieces for violin and electronics: ua-cam.com/video/bRfQFc67cE8/v-deo.html There's no way you could argue that her being a professional violinist, studying at a conservatory ever inhibited her ability to play and explore outside of the box. Respect to your guest for getting out there and performing their music - performance is a vulnerable act. But I didn't really hear any boundary-pushing things in their music when I went to listen, so I'm not sure what they're on about.
I totally disagree with this analogy. Learning an instrument teaches you ways in which the instrument works and allows you to stumble into more interesting things - the more you are a master of your instrument, the more you can push the limits of the instrument. Otherwise, I feel like you just think you're discovering something that a seasoned guitar player would tell you guitarists have been doing forever. The part about the composer stuff is funny; "writing stuff down on sheet music takes out the riffing." My bro, the entire baroque movement of music would like to have a word with you. Most harpsichord music is a left hand bass line with sketches for chords and then you riff the entire melody on top of it - that was a normal part of music making in Western music for hundreds of years. smh
Go off king! I love hearing this side of the argument
@@nobodylovesyoupodcast Appreciate it. I just don't like people who speak in absolutes either direction in music. Are there classically trained violinists who cannot improvise their way out of a paper bag? Yes, of course. But there are also classically trained violinists who have played so much technically difficult music that they've also joined the list of players who have expanded what the instrument can do. One of my teachers, Mari Kimura, expanded the range of the violin, as well as composed some amazing pieces for violin and electronics: ua-cam.com/video/bRfQFc67cE8/v-deo.html
There's no way you could argue that her being a professional violinist, studying at a conservatory ever inhibited her ability to play and explore outside of the box. Respect to your guest for getting out there and performing their music - performance is a vulnerable act. But I didn't really hear any boundary-pushing things in their music when I went to listen, so I'm not sure what they're on about.