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So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.
Most of my playing style is very on point - the tapping, just by nature of being rhythmic, is tight - so I'd like to explore something looser and less precise.
Because the blues is the basis of most American music in the 20th century. It's a 12-bar form that's played by jazz, bluegrass and country musicians. It has a rhythmic vocabulary that's been used by rock n' roll. It's related to spirituals, and even the American fiddle tradition.
I'm very much into the Gypsy Kings. It's rumba and very festive, very passionate music, rhythmic guitar, passionate singing about love from happy people.
I like creating these rhythmic patterns. These interlocking rhythmic things are really fun.
Interesting phenomena occur when two or more rhythmic patterns are combined, and these phenomena illustrate very aptly the enrichment of information that occurs when one description is combined with another.
Brazilian music has many of the ingredients that I strive for in my own music: Strong melodies and a disciplined but intense rhythmic concept, and interesting harmonies.
It's Messiaen's Turangalila Symphony I'm really looking forward to. Simon Rattle does it perfectly: he understands its primal rhythmic life force, and he and the wonderful Berliners make it a sheer riot of orchestral colour.
I was a semi-professional gymnast as a child. I did rhythmic gymnastics, but I sustained an injury and strained all the muscles in my spine.
I don't have an extensive background in theory, but the amount of it that I've learned, I've applied, so I have a vocabulary of melodic and rhythmic relationships. And that's all theory is - it's symbols to help you identify those relationships.
