TERRY RILEY

I was using tape loops for dancers and dance production. I had very funky primitive equipment, in fact technology wasn't very good no matter how much money you had.

So, essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.

It is important that we are coming up on the millennium because what I am experiencing, just being one person out of billions, is the feeling of acceleration. I experience this through my contact with other people.

Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.

Music can also be a sensual pleasure, like eating food or sex. But its highest vibration for me is that point of taking us to a real understanding of something in our nature which we can very rarely get at. It is a spiritual state of oneness.

I had always been more interested in playing and improvising than sitting down at a desk and writing out a piece. I'd always found it more fun to play, and the other a little bit tedious. I always had trouble with the decisions.

Acceleration is finite, I think according to some laws of physics.

Everyone seems to be in a kind of accelerated time mode that is beyond their own control.

Well I guess my music came to prominence around one piece called 'In C' which I wrote in 1964 at that time it was called 'The Global Villages for Symphonic Pieces', because it was a piece built out of 53 simple patterns and the structure was new to music at that time.

I had been interested in Indian music and I actually started studying Tableaus before I met him.

Music can also be a sensual pleasure, like eating food or sex. But its highest vibration for me is that point of taking us to a real understanding of something in our nature which we can very rarely get at. It is a spiritual state of oneness.

So, essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.

We are either going to dissolve as a human race or we are going to break through into a new understanding of what it is to be a human being.

Acceleration is finite, I think according to some laws of physics.

I really didn't have a plan, I just went in and started playing. one of my specialties was to be able to play for a really long time without stopping and I would play these repeated patterns for hours and hours and I wouldn't seem to get tired.

I had already done Rainbow in Curved Air and had a big record on CBS. I was launched to have a long career and then I just dropped out and went to India.

It is important that we are coming up on the millennium because what I am experiencing, just being one person out of billions, is the feeling of acceleration. I experience this through my contact with other people.

Throughout the evening I would be recording these long saxophone delays and about four hours into the concert, if I wanted to take a break I would just play back the saxophone.

Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.

Everyone seems to be in a kind of accelerated time mode that is beyond their own control.

I was using tape loops for dancers and dance production. I had very funky primitive equipment, in fact technology wasn't very good no matter how much money you had.

I had been interested in Indian music and I actually started studying Tableaus before I met him.

Well I guess my music came to prominence around one piece called 'In C' which I wrote in 1964 at that time it was called 'The Global Villages for Symphonic Pieces', because it was a piece built out of 53 simple patterns and the structure was new to music at that time.

It seems like we are moving towards something, some kind of point and it is probably going to be an important point in our development or dissolution. That is what everybody seems to be thinking.

Talking about the all night concerts, I did some of the first all night concerts back in the 60's with this little harmonium, and I also had saxophone taped delays.

Essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.

The great thing about string quartets is the players are kind of like family. They work really well as a unit, so you can write things that let them use those talents of association and intuition-all the things they’ve developed together as a group.

I had always been more interested in playing and improvising than sitting down at a desk and writing out a piece. I'd always found it more fun to play, and the other a little bit tedious. I always had trouble with the decisions.

The highest point of music for me is to become in a place where there is no desire, no craving, wanting to do anything else. It is the best place you have ever been, and yet there is nothing there.