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Another way of working is setting deliberate constraints that aren't musical ones - like saying, "well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." those are the sort of visual ideas that i can draw out on graph paper. i've done a lot of film music this way.
-Brian Eno
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Another Way Of Working Is Setting Deliberate

Brian Eno
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." those are the sort of visual ideas that i can draw out on graph paper. i've done a lot of film music this way.
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Moving Long Musical

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