Micromoments in music

This post originated as a twitter thread.


One of my favourite micromoments in music: the creak at 1:15 in Old Folks by Miles Davis. Perfectly timed with an inbreath, I always imagine Davis leaning back in his chair, pure concentration building up for the next lyrical phrase.


Another musical #micromoment — the signature Pastorius reharmonisation at 4:28 in Goodbye Pork Pie Hat, just when Joni Mitchell sings “the music midnight makes” (on Mingus, 1979).


Today’s micromoment: the utterly minimalist fill by the rhythm section at 2:13 in Vulfpeck’s Wait for the Moment (tbh the whole song is worth your while). As one listener on youtube said: “The drumbreak on 2:13 made me seriously reconsider my life”.


Micromoment #4: the start of Benavent’s bass solo at 3:30 in King & Queen (Chick Corea, 2006), prompting an “oh. (.) surrender!” exclamation from a fellow player. Also that whole minute-long bass solo.


Micromoment #5: the four off-beat L+R index finger taps by Tamir Barzilay at 1:34 in Ladies Night, by Scary Pockets with Larry Goldings — Barzilay’s mastery of his instrument is so exquisite.


I’ve listened to this many times, and the way in which, at 2:24, the backing vocals engulf the melody and open up like a flower always lingers — a #micromoment in Formwela 4 by Esperanza Spalding.


I’ve replayed the start of @andrewbird‘s violin solo in this Sam Beam song so many times it definitely makes a musical #micromoment — from ~6:30, best with headphones, also that whole solo is gorgeous & #tinydesk is always worth your while

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