On Thu, 16 Jan 2003, Toby Rider wrote:
> amped, which in turn gets the players amped. Some of the most incredibly
> powerful recordings I've ever heard have come from house parties.
Heard or "made"? 8-)))))
> Good traditional music should be as energetic, unpredictable and
> over-the-top exciting as a rock-and-roll concert. Anyone should be able
> to feel that on a gut level. As soon as that gets lost, then it just
> becomes a bunch of notes.
I agree. Energy and unpredictability are hallmarks of the music as I
know it. In houseparties it is impossible to know who is going to be
playing what, and when. It's best when people get together who have
never played together before. The spirit of the Celtic Colours first
year's "backroom" jam courtesy of performers like Sharon Shannon and
Eamon Coyne who kept the magic flowing is lost when it gets overly
organized.
For instance it was at a house party that I got to see Dwayne Cote in
a new light once. We all know Dwayne as a fantasic fiddle player, but
I got to see his abilities as a musician. He also can do an excellent
job accompanying on guitar or piano. I shouldn't be surprised at
Dwayne's talent no matter what he has in his hand.
> Sue doesn't agree with us, if I am interpreting her statement correctly:
>
> "Only the most discriminating know when you are playing well. People
> will listen to anything and tell you it is good. I think you need the
> opinion of an expert/mentor/judge if you are to really improve."
Sue, I don't agree with that. I don't play, and I wouldn't say I'm
very discriminating. Many people say I seem to like it all. I do.
However, I DO think I can tell when someone is playing well.
Personally, I find it all good.
If the performer is good enough to share their talent, and doesn't
make any gross errors, I will tell them it is good. I feel it is
important to keep encouraging the performers. A friend of mine, an
actress and singer said this once "Performers are kind of anal. They
want to be perfect, and will over-analyze EVERY tiny mistake they felt
they did. At least they do if they are good. It's how they improve" I
had asked her if all performers were always over-critical and never
satisfied with themselves.
Most performers will know if they did well themselves. Often I've seen
a young performer ask another about some facet of how they do
something. They learn from one another in a non-judgemental way. I've
seen people like Dave MacIsaac share either a tune or how to do
something in this fashion.
> Or maybe we have a misunderstanding. Or it could that she hasn't
> experienced this type of environment first-hand.
That's the kind of environment where we gain the experience of doing,
and not judging. When you organize to "critique" and analyze, some one
will take it as a way to say "I'm better than you" because I got THIS
mark or so many checkmarks or fewer complaints!
What I would like to see is more of house parties, or in lieu of that
sort of an environment, good sessions which are encouraging of the
newer players who are learning. The newer players have to be
encouraged with kind words and not negativity. Even if they are
god-awful, they should be told it was good, because it WAS.
It takes a LOT of courage to perform in front of others, and it makes
people nervous. A few tactless remarks might stifle the next Jackie
Dunn or Tony McManus. Let the performer critize themselves. They'll be
telling themselves they did poorly all the time at the least misstep.
What I praise when I say it was good in most cases is the
entertainment value. Did I ENJOY or have a good time listening? In
99.9999% of the time, I DID. So WHAT if they missed by 10mS the intro,
or left out one little note or slurred something that shouldn't have
been? The audience takes a blend of the WHOLE performance, and enjoyed
it. They didn't NOTICE.
Bidh mi 'gad fhaicinn!!!
IWK Children's Hospital Telethon - June 1st and 2nd, 2002
$4.1 Million for 2002 - Thanks!!!
<<<<< An ni\ a thig leis a' ghaoith, falbhaidh e leis an uisge. >>>>>
George / Seo\ras Seto
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