At 07:03 PM 6/2/2003, Christopher BJ Smith wrote:
>And the tempos did! But when a dancer jumps, he can't change the laws
>of gravity, and in a faster tempo he lands late, and notices it
>immediately.
When an experienced dancer jumps in a faster tempo, he learns to jump a
little less high so that h
On 2 Jun 2003 at 16:55, David W. Fenton wrote:
> Well, this was modern dance (a piece written on texts of St. Teresa
> of Aguilar),
That should have read "St. Teresa of Avila."
Dunno where "Aguilar" came from!
--
David W. Fentonhttp://www.bway.net/~dfenton
David Fenton
On 02.06.2003 21:28 Uhr, David W. Fenton wrote
> I would tend to agree with you on all of the things you say.
Nice to hear
>
> But I'd add something else:
[snip]
And I'd tend to agree with your additions as well. Nothing worse than a
historically informed performance that is dead in every sens
On 2 Jun 2003 at 15:57, Aaron Sherber wrote:
> At 03:36 PM 6/2/2003, David W. Fenton wrote:
> >I've only once played for dancers, and we didn't worry about tempos
> >at all! The conductor just chose the tempos and went with it, and the
> >dancers never complained one bit!
>
> Dancers' opinion
At 03:36 PM 6/2/2003, David W. Fenton wrote:
>I've only once played for dancers, and we didn't worry about tempos
>at all! The conductor just chose the tempos and went with it, and the
>dancers never complained one bit!
Dancers' opinions about tempo generally have a lot to do with how much and
wh
On 2 Jun 2003 at 10:08, Christopher BJ Smith wrote:
> I've set this "safety net" for myself, and even mark the tempo into
> the piece, and yet, when I get it in front of live musicians, it
> almost NEVER "sits" well in the tempo I conceived it in! Sometimes it
> feels better slower, most often
On 2 Jun 2003 at 15:02, Johannes Gebauer wrote:
> To add just one value judgement: I think all the Grete Wehmayer (or however
> her name is spelled) theories about Beethoven's and other's metronome
> markings not meaning what they say is a whole lot of b*llsh*t.
I would tend to agree with you on
On 1 Jun 2003 at 18:29, Dennis Bathory-Kitsz wrote:
> So that is the problem I like to consider often -- why is it we work in
> notation? If breakdowns of oral/aural tradition did not happen (and
> recording technology doesn't make us immune to them), then we wouldn't have
> had (for example) the
On 02.06.2003 12:08 Uhr, David H. Bailey wrote
> On what do you base your assumption that he followed his own metronome
> markings? Especially in light of the fact that most modern composers
> who conduct don't follow their own metronome markings, I find it hard to
> believe that he always follow
On 02.06.2003 1:27 Uhr, David H. Bailey wrote
> What tempo did Mendelssohn REALLY take his Italian Symphony at? Are we
> sure he followed his own metronome markings (assuming there are any)?
I think we can assume that Mendelssohn did follow his own Metronome
markings. I have very good reasons to
At 03:52 PM 6/1/03, you wrote:
Or the electroacoustic piece based on skateboard sounds
In the word of Dr Evil, "Rght. . . . "
But seriously, if you're going to notate the swing feel, HOW are you going
to do that, if what you're aiming to do is reflect the effect on paper?
Neither way (triple
David H. Bailey wrote (re: dialects in spoken language):
Did it matter how he decided? Could you tell if he were correct or
not? Did the speech you got from the IPA really sound like fluid
conversational speech? Could you turn it into fluid conversational
speech without hearing native speaker
At 07:27 PM 6/1/03 -0400, David H. Bailey wrote:
>The name's David, not Jack.
A line from "Speed" ... Dennis Hopper. One of my favorite moments in the
subway. Has that ring to it, don't you think?
>And when skateboards are unknown anymore and fade into history, what are
>people going to do with
At 05:57 PM 6/1/03 -0400, Darcy James Argue wrote:
>David says it very well. I would only add that Dennis has an attitude
>towards notation that runs counter to the way most jazz musicians think
>-- namely, that the score should be the ultimate authoritative
>representation of what's "in" a pie
On Sunday, June 1, 2003, at 05:24 PM, David W. Fenton wrote:
On 1 Jun 2003 at 15:52, Dennis Bathory-Kitsz wrote:
You seem a little exercised about this. I'm not sure why. Maybe it's
a jazz
thing. :) Seriously, though, discussions of jazz are the only times I
hear
arguments against making notat
On 1 Jun 2003 at 15:52, Dennis Bathory-Kitsz wrote:
> You seem a little exercised about this. I'm not sure why. Maybe it's a jazz
> thing. :) Seriously, though, discussions of jazz are the only times I hear
> arguments against making notation more accurate. I wonder if it's part of
> the don't-rea
On 1 Jun 2003 at 9:12, Dennis Bathory-Kitsz wrote:
> I think the job of composers and arrangers is to get the notation as close
> to correct as possible (or at least provide a detailed example of several
> measures within the editorial notes) ... or risk consigning the score's
> performance to gue
On Sunday, June 1, 2003, at 03:34 PM, David H. Bailey wrote:
One thing I am fairly certain of regarding Daniel Day Lewis -- the
dialogue was written using modern English and carrying some sort of
descriptive terms like "mock 19th-century Irish immigrant accent."
Actually, Day-Lewis's character
At 03:34 PM 6/1/03 -0400, David H. Bailey wrote:
>Did it matter how he decided? Could you tell if he were correct or not?
That's why I marked it tangential. I just wondered if anybody knew how he
decided.
>Did the speech you got from the IPA really sound like fluid
>conversational speech? Coul
At 07:30 AM 6/1/03 -0400, David H. Bailey wrote:
>It would be comparable to the following directions in a play:
>Speak with an American southern accent.
>Speak with a Boston accent.
>
>As oppposed to trying to use letters to write out all the linguistic
>freedoms those two regional dialects take.
Darcy wrote:
I suppose this would depend on whether you wanted a parody of how
jazz musicians play eighth notes (which is what you would get with
12/8 or [worse] dotted eighth-sixteenth notation), or wanted some
actual reasonable facsimile of idiomatic swing. (The former may
well be what you w
On Saturday, May 31, 2003, at 09:40 AM, Michael Edwards wrote:
For instance (and I know this has been discussed before, and I
think I
posted on it), if I were writing a jazz-like piece that used swing
rhythm, I
would want to notate it in a metre such as 12/8, or 4/4 with dotted
rhythms,
a
Interesting discussion...
I haven't followed all of it (lacking the time at the moment), but I must
say that David has said a many things I very much agree with.
On the question of appogiatura and "grace" notes I'd like to add an example:
I have just released a CD with Sinfonie a tre by Johann St
[Christopher B. J. Smith:]
>At 11:40 PM +1000 5/31/03, Michael Edwards wrote:
>> This thread is becoming so involved, and going in different
>>directions, that my thoughts are starting to fragment a little.
>
>Yeah, mine, too!
>
>Bob F, (if you're still listening!) who gets to buy you that dr
This thread is becoming so involved, and going in different directions,
that my thoughts are starting to fragment a little. But, for what it's worth,
are a few reactions to some of the things David Fenton said recently.
[David W. Fenton:]
>On 30 May 2003 at 2:12, Michael Edwards wrote:
>
>
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