I am late for the thread as usual - to make things worse, I got my studio
flooded this week :_(
To me, swing feel, or I rather want to use the word Groove is very cultural. I
mean, musical style is a really cultural thing. You can't learn them from
books. Listening may not be enough. You
Dear Hiro,
Thanks for finding this clip. While there are some aspects of this guy's
playing that are not so much to my taste, his time feel, rhythmic lilt, and
variety of articulation are exceptional. Svend Asmussen was very good, and I
used to work on recording dates in New York with Harry
Oh, I didn't talk to him, could you call him, I'm at work, and I can't find his
email on this computer.
Joel
From: David W. Fenton lists.fin...@dfenton.com
To: finale@shsu.edu
Sent: Thu, March 18, 2010 4:37:34 PM
Subject: Re: [Finale] composers and new
On Mar 18, 2010, at 5:37 PM, David W. Fenton wrote:
On 18 Mar 2010 at 17:22, Andrew Stiller wrote:
The inequality was applied at the sixteenth note level, the weak notes
being just a tiny bit longer than 1/2 the duration of the strong
notes.
That's pretty interesting, in that it shows
On 19 Mar 2010 at 16:07, Andrew Stiller wrote:
On Mar 18, 2010, at 5:37 PM, David W. Fenton wrote:
Harpsichordists can actually do a lot with length,
whereas music boxes cannot, so I'd think that would exacerbate the
problem.
I don't know where you got that idea. Pinned barrels, punched
On Mar 17, 2010, at 4:57 PM, Florence + Michael wrote:
On 17 Mar 2010, at 21:28, Andrew Stiller wrote:
There's at least one exception to that. In an early-19th c. French
book about the proper pinning of barrel organs, there's a detailed
illustration of the pinning for a barrel to play the
On 18 Mar 2010 at 17:22, Andrew Stiller wrote:
The inequality was applied at the sixteenth note level, the weak notes
being just a tiny bit longer than 1/2 the duration of the strong notes.
That's pretty interesting, in that it shows that even where it was
mechanically possible to precisely
On Mar 16, 2010, at 7:05 PM, John Howell wrote:
Not at all, Jef. It's a plain fact that a number of pieces were
once considered unplayable, until a new generation of players came
along and took them up as a matter of course.
I heard that Monteverdi's string players griped when he asked
On Wed, March 17, 2010 12:29 am, Michael Greensill wrote:
Now, after about 100 years, if we could just get string sections to
learn how to swing..
[Coffee-Sputter] Maybe Dudamel will.
I had one conductor explain to me that string players are so driven to be in
tune and to play together
Dennis Bathory-Kitsz wrote:
On Wed, March 17, 2010 12:29 am, Michael Greensill wrote:
Now, after about 100 years, if we could just get string sections to
learn how to swing..
[Coffee-Sputter] Maybe Dudamel will.
I had one conductor explain to me that string players are so driven to be in
On Wed, March 17, 2010 7:16 am, dhbailey wrote:
On the other hand, in my opinion, the reality of the
situation is that string players can't swing because
nobody's taught them how. Nobody's made them play swing
music. It's not that they can't, they just need to learn.
This makes no sense to
Dennis Bathory-Kitsz wrote:
On Wed, March 17, 2010 7:16 am, dhbailey wrote:
On the other hand, in my opinion, the reality of the
situation is that string players can't swing because
nobody's taught them how. Nobody's made them play swing
music. It's not that they can't, they just need to
On 17 Mar 2010, at 10:46 AM, Dennis Bathory-Kitsz wrote:
This makes no sense to me. How could string players have missed this? Doesn't
everybody playing any instrument play at least a little pop or jazz -- even to
earn supplementary income -- if they were born after, say, 1930? No? Yes?
Yes.
At 9:29 PM -0700 3/16/10, Michael Greensill wrote:
It's a plain fact that a number of pieces were once considered
unplayable, until a new generation of players came along and took
them up as a matter of course.
Now, after about 100 years, if we could just get string sections to
learn how to
Darcy,
I'm leaving your response intact. It's a revelation -- thanks very much for
this explanation. It makes great sense.
(Even as a longtime nonpop composer, I've had a similar and deep longtime love
of jazz -- my very first jazz album was Coltrane's Ascension ... yes, when
it was brand new. I
At 11:53 PM -0700 3/16/10, Mark D Lew wrote:
On Mar 16, 2010, at 7:05 PM, John Howell wrote:
Not at all, Jef. It's a plain fact that a number of pieces were
once considered unplayable, until a new generation of players came
along and took them up as a matter of course.
I heard that
At 7:16 AM -0400 3/17/10, dhbailey wrote:
When I conducted a community orchestra, we were
going to do a Sinatra medley, and as expected,
the orchestra couldn't swing. I explained
things and they began to get it but still
weren't fully loosening up. Finally I simply
brought in some
At 10:46 AM -0400 3/17/10, Dennis Bathory-Kitsz wrote:
On Wed, March 17, 2010 7:16 am, dhbailey wrote:
On the other hand, in my opinion, the reality of the
situation is that string players can't swing because
nobody's taught them how. Nobody's made them play swing
music. It's not that
At 11:14 AM -0400 3/17/10, Darcy James Argue wrote:
Part of this is just a fundamental lack of respect for nonclassical music.
All too true. In fact we have an influential minority on our own
music faculty who feel exactly this way. Some will unbend for jazz
(although they wouldn't want
On 17 Mar 2010 at 11:14, Darcy James Argue wrote:
The other, more fundamental, problem is a lack of emotional connection to
the beat, which is endemic in classical circles. It's changing -- the
generation of classically-trained players in their 20's and 30's is *much*
better about this,
On 17 Mar 2010 at 12:12, John Howell wrote:
Proper baroque articulations with the bow are a
little harder to get across, and so is playing
with notes inegals (which is not QUITE the same
thing as swing--more like an Irish fiddler's
lilt).
I don't know what that latter style is (I'm not
Hi David,
Fascinating -- I know nothing about the notes inegal problem but your
description of it makes it sound very familiar.
What's most frustrating about the swing problem, though, is that sure, it's an
oral tradition, but it's an aural tradition that is *very well documented on
On 17 Mar 2010 at 13:52, Darcy James Argue wrote:
Fascinating -- I know nothing about the notes inegal problem but
your description of it makes it sound very familiar.
I hear the same familiarity whenever I hear y'all despairing over
swing.
What's most frustrating about the swing problem,
On Mar 17, 2010, at 11:22 AM, David W. Fenton wrote:
(the amount of bow used for each note -- for instance, in a
quarter / two eighths passage, theoretically, the quarter note would
use twice as much bow as each of the 8ths, though it actually is more
logarithmic, and the quarter uses
Wow! A new word every day.
I had to look up inegalnot easy, it turns out it's a French word
and we need the accent on the e. But here's a site that explains it
and gives musical examples and mentions swing!
http://www.dolmetsch.com/musictheory20.htm
I've very much enjoyed the
On 17 Mar 2010 at 11:46, Chuck Israels wrote:
On Mar 17, 2010, at 11:22 AM, David W. Fenton wrote:
(the amount of bow used for each note -- for instance, in a
quarter / two eighths passage, theoretically, the quarter note would
use twice as much bow as each of the 8ths, though it
At 1:17 PM -0400 3/17/10, David W. Fenton wrote:
On 17 Mar 2010 at 12:12, John Howell wrote:
Proper baroque articulations with the bow are a
little harder to get across, and so is playing
with notes inegals (which is not QUITE the same
thing as swing--more like an Irish fiddler's
lilt).
On 17 Mar 2010 at 12:02, Michael Greensill wrote:
Wow! A new word every day.
I had to look up inegalnot easy, it turns out it's a French word
and we need the accent on the e. But here's a site that explains it
and gives musical examples and mentions swing!
It's surprising how much that
short passage gets completely wrong (the sole musical example has
zilch to do with inegal), and how much about the topic it omits
entirely.
A good example of why the internet is about information and not
knowledge. Thanks for putting us straight.if of course
On 17 Mar 2010 at 12:37, Michael Greensill wrote:
It's surprising how much that
short passage gets completely wrong (the sole musical example has
zilch to do with inegal), and how much about the topic it omits
entirely.
A good example of why the internet is about information and not
On Mar 17, 2010, at 2:22 PM, David W. Fenton wrote:
This is one case where there's a lot less excuse for those who can't
swing as opposed to those who can't play notes inegal -- we really
don't know exactly what it sound like because all we have are written-
down descriptions of how it was to
On 17 Mar 2010, at 21:28, Andrew Stiller wrote:
There's at least one exception to that. In an early-19th c. French
book about the proper pinning of barrel organs, there's a detailed
illustration of the pinning for a barrel to play the overture to
The Marriage of Figaro. When the
Date: Mon, 15 Mar 2010 20:02:23 +0100
To: finale fin...@lists.shsu.edu
From: SN jef chippewa shirl...@newmusicnotation.com
I believe instrumental technique has always advanced as composers
write dumb/difficult/impossible things
henry, i am going to assume that your comment wasn't meant to
At 6:50 PM +0100 3/16/10, SN jef chippewa wrote:
Date: Mon, 15 Mar 2010 20:02:23 +0100
To: finale fin...@lists.shsu.edu
From: SN jef chippewa shirl...@newmusicnotation.com
I believe instrumental technique has always advanced as composers
write dumb/difficult/impossible things
henry, i am
It's a plain fact that a number of pieces were once considered
unplayable, until a new generation of players came along and took them
up as a matter of course.
Now, after about 100 years, if we could just get string sections to
learn how to swing..
Love
Mike G.
John, I believe instrumental technique has always advanced as
composers write dumb/difficult/impossible things and players get them
to work. It's a two-way street, though. Taafe-Zwillich wrote a bass
trombone concerto that over-uses the stupid pet tricks of Charlie
Vernon;-)
Sent from my iPod
36 matches
Mail list logo
