On 16/04/2011 16:56, Chris Despopoulos wrote:
I've recorded a few pieces now with a bordon on the D course -- Suite
by Roncalli, Paracumbe, and Folias by Sanz. These are compared to
similar recordings I did without the bordon. Oddly enough, the earth
did not crack open and swallow my guitar, flaming toads did not fall
from the sky, and gravity as we know it still holds sway.
I'm inclined to view the results along the lines of speaking a language
with an accent... Perhaps the emPHAsis is placed on differENT
syllABles, but the import is generally the same, and the ability to
move the listener rests entirely with the speaker regardless of his or
her accent. I've found that the bordon reveals some aspects of a piece
I may not have noticed otherwise, but nothing earth-shattering. I may
try to record a few other pieces with a bordon just to be thorough.
(And I suppose I should try this exercise with bordones on two
courses...) For my own pleasure I want to get back to fully re-entrant
tuning, but that's just a personal and possibly temporal preference.
If you're interested, you can hear the results at:
[1]http://cudspan.net/baroque/
Cheers cud
--
Chris
You certainly play with a lot of fire! I think the bordon on the D
course does make quite a difference - a darker sound maybe, or more
depth. And, of course you now have extra notes below the third course.
How do you get that effect on the letter A (chord of G) in the first bar
of the Roncalli Prelude?
Stuart.
References
1. http://cudspan.net/baroque/
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