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  1. #101

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    Quote Originally Posted by Freel
    I cannot agree, I found the playing clear, lucid and refreshingly free of affectation, I lasted right to the end and honestly enjoyed it. It made me regret once again that I once rejected the invitation for a loan of a Viola de Gamba.

    I love the sound of a Viola played well, not so much when a violinist uses it to practice his violinistic tone in public and certainly not when a group of them disrespect the downbeats, that did not happen though in that clip.

    D.
    But VIOLAS.

    Not to be encouraged. (My wife is cellist, she has me brainwashed.)

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #102

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    BTW a Viola de Gamba is not a viola in the modern sense, it comes from a completely different family of instruments being viols, and is a good instrument.

    Definitely take up the chance to borrow one, the bowing is hard though.

  4. #103

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    Quote Originally Posted by djg
    i teach jazz history and i do think it is important to get the names right. it is getting a bit tiresome to read about kriesburg, methany, frissel, bernstien et al. all the time. call me old-fashioned.
    OK ee cummings. Frisell and Kessel are legit annoying to spell tho.

  5. #104

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    Quote Originally Posted by Freel
    She drags on beat two, often but not consistently. I think she is trying do something with rubato which would should be achieved with articulation tone and dynamics, I know why and it is something that I have worked hard to excise from my playing.

    It is common fault amongst classical guitarists, so common in fact that many cannot hear it. It is the central trouble that they have playing with others and in particular playing rhythmic styles like flamenco and swing.
    I tried to move you to understanding that she actually DOES NOT make any tenuto or drag on beat 2. Alas..
    This is just irrespective to form and contents of this music.

    It is so difficult to explain to musicians that there is no technique and no articulation at all without contents.

    You cannot say to an actor: this vowel is too long or this syllable is stressed too much if you do not understand the text he says and its meaning.

  6. #105

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    It's not right .....


  7. #106

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    WTF is wrong with people? Why can't they just play NORMAL instruments?


  8. #107

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    Sits rather like my neck heavy SG when i have the strap too short!

    Quote Originally Posted by christianm77
    It's not right .....


  9. #108

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    He looks really cool.

  10. #109

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    Hi,

    Here's a great and very challenging transcription. I love it.


    Starts at 5:15

    Bach For Guitar-137163-jpg

  11. #110

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    I will concede that man is very good on the guitar, also the Goldberg sounds great... I think keyboard music sounds good on guitar as it has that harpsichord like quality in some respects, but with a lot more expressive possibilities.

    Obviously it is very hard to play, much harder than the solo string music.

    I wonder if it would be playable on a lute....

  12. #111

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    I’ve started using the cello suites to work on picking and reading as it’s more interesting than most guitar exercises. I know nothing about the music or context, it’s just for fun (even though I’ve been taught one does not play Bach for fun ).


  13. #112

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    Bach through stereo Katanas! Nice. Of course, I would get tangled up in all the cords and gear and my wife would have to come in with wire cutters to get me out.

  14. #113

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    Under no circumstances is anyone allowed to have fun playing music.

  15. #114

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    Quote Originally Posted by Roberoo
    Bach through stereo Katanas! Nice. Of course, I would get tangled up in all the cords and gear and my wife would have to come in with wire cutters to get me out.
    Haha, that’s a funny image, Roberoo. Actually, after hooking everything up, ready to go I could not understand why there was no sound. I had forgotten to plug my guitar into the whole mess.

    You’re are right Christian77, I feel ashamed now.

  16. #115

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    Good I won’t report you to the jazz police on this occasion but stat out of trouble.

  17. #116

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    Quote Originally Posted by christianm77
    Good I won’t report you to the jazz police on this occasion but stat out of trouble.
    Yes, sir. I will, sir. Thank you, Mr. Cohen.

  18. #117

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    Attempting this very tempting piece for solo flute on guitar:


  19. #118

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    Derek Gripper has some nice arrangements of the violin sonatas and partitas, using different tunings and capos.

    But I learned from this thread that you shouldn't play Bach on the guitar, or Bach in general, or really just music in general.

  20. #119

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    Quote Originally Posted by dasein
    Derek Gripper has some nice arrangements of the violin sonatas and partitas, using different tunings and capos.

    But I learned from this thread that you shouldn't play Bach on the guitar, or Bach in general, or really just music in general.
    Derek Gripper is doing daily zoom classes, mostly on his african stuff, a little Bach. He also has a podcast about the Bach. He tends to get dug into one educational project then another. But I've gotten a ton out of the zoom lessons. Just amazing to be able to hang with a master on a daily basis and I love the way he approaches the guitar. Really affordable. It's a group of 20 or so but everyone is muted so you just play on your own but he is a fabulous teacher. Highly recommended.

  21. #120

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    I like Bach on any instrument if it’s played well...


  22. #121

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    Lute suite BWV 997 played on the instrument Bach actually wrote it for, which is why it is so bloody difficult on guitar



    Same with 998, Prelude, Fugue & Allegro


  23. #122

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    Quote Originally Posted by BWV
    Lute suite BWV 997 played on the instrument Bach actually wrote it for, which is why it is so bloody difficult on guitar



    Same with 998, Prelude, Fugue & Allegro

    Well... it is still much under discussion. I am much into lute playing and Bach is one of the topis that is always in argument.

    THey discuss which insturment of the period to choose: baroque lute or Italian archlute. The fact that Bach was German and knew Weiss pushes into direction of the baroque lute which was common in France and Germany was days.
    But there was no standard and archlutes/attiobatos in renaissance tuning were universal instrument all over Europe (sort of portable harpsichord)

    Some lutists play it in oroginal keys (Vasily Antipov insists that it was all written for baroque tuning and sould be played on it in original keys and I like his playing- but he has exceptional phpysical possibilities - not everone can do that). Others make transpositions - not in the same keys by the way and so on and so on

    998 on a single-strung archlute in A (that is renaissance tuning) performed by Luciano Contini



    And on double-course baroque lute in baroque lute tuning (open d minor) by Hopkinson Smith


  24. #123

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    Is it any easier on either instrument?

  25. #124

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    Quote Originally Posted by christianm77
    Is it any easier on either instrument?
    I do not know... but technically some pieces are very challenging in baroque lute tuning in original key.

    Bach owned two lutes according to posthumous inventory among many many other instruments.
    No evidence he played them but he definitely could play viol and violin families instruments and traverso flute... besides keyboards of course.

  26. #125
    If you love Galbraith's book on the Bach Inventions, take a look at the work of Michael Schmolke:

    Bach-Inventionen fur Gitarre | Start

    This is not only about getting the pieces right on the guitar. It is also about understanding the compositions, especially from the perspective of the jazz guitarist. What scales and progressions are the pieces based on? How do you approach improvising over an invention?

    In contrast to the Galbraith edition, the keys here are chosen so that all pieces can be played in standard tuning.
    The scores also include fingerings and tablature.
    For each invention a harmonic analysis is offered, which can be traced in the form of a newly composed third guitar part. This third voice can also be used as a playback for own improvisations on harmonies and form of the Invention.

    Check it out!


  27. #126

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    Quote Originally Posted by spassbeisaite
    If you love Galbraith's book on the Bach Inventions, take a look at the work of Michael Schmolke:

    Bach-Inventionen fur Gitarre | Start

    This is not only about getting the pieces right on the guitar. It is also about understanding the compositions, especially from the perspective of the jazz guitarist. What scales and progressions are the pieces based on? How do you approach improvising over an invention?

    In contrast to the Galbraith edition, the keys here are chosen so that all pieces can be played in standard tuning.
    The scores also include fingerings and tablature.
    For each invention a harmonic analysis is offered, which can be traced in the form of a newly composed third guitar part. This third voice can also be used as a playback for own improvisations on harmonies and form of the Invention.

    Check it out!

    Thanks for the tip on this. I've been working through Galbraith's book, helped by the COVID lockdown earlier this year. I'm trying to memorize all the Guitar 2 parts in the book as I find they hold up very well as solo guitar pieces, and I now have 4 of the inventions memorized. Looks like Book 2 would be a good continuation of these studies.