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But VIOLAS.
Originally Posted by Freel
Not to be encouraged. (My wife is cellist, she has me brainwashed.)
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08-06-2018 02:39 PM
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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.
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OK ee cummings. Frisell and Kessel are legit annoying to spell tho. Originally Posted by djg
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I tried to move you to understanding that she actually DOES NOT make any tenuto or drag on beat 2. Alas.. Originally Posted by Freel
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.
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It's not right .....
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WTF is wrong with people? Why can't they just play NORMAL instruments?
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Sits rather like my neck heavy SG when i have the strap too short!
Originally Posted by christianm77
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He looks really cool.
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Hi,
Here's a great and very challenging transcription. I love it.
Starts at 5:15
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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....
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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
).
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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.
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Under no circumstances is anyone allowed to have fun playing music.
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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. Originally Posted by Roberoo
You’re are right Christian77, I feel ashamed now.
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Good I won’t report you to the jazz police on this occasion but stat out of trouble.
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Yes, sir. I will, sir. Thank you, Mr. Cohen. Originally Posted by christianm77
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Attempting this very tempting piece for solo flute on guitar:
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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.
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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. Originally Posted by dasein
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I like Bach on any instrument if it’s played well...
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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
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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. Originally Posted by BWV
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
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Is it any easier on either instrument?
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I do not know... but technically some pieces are very challenging in baroque lute tuning in original key. Originally Posted by christianm77
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.
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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!
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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. Originally Posted by spassbeisaite
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This is almost becoming standard concert rep
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About that piece I personally doubt that it is Bach at all (even probably not his contempopary- for me it sounds more like later falsification) Originally Posted by BWV
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Incredible playing, but for me the piece does not really work for guitar. Not being a purist; in fact, I prefer the Stokowski transcription to the original organ version. The piece needs more low end than you can get out of a guitar.
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Sometimes things are just for the hell of it?
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This the best music story I know. A musicologist was examining some original Bach manuscripts and kept noting some enharmonic notes that Bach would not normally write. At first he could not figure it out but he noticed he was only reading one page at a time. when he grouped the original manuscripts with several pages out at the same time on a large table the enharmonic notes formed the visual image of a Cross!!! Bach is the man who said The Greatest Use Of Music Is To Glorify God!!!
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I almost live in Bachs music (not guitar or lute only) but I never heard this story... Originally Posted by steve burchfield
Although it sounds quite realistic... do you by any chance know the piece of music it was about?
PS
Bruckner was also the guy wo could write on the score "For Dear God" and whe you listen ou really understand that it is a true devotion
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I think Heinrich Biber’s Rosary Sonatas have musical crosses written into them. And the violin uses ‘crossed’ tuning?
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It is a fact that St Matthew‘s Passion has a growing number of crosses as the action proceeds towards the crucifixion.
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[QUOTE=Jonah;1085287]I almost live in Bachs music (not guitar or lute only) but I never heard this story...
Although it sounds quite realistic... do you by any chance know the piece of music it was about?
This story was told to me by a professor of counterpoint at Berklee College of Music in the mid seventies I do not not remember his name or which particular piece of music it was. Reading biographies of J.S. Bach is certainly more inspiring than those of pop musicians,although in his day no one knew he would become quite famous. To me he is the Greatest Musician Who Ever Lived!!!
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there were 'conventional figures' like 'cross motive' often recognizable by the audience - essentially it is appogiatura ( B-A-C-H is a cross motiv in a very dense chromatic form) and others...
But what is essential in Bach for me (as well as later in Mozart) that he created extremely complex language which is a combination of conventional idioms: like different fixed motives (assending of descenting), chromatis,, mentioned 'cross motive' and many others, genre references (extemely important and often underestimated elkement of language), direct contextual references as recognizebale quotes from chorals or other works, the allusions to his own choral work in his instrumental work ...
and all that is involved into purely MUSICAL language where key changes, modulations, rythm and harmonic shifts, motivic interactions, texture and colour of instruments - above all harmonic movement represented through it all - creates very complex and vivd structure of meanings that creates in turn a convincing feel of truth and reality.
If you wan to become a Christian and you are musically and artistically sensitive there is nothing more convincing than music of Bach - it will make you believe in reality of it more than anything else.
Form me music is not an abstract beauty - it is the beauty of the meanings...
Earlier I used to read books... there was Schweitzer, there was an outstanding Boleslav Yavorsky - Russian muscologist who was one of the first to offer 'decipher' the meanings of Bachs works... and who even made a quite particular Evandelistic references to many of Bach work (with arguments and explanation). He did not make books and his works were published many years later after his death wit hthe help of his students' records.
Some 20 years ago there was also a book byt a late Kedryashev 'Theory of Musical Contents" that covered many of the topics discussed above.
there was a huge topic of my dear friend Boris Yoffe (probably greatest living composer) - covered with a bunch of articles and dicussions as 'Musical semantics' and finally a brilliant book on Bach - not pubished - ABCH... (actually I saw no other book that had so much connection between the meanings and msuic itself without going into scientific theorysization/objectivity - without any references to other books (that he never read) just you and the score and the music and the great language of it.
Nevertheless it is still almost impossible to talk with musicians about meanings of music... it causes often superficial arguments that music has no meaning, that it is pure beauty, that we should not talk about music...
And the quantity of nmeaningless performances grows and grows and - to be honest the further we are the worse it looks to me
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A different take on this.
John
johnhallguitar.com
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I really like this approach. It made me think of this (in terms of being a completely different take on Bach): Originally Posted by johnhall
I also love the low-key playing of Bach in the above vid with the family background noise.
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