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Thread: Bach For Guitar

  1. #101
    Quote Originally Posted by christianm77 View Post
    Also I dislike the way the clip posted by Jonah highlights violas and their enablers.
    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.

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  3. #102
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    Quote Originally Posted by Jonah View Post

    i am sure that Chaconne is one of the most fundamental Christian music... it surprisingly comprises what Bach has expressed in his vocal works, and in 2 volumes of instrumental New Testament.. WTK.
    But the Chaconne is mostly connected with the period after Christ's death, his descension into the Hell, and Resurrection.
    This is a very Orthodox thing to say as the Descent into Hell is not part of Protestant theology.

    That is, I'm sure your description of the piece in terms of death and resurrection is valid, only not for this reason.

    Stephan

  4. #103
    Interesting quote about the Chaconne from a violinist:

    Marc Pincherle, Secretary of the French Society of Musicology in Paris, wrote in 1930: "If, insofar as certain rapid monodic passages are concerned, opinion is divided between the violin and the guitar as the better medium, the guitar always triumphs in polyphonic passages; that is to say almost throughout the entire work. The timbre of the guitar creates new and emotional resonance and unsuspected dynamic gradations in those passages which might have been created purely for the violin; as for instance the variations in arpeggi."

  5. #104
    Quote Originally Posted by grahambop View Post
    Interesting quote about the Chaconne from a violinist:

    Marc Pincherle, Secretary of the French Society of Musicology in Paris, wrote in 1930: "If, insofar as certain rapid monodic passages are concerned, opinion is divided between the violin and the guitar as the better medium, the guitar always triumphs in polyphonic passages; that is to say almost throughout the entire work. The timbre of the guitar creates new and emotional resonance and unsuspected dynamic gradations in those passages which might have been created purely for the violin; as for instance the variations in arpeggi."
    It is astonishing how guitaristic some things become when read straight off the urtext. The C major Allegro looks, texturally and by no means in terms of quality, a lot like a study by Carcassi or Molina.

    That quote pretty much sums up the consensus amongst the violinists over thirty that I have met, under thirty is a lottery.

    I will always remember long ago when my Ibanez destroyer was my most prized possession hearing the prelude from the Cello sonatas, you know ....the one everyone plays, on the then new Radio Station Classic FM and finding that to my ears it sounded fresh and lyrical and like the work of a living guitarist.

    The guitar breathes life into Bach's lateral harmony in a way that only the most superb acoustic and sensitive performance responding to that acoustic can on violin.

    I would imagine though that there is not a single violinist in the world who would give up his bow or swap it for a plectrum.

    D.

  6. #105
    Quote Originally Posted by ronjazz View Post
    (...) Kessell (...)
    at least get his name right, ffs.

  7. #106
    Quote Originally Posted by djg View Post
    at least get his name right, ffs.

    Yeah, it's like when people miss out the J in Yngwie J. Malmsteen, they could be talking about literally any guitarist called Yngwie Malmsteen,... so confusing.

    D.

  8. #107
    Quote Originally Posted by Freel View Post
    Yeah, it's like when people miss out the J in Yngwie J. Malmsteen, they could be talking about literally any guitarist called Yngwie Malmsteen,... so confusing.

    D.
    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.

  9. #108
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    Quote Originally Posted by Freel View Post
    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.)

  10. #109
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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.

  11. #110
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    Quote Originally Posted by djg View Post
    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.

  12. #111
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    Quote Originally Posted by docsteve View Post
    This is a very Orthodox thing to say as the Descent into Hell is not part of Protestant theology.

    That is, I'm sure your description of the piece in terms of death and resurrection is valid, only not for this reason.

    Stephan
    In this description I don't pretend to be exact in factual sense.

    On the other hand those days these conception interacted much closer than now. We should not forget that Bach composed Catholic Mass. One of the greatest one.

  13. #112
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    Quote Originally Posted by Freel View Post
    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.

  14. #113
    Quote Originally Posted by Jonah View Post
    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.
    Straw man - Wikipedia

  15. #114
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    Come on ... just open the score and work with it...

  16. #115
    Please Mr Jonah sir may I choose for myself what to play, what to like and what my opinion is ?

    If you want to play it then do so.

    D.

  17. #116
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    Quote Originally Posted by docsteve View Post
    This is a very Orthodox thing to say as the Descent into Hell is not part of Protestant theology.

    Funny thing about this. At least in my own largely dull life. I was raised Protestant (Southern Baptist) and did not learn the Apostles Creed, much less the Nicene Creed. Later I became Catholic and learned both. While in a Catholic seminary, I was part of the entertainment for a "community night" for the fourth year class. (The guys who had just been ordained deacons and would soon be out of seminary and be ordained as priests.) I wrote and performed a song about a new priest's first parish assignment. The name of the parish was "Descent into Hell." It went over big. One of the highlights of my life, really.

    Part of it ran:
    "This is Descent into Hell;
    The parish known for its bake sale.
    Nobody cares what you know
    'Cause they're already sure how it's all supposed to go."
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  18. #117
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    Please Mr Jonah sir may I choose for myself what to play, what to like and what my opinion is ?

    If you want to play it then do so.
    Of course you can.. you just can't blablabla and stay unpunished.
    5 centuries agou i would have had you burnt.. now it is much more complex unfortunately.

    Open the score, work with it.. meaning analyze and explain.
    explain how the tenuto you speak about is not related to contents and form of this music that you find it inappropriate.

    I just waht to be sure you hear anything bsides 1,2,3 in this music...

  19. #118
    Quote Originally Posted by Jonah View Post
    Of course you can.. you just can't blablabla and stay unpunished.
    5 centuries agou i would have had you burnt.. now it is much more complex unfortunately.

    Open the score, work with it.. meaning analyze and explain.
    explain how the tenuto you speak about is not related to contents and form of this music that you find it inappropriate.

    I just waht to be sure you hear anything bsides 1,2,3 in this music...
    ^ Mods ?

  20. #119
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    This thread is hilarious.

  21. #120
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    Quote Originally Posted by Freel View Post
    ^ Mods ?
    This Forum no longer has moderators. If you want to report this (or any post) to the administrators, click the black triangle in the lower left corner of the post you wish to report. A screen will come up giving you space to write what you wish to report. (Most common report: Spam!)

    In this case, I hope you don't.
    But should you want to, that is how to do it.
    The administrators are not monitoring threads.
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  22. #121
    Classical music is clearly a lot of fun.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

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  23. #122
    Quote Originally Posted by mr. beaumont View Post
    Classical music is clearly a lot of fun.
    classical music rules; there's egos in any genre
    White belt
    My Youtube

  24. #123
    Quote Originally Posted by christianm77 View Post
    This thread is hilarious.
    It’s baching mad.

  25. #124
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    It's not right .....


  26. #125
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    WTF is wrong with people? Why can't they just play NORMAL instruments?


  27. #126
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    Sits rather like my neck heavy SG when i have the strap too short!

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


  28. #127
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    He looks really cool.

  29. #128
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    Check This Out! Goldberg Variations

    Hi,

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


    Starts at 5:15

    Bach For Guitar-137163-jpg

  30. #129
    If you haven't seen this yet today, check it out and hit the play button:

    Google
    -- Isn't it crazy that "archtop" and "luthier" are spelling errors on this forum?

  31. #130
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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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