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Fonte is not that important for Mozart music... it's key realtions which makes it music.
Mozart taught that there was such a Fonte to his student, and showed where structurally it would be used in the Minuet, for example. That was posted by takemitsu (IIRC) elsewhere. Can repost if you wish. It's interesting.
According to Gjerdingen and Sanguinetti, Mozart's conception of key would have been quite different to ours.
Most analysis of Mozart's music taught academically is based on 19th century and 20th century ideas. This may not in fact be a bad thing (Gerdingen seems to think it is, at least form the point of view of being able to write music like that), but it certainly means that our understanding of his music has changed.
From that point of view, why not understand the music any way I find useful?Last edited by christianm77; 09-22-2016 at 12:32 PM.
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09-22-2016 12:26 PM
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Originally Posted by joe2758
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Originally Posted by Boston Joe
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Originally Posted by christianm77
I know you are joshing, you............................................... .................................................. .................................................. .................................................. .................................................. .................................................. .................................................. .................................................. .................................................. .................................................. ................IMP...
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Originally Posted by christianm77
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i feel frustration..
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Originally Posted by fasstrack
I admire Frank Zappa greatly. He's actually something of a hero to me. This is based on the fact that he did what he wanted to do, the way he wanted to do it, and somehow or other managed to make a pretty tidy living at it. Does that mean I'd have liked him if I'd met him? No idea. Do I endorse every aspect of his personality? Not on your life. Do I agree with everything he ever said or wrote? Nope. Would I want to write music like his? Maybe a little, but not in the main.
But still I admire him. More than anyone else, his example showed me the power of not giving a f*** what anyone else thinks of you.
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And piggybacking on that: So as not to hijack the current thread I think I will start one about the Jazz Cultural Theater days, and talk about Barry, C. Sharpe, Tommy Turrentine, Junior Cook---guys who IMO were phenomenal, players and people. I think it needs to be told, as they have largely been left out of jazz history penned by 'experts'.
Stay tuned...
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Originally Posted by Boston Joe
Hey man, we're hijacking the OP's question and the thread...
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+10000 for play the melody, and work it up from there.
Lot of guitar players I met see a tune as a grid of chords. It's a disease.
Really cool thing is just comp the chords and sing the song (actually as I am more of a horn player, this is main reason I play some guitar - we were too poor for pianos when I was a kid, etc etc )
Or, sit at the piano, play partial chords in the left, melody in the right.
Whatever it takes to hear the melody and chords as kind of attached to each other. The melody is the washing line, the chords are the clothes hanging off it.
Oh yeah, and start with simple tunes with great melody and work up.
good luck!
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Originally Posted by Jonah
I feel you...
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Originally Posted by joe2758
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Originally Posted by Boston Joe
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Originally Posted by Thumpalumpacus
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...and picked up a habit...
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Originally Posted by Jonah
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Originally Posted by Thumpalumpacus
IOW, why would you analyze a II V I as Dorian, Mixo, Ionian when it's all just major? Using modes that way is helpful to an improvisor, but to an analyst, not so much.
They were interesting conversations (she was the only GF I ever had who knew anything at all about music theory, so that was kind of nice), but ultimately, she didn't really care for theory and was much more interested in the history.Last edited by Boston Joe; 09-22-2016 at 03:22 PM.
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Sorry. Why?
I feel you...
Excuse me this off-top but in conlusion to my Mozartian line I want add this air for 'Don Giovanni'.
You actually do not need to understand the text - the music contains it all: this short air is complete instruction and descritions...
Mozart shifts between slightest changes of temper... so swiftly tha you canot even catsh it... now it's doubt, now it's hope, now belief, now it corwadice, the decision, the prayer, then anger, threat, rejection... everything...
How short it is! But how much of us is in it!
The dramatic climax lasts about 30 seconds of music only (from approx 1:30 to 2:00) - but just listen it contains so much that sontimes it take a life to leave through..
And listen how Mozartian it is - how suddeny deep thoughtful doomed turns this seemingly light-hearted scene...
I take this performance not only because of great baritone Piter Mattei, but also because of wonderful action that reflects musical dramatic action better than any I've see... Peter Brooke could understand music.
Check how subtle is his usage of form, genres, harmonic movements, orchestration to achieve the meaning...
he was greatest dramatic composer ever... he did not need signature motives like Wagner - but the effect he achieved was so complex and so astonishingly unexpplainable that it was just real life as it is.
Bach knew all about God in us, Mozart knew all about human in us...
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Originally Posted by Jonah
The fact that some commonalities exist between them shows only that jazz is informed by the classical tradition.
I appreciate Jonah's frustration. I think he feels that we are not getting the full gist of his appreciation for Mozart's genius, or that finding threads of commonality between Mozart and Parker somehow reduces the magnitude of Mozart's accomplishments.
To me, those commonalities are illuminating. They speak to tradition and history. They don't place the two men in competition with one another.
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+1 on Mozart as a source of inspiration for improv. However, it helps if you have put in hours on the piano.
I'm no expert, but in my world, melody comes first, then chords -- by ear if possible (as opposed to reading the chart), then start foolin' around. One string soloing is a great way to break out of dead sounding technique/formula for me. Also the blues, always the blues. And I find practicing my scales slowish to be very useful at this point.
I love that Lee Konitz scale mentioned above too Seems right on to me.
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Originally Posted by Jonah
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I jest, of course.
'I kid Jonah'...
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Originally Posted by fasstrack
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Originally Posted by christianm77
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Originally Posted by Boston Joe
BTW, couldn't get along with anyone who thinks Dorian is major. That flat third just kills the relationship.
Li'l Dawg 6G2 Choco Prince review (this one's...
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