board77

With organ and harpsichord just touching the key plays the instrument. It's that simple. There are no dynamics...no other variables. With piano you have to consider how hard you press the key to get the right sound. Then of course don't get me started with wind and string instruments.

I was only joking...

See ya'll later!!

Bach!!!

As DMM mentioned a couple of pages ago, I'm a fucking tenor. I also play acoustic guitar (6 and 12 string - another Ovation 12 string owner here, Al), and I play mandolin a little, but I'm first and foremost a singer. I especially like "woodshedding" harmony parts, getting with two other singers and finding that missing note that neither of them has covered.

As for Clapton, his contributions were more stylistic than technical, and go way beyond guitar and on into singing and songwriting.
If you want to talk guitar technicians, the all-time grandmaster technician has to be Eddie Van Halen. Every little trick and technique used by Vai, Satriani, Malmsteen, et al - Eddie invented them from scratch. High-speed harmonics, right hand fingertaps, that whole volume knob thing he did on the Diver Down album - Eddie just made that stuff up. Nobody (except maybe Hendrix) ever advanced the electric guitar technically like Eddie.

[/soapbox]

Probably true Ang! He just never did much for me personally. Much like Vai, Satriani, Malmsteen, DiMeola and to an extent Page, he never really made me care. Technical virtuosity is all good and fine, but feel is what music's all about. I'd rather listen to Clapton, Gallagher or Santana anytime, simply because you can feel every note. I'd have to put Knopfler in there also for sheer melodic composition.

Are you familiar with Rory Gallagher Ang?

Alatar

Ahh but thats where evh takes it slightly beyond vai and satriani, while we marvel at their skill, its not good to listen to unless you're watchin a vid of them at the time. Stick on a Van Halen album, you'll forget just how amazing it is that he played it, and just enjoy the songs... Panama, Run Around, Jump, Dreams, Jamies Crying, Running with the devil, Cradle will Rock are all really really good songs and sing-a-long-able and fun.

Clapton - tears in heaven and layla.... what else? (dont actually answer that, i just mean nothing else really seems to stand out to me)

my twelve string is washburn

Fras, have you listened to his older stuff with Cream, Blind Faith, Derek and the Dominos, Bluesbreakers? His solo career, while pleasant, is pretty pedestrian. As a starter, check out Disraeli Gears and Wheels of Fire. I can't promise you'll like them, but I guarantee you'll have a new respect for him.

I used to have a six-string washburn. I miss that guitar

I must admit to only having heard cream and the yardbirds...

Just as a side note... if you're wondering what Ang's 12-string looks like, it's the one in my pic.

Ok, back to discussion about guitarists...

I don't wanna talk about guitars... I failed terribly at learning to play one!

Let's talk about... er.... I dunno. Vacation has fried my brain!

We could talk about kazoos.

Or not.

Wampuscat wrote:

Bach!!!

He doesn't do much for me. I like music with cool harmonic progressions or interesting (yet not painful) dissonances.

Anyway, got a question for y'all. I've been practicing the Texas All State music because I have one student I'll have to work on it with and one of the etudes has me wondering. Here's a scan of the part I'm wondering about:



I'm wondering about the groups of 9 notes (whatever they'd be called). It happens twice. For me to be able to play 9 notes in one beat correctly I need to subdivide them, so I was thinking 4 notes on the down beat, 5 on the upbeat. What would you guys do?

Panic.

(Sorry, not a helpful answer...)

I'd look at it as three sets of triplets = triplet eighth notes. (1 2 3 4 5 6 7 8 9)

Then again, have you plugged it into Finale to see what the subdivision sounds like? It might give an idea.

Doh!

Triplet! Yes, that makes sense for the second one. I was being stupid. Those are 16th notes so that's more than one beat where that 9 mark is.

What about the first group of 32nd notes that have 9 in one beat (or two 8th note beats)...I'm still confused about that one. I can try plugging it into Finale, but I don't know how to set the tempo as 8th note gets the beat.

Use the tuplet tool - for the first one, adjust the drop-down lists so that it plays nine 32nds in the space of eight 32nds, for the second adjust so that it plays nine 16ths in the space of eight sixteenths.

Quarter note = 48

Woah, didn't even see that first set as it wasn't even labled... looks almost like a cadenza figure, do you know if rubato is encouraged for this excerpt?

Hold on, 'm about to break into theory analysis mode...

I'd be tempted to subdivide the 32nd notes into three sets of three, as well. If you look at the last six notes of that measure (second and third set) you have a repetition of a downward motive... variation, rather... and the third set is also an inversion of the first set if you analyze it that way.

The staccat note at the end would be the only thing throwing me off, but then again, slur-two tongue-one is a fairly common articulation (I should know, it's abundant in my audition excerpt this Saturday )

Good luck with that audition!

I need to practice my french horn... but...

Just stopped in to post this link for DMM & any other low brass player that might be interested:

Brass Soundclips

I was very impressed with Bugler's Holiday... which I heard my brother listening to! He provided the link after I shook him down!

Edit: Gah! Can't figure out link!

Edit again: Momentary lapse of sanity... won't happen again!