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Thread: THE OLD MUSIC THREAD OMNIBUS -- NO ROCK AND ROLLERS ALLOWED UNDER ANY CIRCUMSTANCE!!!!!!

  1. #51
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    Laitz touts his new book with some helpful examples at the piano. Pretty good -- for once somebody says something not stupid about analysis on youtube. People think analysis has something to do with their completely incorrect misconceptions of what it means to use a formal language as a tool of thought. It's the same error cultural critics make when they try to talk about Anglo-Austro-American philosophy which is, since you asked, the primary place where research is performed in neuroscience, mathematical logic, knowledge representation, machine learning, and ontologies in computer science.

    Namely, a bunch of gibberish.

    Thinking is simple. Notation is merely a helpful tool. Vertical analysis, Laitz stresses, is so limited and ineptly practiced that it is not just the wrong approach, but it is worse than wrong.

  2. #52
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    Here's a question: I'm wondering who these people are who aren't romanticizing adolescents who prefer Gould's later recording of the Goldberg's to the 1955 recording. I won't say I've outgrown Gould, because I still pay attention to his recordings when it's a piece I'm trying to hack out (one should listen to all interpretations, after all), or the Goldbergs (many of which are beyond my technique to sight-read, even slowly), although I'm not interested in them anymore except the first variation.

    The 1955 fast tempo of variation 1 is correct, and anything much slower is bizarre and perverse.

    Also, who actually likes the Sinfonia in C and c minor at slower tempi? Gould was right to play the first Sinfonia (C) at a typewriter-touch-typist pace, and was wrong to play the second (c minor) at a less-than-brisk pace. Those are student pieces, but IMHO the Sinfonias are about equivalent in technical demands of anything else Bach wrote for keyboard.

  3. #53
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    I think I posted link to McGriff and Crawford doing "Everday," somewhere above, but I hadn't actually heard the guitarist until now.

    If you have at all a perceptive mind, you can "see" Hank Crawford's internal gears turning as he ends up realizing, "WTF, I'm done with my solo how long do I have to signal to these squares?" And Donald Pleasance on guitar picks it up and delivers what is, to my ears, about one of the best-crafted live solos ordered-up-on-the-spot there was. He literally saved the day.

    I'm betting Hank Crawford might have been doing a bit of drinking, that day, but hey, in jazz it doesn't matter, so long as it plays.

  4. #54
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    Resolved. Acceptable piano sonatas of Beethoven for people of modest technique and exceptional taste: Op. 26, Op. 27 no. 1 (we played no. 2, but we aren't twelve years old, so we choose not to), and Op. 109, which is the most accessible of the late sonatas. Thirty years later, after long gaps in playing, Op. 111 is still not a reasonable piece to play unless you get paid a lot of money. ETA except the first movement -- I was always after the variations in the second movement as a kid, while, then as now, am incapable of doing the multiple internal trills, unless, I suppose, I were paid a shitload of money and had a lot of time. The 1st movement's contrapuntal devices has begun to appeal to me, and it is reasonable to play, but probably only for fun, since it is a unified work IMHO.[/eta]

    And, apostrophically, the whole of Op. 126 is, in practice and theory, reasonable to commit to memory once one understands the theory (IMHO it helps to make sense of the piece, therefore memorize AND interpret in a sensible way). I've been playing this since I was 12, but it helps to have a theoretical understanding of the cadences, and it's seeming reasonable to just keep reading it from the score, say, once a week, and work to memorize it all, and, so to speak bake it into the brain with understanding. The ledger lines in no. 3 are a PITA, but, whatever. I used to love #4 when I was about twelve, and #6, so those were nice to polish up.

    And, Op. 2 no 1, is worthwhile to revisit, although maybe not worth the effort to memorize and master, but certainly to read through at the keyboard, although the last movement is harder to read at full tempo, but close enough to get the idea.

    Condensed: one could profitably learn Op. 26 and Op. 27 no. 1 and gain considerable insight into the historical relation of classical form into styles used in the 1830s and so forth. In addition to solidifying the technique required to play and improvise in the classical style, a la Haydn, and, especially Mozart. NB: these two should only be played as whole units. Also, note the figuration similarities in Op. 26 "Rondo" and Mozart, "Jeunehomme" concerto's "Rondo" (incidentally, similar technique used in the presto agitato from Op. 27 no 2, but we don't like that any more, even though we find it's not as terrifying as it seemed when struggling as a young pre-teeen).

    Also, note the Op. 26 "Rondo" similarity to Chopin's figurations in various of his little pieces --it is perhaps no coincidence that Chopin was known to have played this sonata alone of Beethoven's in public. Obviously, the marche funèbre, but that's another topic.

    And that is all I have to say re Beethoveno at this moment.
    Last edited by Jizzelbin; 01 Aug 2017 at 01:39 AM.

  5. #55
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    Oh, and I revise my statement from 2014 re Brahms. The ones I learned as a preteen/young teenager were the Dies Irae from Op. 118, and the A major from the same, and the B minor Rhapsody.

    Now, for a few weeks sporadically sight-reading, I like the "Fantasies" Op. 116, and the Op. 117 -- the Capriccio is a nice little show-off piece, and also good prep to doing Joey de Francesco diminished chords arpeggiated like in "When Johnny Comes Marching Home," and the E major intermezzo is kind of curious, and fun to do the elementary crossing-hands.

    Way on the back burner, but I enjoy reading at the keyboard Op. 116, 117, and 118, as sets of music. Am not so chuffed about Op.119, but whatever.

    It blows my mind that the young Ludwig Wittgenstein grew up hearing Brahms perform at his family's house.

    These later pieces amuse me in that regard, but also that Brahms seemed to resolve his younger (teenage years) of playing dance music in brothels and so forth for spare change and his quietly revolutionary harmonies, always within context of a strictly (?) non-programmatic conservatism.

    Also, it is a great place, as is Beethoven, to experiment with using as little sustain pedal as possible, given what we know about the instruments used at the time. Gould, of course, takes it to the extreme, but I think he was just screwing around, and, anyway, he's just some guy with good technique and some interesting ideas. Perhaps "interesting" is a better way to put it.

    Although I'm still using Chopin's Prelude #3 as a kind of LH etude (it's a nice piece, and I don't mean to diminish it, but it's as hard as the Revolutionary Etude for LH, but much better), and #1 as a memory exercise, and I still do waltzes ..... don't remember the opera .....67 or 69, maybe ..... but the Db and the C# minor (there's a third one in the same opus, but I don't know it). With the goal of doing my version of Booker's "Black Minute Waltz" similar treatment to the C# minor from the same opus, I have a lot more time in my mind for late Brahms.

    And then there's Liszt's transcription of Berlioz's Symphonie for piano. I don't have a lot of time to want to give to Berlioz, unlike Debussy, who was as remarkable a man, but also a tremendous composer for piano. No grand designs for playing all of Claude's preludes, but pick and choose, and at least sight read.

    And, of romantics, there are late nights when I'll sight read Schumann's Kinderszenen, front to back. Not played well, but sometimes it's appropriate.

    ETA oh, and to revise from May 2016, it is Bach and Debussy who are the extrema. Filling in the gaps is an historical and joyful enterprise, hence my revisiting Beethoven, and learning Mozart and Haydn from afresh. The early romantics from 1830 on are diversions, and Scarlatti is one of the missing links. That should make plain my assertion that approaching history with an awareness of artistic expression is worthwhile, and should be part of a standard curriculum, if one is, as they are, teaching the literary drivel from similar epochs.
    Last edited by Jizzelbin; 01 Aug 2017 at 02:48 AM.

  6. #56
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    I was just distracted messing around with "Tiger Rag," which I don't really know except I can half-remember the melody in Bb and it's got that one stop-time thing in it.

    I thought my LH was good at around quarter note = 160 beats per minute, and heard Jelly Roll play it quite a bit slower, and felt "OK, that's interesting, maybe next week I'll do more on that style, and spend a half-hour learning some tricks off the record."

    Just now heard Art Tatum's record from sometime in 1933.

    That shit is fucking scary.

    First of all, he's not only playing fast, everything he improvises is about quadruple that, literally. Jelly Roll and me, just kind of lazily get by and make some shit up.

    Second of all, he's playing all kinds of diminished triads, walking them up and down, like the passage in like bar 16 or so of Liszt's Hungarian Rhapsody #9.

    Third of all, it's dispiriting.

    Fourth of all, he kind of looks like Forest Whittaker.

    That is all.

    ETA

    is, I believe, the same recording I have.

    Sixth, the reason I have the record is I thnk I have a transcription of this performance on paper. That is a reason to not be dispirited, because I can use some of the left hand ridiculous stuff as part of my regular scales and stuff, and it sounds like a lot of it is using that fngers 3-4-5 of the LH, which is exactly what's needed for Chopin's Prélude #3 (G major), which is a long way off. As it is, the only thing I have to improve is Bach's Bourée II from the A Major English Suite, and just methodical practice at that hand motion.

    That is also all.
    Last edited by Jizzelbin; 05 Sep 2017 at 11:05 PM.

  7. #57
    Elen síla lumenn' omentielvo What Exit?'s avatar
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    You might have fun playing in this 78rpm collection: https://archive.org/details/georgebl...wnloads&page=3

  8. #58
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    Thanks! Well, it'll be somewhat amusing to explore later. Possibly while rip-roaring drunk and bored.

    Note that on the front page, there's Ethel Merman singing "They Say It's Wonderful" (shut up, man, it's a good tune, covered by Coltrane, Don Patterson did it on the B-3, Bill Evans did it, and probably some others) adjacent to the stalwart-sounding "Tuskegee Institute Singers" doing "Swing Low, Sweet Chariot."

    I don't know why, but I find that amusing. Haven't heard either yet (my TLS-capable connection is not I can have patience for right now).

    Something about that combination makes me think of murdering Doris Day.

    For me, that's not a bad thought. She just..............makes me want to punch her in the face.

  9. #59
    Elen síla lumenn' omentielvo What Exit?'s avatar
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    I'm not a Doris Day fan myself. I don't love her acting, singing or think she was a Hollywood hottie. Though I've never desired to punch her in the face, just turn off her movies and TV show. I like some of the old Blues I found with some digging and the earliest recording of Rhapsody in Blue I've ever heard was cool. Plus I stumbled onto an old favorite of mine: Rosemary Clooney's Come On-A My House

  10. #60
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    Stop distracting me! I just found out about Catalan numbers...oh, well, since I'm here.

    Yeah, OK, maybe Doris Day doesn't deserve to be executed, gangland-style. And that tune "Secret Love" is pretty good. And Sly Stone turned "Que Sera, Sera" into a really good-sounding record.

    That early Rhapsody in Blue would be good to hear.

    Rosemary Clooney -- always seemed to be singing on, like Sunday nights or something at the Rainbow Room. Never heard her sing, on record much less in fancy live.

  11. #61
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    In 2 parts, earliest Rhapsody in Blue recording apparently.
    https://archive.org/details/rhapblue11924 & https://archive.org/details/rhapblue21924

  12. #62
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    Quote Originally posted by Jizzelbin View post
    Also, note the figuration similarities in Op. 26 "Rondo" and Mozart, "Jeunehomme" concerto's "Rondo" (incidentally, similar technique used in the presto agitato from Op. 27 no 2, but we don't like that any more, even though we find it's not as terrifying as it seemed when struggling as a young pre-teeen).
    ETA note to self, that's called the Alberti figure or bass. And, yes, it's nice to know and is a pretty good technique for just improvising, as in trying to make a pastiche of classical style. Once you know it has a name and its applications, it's somehow easier to just get it happening.

    Just wanted to add the current state of the art to the mix.

    @WhatExit, thanks for the links. I still have two more 24oz cans of Camo Ice 10.6 to get through, and then I may develop the patience to get over my slow TLS connection (unsecured sites are fine, it just takes longer over 1x or 3G to do streaming audio).

    I will add, though -- I haven't thought about older music records in a long time. For me, Jelly Roll is just part of the vocabulary, and the tunes are sort of burned into the brain. Last evening I took five minutes and brought down off the shelf some of Eubie Blake's tunes from a transcription book. You know, the Charleston Rag is still fun to play, and .... I guess it's nice that Blake actually got to make a nice living (?) off some of those shows he wrote with the other guy, Ray Noble? Some big musicals, I guess, that probably made a lot of money. He might have been like the Allen Toussaint of ragtime -- composer, producer, and so-so player. I'm not going to listen to Blake's records again, after thirty years, but it did give me a nice alternative option to putting "Kitten on the Keys" into active rotation. I haven't played any of this for a long, long time, but the enjoyment factor is pretty high, just to have the option of recalling from memory some of those "showbuster" tunes. I've still always retained some small part of Joplin pieces like "Solace," "Bethena," not perfectly from memory, but mostly just screw around with fake-improvisation style. There's some value in expanding the memory to include the proper versions, I guess.

    Still looking forward to checking out the Rosemary Clooney -- never heard her sing, and it might amuse me. I hope she's a hip jazz singer, like Nancy King, Annie Ross, or Anita O'Day -- I can't say I'll be able to listen to Ethel Merman, Judy Garland type "belt-it-out" drama.
    Last edited by Jizzelbin; 08 Sep 2017 at 03:58 PM.

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    Huh. Yet again I find I didn't expect to be there.

    I kind of thought I had Barry Harris's bag figured out, after how many years, but he surprised me with some new ideas. Pretty good, I'd say. Well, I thought so.

    ETA for the movie buffs, about six or eight months ago I accidentally watched the movie that corny old jazz standard came from, called *The Uninvited*. I about shit myself when I heard that tune in the movie. Apparently that's where it's from.
    Last edited by Jizzelbin; 10 Sep 2017 at 11:38 PM.

  14. #64
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    Quote Originally posted by What Exit? View post
    Rosemary Clooney's Come On-A My House
    Wow.

    That is quite a singer.

    Nice tack piano too.

    Nice!

  15. #65
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    Here's an oddity. I came across an old manilla folder with some lead sheets for mostly Great American Song Book (you know, "standards") tunes.

    For some reason, I thought I had made a master list of tunes for each season of the year, but I don't think my pencilled notes quite reflected what I had in my head at the time.

    So, for "Fall/Autumn" tunes, I've got some really corny "theme songs," and, a combination of what's in my notes from years ago and off the top of my head, what ones am I missing?

    Autumn Leaves
    September Song
    September in the Rain+
    Autumn in New York+
    Here's That Rainy Day+
    'Tis Autumn*
    Lullaby of the Leaves*
    Autumn Serenade*
    Indian Summer*
    It Might as Well be Spring

    sort-of-fits
    The Things We Did Last Summer+
    I Remember April+
    Willow Weep for Me (I forgot when weeping willows die or weep or whatever, but I still think the tune is a classic B3 Burner in 3-time, plus easy to remember)+
    The Lamp is Low
    A Foggy Day

    (A "*" denotes I've never played that tune, and have no idea why I have a lead sheet to it).
    (A "+" indicates I actually like the tune and would play if it I felt like being a cheesy lounge lizard, or making the effort to make a good arrangement)
    (Unannotated means I probably remember all or most of the tune and don't have a strong feeling about it).

    I left out all the ones that are just about raining or shining, or plain bad weather, or covering waterfronts, just because they don't seem that specific. Also, anything about melancholic moods I left out, for the same reason -- also, too many of them.

    So, what ones from the regular book of standards (things an actual musician or jazz singer would be likely to know) am I missing?

  16. #66
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    Yeah, [https://www.youtube.com/watch?v=y8-nWq6pqag]Trifonov[/url] sort of tipped the scales to me reading more seriously the Brahms chaconne. Meh, I have a nice regimen of doing the Chopin op.28#3 and scales and home-spun exercises to work LH 432, but nuffim like good music, I guess

  17. #67
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    Wow. I saw this from a link on some piano nerd board. I don't believe I've ever heard or seen Liberace play. [url=https://youtu.be/QmUhMIHAP9Y?t=10]Tiger Rag, Flamboyant[/style].

    That is just too much, man.

    To extirpate that little show from the mind, probably best to chase it with a .

  18. #68
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    In the baseball spirit, this is San Diego's organist. He claims he hit more than a few clams on the pedals on this one, and that his footwork isn't the best, but sounds fine to me.


  19. #69
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    Heh. It's funny that he sings along, too. But his conclusion is the best I've heard for that song!

  20. #70
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    Yeah, he's a pretty funny dude. He gets into some details of what his job is like over at the Keyboard Magazine forum. Nice little inside baseball view of how the guys operate in the major clubs.

    ETA youtube had in the "suggested" or whatever list when I clicked on the link performance of Steve Gadd with Richard Tee.

    Wow, I don't know how they got Eddie Gomez to play doghouse bass -- kind of slumming for him, I'd think, or maybe just a fun chance for him. I still can't fathom Richard Tee's flawless RH octaves -- it comes up in classical music, but not in improvising.

    Of course Steve Gadd, nothing I can say beyond that's a dude who knows the trap drums.
    Last edited by Jizzelbin; 01 Nov 2017 at 03:24 PM.

  21. #71
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    Oh, I should apologize for the extended 1980s "saxman" as above -- Ronnie Cuber's a name player, but to contemporary ears/eyes, it's kind of a bit too close to the Bill Pullman (?) character in....the Lynch movie...*Lost Highway* or the Jon (?) Hamm character from SNL.

    Still, it was an OK "recommendation" from the youtube people -- everyone can use some Richard Tee and Steve Gadd every now and then, and Cornell Dupree on guitar held down the rhythm.

    Maybe not the greatest performance, but it was an OK jam, I guess.

    As penance, here's one version of the classic . I've been trying my hand at this arrangement for years, pages of handwritten transcribed notes but Tee's LH octaves are...I don't know, steroids or something.

  22. #72
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    Speaking of Osetinskaya, here's a little bijou https://www. youtube.com/watch?v=3A7T9Yo_NSY of the Toccata from Bach's e minor keyboard partita.

    I think Polina is an original, brave even, interpreter of Bach.

    I am somewhat saddened that the content of her music is probably drowned out by the acclaim of her striking good looks, but well, I can't do anything about that. I hope she continues to record as long as wax exists.

    Please have yourself a favor and compare her performance to those of András Schiff, Angela Hewitt, and the several of Gould. Osetinskaya's rendition is of interest, I assure you.

  23. #73
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    Here's one from the good old Thanksgiving Day bunker. I don't know if the video preview will show up, but I'd expect anyone can guess what it is.


  24. #74
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    No link, just putting a plug in for the 1st "contrapunctus" from Bach's Art of Fugue. I was in a somber, delirious state, so put aside my regular practice schedule to read this (I'm familiar with it, but I have to read it carefully and slowly).

    I'm not sure what the deal is, but at this point, having become pretty familiar with most (not all -- I'm sometimes surprised by one I overlooked) of the Well-Tempered Clavier fugues (setting aside the Preludes -- I can often find something better of comparable length from Bach to substitute, although there are some fun Preludes, like the A minor from BkI, or the E major, C minor from Bk2, among others), there is something very different about this, one of Bach's very last efforts in fugue.

    Not so much interested in analyzing it, but just the experience of being aware of the tight control and a kind of unspeakable logic is invigorating to me.
    ////////////
    Also, printed out a piano reduction of the Prelude to Wagner's Meistersinger, played a few pages. Damn, how could that one have escaped me up to now! I don't know what to say about it, but the tunefulness combined with stark, strange harmonies is pretty cute.

    Yes, when I was quoting and TNPing about Jung I went back yet again and saw the Knightley movie I guess a week ago -- the omnipresence of Wagner's music kind of reminded me of a period in life when I was first discovering the Ring, and Tristan.

    It's probably a mistake to let too many years go by without recalling his music, just for the chance to find something new.
    /////////////
    Also, Mozart's A major piano sonata, K331 (the last movement is the "Rondo alla Turca," played as a kid but didn't know the rest of it). I was alerted on relistening to András Schiff's lecture on Beethoven's Op. 26 piano sonata (the one with the funeral march) that one of the few precedents of beginning a sonata with a movement consisting of theme and variations was this one.

    Charming, but the variations are extremely imaginative at first glance -- kind of tricky, actually, to figure out how they're supposed to sound by just reading the score. Lots of syncopation (rhythmic stuff).

  25. #75
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    It came up here recently, the D minor keyboard concerto of Bach (I believe that's the only one in Dm, but anyway, the famous one).

    I don't have a link, but Glenn Gould's American television debut, with Leonard Bernstein conducting (unfortunately a rather too large orchestra, IMHO) is highly recommended, particularly in contrast to Osetinskaya (I think I spelled that right).

    Decidedly subdued, deliberate, non-virtuosic performance -- but by no means an eccentric or outageously s l o w tempo.

    Just different.

    Highly recommended. Not to mention I could probably play it at that tempo, whereas I'd have trouble turning Osetinskaya's pages and....don't say it....admiring her.....form.

    That's OK to say, I've decided!

  26. #76
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    Oh, I just thought of this last week sometime.

    Sort of the companion piece to the opening movement of the Bach D minor concerto -- The beginning "movement" of Bach's A minor English Suite.

    Geez. That is just a beast. I don't know how many bars it is, but it is certainly many pages, and is just a whopper. Not all that challenging to play, any given number of measures, it's just long, hot and hairy.

    And kind of a similar "eerie" sounding vibe.

    No thanks, life's too short!

  27. #77
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    Well, there you go. Vincent Laguardia Gambini (aka Joe Pesci) wishes you a merry fucking Christmas, with that fat fuck Santa Claus and everything.


  28. #78
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    Here's a little treat, the vengeance aria from Magic Flute, shot from the studio, with the very nice looking Patricia Petitbon singing. She's a pretty good singer, too. I don't know if the carpet matches the drapes, so don't ask me.


  29. #79
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    I came across the original version of by Amos Milburn. It's not bad, but boy does George Thorogood own this song.

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    No kidding. You know, I remember the Thorogood (and don't forget the Destroyers!), of course, but I really like Milburn's version.

    Sort of the way I'd ask for that at a bar -- just pour the drinks, son, that's the way I'll have it done.

    I don't have a link, but I had a good clip of Luis Bonfá, sort of the godfather of Brazilian samba on guitar before bossa nova craze, demonstrating on American talk show while faking the tamborim on the body of his acoustic.

    But, is still making me excited. Read through it yesterday -- it's a long fugue, but surprisingly, it's not one of the more complicated of Bach's, once you get on board with the general strangeness of the chromatic steps. A masterpiece, as is András Schiff's performance, like all of his more recent Bach performances (I believe he's rerecorded or done in concert all of Bach's keyboard music recently, at least the solo material).

    No mistake, it's difficult, and it would be a challenge to memorize all of it, but it would be more fun to just improvise around the structure of the Fantasy, as I suspected Bach himself would have (they didn't memorize shit back then).

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    demonstrating samba + indigenous Brazilian/African percussion, guitar solo.

    Kind of too bad the 1960s were the last decade a man could have a rad moustache without looking like a molester or a cop. Alain Delon had a good one, Bonfá made it work. Oh well.

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    Killing a few minutes this morning before girding my loins for a little walk on a gray, misty day up to the grocery store.

    I was somewhat proud of myself to be able to hack through Bach's E Minor Toccata (for keyboard, non-organ) -- but even more delighted to see how Bach had constructed it, just as a set of kind of discrete little blocks, and this VERY nice, pretty lengthy fugue (the subject and countersubject -- well, I didn't analyze it, but that's how I view it, rather than one extremely long subject -- were EXTREMELY appealing to me. sort of funny, as in made me laugh a little bit, as well as enjoy the very broad, almost rock-and-roll textures, compare to the A major Sinfonia, is how I would).

    I mean, I've heard it and played some of it before, but it's just getting easier to hack through sightreading longer pieces.

    So, I have a new piece, in addition to the olde French Suite in E Major (kind of a kid's piece, but as usual András Schiff is my inspiration on recent video for going into it and making the most of it -- very nice Sarabande, in it, also), that, while I can't get distracted and do work on them now, sort of gets added to the heap of "things I'll read through every now and then when I either don't want to do memorization/analysis work, or just screw off and play some rock or blues).
    Last edited by Jizzelbin; 28 Jan 2018 at 12:59 PM.

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    I'm surprised I never linked to my favorite Bobby Darin song:

    Beyond the Sea >

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    Good call. I think the last time I heard that was probably in a movie. Good tune and performance.

    Although, while I'm not a big fan of the original Mack the Knife in three time from the show, it still provided a good template for what Hammond organists call the "squabbling" technique of doing a melody line in octaves.


  35. #85
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    Just lost another of the old Italian Crooners of my parents days. Vic Damone just passed.


    This is pretty special:



    As a bonus, here is the greatest crooner singing " "

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    Damn right.


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    Quote Originally posted by Jizzelbin View post
    Damn right.

    Video not available, what were you trying to link to?

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    Quote Originally posted by What Exit? View post
    Quote Originally posted by Jizzelbin View post
    Damn right.

    Video not available, what were you trying to link to?
    What else? Mr. Dynamite, Mr. Please Please Please, Mr. doing th COLD SWEAT.

    Bad motherfucking tune, you heard right.

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    Just heard a nice concert performance by Apollo's Fire, an excellent Baroque ensemble, of Telemann's Don Quixote Suite:

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    You know, as much legit "classical" music as I study and listen to, I've yet to hear a legit conductor give good "hit me!" or "stay there!"

    Kind of too bad.

    Well, I make up for it in my own way by doing it for solo keyboard works by Bach and especially Scarlatti. "Yeah! Hunh! Hit me! Keep it there!"

    ETA course I don't say it out loud, just like I don't beat time with my foot, except invisibly inside my shoes.

    Propriety!

    Yeah, hunh! Give me some! Let's give the bass some! Hunh!

    ETA That's not entirely true -- just at home, particularly with Bach-->Mozart where I not using sustain pedal, I'll sometimes just beat time with my right foot -- hey, why not? Well, the rhythm is supposed to be entirely mental but keyboard is not just fingers -- it's a whole upper body instrument, using correct technique, as I strive to, but still, it's maybe 90% mental 10% physical.
    Last edited by Jizzelbin; 17 Mar 2018 at 04:24 PM.

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    Oh ETA the nice thing about that is they modulate up from A-->Bb.

    You're not supposed to do that, but that's how I do it.

    In fact, usually, like Aretha and regular folks modulate up by a whole step, not a half-step like that.

    Which is fine, and sounds a little smoother (that way is SUPPOSED to sound surprising, IMHO, but people are more used to it off the records and stuff, you know, BB King, James Brown, all they did that on the tunes everybody learned off those records), but hey, maybe the once a day I just run a blues or boogie through the keys, I just like that jarring sound of the half step.

    Plus, I don't know, never mind.

    Important information, I'm sure.

    EETA yeah, I know the way most players get through all keys is just doing the circle, going up by fourths, but I fall asleep doing that, it's really tedious and boring to me. And if you don't like it, ess my dee.
    Last edited by Jizzelbin; 17 Mar 2018 at 08:41 PM.

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    Quote Originally posted by Jizzelbin View post
    I love that version.

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    Quote Originally posted by What Exit? View post
    Quote Originally posted by Jizzelbin View post
    I love that version.
    You know it, babe.

    Cut 'em out, ride 'em in.

    "In A -- that's a good country music key!"

    :smile:

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    Oh, man I gottu start playig they real old records, like we used to do

    Example? Of course. That''s how I started playing real music., just doing off the records, and stop trying to copy Glenn Gd at age 12 r whatever.

    Head 'em up cut out 'em out ride 'em, rawhide!

    Yeah it wasnt till I hooked iip with those rcok and rollersthat te whole Geoge Jones Al Stricklin thing made me get out of that Ray Charles/Mac Rebennck/Bud Powell/Otis Spnn thing


    Last edited by Jizzelbin; 19 Mar 2018 at 01:25 PM.

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    Shit.

    I haven't heard this in a little while.

    Miss Aretha Franklin, doing just a regular blues in C. It could have been her on piano, or anybody, just regular old blues.

    In fact, I just lurched my way over to the piano to play along and, yeah, it's actually been a long time since I played in C myself -- gotta not forget!

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    Sing it, Aretha! I'd never heard that song before. Good stuff.

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    Aretha is the Queen for damn good reason. 20 years ago, VH1 had some sort of battle of the Divas. She blew away all the other women. It wasn't even vaguely a fair fight.
    Here is a fun one:

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    That is great footage. Yep.

    I don't have an opinion about Steve Allen, but shit did he get some white hot musicians on there.

    ETA Yeah, what it is about Aretha is she just hits everything about being a woman, IMHO, and she preaches it to everyone. It's pretty much pornography with a veneer of barely-concealed repespectabiity.

    Hey Nineteen. She don't remember the Queen of Soul.

    EETA Oh, and anybody trying to learn American-style piano -- just learn it off Aretha and Ray's records. That's the basics.
    Last edited by Jizzelbin; 23 Mar 2018 at 12:09 AM.

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    Quote Originally posted by Jizzelbin View post
    That is great footage. Yep.

    I don't have an opinion about Steve Allen, but shit did he get some white hot musicians on there.

    ETA Yeah, what it is about Aretha is she just hits everything about being a woman, IMHO, and she preaches it to everyone. It's pretty much pornography with a veneer of barely-concealed repespectabiity.

    Hey Nineteen. She don't remember the Queen of Soul.

    EETA Oh, and anybody trying to learn American-style piano -- just learn it off Aretha and Ray's records. That's the basics.
    EEETA Oh dig how she's not too happy about the guitarist behind her.

    That woman doesn't hide ANYTHING.

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    Huh. I never realized she could play piano - thought she was "just" a singer. She knows her way around that keyboard!

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