I don't know, Ron. I play the cello, but a dance band - or any big band - without its saxophone section seems unthinkable to me. (Actually, some of my best friends are saxophonists. I haven't invited any over to play sax & lute duets, however - or even sax & cello duets!).
Ned On Mar 13, 2012, at 6:12 AM, Ron Andrico wrote: > Thanks for this, Gary. What an astonishingly detailed proscription and > a sad reminder of what can happen under a totalitarian government. We > can only be grateful that music has so far been under the radar of > certain extremists in the US government, bent on interfering with other > aspects of private life. On a lighter note, number ten on the list has > some merit... > RA >> Date: Tue, 13 Mar 2012 04:37:41 -0400 >> To: [email protected] >> From: [email protected] >> Subject: [LUTE] Re: Nazi rules for jazz performers >> >> Famed Czech radical Josef Skvorecky recently died at 87 in his > adopted >> land of Canada. >> In the Atlantic, JJ Gould remembers Skvorecky through his memoirs, >> including a detailed list of the rules for jazz performers during the >> Nazi occupation. The Reich's Gauleiter for the Nazi Protectorate of >> Bohemia and Moravia issued a 10-point regulation that Gould calls > "the >> single most remarkable example of 20th-century totalitarian invective >> against jazz." >> 1 Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of >> the repertoires of light orchestras and dance bands; >> 2 In this so-called jazz type repertoire, preference is to be given > to >> compositions in a major key and to lyrics expressing joy in life > rather >> than Jewishly gloomy lyrics; >> 3 As to tempo, preference is also to be given to brisk compositions >> over slow ones so-called blues); however, the pace must not exceed a >> certain degree of allegro, commensurate with the Aryan sense of >> discipline and moderation. On no account will Negroid excesses in > tempo >> (so-called hot jazz) or in solo performances (so-called breaks) be >> tolerated; >> 4 So-called jazz compositions may contain at most 10% syncopation; > the >> remainder must consist of a natural legato movement devoid of the >> hysterical rhythmic reverses characteristic of the barbarian races > and >> conductive to dark instincts alien to the German people (so-called >> riffs); >> 5 Strictly prohibited is the use of instruments alien to the German >> spirit (so-called cowbells, flexatone, brushes, etc.) as well as all >> mutes which turn the noble sound of wind and brass instruments into a >> Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.); >> 6 Also prohibited are so-called drum breaks longer than half a bar in >> four-quarter beat (except in stylized military marches); >> 7 The double bass must be played solely with the bow in so-called > jazz >> compositions; >> 8 Plucking of the strings is prohibited, since it is damaging to the >> instrument and detrimental to Aryan musicality; if a so-called >> pizzicato effect is absolutely desirable for the character of the >> composition, strict care must be taken lest the string be allowed to >> patter on the sordine, which is henceforth forbidden; >> 9 Musicians are likewise forbidden to make vocal improvisations >> (so-called scat); >> 10 All light orchestras and dance bands are advised to restrict the > use >> of saxophones of all keys and to substitute for them the > violin-cello, >> the viola or possibly a suitable folk instrument. >> I wonder how the nazis felt about notes inegale. >> Gary >> >> -- >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- >
