At 5/3/2007 03:00 PM, Darcy James Argue wrote:
I mean, whatever you might think of, oh I don't know -- John Cage,
let's say -- it would be idiotic to say that he was barely into
composing.
I would say John Cage knew nothing about composing.
Survey 100 people on the street.
At least 99 would
Phil Daley wrote:
At 5/3/2007 03:00 PM, Darcy James Argue wrote:
I mean, whatever you might think of, oh I don't know -- John Cage,
let's say -- it would be idiotic to say that he was barely into
composing.
I would say John Cage knew nothing about composing.
Survey 100 people on the
At 5/4/2007 06:48 AM, dhbailey wrote:
Yes, but that would also be true of John Adams
Wasn't he a president?
95 out of 100 would know him.
and Joan Tower and Corigliano
Who?
Those would get 1 out of 10,000 at most.
Phil Daley AutoDesk
http://www.conknet.com/~p_daley
On 4-May-07, at 6:38 AM, Phil Daley wrote:
I would say John Cage knew nothing about composing.
I'm sorry to be so blunt, but you are just wrong here. Even if you
confine your definition to traditional music, or music that YOU
like, his works for percussion are brilliant examples, ripe
On 4-May-07, at 7:06 AM, Phil Daley wrote:
At 5/4/2007 06:48 AM, dhbailey wrote:
Yes, but that would also be true of John Adams
Wasn't he a president?
95 out of 100 would know him.
and Joan Tower and Corigliano
Who?
Those would get 1 out of 10,000 at most.
You are not addressing the
Phil Daley wrote:
At 5/4/2007 06:48 AM, dhbailey wrote:
Yes, but that would also be true of John Adams
Wasn't he a president?
95 out of 100 would know him.
and Joan Tower and Corigliano
Who?
Those would get 1 out of 10,000 at most.
That was my point -- public anonymity doesn't have
So be an ass. Take it personally.
Cheers,
Gerald Berg
On 3-May-07, at 6:21 PM, Darcy James Argue wrote:
For what, exactly? You took an ignorant cheap shot at a musician you
don't, apparently, know much about, and I corrected you. And you
haven't offered a substantial rebuttal to any of my
Ever missing the point. You told me not to be asinine for expressing
an informed opinion -- informed I stress. Yes, I did take it
personally -- you meant for me to take it personally. Otherwise, why
word it that way? Me calling you an ass I meant personally. Ergo
even.
Twitter twitter.
On May 4, 2007, at 4:06 AM, Phil Daley wrote:
At 5/4/2007 06:48 AM, dhbailey wrote:
Yes, but that would also be true of John Adams
Wasn't he a president?
95 out of 100 would know him.
95 out of 100 would know John Adams the composer? Hardly.
and Joan Tower and Corigliano
Who?
Those
On May 4, 2007, at 3:48 AM, dhbailey wrote:
Phil Daley wrote:
At 5/3/2007 03:00 PM, Darcy James Argue wrote:
I mean, whatever you might think of, oh I don't know -- John Cage,
let's say -- it would be idiotic to say that he was barely into
composing.
I would say John Cage knew nothing
On May 4, 2007, at 3:48 AM, dhbailey wrote:
Hear, hear!
Say whatever you want about John Cage's knowledge of composing,
these days nobody can argue about his skill as an expert on
decomposing. ;-)
And, on mushrooms, to be sure.
Dean
--
David H. Bailey
[EMAIL PROTECTED]
Amen, and nothing more needs to be averred about the importance of
training, beginning in the very early years, in solfege, movement,
and playing of instruments as we find in Kodaly and Orff. That's the
sort of background which not only produces exceptional musicianship
on a broad level,
Dean M. Estabrook wrote:
Amen, and nothing more needs to be averred about the importance of
training, beginning in the very early years, in solfege, movement, and
playing of instruments as we find in Kodaly and Orff. That's the sort
of background which not only produces exceptional
Well, I hear your point, and can't rebut it, except to aver that I
have a strong belief that a solid basic education in the arts, esp.
music and moving to music does all the things I mentioned. Obviously,
there are plenty of adverse forces in the world which create the sort
of chaos you
I didn't quite word things as I meant to in my first paragraph -- I do
realize that there are many millions of wonderfully warm, well-rounded
human beings in the eastern European countries of the former Soviet
bloc. But there were certainly the antitheses as well, who probably had
the same
I totally agree, and in hindsight, think my first post was, perhaps,
a tad panacean. I wish California educational powers at be could
realize the validity of your statement. Here the party line is All
children can succeed equally as well, hence the maniacal
preoccupation with the testing
]
To: finale@shsu.edu
Sent: Friday, May 04, 2007 6:38 AM
Subject: Re: [Finale] Conducting in 12/8
At 5/3/2007 03:00 PM, Darcy James Argue wrote:
I mean, whatever you might think of, oh I don't know -- John Cage,
let's say -- it would be idiotic to say that he was barely into
composing.
I would say
I heard he was cream-ated. Yuk yuk Cream of mushroom...?
Jerry
Gerald Berg
On 4-May-07, at 1:56 PM, Dean M. Estabrook wrote:
On May 4, 2007, at 3:48 AM, dhbailey wrote:
Hear, hear!
Say whatever you want about John Cage's knowledge of composing,
these days nobody can argue about his
Southeastern European folk music often yields lopsided meters when
converted to Western notation--check out, e.g., the alla bulgarese
movement in the Bartók (IIRC) 5th quartet. When my harp concerto was
recorded in Moravia the musicians all took very well to extended sections in
5/4 and 7/4. When
, 2007 7:06 AM
Subject: Re: [Finale] Conducting in 12/8
At 5/4/2007 06:48 AM, dhbailey wrote:
Yes, but that would also be true of John Adams
Wasn't he a president?
95 out of 100 would know him.
and Joan Tower and Corigliano
Who?
Those would get 1 out of 10,000 at most.
Phil Daley
On May 3, 2007, at 4:24 PM, David W. Fenton wrote:
Damn. I thought the bar before the Glorification de L'Elue in the
Rite
was thirteen, but I checked the score and it's in fact eleven. So
maybe twelve is the absolute cut-off beyond which we can't conceive or
perceive of non-emphasised
On 4-May-07, at 6:38 AM, Phil Daley wrote:
Survey 100 people on the street.
At least 99 would say, John who?
To which you reply, You know: the guy Nicholas Cage named himself
after.
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/
On May 4, 2007, at 8:51 AM, dhbailey wrote:
Anonymity among the general public doesn't make anybody any less of a
composer, and so has no bearing on any comment that Cage wasn't much
into composing.
Classical music by anyone, of any type, anywhere, anywhen, and of any
culture, is by
On 04 May 2007, at 11:09 AM, Gerald Berg wrote:
Ever missing the point. You told me not to be asinine for
expressing an informed opinion -- informed I stress. Yes, I did
take it personally -- you meant for me to take it personally.
Otherwise, why word it that way? Me calling you an ass
PROTECTED]
To: finale@shsu.edu
Sent: Friday, May 04, 2007 4:53 PM
Subject: Re: [Finale] Conducting in 12/8
On 04 May 2007, at 11:09 AM, Gerald Berg wrote:
Ever missing the point. You told me not to be asinine for
expressing an informed opinion -- informed I stress. Yes, I did
take
5/4 and 7/4 giving pros problems in the US?
Man, in the LO we drink the 5/8s and 7/16s like mother's milk - we've
been playing that stuff since our first day in the band.
You've just got a grouchy bunch of pros!
Ray Horton
Bass Trombone,
Louisville Orchestra
Aaron Rabushka wrote:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 02 May 2007 22:43
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On 2 May 2007 at 17:04, Andrew Stiller wrote:
On May 2, 2007, at 2:41 PM, David W
At 02:10 AM 5/3/2007, Owain Sutton wrote:
Damn. I thought the bar before the Glorifcation de L'Eule in the Rite
was thirteen, but I checked the score and it's in fact eleven.
Of course: I-GOR STRA-VIN-SKY IS A SON OF A B is how we learned it. g
Aaron.
] On Behalf Of David W. Fenton
Sent: 02 May 2007 22:43
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On 2 May 2007 at 17:04, Andrew Stiller wrote:
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I don't believe there is such a meter as 12 8ths to the
measure. We
have
Don Ellis?
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Dean M. Estabrook
Sent: Thursday, May 03, 2007 11:15 AM
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
Who was that jazz tpt. player, prominent back in the late sixties, who used
:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 02 May 2007 22:43
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On 2 May 2007 at 17:04, Andrew Stiller wrote:
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I
:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 02 May 2007 22:43
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On 2 May 2007 at 17:04, Andrew Stiller wrote:
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I
was Don .
Dean
On May 2, 2007, at 11:10 PM, Owain Sutton wrote:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 02 May 2007 22:43
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On 2 May 2007 at 17:04, Andrew
Don Cherry, I think
Stu
Who was that jazz tpt. player, prominent back in the late sixties,
who used to do charts with meters like 87/4, etc? I think his first
name was Don .
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I would guess that you're talking about Don Ellis
Dick H
On May 3, 2007, at 8:14 AM, Dean M. Estabrook wrote:
Who was that jazz tpt. player, prominent back in the late sixties,
who used to do charts with meters like 87/4, etc? I think his
first name was Don .
No he played with Ornette Coleman. They weren't into meter at all. He
was barely into trumpet playing.
Jerry
Gerald Berg
On 3-May-07, at 12:18 PM, Stu McIntire wrote:
Don Cherry, I think
Stu
Who was that jazz tpt. player, prominent back in the late sixties,
who used to do charts with
Don't be asinine. The classic Ornette Coleman quartet wasn't into
meter? Somebody should have told Billy Higgins, Charlie Haden, and
Ed Blackwell -- these are some of the greatest rhythm section players
of all time. And while Don Cherry was not the person Dean was
thinking of, he was a
] On Behalf Of David W. Fenton
Sent: 02 May 2007 22:43
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On 2 May 2007 at 17:04, Andrew Stiller wrote:
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I don't believe there is such a meter as 12 8ths to the
measure. We
have
Don Imus? ;-)
At 5/3/2007 12:02 PM, Richard Willis wrote:
Don Ellis?
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Dean M. Estabrook
Sent: Thursday, May 03, 2007 11:15 AM
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
Who was that jazz
Don Ellis, perhaps?
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message -
From: Dean M. Estabrook [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Thursday, May 03, 2007 11:14 AM
Subject: Re: [Finale] Conducting in 12/8
Who was that jazz tpt. player
Better than a boor. Really uncouth.
Twas in jest but with some truth. You must be confusing them with Dave
Brubeck.
Gerald Berg
On 3-May-07, at 12:58 PM, Darcy James Argue wrote:
Don't be asinine. The classic Ornette Coleman quartet wasn't into
meter? Somebody should have told Billy
Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 02 May 2007 22:43
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On 2 May 2007 at 17:04, Andrew Stiller wrote:
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I don't believe
Darcy James Argue wrote:
Don't be asinine. The classic Ornette Coleman quartet wasn't into
meter? Somebody should have told Billy Higgins, Charlie Haden, and Ed
Blackwell -- these are some of the greatest rhythm section players of
all time. And while Don Cherry was not the person Dean was
Gerald Berg wrote:
No he played with Ornette Coleman. They weren't into meter at all. He
was barely into trumpet playing.
I saw him in concert at Dartmouth college in Spring of 1970, and was
dumbfounded at how horrible it was. Just him on pocket trumpet, Okay
Tamiz (never heard of him
Oops. This works.
Gerald Berg
On 3-May-07, at 2:34 PM, Gerald Berg wrote:
Better than a boor. Really uncouth.
Twas in jest but with some truth. You must be confusing them with
Dave Brubeck.
Gerald Berg
On 3-May-07, at 12:58 PM, Darcy James Argue wrote:
Don't be asinine. The classic
@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On 2 May 2007 at 17:04, Andrew Stiller wrote:
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I don't believe there is such a meter as 12 8ths to the
measure. We
have a meter called 12/8, but it's in 4, and notating in
that meter
implies
Yeah -- anyone who plays jazz without a predetermined set of chord
changes must perforce be a total charlatan. Never heard *that* one
before -- it's a real knee-slapper.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 03 May 2007, at 2:34 PM, Gerald Berg wrote:
Twas in jest
Substantial, specific criticism is not the same as knee-jerk dismissal.
Don devoted his life to playing uncompromising and person music in
the face of considerable hostility and hardship. Whether you like his
music or not, he's an influential figure in the evolution of the
music and
Don devoted his life to playing uncompromising and person music
Erg. Should be personal music, not person music.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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Thanks David
Darcy is obviously not into reading carefully and into responding
emotionally.
There must be a hounding of tastes.
I think Eddie Blackwell a magnificent musician.
No one like him. I love him. And yes he could play both rhythm and
meter. And he doesn't require this type of
That was Okay Temiz and Johnny Dyani. Temiz, a turkish born drummer, was
(and is) rather well-known for his early explorations of incorporating
odd metered rhythms as well as ethno elements into jazz.
Hans
Stockholm, Sweden
dhbailey wrote:
I saw him in concert at Dartmouth college in
Darcy James Argue wrote:
...And while Don Cherry was not the person Dean was thinking of, he
was a brilliant musician who did actually *did* do a lot of
mixed-meter stuff in the 1970's. Dave Holland -- whose current band
seems to play in every meter imaginable except 4/4 -- says he
learned to
On 3 May 2007 at 15:00, Darcy James Argue wrote:
I mean, whatever you might think of, oh I don't know -- John Cage,
let's say -- it would be idiotic to say that he was barely into
composing.
Um...
--
David W. Fentonhttp://dfenton.com
David Fenton Associates
On 3-May-07, at 11:14 AM, Dean M. Estabrook wrote:
Who was that jazz tpt. player, prominent back in the late sixties,
who used to do charts with meters like 87/4, etc? I think his
first name was Don .
Most of what I saw of his had denominators like 8 and 16, denoting
changing
Yeah, yeah, I know, I know. But look at what he actually did with his
life -- not what he said he'd rather have done.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 03 May 2007, at 4:26 PM, David W. Fenton wrote:
On 3 May 2007 at 15:00, Darcy James Argue wrote:
I mean,
On 3 May 2007 at 7:10, Owain Sutton wrote:
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton
Sent: 02 May 2007 22:43
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
[]
But what was described in the post was 12
On 3-May-07, at 2:31 PM, dhbailey wrote:
Darcy James Argue wrote:
I would have hoped that Ornette Coleman getting a well-deserved
Pulitzer this year would finally put an end to ignorant, knee-jerk
dismissals of him and his associates. I'm greatly disheartened to
see that's not yet the
Darcy James Argue wrote:
Substantial, specific criticism is not the same as knee-jerk dismissal.
Don devoted his life to playing uncompromising and person music in the
face of considerable hostility and hardship. Whether you like his music
or not, he's an influential figure in the evolution
Are you basing your opinion of Don's playing entirely on this one gig?
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 03 May 2007, at 5:03 PM, dhbailey wrote:
Darcy James Argue wrote:
Substantial, specific criticism is not the same as knee-jerk
dismissal.
Don devoted his life to
The Giuffre trio records with Paul Bley and Steve Swallow are
classic. Originally recorded for Verve, the first two were reissued
by ECM as Jimmy Giuffre 3 1961. The other one is called Free
Fall, on Columbia. Perhaps it was one of those you are thinking of?
(There are several duo tracks,
Sorry, David -- I missed this sentence on first reading:
And I've heard nothing of his on record which would change that
assessment.
So, uh, obviously not. My apologies.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 03 May 2007, at 5:15 PM, Darcy James Argue wrote:
Are you
Darcy James Argue wrote:
Are you basing your opinion of Don's playing entirely on this one gig?
And recordings I heard of him at about that time.
In light of Andrew's comment about a concert he heard Don Cherry and
another comment of a more recent recording, I can easily admit that my
On 3 May 2007 at 16:46, Darcy James Argue wrote:
On 03 May 2007, at 4:26 PM, David W. Fenton wrote:
On 3 May 2007 at 15:00, Darcy James Argue wrote:
I mean, whatever you might think of, oh I don't know -- John Cage,
let's say -- it would be idiotic to say that he was barely into
Yes, of course! I had heard first one of the duo tracks, so I based
my impression of a duo album on that.
Thanks for the reference. I will pick those up, as I loved what I heard.
Christopher
On 3-May-07, at 5:14 PM, Darcy James Argue wrote:
The Giuffre trio records with Paul Bley and
See Darcy? Slow down.
I'm still expecting an apology.
Jerry
Gerald Berg
On 3-May-07, at 5:21 PM, Darcy James Argue wrote:
Sorry, David -- I missed this sentence on first reading:
And I've heard nothing of his on record which would change that
assessment.
So, uh, obviously not. My
For what, exactly? You took an ignorant cheap shot at a musician you
don't, apparently, know much about, and I corrected you. And you
haven't offered a substantial rebuttal to any of my points, other
than to assert that in your opinion, Don is ridiculous and could
not play the trumpet.
I think Cage was more important as an influence than as a composer. That is
not to diminish his importance at all.
Cheers,
Lawrence
lawrenceyates.co.uk
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On 3 May 2007 at 18:39, Darcy James Argue wrote:
On 03 May 2007, at 5:37 PM, David W. Fenton wrote:
On 3 May 2007 at 16:46, Darcy James Argue wrote:
On 03 May 2007, at 4:26 PM, David W. Fenton wrote:
On 3 May 2007 at 15:00, Darcy James Argue wrote:
I mean, whatever you might think
On 1 May 2007 at 22:44, John Howell wrote:
Did you miss the day in elementary
school when they explained the placement of strong and weak beats in a
measure?
I must have missed the day where the measure with 12 8th-note beats
was explained. What, exactly, is the accent pattern there? And,
On 1 May 2007 at 22:22, John Howell wrote:
And do pay attention to David Fenton's comments. The meter chosen
should fit the music. If it's in 12, then 12/8 is appropriate. If
it's some kind of mixed meter, it might not be.
Er, that isn't what I said!
I don't believe there is such a meter
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I don't believe there is such a meter as 12 8ths to the measure. We
have a meter called 12/8, but it's in 4, and notating in that meter
implies certain things about the music. If those implications are
inappropriate for the music you're
On 2 May 2007 at 17:04, Andrew Stiller wrote:
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I don't believe there is such a meter as 12 8ths to the measure. We
have a meter called 12/8, but it's in 4, and notating in that meter
implies certain things about the music. If those
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of Andrew Stiller
Sent: 02 May 2007 22:05
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
On May 2, 2007, at 2:41 PM, David W. Fenton wrote:
I don't believe
If there are some on this list who might offer some advice, I have a
question: A section of amorphous music for stings is now in 12/8
time at 1/8-50 which is very slow and no beat is stressed. As
each of the many voice lines moves on a different beat, the 12/8
allows for this type of
On 1-May-07, at 2:15 PM, timothy.key.price wrote:
If there are some on this list who might offer some advice, I have
a question: A section of amorphous music for stings is now in 12/8
time at 1/8-50 which is very slow and no beat is stressed. As
each of the many voice lines moves on
On 1 May 2007 at 14:15, timothy.key.price wrote:
Or should I rewrite it and absolutely choose another meter
and increase the note value?
Yes.
If it's not in 12/8, don't notate it in 12/8. Putting it in 12/8
means that there *is* an emphasis on 4 beats of dotted quarter. If
there
12/8 is usually conducted in 4, or if it's extremely slow each beat
is subdivided into three. The slow movement of Beethoven's 6th
Symphony (Beethoven's MM being dotted quarter = 50) is conducted in 4.
12/8 is never conducted in 3 sets of 4/8: if the measures are
rhythmically so divided,
Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of timothy.key.price
Sent: 01 May 2007 19:16
To: finale@shsu.edu
Subject: [Finale] Conducting in 12/8
If there are some on this list who might offer some advice, I have a
question: A section of amorphous music
timothy.key.price wrote:
If there are some on this list who might offer some advice, I have a
question: A section of amorphous music for stings is now in 12/8
time at 1/8-50 which is very slow and no beat is stressed. [snip]
Or should I rewrite it and absolutely choose another
On 1-May-07, at 3:26 PM, Randolph Peters wrote:
timothy.key.price wrote:
If there are some on this list who might offer some advice, I have
a question: A section of amorphous music for stings is now in
12/8 time at 1/8-50 which is very slow and no beat is
stressed. [snip]
Or
Thanks to everyone who replied. I have a very much clearer
understanding of the issues so can resolve it with the better
notation, now that I understand the alternatives.
It was a new situation for me; it had evolved and hadn't really
considered it much before.
Thank you again,
tim
Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Michael Cook
Sent: Tuesday, May 01, 2007 2:59 PM
To: finale@shsu.edu
Subject: Re: [Finale] Conducting in 12/8
12/8 is usually conducted in 4, or if it's extremely slow each beat
is subdivided into three. The slow movement
At 2:15 PM -0400 5/1/07, timothy.key.price wrote:
If there are some on this list who might offer some advice, I have a
question: A section of amorphous music for stings is now in 12/8
time at 1/8-50 which is very slow and no beat is stressed. As
each of the many voice lines moves on a
On May 1, 2007, at 10:22 PM, John Howell wrote:
You've had some awfully good advice. I'd just like to ask why
you're curious about how to conduct it? Any first-semester
conducting student could answer the question.
And do pay attention to David Fenton's comments. The meter chosen
Randolph Peters wrote:
It's been my experience that conductors do not like long measures
of slow tempo.
John Howell wrote:
OH? conductors do what is necessary to serve the music. I can't
imagine what such a generalization could have grown out of.
I'm talking about MY real world
On 02 May 2007, at 12:54 AM, Randolph Peters wrote:
[snipped in its entirety]
Amen, Randolph. Great comments and insight.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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