christopher.bi...@ec.europa.eu wrote:
The "flatness" and mechanical playing problems which many
people perceive
with "playing from dots" is only inevitable for people who
struggle with the
reading, and those who think that the dots represent *exactly*
how music
should be played.
I would en
>The "flatness" and mechanical playing problems which many
>people perceive
>with "playing from dots" is only inevitable for people who
>struggle with the
>reading, and those who think that the dots represent *exactly*
>how music
>should be played.
I would endorse this (and the rest).
c
O
Dave S wrote:
No one has so far mention the fact that classical musicians usually have
an ally waving a stick and hands giving them the colour, speeds and
breathing life into the piece they are playing -- namely his
interpretation of what the COMPOSER wished to convey from the dots, with
all it
Richard Evans wrote:
Philip Gruar wrote:
I'm sure everybody with a so-called "classical" music training here
(and jazz or whatever) - i.e. anyone for whom the purely mechanical
act of reading written music is completely second nature, does the
reading without consciously thinking about doin
On 6/11/09, anth...@robbpipes.com wrote:
> When asked what the
> third tune was, Robin said he hadn't a clue - he'd forgotten the tune
> he was going to play and set off making a new tune up as he went along.
This has happened on several occasions with Border Directors, as Chris
would te
d you'll be more than halfway
there.
Anthony
--- On Thu, 11/6/09, ch...@harris405.plus.com
wrote:
From: ch...@harris405.plus.com
Subject: [NSP] Re: re notes v. ear
To: "Dartmouth N.S.P. site"
Date: Thursday, 11 June, 2009, 8:03 AM
I'm not
Philip Gruar wrote:
Can I just say, with particular reference to Richard's last post, that I
am in no way claiming any superiority for the classically-trained
position. Reading my post again, it looks a bit as if I am.
I didn't read that into it at all- it was just a comment by me on my
own
When teaching an evening class on playing traditional music a while
back, I was determined to get the dots only players to play by ear, &
visa versa too, so they all had the benefit of both techniques. Most
seemed to find it useful.
So after some weeks of working up to it, and following John
K
I'm not an artist, but my wife is, and she swears by a book called
"Drawing on the right side of the brain".
The premise is that the two halves of the brain work in different ways.
The left side (and I may have got this garbled, correct me if I'm wrong)
is analytical and logical, and the right side
all means use dots but also listen, listen and listen again; you
know it'll do you good.
As aye
Anthony
--- On Thu, 11/6/09, Philip Gruar wrote:
From: Philip Gruar
Subject: [NSP] Re: re notes v. ear
To: "Dartmouth N.S.P. site"
Date: Thursday, 11
Hi Philip, et al,
I guess I need to respond to this...
It is of course impossible to know just what Mr. Little was talking
about in his attribution of "flatness" to note-reading-- we don't know
the players involved, their abilities, their musical or cultural
background, and I fr
Can I just say, with particular reference to Richard's last post, that I am
in no way claiming any superiority for the classically-trained position.
Reading my post again, it looks a bit as if I am.
I enormously admire all those who play mostly by ear. I think on the whole
they are better musici
Philip Gruar wrote:
I'm sure everybody with a so-called "classical" music training here (and
jazz or whatever) - i.e. anyone for whom the purely mechanical act of
reading written music is completely second nature, does the reading
without consciously thinking about doing it.
This is the bas
Here here! I was hesitating about saying exactly the same thing, only you
put it better than I could.
Cheers,
Richard
Philip Gruar wrote:
I think Peter makes just the point here that I was going to make, when
Anthony (I think) first started the debate. Also, Dick made very good
points.
The "
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