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brassbandmaestro
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« Reply #4845 on: 20:10:58, 29-09-2008 » |
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although it's hard to imagine a harmonic context in which one would directly precede the other.
(after hh). ... or consider a melodic suspension over a modulation by thirds in Beethoven or Schubert... Sure, but then it's arguable whether you'd want to play them as a different pitch or bend one towards the other, isn't it? That's a genuine question. I don't know, I'm just a pianist!  In any case, BBM said these were the last two bars of the piece. On stringed instruments Eb and D# are the same, the same goes for brass instruments to. Intonation can be a probelem here at times. With the piece in question, I think it has to be a chordal contiuity progression rather than a tonal one, i am saying this as its a jazz piece that we were playing. But generally speaking D# and Eb are equal, but depnding on the tonal progression, am I right? |
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time_is_now
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« Reply #4846 on: 20:19:40, 29-09-2008 » |
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Now I'm confused, BBM! ... Before you said: how do you explain to someone, that Eb and D# are two totrally different notes and not the same. Then just now you said: On stringed instruments Eb and D# are the same, the same goes for brass instruments to. [...] generally speaking D# and Eb are equal
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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brassbandmaestro
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« Reply #4847 on: 20:22:51, 29-09-2008 » |
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Indeed, I just saw that myself Tinners. Thank you. I can tell you that i am at a lost with how to explain to my partner in crime, the difference between Eb and D# and the reasons of the change in modulation etc.
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time_is_now
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« Reply #4848 on: 20:26:07, 29-09-2008 » |
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So have we decided they're different, or the same? I'm still confused! Sorry!
Maybe it would help if we knew what the chords in question were, and what instrument your partner in crime is playing ... Another tuba? Is he on the bass line?
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Daniel
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« Reply #4849 on: 20:29:48, 29-09-2008 » |
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Many moons ago I had a mad crush on a violin player called Haydn. Gosh, that was a long time ago, Morticia!  (Sorry it didn't work out though   )) |
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Morticia
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« Reply #4850 on: 20:36:21, 29-09-2008 » |
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Ah well, he may have just fiddled around with my affections anyway, Daniel  Anyone seen the coat stand? |
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brassbandmaestro
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« Reply #4851 on: 21:44:48, 29-09-2008 » |
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So have we decided they're different, or the same? I'm still confused! Sorry!
Maybe it would help if we knew what the chords in question were, and what instrument your partner in crime is playing ... Another tuba? Is he on the bass line?
Yes, there are 2 of us playing. Its the bass notes. |
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Eruanto
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« Reply #4852 on: 21:48:37, 29-09-2008 » |
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Right. Tomorrow I will be putting recital-preparatory-performances Stage 1 into practice; the student performance class. There may well be people there with whom it is fairly vital that I break down various barriers - or at least attempt to. I doubt it will be mendable myself. May I be granted Milly's strength of character.  |
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« Last Edit: 21:57:37, 29-09-2008 by Eruanto »
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
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brassbandmaestro
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« Reply #4853 on: 21:51:44, 29-09-2008 » |
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I still think that Milly's strength of reserve and character, while make a good Secretary of State. People do I have your vote on this?  |
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marbleflugel
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« Reply #4854 on: 22:01:18, 29-09-2008 » |
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The trombone guruDenis Wick wrote that a quartet of them, for example, would find their own intonation -this is alla a capella in fact.Yer E flat/ D Sharp thing -is it perhaps about acoustic, audience giving off steam affecting acoustic material humidity, and the harmonic direction of the musicandemphases as its interpreted?Modal writing ,which is implicit in modulations by guys like Schubert, Berlioz, VW etc, highlights this? Also Miles Davis' playing? Just heard Botney Yentob and Frayling properly arguing onNight Waves about patchy BBC Arts coverage. Yentob speciously bigged up Igor and his electric accordion for 'reviving the proms, though they didnt need reviving' A good scrap which Frayling,not ithstanding Reiner's view of him, won on points Good luck Eru-let 'em have it.Favourite DW quote (not about volume of course).'...The soloist who just tickles the instrument is not worthy of the name'. Verrily ye be not a tickler. |
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« Last Edit: 22:08:31, 29-09-2008 by marbleflugel »
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'...A celebrity is someone who didn't get the attention they needed as an adult'
Arnold Brown
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time_is_now
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« Reply #4855 on: 22:15:54, 29-09-2008 » |
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You are not the only one who is finished with a concert project. How did your concert go, t-p? And was the pale apple-green dress suitably admired? |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Mary Chambers
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« Reply #4856 on: 22:27:52, 29-09-2008 » |
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Many moons ago I had a mad crush on a violin player called Haydn. Alas, he was spoken for One of my sons had a school friend called Haydn, pronounced Hade-n, which confused me. I'm a bit scared about this money business. What on earth's going to happen? |
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thompson1780
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« Reply #4857 on: 22:30:53, 29-09-2008 » |
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I'm a bit scared about this money business. What on earth's going to happen?
We are all going to resort to barter again. I'll play my violin for you if I can have a couple of your Beetroot, that sort of thing. What would your price be, if you didn't have money? Tommo |
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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Mary Chambers
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« Reply #4858 on: 22:36:00, 29-09-2008 » |
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We are all going to resort to barter again. I'll play my violin for you if I can have a couple of your Beetroot, that sort of thing.
What would your price be, if you didn't have money?
Tommo
What, for the beetroot? A violin solo would be fine . |
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trained-pianist
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« Reply #4859 on: 22:38:19, 29-09-2008 » |
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I was generally admired and complemented.
There was a little problem with the skirt. I had to buy it one size bigger because I have to sit and my size was creasing wrongly. It was good to stand in, not sit down.
Because the skirt was loose on me it was a little long when I sat. I nearly tripped over it when I got up after I finished. Two boys (violinists) waisted no time to tell me that after the concert. I know that I have to do something about it. When I sit down the back of the skirt is on the floor.
Thank you for asking, t-i-n.
I don't know now what my violinist will decide to do. I don't know if we are going to play or not. I am a little sad about it. By now I feel that he is my friend.
The best part in playing is going to a hairdresser. We usually talk with no stop (during drying with the fan too, which is a little inconvenient).
He is composing, making different sounds. He is learning to play bazooka. Also he tells me that you can tune guitar differently (the last string could be D or C) and that makes the sound wider.
He told me about Martin Taylor master class that he attended.
Going to hairdresser can be productive time.
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