36 Seconds Older
- Length: 0:37
- Rating: 4.87 (39 ratings)
- Views: 263
- Author: mickmusing
Hello, friends. How are you doing?And mostly because this is my absolute favorite piece of music: Glenn Miller's "Moonlight Serenade".
J.S. Bach's Tempo Science: an Introduction
- Length: 7:0
- Rating: 3.25 (4 ratings)
- Views: 302' favoriteCount='4
- Author: BachScholar
Tags: and Art B-minor Bach cantatas fugue Glenn Gould Mass music of partita prelude suite
An educational narrative of Bach's secret tempo practices as taught by Dr. Cory Hall (Bach Scholar). Intended for all musicians who practice and perform Bach's music, including conductors, singers, instrumentalists, pianists, harpsichordists, organists, theorists and historians, as well as advanced students and teachers.Before getting offended and bent out of shape, please read further:Playing a specific tempo does not imply playing unmusically and in a cold, robot-like fashion. Many fear that if everyone were to perform any one work at the same tempo that this would take away individuality, which I sense is the main reason performers take offense at my claims. But most opponents apparently do not realize that if all performers on the planet were to choose the same tempo for any given work, this would not make all performances sound identical. One of the great things about music and musical expression is that all performers have their own unique qualities and sounds, regardless of tempo. Just to demonstrate this, take any two or more recordings or real life subjects who play the same or close to the same tempo for any one work (by any composer, for that matter) and you will discover that even though the tempo is identical, each performance sounds much different. This proves that simply choosing the same tempo for any one work does not turn all performers into identical "robots" with no individualized musical ideas and personal expression. This applies to all styles of classical music as well as rock, pop, and any other musical style around the world. For example, take twenty rock bands and have them play a standard song at the same tempo (say, "Hey Jude" by the Beatles) and you will discover that each band has their own unique sound and characteristics regardless of tempo. Singing "Hey Jude" at the exact same tempo as the Beatles do in their studio recording does not turn all singers into robots with no personal expression.Also, please consider this analogy. If an architect were to draft specific dimensions for a house or building and the carpenters and builders decided to alter this plan simply because they didn't like the architect's ideas or they felt like their ideas were better, what do you think would happen to the carpenters and builders? They would be fired. It's that simple. A carpenter or builder simply does not change an architect's plans. This would be unheard of and not tolerated at all in the business world.Now, imagine Bach being the architect and we, the perfomers, being the carpenters. It is our job and our duty as performers to recreate Bach's works of "musical architecture" or "musical science" the way Bach planned them. Whether or not we like Bach's plan or disagree with it is irrelevant. If it were proven that a certain fugue was intended to be slow and expressive and an iconoclastic performer comes along and plays it fast and staccato, what kind of respect does this performer show for the creator's plan? If it were proven that a certain aria was intended to be moderately fast and last under three minutes, but singers and conductors routinely turn it into a lugubrious and tedious six-minute dirge at a "molto Adagio" (i.e., the "Agnus dei" from the B-minor Mass), what kind of respect does this show for the creator's plan?I realize that Glenn Gould (the "fast and staccato" performer referred to above), virtually every conductor who has performed the B-minor Mass, and most others perform the tempos they do simply because they never realized Bach had specific plans for his works. I do not mean any disrespect, and I don't know how else to say this without offending some people, but in a way many performers have chosen certain tempos simply because they have not known any better. In fact, I myself played the C-minor Fugue from "WTC I" fast and mostly staccato for a very long time (like 90% of performers do) until I discovered through analysis that Bach actually intended it to be substantially slower, closer to "andante", and thus, probably more legato. I would love to go all out and just "hack" through this fugue as many do, but I don't anymore because I choose to honor Bach's intentions rather than be a slave to my previous conditioning and biases. My revelation from 1992 dramatically changed the way I approach many of Bach's works. I had to erase a lot of biases I didn't realize I had, and in doing so, learned to approach Bach's music with open ears and an open mind.In a sense, performers have been living "in the dark" and it is my job and duty and calling to inform performers of Bach's intentions and to lead them "out of the dark". Once one knows Bach's true plan and intentions, then one may choose any tempo one pleases. Ultimately, it is better to choose a tempo knowing it is wrong than to choose a tempo not having any idea it is wrong.
Contortionism in a dress (Rated PG)
- Length: 0:38
- Rating: ( ratings)
- Views: 32
- Author: 1212W1212W
Tags: contortionism dress glenn jive jumpin miller music neo pg rated vintage wearing
Music: Glenn Miller - The Jumpin' Jive
The Prayer
- Length: 2:46
- Rating: 5.00 (1 ratings)
- Views: 28
- Author: iglenn
Tags: andrea bocelli celine dion glenn music orion piano prayer solo the
the short version of my arrangement of andrea bocelli and celine dion's The Prayerthe part where i look at the camera is when a section of the program finished sooner than i anticipated10.11.08
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