I have to say that I appreciated Laura's playing a lot more after hearing Rob play afterward. I tried playing cello just last week so I have the difficulty of getting even an acceptable sound out of those types of instruments fresh in the mind, so I definitely have all due respect for Rob as definitely being a competent player, but obviously his tone simply could not touch hers. And I'd imagine that getting the bowed harmonics to sound nice is like ... well, I'd imagine it's hard.
Makes the work I've been doing on the guitar lately seem more than a little shoddy.
Oh man, Bill -- I want to guitar like you can guitar. I guess it's just a matter of practice...
The Blanca Noche pieces were pretty awesome; all rolling and dark and ambient-ish... it's like you're getting at the same thing that dub reggae gets at, without being dub reggae. Keep at it, yo!
Bill, your guitar technique is both excellent and ideosyncratic. It is driving and rhythmic, and does not lack tone or definition. You will record a classic someday.
My pretensions aside (because I'm a former classical player and I have these), I was just trying to say: Classical musicians have a) more standardized technique and training, and b) more emphasis on technique, as opposed to other elements: compositional skills and novelty, etc. It's good when musicians from different traditions can together so they can explore these differences and augment past them.
I definitely had something specific in mind when I was talking about stuff lacking from what I've been playing on guitar lately. Classical musicianship as I was exposed to it used musical dynamics as THE tool for expression. Given that you typically have your piece set out for you and your tone is sort of a separate journey in itself, the way you set yourself apart as a player was to make your instrument shout and whisper in sort of a theatrical manner within the limits of the piece you were given.
Going into the last project I had with Rob (the ill-fated Band With No Real Name Except Maybe Chewtoy) tapping into that beyond a simple loud-soft dynamic was a big thing I thought we accomplished, and I was saying that I felt I've been letting it sort of fall by the wayside lately. Not a surprise, though - it's kind of hard to do unless the entire band is totally live.
I would strongly advise you and Rob to record a new version of Gwendolyn for the current project. Great songs shouldn't be confined to loosely defined prior boundaries.
You're right-- harmonics (besides the first harmonic, an octave above the string) are hard as hell to play well. I've got nothing but respect for Laura there-- I'd've been reluctant to even try a passage like that.
Makes the work I've been doing on the guitar lately seem more than a little shoddy.
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The Blanca Noche pieces were pretty awesome; all rolling and dark and ambient-ish... it's like you're getting at the same thing that dub reggae gets at, without being dub reggae. Keep at it, yo!
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This is a quote that will be pulled for our press releases.
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EMILE FRANCO LIVES
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My pretensions aside (because I'm a former classical player and I have these), I was just trying to say:
Classical musicians have a) more standardized technique and training, and b) more emphasis on technique, as opposed to other elements: compositional skills and novelty, etc. It's good when musicians from different traditions can together so they can explore these differences and augment past them.
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Going into the last project I had with Rob (the ill-fated Band With No Real Name Except Maybe Chewtoy) tapping into that beyond a simple loud-soft dynamic was a big thing I thought we accomplished, and I was saying that I felt I've been letting it sort of fall by the wayside lately. Not a surprise, though - it's kind of hard to do unless the entire band is totally live.
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Here's something fun:
( ... )
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Not sure if that made any sense.
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