In article
om,
Jenn wrote:
In article ,
MiNe 109 wrote:
In article
om,
Jenn wrote:
In article ,
MiNe 109 wrote:
In article
om,
Jenn wrote:
An interesting little piece
http://www.nytimes.com/2006/12/31/ar...ic/31thom.html
My undergrad piano teacher used to play one-note "name that tune" with
his faculty friends.
Interesting that pop songs can be recalled so precisely.
Yes it is. I think that part of that has to do with when in life (often
early) we hear the music repeatedly and part has to do with "strange"
voicings of chords. For me, examples of the former include Moody Blues:
Go Now, and a bunch of Beatles tunes. Examples of the later for me
include several Elton John and James Taylor songs.
(Now I have "Daniel" playing in my head) "Go Now"? That one's been
hammered twice with the distortion generator!
An oddity of
classical piano training is the contradictory pair of expectations that
the student in learning approach the musical text as a blank slate
while
in performing conform to the tradition of how the piece goes.
Indeed.
Sight-reading for music theater types can be interesting because they
*know* how a song goes while I'm at a relative loss interpreting the
sheet-music and making all those adjustments and assessments one does in
performing in a real space.
So true, but also true for all genres, don't you think? "Performance
practice" is evident everywhere.
Can't perform without it! The distinction for me is that I often
accompany young musicians, some my students, so I'm the one who knows
how the song "goes"! At sight vs. rehearsed is another difference.
Stephen