The Chat Thread

[Brahmsian]

What happened to Scarpia? 

[karlhenning]

Not sure, but he is missed!

[Franco]

Tenor clef is really a pointless clef for the bass.  Give me either bass or treble.....just sayin

Ah, the sound of the voice of ignorance.

[DavidRoss]

What happened to Scarpia? 

Gosh, he was here just the other day, Ray.  A quick search of recent posts suggests that he might have tired of petty attacks against his concise, direct, and pointed opinions by some who failed to appreciate his underlying warmth and wit.

Or maybe his wife told him he was wasting too much time on the forum and demanded more attention!

[PaulR]

Ah, the sound of the voice of ignorance.

No, not the sound of ignorance.  Just the sound of somebody who rather see treble clef over tenor, especially how with tenor you would still have some ridiculous ledger lines, which would be easier read in treble

[Franco]

No, not the sound of ignorance. 

From where I sit, the only reason someone would prefer to read music written using a treble or bass clef instead of the tenor clef would be because they have less familiarity with the tenor clef than the other two.

Otherwise it would make absolutely no difference.

[karlhenning]

From where I sit, the only reason someone would prefer to read music written using a treble or bass clef instead of the tenor clef would be because they have less familiarity with the tenor clef than the other two.

Otherwise it would make absolutely no difference.

But I think bass players are not accustomed to reading a C clef.  (Where they are taught to read treble clef.)  Idiosyncratic use of archaic clefs is rough on the performers.

[Franco]

I am a bass player and it is considered a clef one should know.

[PaulR]

I am a bass player and it is considered a clef one should know.

I know, but I don't see the practicality of it, seeing as c4 on treble is one ledger line below the bottom staff, whereas in tenor, the same note is on the 2nd highest line.  I'd rather see the notes in the staff itself, as it makes it easier to read.  I know the limitations of treble with getting the lower notes below that C, and that is where tenor would be better, but if I see a change in a piece, I'd rather go from bass to treble, rather than bass to tenor.  But perhaps my statement that tenor clef is useless was a bit of hyperbole

[karlhenning]

I am a bass player and it is considered a clef one should know.

Very good, thanks for the correction.

[greg]

Hey, I want everyone to try out this little experiment: try to spontaneously come up with music in your head that sounds like early Beethoven/late Haydn. There doesn't have to be a formal structure- just clarity and flow.

I just want to see what anyone can conclude from their own experience of doing that. This is something that kind of "just happened" to me a couple of days ago.

[CD]

Once I woke up with a Haydnesque piece in my head that seemed completely original, but it could've just been various bits of Haydn that I had heard and reassembled together in my brain out of order.

[Scarpia]

Once I woke up with a Haydnesque piece in my head that seemed completely original, but it could've just been various bits of Haydn that I had heard and reassembled together in my brain out of order.

It could be the theme music from a commercial for a headache or allergy medicine.  They sometimes sound like Haydn.

[karlhenning]

Gosh! What would a fellow who is allergic to Haydn do?!

[greg]

Once I woke up with a Haydnesque piece in my head that seemed completely original, but it could've just been various bits of Haydn that I had heard and reassembled together in my brain out of order.

I've had that happen twice- once with an altered version of the Malmsteen Electric Guitar Concerto and another time with an altered version of Lindberg's Kinetics.

I thought I was listening to those pieces- I even double-checked the Lindberg, and it definitely wasn't it (and the Malmsteen I knew too well to have to check).

But it's interesting how, while imaging the music, there are different paths you can take. To even begin to do it, you have to be extremely relaxed and focused. Then, you just have to maintain that focus and not let it go into something else- meaning, either: 1) turning into actual bits of music that already exists; 2) stopping or pausing; 3) forcing selection of notes. I would consider all of those forms of "distortion."

I'm actually doing it right now.  I've even done it once with a Bach harpsichord work, but I really want to try out a late Romantic Adagio movement. The hard part is, knowing how important this is to me makes it extremely hard to relax (and relaxing is the only way to even start the music).

[Elgarian]

Gosh! What would a fellow who is allergic to Haydn do?!

He'd suffer a haydnache.

[Elgarian]

Why did I say that? I mean, it's not even slightly funny, is it? So why? Did I just need to fill the silence? If so, why? What's wrong with silence? Eh?
I need to give myself a good talking to.

Or would that also be just to fill the silence?


There's no escape from neurosis, is there?

[CD]

[Elgarian]

Yes, exactly.

[greg]

Watching a video of an English class in Japan: (though this class is only a 3rd grade class)
http://www.youtube.com/v/C3ZJb-QF--s

This could me some day, possibly... all depending.