BWV 998 Prelude: Ignore Bass Rests?

[Alphonsus Jr.]

Why are the bass rests in this piece if it sounds so much better this way?

http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related

[thomas]

On Saturday, November 10, 2012 6:54:46 PM UTC-5, Alphonsus Jr. wrote:
> Why are the bass rests in this piece if it sounds so much better this way?
>
>
>
> http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related

That's a nice guitar he's playing. Anyone know who made it?

[John Nguyen]

I think he played a Paul Fisher's spruce CG.

[John Nguyen]

On Nov 10, 6:54 pm, "Alphonsus Jr." <alphonsu...@gmail.com> wrote:
> Why are the bass rests in this piece if it sounds so much better this way?
>
> http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related

As long as the ringing is full controlled and not excessive, there is
nothing wrong with it.

[David Raleigh Arnold]

But it usually isn't. It may sound "better this way" on
a baroque lute, or harpsichord. It may or may not on a
guitar. Let's hear an equally good performance with the
indicated rests. My bet is that it's better with the
rests, but I am not going to dig out the music tonight.

There was an exceptional effort at real rubato, not just
screwed-up tempo. Nice. Regards, daveA

--
Guitar teaching materials and original music for all styles and levels.
Site: http://www.openguitar.com (()) eMail: d.raleig...@gmail.com
Contact: http://www.openguitar.com/contact.html"

[Andrew Schulman]

On Nov 10, 6:54 pm, "Alphonsus Jr." <alphonsu...@gmail.com> wrote:

> Why are the bass rests in this piece if it sounds so much better this way?
>
> http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related
>
>

This is a topic that draws a lot of opinions.

There is a term used sometimes called "a literal constructionist". If
that is what you are you would obey every rest in that piece (and
everywhere you ever saw one). You can also be of a temperament that
shows flexibility based on how you hear the music in this and many
other pieces, as Mr. Vieaux does here.

And there is more along these lines. In this very beautiful prelude,
for example, you can let the basses ring in the opening section, and
then play them short starting in measure 11 (a very musical effect for
the spot) at approximately 0:38 in this video, altering the bass
duration again at measure 14, as Vieaux also does. These alterations
create a pleasing variety for some. You will find different opinions
though and keep in mind they are just opinions. As you probably know
every single YouTube video Bach ever made was destroyed when the
Lithuanians invaded Upper Silesia and sacked Poltava.

Andrew

[thomas]

On Saturday, November 10, 2012 6:54:46 PM UTC-5, Alphonsus Jr. wrote:

> Why are the bass rests in this piece if it sounds so much better this way?
>
>
>
> http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related

Are there bass rests in Bach's original manuscript?

[JPD]

On Nov 10, 5:51 pm, David Raleigh Arnold <d.raleigh.arn...@gmail.com>
wrote:

> Site:http://www.openguitar.com(()) eMail: d.raleigh.arn...@gmail.com
> Contact:http://www.openguitar.com/contact.html"

Speaking of tempo, how do you like this one:
http://www.guitarist.com/blog/2012/11/bach-prelude-bwv-998-luciano-contini-lute.html

[John Nguyen]

Yes, with rests.

[florenc...@gmail.com]

Haaa! Beautiful!

Here is Gustav on the Harpsi

https://www.youtube.com/watch?v=iNOJ0hhZ044&playnext=1&list=PL2243809D5A8C42B3&feature=results_video

[Andrew Schulman]

On Nov 10, 9:30 pm, JPD <googlegroo...@guitarist.com> wrote:
> Speaking of tempo, how do you like this one:http://www.guitarist.com/blog/2012/11/bach-prelude-bwv-998-luciano-co...
>
>
There is a plasticity to preludes in general that allow a range of
tempo differences. It has to do with the origin of the form.

Andrew

[florenc...@gmail.com]

Oups ... Michele Barchi .. not Gustav

[Jim]

Wow that's really beautiful! Thanks for the link.

This performance on a 19th century guitar played by Ricardo Gallen is
slow, relaxed and beautiful as well. Measures 38-40 are played a bit
faster than the rest like a free cadenza: very effective as is the
arpeggiated E/D chord at the beginning of m.40

http://www.youtube.com/watch?v=XZegaLI4M_w

[Matt Faunce]

Luciano Contini offers this and other works for free download, here:
http://www.contini.at

--
Matt

[JPD]

On Nov 10, 9:18 pm, Jim <jimh8...@yahoo.com> wrote:

> On 2012-11-10 21:30:09 -0500, JPD <googlegroo...@guitarist.com> said:
>
>
>
>
>
>
>
>
>
> > On Nov 10, 5:51 pm, David Raleigh Arnold <d.raleigh.arn...@gmail.com>
> > wrote:
> >> On Sat, 10 Nov 2012 17:20:38 -0800, John Nguyen wrote:
> >>> On Nov 10, 6:54 pm, "Alphonsus Jr." <alphonsu...@gmail.com> wrote:
> >>>> Why are the bass rests in this piece if it sounds so much better this
> >>>> way?
>
> >>>>http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related
>
> >>> As long as the ringing is full controlled and not excessive, there is
> >>> nothing wrong with it.
>
> >> But it usually isn't. It may sound "better this way" on
> >> a baroque lute, or harpsichord. It may or may not on a
> >> guitar. Let's hear an equally good performance with the
> >> indicated rests. My bet is that it's better with the
> >> rests, but I am not going to dig out the music tonight.
>
> >> There was an exceptional effort at real rubato, not just
> >> screwed-up tempo. Nice. Regards, daveA
>
> >> --
> >> Guitar teaching materials and original music for all styles and levels.
> >> Site:http://www.openguitar.com(()) eMail: d.raleigh.arn...@gmail.com
> >> Contact:http://www.openguitar.com/contact.html"
>
> > Speaking of tempo, how do you like this one:

> >http://www.guitarist.com/blog/2012/11/bach-prelude-bwv-998-luciano-co...

> > lute.html
>
> Wow that's really beautiful! Thanks for the link.
>
> This performance on a 19th century guitar played by Ricardo Gallen is
> slow, relaxed and beautiful as well. Measures 38-40 are played a bit
> faster than the rest like a free cadenza: very effective as is the
> arpeggiated E/D chord at the beginning of m.40
>
> http://www.youtube.com/watch?v=XZegaLI4M_w

Nice the way he rolls off the open 5th string from the nut at the end
of the piece.

[ronaldg...@gmail.com]

You are really demonstrating your ignorance of Bach's music and baroque music in general if you don't think rests in the bass sound better sometimes than letting the basses ring. Observing the basses not only accentuate the bass line, but also function as an implied continuo. Bach didn't write anything "by accident". The rests are there for a reason. Go read and study Bach and baroque music and you might get a clue.

[Alphonsus Jr.]

On Sunday, November 11, 2012 5:52:51 AM UTC-8, ronaldg...@gmail.com wrote:
> Bach didn't write anything "by accident". The rests are there for a reason.

I couldn't agree more.

[David Raleigh Arnold]

Hate it. Regards, daveA

--
Guitar teaching materials and original music for all styles and levels.

[JPD]

On Nov 11, 9:40 am, David Raleigh Arnold <d.raleigh.arn...@gmail.com>

Seriously?

[David Raleigh Arnold]

Well said.

In addition, uncalled-for extensions can cover up a double
in a higher octave. You find rests to avoid that in
most composers, Haydn for example, even when it leads to inconsistency
in the bass part.

And, especially on guitar, shortening the bass causes the
treble to /seem/ to sustain better. Regards, daveA

--
Guitar teaching materials and original music for all styles and levels.

[David Raleigh Arnold]

Absolutely. Sounds precious and pretentious. I don't say
that all preludes should have a tempo, but most of them
should, and this one definitely should, because it has
rhythmic interest, and that was destroyed. The performance
was annoying, not expressive, to my ears. Regards, daveA

--
Guitar teaching materials and original music for all styles and levels.

[Andrew Schulman]

How a bass line functions depends on the instrument that's being
played. Also, take a look at the rests in the upper voice of BWV 999,
would you observe those rests? Bach's sons described how their father
taught his students to make intelligent decisions. There are
excellent musicians that play that prelude observing the rests in the
bass line, and those that let the bass ring. It's a choice that
depends a lot on the instrument being played.

Bach transcribed many of his works for other instruments. For
instance, look at the changes he makes when he arranges the violin
concertos as keyboard concertos. Etc.

Jason Vieaux is a very intelligent musician who by no means
demonstrates ignorance of Bach's music and baroque music.

Andrew

[JPD]

On Nov 11, 10:14 am, David Raleigh Arnold <d.raleigh.arn...@gmail.com>

The first four minutes of this interview with Paul O'Dette might
interest you, then. In particular, when he says of Renaissance and
Baroque music: "...find the optimum tempo for each musical
gesture...."

http://www.youtube.com/watch?v=tQ5vltWA0IY

[Ted Haskell]

I agree that this prelude wants a relatively steady tempo. An important organizing element of this piece is the bass rhythm. You should really notice when the frequency of bass notes doubles, then doubles again, then goes back to the original one bass note per measure. Major changes in tempo, or exaggerated phrasing cause the piece to lose its focus and intensity. The effect of the exaggerated tempo changes is a feeling of being left hanging too many times.

To the orignal post question about playing the rests, I find it a third order effect at most. Not important unless I focus on it while listening--in which case I can't listen to the important stuff.

[Andrew Schulman]

On Nov 11, 3:28 pm, Ted Haskell <tedhask...@gmail.com> wrote:
> I agree that this prelude wants a relatively steady tempo. An important organizing element of this piece is the bass rhythm. You should really notice when the frequency of bass notes doubles, then doubles again, then goes back to the original one bass note per measure. Major changes in tempo, or exaggerated phrasing cause the piece to lose its focus and intensity. The effect of the exaggerated
> tempo changes is a feeling of being left hanging too many times.
>
> To the orignal post question about playing the rests, I find it a third order effect at most. Not
> important unless I focus on it while listening--in which case I can't listen to the important stuff.
>
>

Good post, Ted. Personally, I think it's a dance.

Andrew

[Richard Jernigan]

On Saturday, November 10, 2012 7:02:40 PM UTC-6, thomas wrote:

>
> That's a nice guitar he's playing. Anyone know who made it?

At the concert last night in Austin, the program said he was playing a Gernot Wagner. In the video it looks and sounds like the same guitar. The concert last night was fabulous. I think some of it was due to the instrument.

It had tremendous dynamic range, and great flexibiity of tone color. As I sat on the front row, about 20 feet from un-amplified Vieaux, I often thought of the difference between my ex-wife's six-foot Steinway and a nine-footer.

In guitar concerts you often hear only two dynamic levels during a phrase--for example, melody and accompaniment. In Vieaux's concert last night you could often hear three or four levels during the same phrase, with each line dynamically inflected. Much had to do with the mastery of the player's musical concepts, but their implementation was enabled by the tremendous dynamic range of the guitar.

I have read a lot of criticism of the tone qualities of Nomex double top guitars. In the hands of Vieaux this instrument was a thing of great beauty. His tone and tonal variation were superb.

Vieaux's performance of the Britten Nocturnal was masterful. I have the guitar Romanillos made just before Bream's famous #501. The piece was written for Bream, who worked closely with Britten. But Vieaux's performance was revelatory. That was when the six-foot versus nine-foot Steinway comparison occurred to me.

The whole concert was wonderful. I particularly enjoyed the closing Merlin "Suite del Recuerdo". In contrast to the midi-like performances one hears so often, Vieaux gave each of the dance movements an authentic swing. He didn't sound like Atahualpa Yupanqui or Cacho Tirao, but you could tell when he was playing a zamba or a chacarera.

RNJ

[Fadosolrélamisi]

Great interview! Interesting to watch also their hands mvts as they speak ...

One thing that need to be considered is that respecting the score as is with the silence and all requires a different fingering approach (in some places) then if the bass were let loose so to speak.
One good example of that is in the prelude BWV999 that Andrew brought up earlier in the discussion, if you take mm 10,11,12, there is an open d one can choose to ignore (meaning to let it ring from the end of mm 10) as it is part of the diminished harmony (dominant function in A minor) but if one decide to mute it, it becomes a totally different ball game in term of fingering.

[Andrew Schulman]

On Nov 11, 5:23 pm, Fadosolrélamisi <rei...@telus.net> wrote:
> Great interview! Interesting to watch also their hands mvts as they speak ...
>

Yes, Paul O'Dette is not a literal constructionist! And that is a
compliment.

The essence of being a good musician is understanding what sounds
good. There are situations where you can choose different solutions
that will work, but, for example, to observe rest just because it's
there, without understanding the context, is no good if the result
doesn't sound good. As I pointed out before, there are rests written
in the upper voice of the third beat of every measure of BWV 999
except the penultimate one, and the only third beat rest you can
observe is the one in the final measure.

If someone prefers observing the rests in the bass in the BWV 998
prelude, and thinks that is "correct" and sounds better, be my guest.
There are a lot of fine players that let those basses ring, and I
agree with that way of playing the piece. Someone may say (and has,
here) that that is ignorance. I call it good musicianship based on
experience.

Andrew

[Fadosolrélamisi]

Even the Harpsi players let it ring! I had this discussion before (in 2010) about the rest in BWV 998 ... If I were to play this prelude now I probably would change my mind in many places. I have to say that as much as I love Bach ... Bach does not like me as much! (What I mean is that I'm not a goods Bach player).

[dsi1]

On 11/10/2012 1:54 PM, Alphonsus Jr. wrote:
> Why are the bass rests in this piece if it sounds so much better this way?
>
> http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related
>

The bass rests are an absolute must if mediocrity, inflexibility, and
replication are the gods upon whose altar you worship.

[Andrew Schulman]

Gods? You're polytheistic?

Andrew

[dsi1]

God never said there was only one of him. Neither did the Jews. They
ain't actually the chosen people. They just have an exclusive contract
with God. Well, that's my story anyway and I'm sticking with it...

[Fadosolrélamisi]

All gods love music, no?

[dsi1]

On 11/11/2012 2:33 PM, Fadosolrélamisi wrote:
>
> All gods love music, no?
>

Most but not all, the gods of mediocrity, inflexibility, and
replication hate music and art!

[Andrew Schulman]

On Nov 11, 7:20 pm, dsi1 <d...@eternal-september.invalid> wrote:
> God never said there was only one of him. Neither did the Jews. They
> ain't actually the chosen people. They just have an exclusive contract
> with God. Well, that's my story anyway and I'm sticking with it...
>
>

The Jews subcontract out to Zeus, and on the Greek holidays bring in
Odin. I'm not surprised you know this.

Andrew

[Andrew Schulman]

On Nov 11, 9:05 pm, dsi1 <d...@eternal-september.invalid> wrote:

> On 11/11/2012 2:33 PM, Fadosolr lamisi wrote:
>
>
>
> > All gods love music, no?
>
> Most but not all, the gods of mediocrity, inflexibility, and
> replication hate music and art!
>
>

Game of Thrones, are we talkin' about the new gods or the old gods?

Andrew

[dsi1]

I'm gonna rat you out to my Rabbi!

[dsi1]

On 11/11/2012 4:07 PM, Andrew Schulman wrote:

Beats the heck out of me. I can't keep up with all the crazy new shows
you kids are into! My son tried to get me to watch GOT but that goofy
show was like a Renaissance Faire except with naked wenches and midgets.
I hate Renaissance faires although, like most folks, naked wenches and
midgets are A-OK - in moderation.

[Andrew Schulman]

I'm gonna rat you out to my Rabbit! And believe me, my Rabbit lets
the bass notes in the BWV 998 Prelude ring through the rests. On the
other hand, he's a burrowing, gregarious, plant-eating mammal with
long ears, long hind legs, and a short tail so he may not be up on all
the niceties of Baroque music performance practice.

Andrew

[dsi1]

Always listen to your Rabbit. The Rabbit is always right. :-)

[JPD]

On Nov 11, 6:33 pm, Andrew Schulman <and...@abacaproductions.com>
wrote:

Rabbis, rubato, and rabbits -- oh my!

[Steve Freides]

Andrew Schulman wrote:

> On Nov 10, 9:30 pm, JPD <googlegroo...@guitarist.com> wrote:
>> Speaking of tempo, how do you like this

>> one:http://www.guitarist.com/blog/2012/11/bach-prelude-bwv-998-luciano-co...
>>
>>
> There is a plasticity to preludes in general that allow a range of
> tempo differences. It has to do with the origin of the form.
>
> Andrew

Please say more, Andrew, about the origin of the prelude form.

Thanks.

-S-

[himmelhoch]

I think he is referring to the early baroque practice of improvising preludes to suites. And then later, unmeasured preludes were notated in pitch but not rhythm.

[Steve Freides]

Cool stuff - would love to learn/read more about this. Is this
discussed in Bukofzer's book, which I'm pretty sure I still have, I
wonder ...

-S-

[Andrew Schulman]

On Nov 12, 9:21 am, himmelhoch <himmelh...@verizon.net> wrote:
> I think he is referring to the early baroque practice of improvising preludes to suites.  And then later, > unmeasured preludes were notated in pitch but not rhythm.
>

Yes, thanks Seth, that's what I was referring to.

Andrew

[Andrew Schulman]

On Nov 11, 9:30 pm, dsi1 <d...@eternal-september.invalid> wrote:
> My son tried to get me to watch GOT but that goofy
> show was like a Renaissance Faire except with naked wenches and midgets.
> I hate Renaissance faires although, like most folks, naked wenches and
> midgets are A-OK - in moderation.
>
>

I recommend giving it another shot, great acting and writing.

Andrew

[John Nguyen]

On Nov 11, 9:30 pm, dsi1 <d...@eternal-september.invalid> wrote:

> like most folks, naked wenches and
> midgets are A-OK - in moderation.

Only 50% OK with me. I can't stand naked wenches.

[dsi1]

On Nov 12, 6:27 am, Andrew Schulman <and...@abacaproductions.com>
wrote:

The learning curve for the series might be a little too steep for me.
My son wishes me to watch the series too and gave me his boxed set but
it's been tough going. Are there naked midgets frolicking (ye olde
term) with buxom wenches? I have the feeling that might have turned me
off to the series but I can't say cause I would repress any memories
of it. I find that disturbing because it reminds me too much of
myself.

[dsi1]

What's so great about naked midgets? :-)

[David Raleigh Arnold]

On Sun, 11 Nov 2012 10:35:09 -0800, JPD wrote:

> On Nov 11, 10:14 am, David Raleigh Arnold <d.raleigh.arn...@gmail.com>
> wrote:
>> On Sun, 11 Nov 2012 10:02:36 -0800, JPD wrote:
>> > On Nov 11, 9:40 am, David Raleigh Arnold <d.raleigh.arn...@gmail.com>
>> > wrote:
>> >> On Sat, 10 Nov 2012 18:30:09 -0800, JPD wrote:
>> >> > On Nov 10, 5:51 pm, David Raleigh Arnold
>> >> > <d.raleigh.arn...@gmail.com> wrote:
>> >> >> On Sat, 10 Nov 2012 17:20:38 -0800, John Nguyen wrote:
>> >> >> > On Nov 10, 6:54 pm, "Alphonsus Jr." <alphonsu...@gmail.com>

>> >> >> > wrote:
>> >> >> >> Why are the bass rests in this piece if it sounds so much
>> >> >> >> better this way?
>>
>> >> >> >>http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related
>>

>> >> >> > As long as the ringing is full controlled and not excessive,
>> >> >> > there is nothing wrong with it.
>>
>> >> >> But it usually isn't. It may sound "better this way" on a baroque
>> >> >> lute, or harpsichord. It may or may not on a guitar. Let's hear
>> >> >> an equally good performance with the indicated rests. My bet is
>> >> >> that it's better with the rests, but I am not going to dig out
>> >> >> the music tonight.
>>
>> >> >> There was an exceptional effort at real rubato, not just
>> >> >> screwed-up tempo. Nice. Regards, daveA
>>
>> >> >> --
>> >> >> Guitar teaching materials and original music for all styles and
>> >> >> levels. Site:http://www.openguitar.com(()) eMail:
>> >> >> d.raleigh.arn...@gmail.com
>> >> >> Contact:http://www.openguitar.com/contact.html"
>>

>> >> > Speaking of tempo, how do you like this one:

>> >> >http://www.guitarist.com/blog/2012/11/bach-prelude-bwv-998-luciano-
>>
>> >> contini-lute.html
>>
>> >> Hate it. Regards, daveA
>>
>> >> --
>> >> Guitar teaching materials and original music for all styles and
>> >> levels. Site:http://www.openguitar.com(()) eMail:
>> >> d.raleigh.arn...@gmail.com
>> >> Contact:http://www.openguitar.com/contact.html"
>>
>> > Seriously?
>>
>> Absolutely. Sounds precious and pretentious. I don't say that all
>> preludes should have a tempo, but most of them should, and this one
>> definitely should, because it has rhythmic interest, and that was
>> destroyed. The performance was annoying, not expressive, to my ears.
>> Regards, daveA
>>
>> --
>> Guitar teaching materials and original music for all styles and levels.
>> Site:http://www.openguitar.com(()) eMail: d.raleigh.arn...@gmail.com
>> Contact:http://www.openguitar.com/contact.html"
>
> The first four minutes of this interview with Paul O'Dette might
> interest you, then. In particular, when he says of Renaissance and
> Baroque music: "...find the optimum tempo for each musical gesture...."
>
> http://www.youtube.com/watch?v=tQ5vltWA0IY

I didn't read it, but Wagner wrote that the primary job
of a conductor was to find the right tempo.

Before the metronome, the ability to keep a steady beat
was not thought of as mechanical or wanting in expression.
After the metronome the steady beat was not as respected
as an accomplishment. Regards, daveA

--
Guitar teaching materials and original music for all styles and levels.

Site: http://www.openguitar.com (()) eMail: d.raleig...@gmail.com
Contact: http://www.openguitar.com/contact.html"

[thomas]

On Monday, November 12, 2012 12:29:25 PM UTC-5, dsi1 wrote:
>
> The learning curve for the series might be a little too steep for me.
>

It helps if you watch it with someone who's read the books. Although you'll probably annoy them with your constant questioning (Who's this character? Is he good or evil? Why'd they kill that guy?).

> Are there naked midgets frolicking (ye olde
> term) with buxom wenches?

Uh, yes. That did happen. A couple times. Although I've only seen the first season.

[dsi1]

I'll have to give it another go then. I'll always give midgets a second
chance. Yay little people!

[Andrew Schulman]

On Nov 12, 7:32 pm, dsi1 <d...@eternal-september.invalid> wrote:
> On 11/12/2012 10:36 AM, thomas wrote:
>
> > On Monday, November 12, 2012 12:29:25 PM UTC-5, dsi1 wrote:
>
> >> The learning curve for the series might be a little too steep for me.

>>> I'll have to give it another go then. I'll always give midgets a second
>>> chance. Yay little people!
>
>

The best actor in the series, which is saying a lot considering the
high level of acting, is Peter Dinklage who is in fact a dwarf; he was
born with achondroplasia. Great actor.

It is a tricky series to watch at first because there is so much
information. I found it well worth repeating each installment to get
all the characters, etc.

I also loved the way Peter Dinklage's character let the basses ring
through the rests in the BWV 998 prelude, but observed all of the
rests in the fugue.

Andrew

[John Nguyen]

Don't know! Too small to notice!

[Fadosolrélamisi]

Ha ... it took me a while to realize that you guys were talking about the imp!
Ya .. ya ... I watch it not only with one but 3 people who read the book ... Am I lucky? Yes! Is everything clear as water? No ... well not really as apparently the series desn't always follow what happened in the book ... but indeed, it's definitely better to watch it with these 3 people than watching it all by myself ... I would be lost! Totally lost.
Peter Dinklage is to the dwarf actors community what Segovia was to the guitar in an era. Yeah! The Imp is my fave character ... Unfortunately for us, up here, the series re-starts only in March!!! I have had the time to forgot everything ... Will I be able to reconnect?

[dsi1]

On 11/12/2012 4:01 PM, Andrew Schulman wrote:
> On Nov 12, 7:32 pm, dsi1 <d...@eternal-september.invalid> wrote:
>> On 11/12/2012 10:36 AM, thomas wrote:
>>
>>> On Monday, November 12, 2012 12:29:25 PM UTC-5, dsi1 wrote:
>>
>>>> The learning curve for the series might be a little too steep for me.
>>>> I'll have to give it another go then. I'll always give midgets a second
>>>> chance. Yay little people!
>>
>>
> The best actor in the series, which is saying a lot considering the
> high level of acting, is Peter Dinklage who is in fact a dwarf; he was
> born with achondroplasia. Great actor.

I love that guy. He was great in "The Station Agent."

http://www.youtube.com/watch?NR=1&v=bXpq-sf0Drk&feature=fvwp

>
> It is a tricky series to watch at first because there is so much
> information. I found it well worth repeating each installment to get
> all the characters, etc.

My problem is that I started from the beginning. I'm gonna have to get
into this by starting from the middle. At least, that's how I learn new
pieces anyway.

>
> I also loved the way Peter Dinklage's character let the basses ring
> through the rests in the BWV 998 prelude, but observed all of the
> rests in the fugue.

Ah, those little guys always play like that.

>
> Andrew
>

[dsi1]

You're lucky I don't have a dirty mind!

[John Nguyen]

I was talking about my TV screen, my friend!

[dsi1]

Oh... never mind. :-)

[John Nguyen]

:-p

[edspyhill09]

On Saturday, November 10, 2012 6:54:46 PM UTC-5, Alphonsus Jr. wrote:
> Why are the bass rests in this piece if it sounds so much better this way?
>
>
>
> http://www.youtube.com/watch?v=UhyMp7rzL04&feature=related

How to play Bach on guitar is always an engaging discussion here. Just found this.

http://www.lagrange.edu/resources/pdf/citations/2007/music/music%20-%20johnathan%20Godfrey.pdf

Ed S.

[Slogoin]

On Nov 16, 7:10 am, edspyhill09 <edspyhil...@yahoo.com> wrote:
>
> How to play Bach on guitar is always an engaging discussion here.  Just found this.
>

> http://www.lagrange.edu/resources/pdf/citations/2007/music/music%20-%...
>
Some good stuff, thanks for the link. This bit would have been
handy when we had that thread about this same idea in RMCG.

"It then seems that by Case’s judgment, the Prelude, Fugue, and
Allegro has the look of lute tablature that has been written out in
staff notation. The work cannot be written in the authentic style
brisé because Bach utilizes what Case identifies as “implied
polyphony” throughout the piece – a line which visually seems single,
but actually contains multiple voices (Case 7). Examples of this
implied polyphony are not difficult to find: Case thinks it likely
that it is interpretable that the Prelude exemplifies it virtually
from beginning to end (27)."

[edspyhill09]

During one of the past Bach bass rest discussions I came up with the not yet fully researched idea that the plucked/fretted bass note, if held, would decay with the same dynamic result as the organ bass note that is stopped during the room echo decay. I remember listening to different artists play Bach on CD, but I forgot most of what I may have learned. Vague memory is that all players stopped some bass notes and let others ring/decay, depending on their interpretation of the harmony. Unfortunately I have never had the chops to play even simple Bach pieces. Next incarnation, maybe.

Ed S.