Trumpet Discussion Discuss Practicing Subdivision in the General forums; Kevin,
It's like this:
When we go to play jazz and we see 8th notes, depending on whether it's 20's, ...
It's like this:
When we go to play jazz and we see 8th notes, depending on whether it's 20's, 40s, or bebop we understand that there's a tradition for each era.
For the Austrians there was an understanding of how to interpret an instruction or a rhythmic figure in a traditional way. That's why it's not written in a 6/8. It wasn't necessary. They knew what "in the style of a military fanfare" meant.
The same goes for the 8th notes in the scherzo. A chill goes up my spine when I hear it straight instead of a little rushed, like a Strauss waltz. Bugs the heck out of me. That's what my whole post about people not listening to the old recordings was all about. There can be no connection to the past if teachers don't bend over backwards to understand the old ways.
The past becomes meaningless. Kind of like American history has become. This why it drives me nuts to hear what SOME major trumpeters have to say in master classes and clinics. But don't get me wrong; over- analysis of musical styles is just as puerile.
End of rant.
I found your response very interesting. Here's why... I almost ended my previous entry with the following post script...
P.S. I just realized something that will make me sound like a hypocrite. I cannot stand it when my orchestra plays an arrangement of a jazz piece and the arranger writes out the swung figures as dotted eigth- sixteenth. Having a pretty good jazz background it is much easier for me to look at regular old eigth notes and know how to swing them because of the style of the piece.
I didn't add this post script because I thought some bozo out there would somehow think that I thought Mahler was writing jazz and I didn't want to get in that discussion with anybody. Anyway, it seems that being properly educated in a wide range of styles of jazz music and classical music is the solution to any hangups dealing with notation vs. actual rhythm played.
now back to the topic of subdivision!!
In the CSO recording I have of Mahler 5, Bud is so rhythmically strong you can almost hear the subdivisions in his playing. It provides a great source of momentum from count 1 to 2 and then 2 to one; the rests are excrutiatingly loud.
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