Definitely needs work. I’d probably either need to do this over 2 or 3 strings, but not alternate between the two approaches. Also, it would be a great exercise to writeup a series of variations, in articulation alone for bowing approaches, Van Eyck style. I’ll put that on my list of stuff to do when I get time.
Another great tune from Jordi Savall’s great Les Voix album is Harke, Harke by Hume. I’ve been practicing this one hard on my gamba, but nowhere near ready to post clips of that yet.
But, I thought it would be fun to show how I’ll be trying to add the repertoire I learn on gamba into my solo bass repertoire. I decided to try with a pick and then thumb with palm muting to give a real big difference in sound between the sections. Needs a lot of work, and my C string is coming unravelled, so not sounding very good right now.
And, here’s an “transcription” (really bad, just a memory map really) of parts of the beginning (click to enlarge) for bass gamba in standard tuning (D-G-C-E-A-D).
While I was listening to Jordi Savall’s great Les Voix Humaines album again the other day it occurred to me that I’m going to eventually transcribe all the arrangements because it’s just so beautifully done. Most (try all!) pieces are WAY BEYOND what I should be trying technically on the gamba at this point, but it sounds so great that I can’t help but go after it in the few months that I have left with this gamba.
Anyway, the Saraband by Playford is a great example. This is the type of tune that I might have just passed by if I had read it in a method book or something, but when you hear such a master as this take it on and breath life into it, it’s just so wonderful. I love the left hand pizzicato and the great mix of tone between arco and pizzicato. Hope to master this piece one day!!!
I saw Michael Manring with the Demania Trio last Saturday in Natick. Wow, what a show!!! I got a single seat in the 2nd row and I had an amazing up front view of Michael. Unbelievable.
I had to do the ‘mega fan’ thing and asked Michael to sign my bass after the show, I’ll never wash it again, lol!
We chatted briefly (the line was long!) and I mentioned my favorite composition of his for 5-string EAB: Far. I’ll have to write that one out for a blog post sometime soon. What a great piece by the master Michael! I transcribed that one in one of my old manuscript books, and I still play it on piano every now and then, but I haven’t played it on bass in years, that would be a fun refresher (but I’d be a little worried to try tuning to F-C-G-C-D on my Dean with the Thomastik strings).
I’ve run the Boston Marathon twice. I’m very proud of that. I always keep shoes that have gone that distance for me, I have a special bond with them and I feel they have a special energy and power. I ran the 2003 marathon in these shoes for example. A few times this summer I left them outside in rainstorms and they don’t smell so good now. I think I have to let them go.
As it relates to music, I haven’t been running really much since the fall of 2003, but when I was running a lot, I felt like I absolutely had to run just about every day. These days it’s more important to me to get some music into my day, even if for 30 minutes, than it is to run, although I do need to get back on track with exercise too.
Anyway, here’s a clip from Partita 1 that I was practicing the other morning as part of the morning practice session that I’m doing these days. I found a really nice fingering for the descending sequence there, across two strings, with 3 notes on the G string and 2 on the C, using 5-fret “stretch positions” again.
And one last marathon thought. I think most distance runners would agree that the marathon is often the easy part- there’s enough people on the course to cheer you right through it. What’s harder though is the 22 mile training runs where there’s nobody out there. It’s you and your determination and hopefully a litle bit of course support.
That makes for another good music analogy. It’s harder on the spirit to be doing your thing practicing at home (more like a training run) than being a successful artist where you get the feedback and validation all the time (like a real marathon). Enter YouTube. Here’s a place that we can all put our stuff out there and be heard. You see a whole variety of feedback styles–both positive and negative.
But if you think about a marathon, people cheer everyone because they’re out there making the effort. You don’t yell “you suck, “your form is bad”, “you’re getting beaten badly”. Now, I’m not saying that there isn’t a place for criticism in music. There absolutely is, and responsible criticism moves us forward as players and moves the music forward. I’m just saying there’s something to be said for just cheering someone for the effort.
I’ve seen some cars with a bumper sticker that says simpy 26.2. Maybe that’s what that means. I think I’ll have to get one, and I think I’m ready to let these beloved shoes go.
