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Bobby

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  1. jerry, i feel terrible for you. i pray your vision will be better soon. my pop had a detached retna from a accident. although it was repaired, he never saw as clearly from his eye for a long time, yet it became better with time. hoping yours too will clear.
  2. quote: Originally posted by deStaunton: I believe his story, because I've had lessons with Heifetz - in "dreams" - that evolved my playing and comprehension vastly. me too! this is getting spookie.
  3. thank you mr. redrobe! i was reading your website, and you were part of the heifetz class in 1966-1967? did you know the other students and assistants? was claire hodgekins his assistant then, and what did they do as assistants? i wish i could swim the ocean to take some lessons with you. bobby
  4. quote: Originally posted by Daniel_the violist: Many of us train very hard to be the best violinist/violist/cellist that we can be. But, most of us will never be the best violinist/violist/cellist in the world. I can think of less than 10 famous living violin soloists. Those 10 are 10 out of millions of people who have learned the violin. Also, out of these 10 soloists, are any of them filthy rich? I don't know that is a question. The youth of today are too easily influenced. It is sad that they can't see how all that junk they listen to is junk. It is just horrible that classical music, when you really think about it, may not exist in a few centuries. We need to really educate our children and make sure the masterpieces of old survive forever. that is the problem. as i see it, kids don't want to be 'educated' to like something. it's gotta speak to them. be part of their generation. music and sociology. classical music is another slice. composers had patrons as employers, later composers were the communicators for their society (symphonic modes, etc of the 19th c). today, most attending concerts aren't the mainstream. the audience is a much smaller population. about the education - kids know the abc's song, many folk tunes. that is classical music, it is part of the culture. what they don't know or care much about is going to the symphony - it's not dancing, you can't sing along with it, it's not active participation. alot of can'ts and not enough do's. but my cousins line dance, they go to country fests. they also go to the movies. music is very alive in the sound tracks, and the composers have a good deal of training. so kids do hear the music of live composers and studio players. it's not all bleak. just some observations as to the way it is. but you are correct - this isn't a high demand career area. [This message has been edited by Bobby (edited 04-22-2002).]
  5. don, i have to hand it to you. you took us on a journey through your discription! (whoops on my brief post, btw . should have written more clearly.) thanks don.
  6. g#major . you guessed already. I was merely wondering how many people composed too. Mark O'Conner and recent discussions spurred my thoughts. thanks for writing.
  7. quote: Originally posted by fatcat: Even tougher. i'll second that. as much competition as there is in performance, there's as much if not more in composition. landing that record deal is a far shot. ar are flooded daily, most promos are never heard. its a long hard road.
  8. scott is quite right. it is a rule of good part writing. parallel fifths and octaves don't sound good (asthetics). while these laws must be learned, frequently they can not always be followed. composers use parallel fourths, fifths and octaves for effect in writing. [This message has been edited by Bobby (edited 04-18-2002).]
  9. quote: Originally posted by Ernst: Another post made me think of this. Or a better question might be why is everything I like in life so blasted expensive? ain't that the truth! in ernest, the guitar doesn't has as much complexity as the viol family. it produces it's own mood, and in my opinion, has a soothing/pleasing quality. strings no doubt wouldn't be as expensive to produce if the responsive 'tone wood' is less sensitive to the initiating vibration. disclaimer: my hunches, i'm no luthier.
  10. nevermind. it was a dumb question anyway. [This message has been edited by Bobby (edited 04-18-2002).]
  11. quote: Originally posted by MrWoof: Here is a link to a midi experiment I threw down the other day for some incidental music between scenes of the opera I am beginning. http://home.mpinet.net/alpaca/operatheme.mid Let me know if you love it or loathe it. Do one or the other please don't tell me it's nice! Don Crandall don, i like listening to your works. this segment sounds like an idea puzzling a character? did he encounter something which has him developing a plot or mixing a solution? is he up to something? am i perceiving right, wrong? i think he's hatching a plan which might not be on the up and up.
  12. quote: Originally posted by K544: I am curious where this information comes from. My own perception (or at least my own prejudices) are just the opposite. I believe that the musical public admires great instrumentalists, but that they adore great singers. hope you don't mind my jumping in on this. there's art songs, then there's opera. don't the singers of classical music, expand beyond lieder and art songs and include opera? in my experience, as i gather is yours too, they gather the greater (more expansive, general) public interest far more easily. pavoratti, domingo, battle, etc etc. enjoy a good house following. this goes for charlotte church and bocelli (?) as well.
  13. check into film scores. the godfather, romeo and julliet - some examples. there are tons of composers (accord. current list 10,000 + in US alone), and all write in different ways and styles. some films call and list to pay for 'traditional' score writing, others don't. you want a concerto, you gotta pay for it, like anything else. the discipline of composing is long. those in this field will tell you that it is more difficult to earn a living as a composer than earning a living in performance on instrument. to put it in the words of peter schikele, "you gotta be dead to be discovered" (ha ha) but there might be a bit of truth in it. i have to agree with what was said above (esp. but not limited to scott bailey), composers are independent/creative sorts. they don't bend well to demands which interfer with what they have in mind to create.
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