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About palousian

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  1. Tax proposals

    Given the inability to govern that we have seen thus far from this demolition clown-car derby of a Congress, I wouldn't count on them being able to pass tax legislation of any type whatsoever. Seriously, see if they can do anything at all before you worry about how you will cope with it. Friends of mine in graduate school with tuition waivers are truly horrified that their tuition waivers might be taxed. But hey, you can import elephant heads for your ivory now, whoo-hoo!!
  2. Anyone else think the art world has gone mad

    More likely that a copy will show up, masquerading as the real thing.
  3. Violin type Nicolo Gusetto

    That's a lot of rosin you left on there. I am always mystified that people use that much and then leave such a dusting on their violins.
  4. J.S. Bach, a temperamental guy?

    "...just playing whatever I feel. I think Bach did that too and that's how I imagine he wrote a lot of the time... ...This is modal music to me...the composer is free to use any scale at any time..." ...sospiri, just so you know... Those statements based on the evidence. The significance of music "theory" in case like this is to understand how the composer heard it. If you are actually curious about how this all works, you are going to need to study music theory--something like what Stephen Fine outlined previously--which of course, is really "European common-practice harmonic and contrapuntal grammar." In fact, as I said awhile ago, this is classic common practice harmony, but it is a very weird passage. I would say it is one of the most fuzzy unstable harmonic moments in the common-practice period, emphasized by being played on solo violin, and is a moment of utter baroque harmonic awesomeness. I suggested it as an example because this difficult passage illustrated my argument that you don't just "feel" this--and, yeah, Bach knew exactly what he was doing here. Since the alternative at the moment is an hour dusting and vacuuming my recording studio, I decided to do a little harmonic analysis--I just did mm 80-81 (or mm 81-82, depending on how you count). Feel free to suggest alternative readings (I will confess that your analysis, above, with shifts to C# and B major seemed kinda silly to me--this is ALL in D minor), but I do think that his use of a "German" augmented-sixth chord, passing through V7 of V, resolving to a first-inversion V that immediately shifts on the A towards the subdominant, is pretty cool.
  5. J.S. Bach, a temperamental guy?

    There is no B natural in m 79. There's one in m 76 and there's one in m 80. Not sure where you are seeing G dorian. I wrote the pitches in mm 80-82 (if you count the pickup measure as #1, then this would be mm. 81-83) from the Chaconne in an ascending scale... Really, sospiri? You think that's a D harmonic minor scale? Try again. Hint: analyze the implied harmony.
  6. JacksonMaberry's Bench

    Your work is really fabulous, Jackson! This is going to be a nice violin! P
  7. J.S. Bach, a temperamental guy?

    While it is common to say that music is a "universal language"--and it is true that all human cultures have music--that is a statement that, like the concept of "music theory," is a bit of a misconception. All human cultures have spoken language, too, but facility in German doesn't really help you out with Tagalog. Nope, while there are interesting commonalities in many musical traditions (as there are in spoken languages)--things that may point to some common universal human conception of music--the fact is that every music tradition is deeply rooted in the particular historical aesthetics of that tradition, and may have little to do with what other people do. So, no... most music lovers do NOT "feel the harmony and melody from an early age." When Louis Sarno played a recording of Bach for the Baka people in Central Africa, who have their own traditions of harmony and counterpoint with far more complex rhythms than in Bach, they remarked that the music seemed very simple and uninteresting. I worked with some Turkish musicians who were convinced that many human emotions could not be expressed adequately in Western classical music because we only have two modes (major and minor). You might take an actual look at mm 80-82 of the Chaconne to see/hear what I was talking about. Saying that any music lover can "feel" the harmony there is an artful dodge, causing me to doubt that you in fact can understand that passage. A musician trained in European common-practice harmony can understand it, and the previous paths through the chord progression in that piece helps guide the listener's ears to what is going on there, but... it's a stretch... The fourth, which is tempered in the equal temperament system--'tis true--is based on a perfect 3:4 ratio, and is not really dissonant, exactly... It depends on the context. If there is a perfect fifth below, then that puppy is consonant. As the lowest interval in a chord, as in, say, a I 6/4 in a cadence, then, yes, that needs to be resolved. Still, it is not as dissonant as a major seventh or a minor second, etc. Though there were several temperament systems being used in the early 18th-c., the "modern" fourth is not really any different than that interval in Bach's time. And when I encounter a fourth in Bach solo violin literature, I'm playing that thing as close to a perfect interval as I can.
  8. J.S. Bach, a temperamental guy?

    Alas, I have been there. Gesualdo, however, did his work before the bel canto thing really got going. I suspect that his wildly chromatic madrigals, sung by warbly opera singers, would be...uh...something to hear...
  9. J.S. Bach, a temperamental guy?

    I'm not sure, but if I were hunting for the first extensions of tonality towards double-flats and so on, I would look at the music of Carlo Gesualdo (c.1600). His style is pre-common practice harmony, but he's got some interesting harmonies going on in those madrigals. I would guess that he went anywhere Bach went in that regard, but I don't know his music all that well. Some of his chromatic harmonic ideas don't turn up again for a couple of centuries, and by writing for singers he didn't have to worry about temperament.
  10. J.S. Bach, a temperamental guy?

    So you say. Based on your inquiry that started this thread, I'm not sure you're in a position to know. One fundamental problem is that "music theory" is a misnomer. It leads to misunderstanding about what it really is (it's grammar, not theory), and to people thinking that there are "music theorists." Understanding that it's grammar helps you grasp how and why the music is put together the way it is (the reason it's "grammar" is that this is the information that Bach used to compose this stuff), and it does affect the way it is played. To say, "just ignore it" is as though you are an actor who doesn't speak French, thinking you can deliver the jokes in a Molière play by phonetically reproducing the sounds of French. For example, without an understanding of harmony, I don't think you could make much sense of mm 80-82 of the Chaconne, not to mention those B#s in your E major Partita.
  11. Original Baroque Fingerboards

    In the mid-1980s I had an opportunity to spend an hour playing what I recall was a Jacobs--or perhaps some other nice late-17th c. Dutch violin--which was reconverted c. 1980. Beautiful instrument, but DANG that thing was a club. Because it was so heavy and of course there was no chinrest, I feared that it would tumble out of my left hand. It felt awful and put me off the whole baroque violin thing until I later encountered one that had a lighter fingerboard and was delightful. Another interesting aspect of this, though, and why I wonder whether Ritchie might want to consider having those fingerboards replaced, is that I was convinced that the wedge of ebony was acting as a mute or otherwise doing weird things to the sound--does that make sense--that so much weight in the neck is not a good thing acoustically?
  12. J.S. Bach, a temperamental guy?

    Yeah, I think so. Make it sound as good as you can. Keyboard players have to compromise but not YOU. I am an outlier in this group, as my first contact with Bach was as a pianist, a thousand years ago, and then as a harpsichordist. I was a (gasp!) traditional fiddle player until I got a nice violin a few years back and realized... whoa, I can play Bach!... Playing the Sonatas and Partitas has taught me what the common-practice harmony system really is. A keyboard player (or composer--my actual training) can understand what a B# represents, but it really is a C to them. NOT TO US!! We actually play B#s. It's awesome. I know, I'm easily amused...
  13. J.S. Bach, a temperamental guy?

    Of course, he flats most of those E naturals with accidentals. It isn't Lydian because it doesn't sound Lydian--the answer is that it really isn't in B-flat... it's still in Gm (Dorian, as you correctly point out). It's like...we'll hang out here in Bb, but we all know where this is going... As with that killer C-major Andante in the Am Sonata--I love that thing. Although, there his Dorian has a flat sixth, which I know everyone calls "Aeolian," but flatting the sixth in Dorian mode was legit in that period.
  14. J.S. Bach, a temperamental guy?

    Yeah, but not in actually composing. I will go out on a limb here and say that the thesis that more than one person wrote the Sonatas and Partitas (or the Orchestral Suites or the Brandenburg Concertos) is ludicrous. I once went down the rabbit-hole of wondering how much time 18th-c composers spent in the actual physical labor of writing out music. About 6-8 hours a day for a guy like Bach. Just physically writing out music. Hard work--no doubt--but look at the lovely calligraphic hand at the top of this thread. If you have seen Bach's scores in person, you can recognize this hand--as distinctive as any handwriting--and you can tell he wasn't wasting any time, writing it out. But unlike our modern world, with this style and that style--he had his chops, and he didn't have to consider what all these other guys did--he just did Bach. In the way that Parker didn't have to do Coleman Hawkins, and he certainly didn't have to do Coltrane. Extraordinary claims require extraordinary proof--what've you got...really. Music theory can get complex but we're dealing with the guy who was promoting equal temperament, which allowed keyboard players to play in any key. Expect some E#s and B#s, folks. It isn't that hard to figure out.
  15. Is the label on this violin legit?

    I'm not one of the experts here, but it sure doesn't look like an 18th-c. violin to me. There seem to be a crack or something down at the saddle, but other than that, there is very little evidence of authentic wear of any kind. Looks virtually new, in fact. If you spend any time around violins, you learn to be suspicious of labels on principle--if the violin in all other aspects looked like a Socquet, then you'd consider the label, which in this case looks like it was printed last week. Be patient, someone will come on here and give you a more specific attribution. How does it sound?