I don't need to tell you how good music is for your head. I hope you pick up one of those guitars and create something new on a synthesizer for you sound cloud.
I don't need to tell you how good music is for your head. I hope you pick up one of those guitars and create something new on a synthesizer for you sound cloud.
Playing from sheet music, which I now do almost all the time I play classical guitar, has an established benefit in deferring senility. Last I read the connection was not understood, but it uses so many different parts of the brain in coordination that speculation comes easily.
Cellist Pablo Casals was playing gifted interpretations of Bach which involved reading figured bass; numerical notations beneath single notes
B
6
would be a G chord, B being the third, and the other note, D, not needed because any one who can read figured bass knows this stuff. But it isn't just chords, the musician is expected to work in themes and transitions from the body of the piece.
It takes really deep understanding and fast thinking to play from figured bass, most Baroque musicians fill it in before they perform.
Casals was doing superb live interpretations of figured bass at age 96.
I was into Baroque music for years before I started listening to later classical music and I won't say I could play figured bass but I understood it well enough to read it and tell what chords it was specifying.
Usually figured bass was for the "continuo," which was the name for a bass viol (a bowed instrument like a cello but with frets) and a harpsichord; it was not until Bach's Brandenburg #5 that the harpsichord got a lead role. The pair of instruments were like what bebop would call the rhythm section. They were an accompaniment, and the two musicians were expected to be able to improvise within the piece, playing music that was not written out, only hinted at.
The musicians did this all the time, not like modern classical musicians who might do Baroque only sometimes.
When I was a child my mother sent me to summer with country relatives. One summer it was with an aunt who was a piano teacher. At the end of summer, I played in church from the Baptist (Broadman) Hymnal. I went back home to no piano and forgot it. I cannot sight read on any instrument that I play now, ruined by tablature or chord charts.
I play with people who use songbooks with notation and need to work on learning it since I am often limited to playing chords without that ability. For songs with long strings of chords with 3 Major & 3 minor chords with two different chords in each measure at the speeds they play it would be easier to play the melody. I need to work on that since one of my reasons for music is to exercise my brain now that I've retired from my thinking job. The task is complicated by my playing instruments with different tunings, so the notes are in different places on the fretboard. I need to do it even though it is contrary to my goal of being able to play anything I hear or have in my head without paper.
I used sheet music to learn a piece, classical or rock, many years before I could play live from the sheet music. I think it started with playing some studies by Fernando Sor, Classical Era Spanish composer, pieces that fit under the fingers in mostly low positions, Suddenly I could play from the music at performance speed, and then I could play pieces I was trying for the first time at close to performance speed.
I still use sheet music mostly to learn the pieces, though I almost always rearrange them. The guitarist who inspired me to play, Julian Bream, used too many open strings in his arrangements, whereas I try not to mix fretted and open strings in a scale run unless I need to so I can jump to a distant position.
I can read tabs but I'm used to music notation now.
Banjo (old-time) got me partial to open strings. I often play in G & D so DADGBE & DGDGBE are tempting guitar tunings (more open string chords) but while I'm learning I'm sticking to EADGBE.
I've never experimented with alternate tunings. About half of classical pieces tune to bass string to D instead of E but whichever tuning I'm using there are passages where the other would be momentarily more convenient. Now on my Yepes 10-string I always have both.
Jimmy Page (Led Zeppelin) tunes his electric to DADGAD, dad-gad, which is why so many bands covering LZ songs don't sound quite right. Joni Mitchell almost never uses the standard tuning.
One piece I really want to learn uses EтЩн A D G BтЩн EтЩо and it's extremely difficult already because of the tempo, but WOW do I want to learn it:
Drop D (DADGBE) is probably the most common, and easiest, altered tuning since nothing changes for strings 1-5. Power chord on the 6-4 and interesting bass runs on the 6.
Celtic (DADGAD) is a power chord player's delight and more open ringing tonic and dominant strings when playing in the people's key of D. A bit awkward for other chords.
Open G (DGDGBD) is basically the most common banjo tuning so a banjo player could play a guitar without knowing how to play a guitar. I'm resisting that urge because I want to be an actual guitarist.
As for the piece that you linked, I don't even dream of playing something like that. Good grief!
I don't need to tell you how good music is for your head. I hope you pick up one of those guitars and create something new on a synthesizer for you sound cloud.
But wait! There's more!
Playing from sheet music, which I now do almost all the time I play classical guitar, has an established benefit in deferring senility. Last I read the connection was not understood, but it uses so many different parts of the brain in coordination that speculation comes easily.
Cellist Pablo Casals was playing gifted interpretations of Bach which involved reading figured bass; numerical notations beneath single notes
B
6
would be a G chord, B being the third, and the other note, D, not needed because any one who can read figured bass knows this stuff. But it isn't just chords, the musician is expected to work in themes and transitions from the body of the piece.
It takes really deep understanding and fast thinking to play from figured bass, most Baroque musicians fill it in before they perform.
Casals was doing superb live interpretations of figured bass at age 96.
I was into Baroque music for years before I started listening to later classical music and I won't say I could play figured bass but I understood it well enough to read it and tell what chords it was specifying.
Usually figured bass was for the "continuo," which was the name for a bass viol (a bowed instrument like a cello but with frets) and a harpsichord; it was not until Bach's Brandenburg #5 that the harpsichord got a lead role. The pair of instruments were like what bebop would call the rhythm section. They were an accompaniment, and the two musicians were expected to be able to improvise within the piece, playing music that was not written out, only hinted at.
The musicians did this all the time, not like modern classical musicians who might do Baroque only sometimes.
When I was a child my mother sent me to summer with country relatives. One summer it was with an aunt who was a piano teacher. At the end of summer, I played in church from the Baptist (Broadman) Hymnal. I went back home to no piano and forgot it. I cannot sight read on any instrument that I play now, ruined by tablature or chord charts.
I play with people who use songbooks with notation and need to work on learning it since I am often limited to playing chords without that ability. For songs with long strings of chords with 3 Major & 3 minor chords with two different chords in each measure at the speeds they play it would be easier to play the melody. I need to work on that since one of my reasons for music is to exercise my brain now that I've retired from my thinking job. The task is complicated by my playing instruments with different tunings, so the notes are in different places on the fretboard. I need to do it even though it is contrary to my goal of being able to play anything I hear or have in my head without paper.
I just looked up figured bass. Good grief!
I used sheet music to learn a piece, classical or rock, many years before I could play live from the sheet music. I think it started with playing some studies by Fernando Sor, Classical Era Spanish composer, pieces that fit under the fingers in mostly low positions, Suddenly I could play from the music at performance speed, and then I could play pieces I was trying for the first time at close to performance speed.
I still use sheet music mostly to learn the pieces, though I almost always rearrange them. The guitarist who inspired me to play, Julian Bream, used too many open strings in his arrangements, whereas I try not to mix fretted and open strings in a scale run unless I need to so I can jump to a distant position.
I can read tabs but I'm used to music notation now.
Banjo (old-time) got me partial to open strings. I often play in G & D so DADGBE & DGDGBE are tempting guitar tunings (more open string chords) but while I'm learning I'm sticking to EADGBE.
I've never experimented with alternate tunings. About half of classical pieces tune to bass string to D instead of E but whichever tuning I'm using there are passages where the other would be momentarily more convenient. Now on my Yepes 10-string I always have both.
Jimmy Page (Led Zeppelin) tunes his electric to DADGAD, dad-gad, which is why so many bands covering LZ songs don't sound quite right. Joni Mitchell almost never uses the standard tuning.
One piece I really want to learn uses EтЩн A D G BтЩн EтЩо and it's extremely difficult already because of the tempo, but WOW do I want to learn it:
https://www.youtube.com/watch?v=-kI2dnAAZhA
I would need to get totally serious again, practicing hours every day.
Drop D (DADGBE) is probably the most common, and easiest, altered tuning since nothing changes for strings 1-5. Power chord on the 6-4 and interesting bass runs on the 6.
Celtic (DADGAD) is a power chord player's delight and more open ringing tonic and dominant strings when playing in the people's key of D. A bit awkward for other chords.
Open G (DGDGBD) is basically the most common banjo tuning so a banjo player could play a guitar without knowing how to play a guitar. I'm resisting that urge because I want to be an actual guitarist.
As for the piece that you linked, I don't even dream of playing something like that. Good grief!
https://www.scales-chords.com/chord-namer/piano?notes=D%23;A;A%23;D;F;G;A%23&key=&bass=D%23
Wow the Wikipedia entry on figured bass is excellent! That has everything I ever knew about it in one screen.
I contribute money annually. It's good for many things not politicized. As always, if it can be politicized, not so much.