tag:blogger.com,1999:blog-83387776564715040302024-03-12T19:18:51.522-07:00Charlie's Plug-insMusic / Theater / HumorCharlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-8338777656471504030.post-15279421390875444612018-05-03T13:26:00.001-07:002018-05-06T11:41:58.635-07:00Six Songs I Never Should Have Written / An Interview.<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ydiznyjfeC_nHsXAnD4TyxBFiubqGxDF7rmALHLYjs20YVEHIsPdVlGJwAoRmF5yMOa4-2gc8vXjpCoMBQXGbV8n9P_FhIhnLgs2mXEb8hRAthlGviTismMiHNrEYla72EQuZNfPXyeG/s1600/embarassedjobguy_640.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ydiznyjfeC_nHsXAnD4TyxBFiubqGxDF7rmALHLYjs20YVEHIsPdVlGJwAoRmF5yMOa4-2gc8vXjpCoMBQXGbV8n9P_FhIhnLgs2mXEb8hRAthlGviTismMiHNrEYla72EQuZNfPXyeG/s1600/embarassedjobguy_640.jpg" /></a></div>
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<i>In the past, I've given considerable space to the shallow, and yet semi-interesting voice of Louis C. Monteverdi. After all, who can forget his biographical essay <a href="http://charlie-greenberg.blogspot.com/2011/06/confessions-of-louis-c-monteverdi.html">"Confessions of Louis C. Monteverdi: An Educated Cocktail Pianist"</a> and his less than helpful <a href="http://charlie-greenberg.blogspot.com/2018/05/six-songs-i-never-should-have-written.html">"5 Tips for Overcoming those Pesky Piano Performance Anxieties".</a></i></h3>
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<i>But, despite strong feelings to the contrary, I found the title of Louis' latest song cycle, just barely compelling enough to sit down with him, once again:</i></h3>
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Greenberg: The name of your latest piece is--?</h3>
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Monteverdi: "Six Songs I Never Should Have Written"</h3>
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Greenberg: Touches me as a bit morose.</h3>
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Monteverdi: Never heard of Moe Rose. Is he good?</h3>
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Greenberg: So that's the name of the song cycle. But what are the titles of the individual songs?</h3>
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Monteverdi: Well, there's "First Song I Never Should Have Written". Followed by, "Second Song I Never should have Written". Then there's "Third" - (Over talk)</h3>
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Greenberg: Got it. What would you say was your biggest influence?</h3>
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Monteverdi: You know those 1.5. liters of wine?</h3>
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Greenberg: <i>WHO </i>would you say is your biggest influence??</h3>
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Monteverdi: I'm not sure I understand..</h3>
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Greenberg: What do your songs sound like?</h3>
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Monteverdi: They sound like crap.</h3>
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Greenberg: Which is why they're called-</h3>
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Monteverdi: Yeah!</h3>
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Greenberg: So, will all six songs be performed?</h3>
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Monteverdi: Hardly. First of all, there's only three of them.</h3>
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Greenberg: But, the title-</h3>
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Monteverdi: And the third song's incomplete.</h3>
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Greenberg: Do you intend to finish the third song?</h3>
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Monteverdi: Sure - I'd love to get it up to at least half-a-minute.</h3>
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Greenberg: So, let me see - in your compositional technique these songs are conceived as sparse, perhaps delicate, miniatures??</h3>
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Monteverdi: You are one fruity guy.</h3>
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Greenberg: Well, that's it. We're done. As far as I'm concerned, you can take these songs and wrap your fish in them!~</h3>
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Monterverdi: Franz Schubert did!</h3>
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Greenberg: Seriously?</h3>
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Monteverdi: Absolutely! Haven't you heard of the "Trout Quintet"?</h3>
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Greenberg: Is there any wine left in that bottle?</h3>
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-OUT-</h3>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-51412190753375566632017-12-16T10:54:00.002-08:002017-12-17T11:18:08.136-08:00Vinyl Revitalized<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">CD
recordings are running their course. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHu7MSOgXwAHZdmqPTPMsqMs2XtU4vF3uGjRoXXCLW8EGyfa4EVVm8sk4qjjiaGSW5U8p6-B2kfC3Bu_DJ7mfCAtyWNGhRdvTxgq83ypoEPvA_OFVxx43RU23Mx194wAlD-EUfuTXO8o_G/s1600/Vinyl.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1470" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHu7MSOgXwAHZdmqPTPMsqMs2XtU4vF3uGjRoXXCLW8EGyfa4EVVm8sk4qjjiaGSW5U8p6-B2kfC3Bu_DJ7mfCAtyWNGhRdvTxgq83ypoEPvA_OFVxx43RU23Mx194wAlD-EUfuTXO8o_G/s320/Vinyl.jpg" width="292" /></a></div>
<br />
<br />
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">MP3
and digital downloads have been chipping away at the CD market for well over 10
years. <span style="mso-spacerun: yes;"> </span>Brick and mortar chains have substantially
reduced their CD inventories <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>(e.g., Barnes& Nobles, Sam Goodies), or disappeared
into the ether (Border Books, Tower records).</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Sure,
the internet creates downward pressure on store-based inventories across any industry,
across product lines. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">But
music is different. If you don’t want to wait for Amazon to deliver a CD,
simply download everything electronically.<span style="mso-spacerun: yes;">
</span>Don’t want the entire CD?<span style="mso-spacerun: yes;"> </span>Pick
your favorite tracks for immediate download gratification. (The same thing, via
pdf, is happening with sheet music).</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">But
Vinyl is back in a big way – revitalized and spinning its music in an <span style="font-family: "trebuchet ms" , "sans-serif";">analog,</span> <span style="font-family: "trebuchet ms" , "sans-serif";">audio</span>-format
many consider more natural to the human ear. <span style="mso-spacerun: yes;"> </span>Vinyl’s 12-inch platter, its ridged, groovy
look and feel is irresistibly nostalgic. <span style="mso-spacerun: yes;"> </span>And in comparison to CDs – it’s
download-proof.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">SIDEBAR: <a href="https://www.forbes.com/vinyl/#7748162eebdd">Forbes</a> noted that sales
for vinyl recordings had increased 260% between 2009 and 2015.<span style="mso-spacerun: yes;"> </span></span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Yes,
your new turntable may provide an out-of-the-box, USB port with entry-level,
SoundForge software to help digitize your tightly held collection of 1970s
Nonesuch classical records. <span style="mso-spacerun: yes;"> </span>But why
bother transferring to digital when you can actually start - from the ground-up
- <span style="mso-spacerun: yes;"> </span>pre-ordering pianist, <a href="https://www.soundstagedirect.com/seong-jin-cho.shtml">Seong-Jin Cho’s</a>
recently produced, Debussy vinyl recordings. <span style="mso-spacerun: yes;"> </span>And by-the-way, Nonesuch, in fact, is back to
producing <a href="http://store.nonesuch.com/music/vinyl.html">vinyl recordings</a>.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">New
vinyl recordings, however, are typically more expensive than CDs. They have
tighter inventories and provide a relatively smaller product catalogue,
suggesting an imbalance between supply and demand.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Having
spent time recently at <a href="http://www.portraitrecordingstudios.com/">Portrait
Recording Studios </a><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>as part of an original CD project (please feel
free to sample a couple of new songs via <a href="https://www.reverbnation.com/charlesgreenbergcomposerarranger">ReverbNation</a>),
I was advised that creating CDs is decidedly more cost effective a process than
vinyl recording production; <span style="mso-spacerun: yes;"> </span>especially when
converting <span style="mso-spacerun: yes;"> </span>a final recorded master from
digital to analog. <span style="mso-spacerun: yes;"> </span>In fact, pressing a
single record may cost up to $200.00 per side.<span style="mso-spacerun: yes;">
</span>What’s more, vinyl manufacturing resources are still thin, and may
require a lead-time of 4-6 months to deliver. <span style="mso-spacerun: yes;"> </span>But, if you’re a recording artist who can’t
see his or her name in lights, the much larger album fonts, actual readable
liner notes- and increased real estate for graphics - are tempting.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">None
of this is germane to vinyl fanatics, however, who may be throwing away Beatles
CDs, deleting MP3s and buying the newly re-pressed, <i style="mso-bidi-font-style: normal;">Sgt Peppers album</i>. (In fact, Paul McCartney never much cared for
the digital remastering of the early Beatle recordings, especially since added
clarity and track separation sometimes shined an unfavorable light on the execution
of harmonies).</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">True Nostalgia</span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">But
seriously, with increased market adoption, there’s a good chance the music-buying-youth
of the world will finally understand, recognize and come to enjoy the many
extraneous sounds derived from putting needle to record. Consider just a few of
vinyl’s theatrically employed clichés for videos and commercials.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 150%; margin-left: 46.5pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-family: "symbol"; font-size: 12.0pt; line-height: 150%;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The sudden yanking
of the <a href="https://www.youtube.com/watch?v=Ll6CNFVFTC8">tone-arm,
scratching the record</a>. <span style="mso-spacerun: yes;"> </span>(Often used
as a metaphor for interrupting an inadequate product/service or a “shut-up” to a
boring announcer or untruthful politician). </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; margin-left: 46.5pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-family: "symbol"; font-size: 12.0pt; line-height: 150%;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The ending,
non-audio record space that <a href="https://www.youtube.com/watch?v=3SYnjHhbWec">just scratches along</a> . (Used
dramatically to indicate someone’s not home, dead-drunk - or just dead).</span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 150%; margin-left: 46.5pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-family: "symbol"; font-size: 12.0pt; line-height: 150%;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The <a href="https://www.youtube.com/watch?v=ekf8xTIDHts">skipping record</a> (Used to
indicate inattentiveness, or for comic effect, as when the skipping record
interrupts some couch romance).</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">It
doesn’t get any more nostalgic than that.<span style="mso-spacerun: yes;">
</span></span></div>
</div>
Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-91599064118535615522016-12-22T17:30:00.002-08:002016-12-22T17:38:00.019-08:00My 20 Best Trump Posts for 2016!<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgCnNZVzHPzeQZ9-7CXDKeK-2cm-ifvmLIE5pwGohBBxahPWo0fl-y7CvtccfNndfHJpc-aYEK3ZuNNo0lExPddj2Zsr4EzJ_1smlmejZe5T16irOBVURAQexTmRO6AmMDxeYmPKsDQHlS/s1600/Crazy+Trump.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgCnNZVzHPzeQZ9-7CXDKeK-2cm-ifvmLIE5pwGohBBxahPWo0fl-y7CvtccfNndfHJpc-aYEK3ZuNNo0lExPddj2Zsr4EzJ_1smlmejZe5T16irOBVURAQexTmRO6AmMDxeYmPKsDQHlS/s320/Crazy+Trump.jpg" width="320" /></a>My plan was not only to cease posting humorous (and irritating), Facebook-Trump posts, but eradicate all existing FB posts after Hillary won the election.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;">But given the over-performing popular vote decidedly taking it up the canyon in California, plus the rust-belt, alarmingly between tetanus shots, I (as a Never-Trumpite), must now give my Timeline some breathing space, a chance to heal - and celebrate other less polemical, less combative creative efforts while emphasizing family pictures (preferably of me), and lots and lots of dog pictures of the Weimy persuasion.</span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMd6gEmHkOgvV836X-GOYAq0Q8wIpw5OiMR1P-DqAxqU-L6_1MmbJab4hi88SrEOe9WoX4dsuUmS6VfvWQ8jorgAVQVsiyW2qvR85_mb9L4FLqVWO0tEZT58Z3xbvZhjq6JnTrmG0M0OXd/s1600/Weimies.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMd6gEmHkOgvV836X-GOYAq0Q8wIpw5OiMR1P-DqAxqU-L6_1MmbJab4hi88SrEOe9WoX4dsuUmS6VfvWQ8jorgAVQVsiyW2qvR85_mb9L4FLqVWO0tEZT58Z3xbvZhjq6JnTrmG0M0OXd/s200/Weimies.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exotic, New Jersey Weimies.</td></tr>
</tbody></table>
<br />
<br />
Which is all to say my Facebook Timeline has been utterly expurgated - not to mention decisively expunged - of all Trump commentary. For those of you who think I'm converting to complacency or have overdosed on Pepto Bismol, <i>FEAR NOT!</i><br />
<br />
For given that this is the time for end-of-year, <b><i>Best-of-List</i></b>s, I am compelled to compile my favorite, <b style="font-style: italic;">20 Best Trump Posts for 2016!, </b>based o<b style="font-style: italic;">n</b> two major criteria:<br />
<ul style="text-align: left;">
<li> Stand alone comments only</li>
<li> No comments (dozens!) associated with graphics or linked articles (Politico proved a constant inspiration - as did Trump).</li>
</ul>
<i>The following appear in Chronological Order, beginning in July, 2016:</i><br />
<i><br /></i>
1. July 11: I propose if Hillary Clinton loses the election, Donald Trump should move to Canada.<br />
<br />
2. July 11: Y'know, if Trump hadn't existed, Rod Serling would have had to create him.<br />
<br />
<i><b>(The convention)</b></i><br />
<div>
<br /></div>
<div>
3. July 21: Hey TED CRUZ, GET A GRIP!! lot's of things are said in the heat of a primary campaign. Y'know, like your wife's too ugly to be a fashion model, you're an ineligible foreigner WHO CAN'T run for president - your Cuban father was a co-conspirator in the JFK assassination. Y'know like, just lighten up, will yer</div>
<div>
<br /></div>
<div>
<div>
4. July 21: Based on confidential sources, look tonight during Trump's acceptance speech for announcements on appointees for cabinet assignments - including BEN CARSON for the newly created post of EXORCISMS.</div>
</div>
<div>
<div>
<br /></div>
<div>
<div>
5. July 22: Mike Pence should swap roles with Scott Baio. What?! Too soon?</div>
</div>
<div>
<br /></div>
<div>
<i><b>(The campaign)</b></i></div>
<div>
<br /></div>
<div>
6. August 2: Now that Trump is saying Hillary is the "Devil", I suppose the burden of proof is on her to produce a Terra Firma birth certificate.</div>
</div>
<div>
<br /></div>
<div>
<b>(<i>First debate</i>)</b></div>
<div>
<br /></div>
<div>
7. September 26: #debatenight Latest instruction to audience: "Please refrain from sucker-punching the person next to you".</div>
<div>
<br /></div>
<div>
8. September 26: #debatenight Reportedly, Trump will accuse any Democratic Viagra users of having a rigged erection</div>
<div>
<br /></div>
<div>
<i>(Second debate)</i></div>
<div>
<i><br /></i></div>
<div>
9. October 19: #debatenight And it's about to begin. Praying for commercial interruptions - and an appearance by Alec Baldwin.</div>
<div>
<br /></div>
<div>
<i><b>(The Campaign)</b></i></div>
<div>
<i><br /></i></div>
<div>
10. November 6: As a sometime professional lyricist, I feel obliged to say "BLOW ME, COMEY!!"</div>
<div>
<br /></div>
<div>
<i><b>(The 5 Stages of Grief)</b></i></div>
<div>
<i><br /></i></div>
<div>
11. November 9: #recount I DEMAND A RECOUNT!! Starting w/ half the voter's marbles.</div>
<div>
<br /></div>
<div>
12. November 9: Trump will probably be good for manufacturing, given how much he likes to make stuff-up.</div>
<div>
<br /></div>
<div>
13. November 10: Started #TrumpSings!, my new musical. Finished opening number, "The Birther of the Blues".</div>
<div>
<br /></div>
<div>
14. November 12: DONALD J. TRUMP & "PROFESSIONAL PROTESTORS" See? He's already creating jobs</div>
<div>
<br /></div>
<div>
15. November 12: JUST STOPPED AT BOTTLE KING. Thought I'd buy some Spanish wine before it's deported</div>
<div>
<br /></div>
<div>
16. November 12: PERSONALLY, I'M READY FOR AN INTERVENTION. Or as some people like to call it, mid-term elections.</div>
<div>
<br /></div>
<div>
17. November 12: OK, TIME FOR OPTIMISM! FOR EXAMPLE, "Draining the swamp in Washington" could be all about Trump's first EPA directive!</div>
<div>
<br /></div>
<div>
18. November 13: WAIT, WAIT, there's more! Based on his own experience, Trump will put in place ACCOST CONTROLS.</div>
<div>
<br /></div>
<div>
19. November 14: THIS JUST IN!!: GIVEN THE FAILURE TO PASS THE CASINO BILL IN NORTHERN JERSEY, TRUMP HAS STEPPED UP PROMOTION FOR OFF-TRACK RACE BAITING. (Believe me, it's true..it's true).</div>
<div>
<br /></div>
<div>
20. December 17: </div>
<div>
<br /></div>
<div>
Dear Santa, </div>
<div>
Can I please have a new Precedent Elect with an off-button??</div>
<div>
<br /></div>
<div>
Your friend, </div>
<div>
charlie</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<br /></div>
</div>
Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com1tag:blogger.com,1999:blog-8338777656471504030.post-24582681039809417362016-11-18T14:29:00.000-08:002017-12-18T10:20:33.928-08:00Re Re Re Revisiting THE BIG LEBOWSKI<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4_K8SETTiRCiVWEf8LzUQEPS1NeTwUPWWNbRXmtfTJQk8dXHkhf6cYuyZLD0HKaVUw5bY982G0lMMg6Ahb_mKl7BxoJoUkcBrElSAj3qq6_lR2klq2bLLnP3v9Jmx4hS0s1NrSrC90k/s1600/the-big-lebowski-15182-1920x1200.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4_K8SETTiRCiVWEf8LzUQEPS1NeTwUPWWNbRXmtfTJQk8dXHkhf6cYuyZLD0HKaVUw5bY982G0lMMg6Ahb_mKl7BxoJoUkcBrElSAj3qq6_lR2klq2bLLnP3v9Jmx4hS0s1NrSrC90k/s320/the-big-lebowski-15182-1920x1200.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">L/R: Steve Buscemi, Jeff Bridges, John Goodman, John Tuturro, Sam Eliot</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">How can you help but revisit
<i><b>The</b></i><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">
Big Lebowski</i></b>?<span style="mso-spacerun: yes;"> </span>If
you’re blessed
(or afflicted), with the pseudo vastness of premium cable movie
channels, you surely encounter this Coen Brothers film with the
regularity of a Gesundheit.<span style="mso-spacerun: yes;">
</span>And should you go beyond an entire two weeks without this film assuming
control of your Smart TV’s remote – fear not!<span style="mso-spacerun: yes;">
</span>It’s been segmented and uploaded to YouTube where you can <a href="https://youtu.be/7AEMiz6rcxc">repeatedly watch</a> the film's penultimate episode;
marked by John Goodman chewing–off Peter Stormare’s ear.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The Big Lebowski</span></i></b><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">,
like all Coen Brothers creations (and I believe I’ve seen them all), is
eminently re-watchable. <span style="mso-spacerun: yes;"> </span>Repeated
viewings are not only individually rewarding (as well as inevitable), but
probably the reason the film has achieved cult status.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-top: 12.0pt;">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The
Coens (always sharing directing and writing duties), are quirky creators - sometimes
misguidedly so.<span style="mso-spacerun: yes;"> </span>But <span style="font-family: "trebuchet ms" , "sans-serif";">the brothers</span> (even at
their darkest, i.e., <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Blood Simple</i></b>, <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">No Country for Old Men</i></b>), are highly inventive and naturally flowing humorists.<span style="mso-spacerun: yes;"> </span>Nothing happens in their films by chance. <span style="mso-spacerun: yes;"> </span>What may sometimes seem like frivolous filler,
is actually organically motivated stuff and foundational to their story telling.</span></div>
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<br /></div>
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The Big Lebowski</span></i></b><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">: is brilliantly cast and directed - but also driven by deceptively
smart character and plot development.</span></div>
</div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Since their first
films in the mid- 1980s, the Coen’s plot-credo has focused on every event –
small or large – as somehow an inexorable interconnection between fate and
human foibles.<span style="mso-spacerun: yes;"> </span>The Coens are Jews from
the Midwest, and at their core, seem to have a devotion to some divine <span style="font-family: "trebuchet ms" , "sans-serif";">spirit</span>
that insists (despite best efforts), man is only capable of producing consistent
irony and <span style="font-family: "trebuchet ms" , "sans-serif";"><span style="font-family: "trebuchet ms" , "sans-serif";">adhering</span> to </span>the law of unintended consequences.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Plot:</span></b></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">"The Dude"
Lebowski, mistaken for a millionaire Lebowski, seeks restitution for his ruined
rug and enlists his bowling buddies to help get it. When approached for
reimbursement, the “millionaire” instead enlists Dude to recover his kidnapped
bride (at least 40 years his junior), and entrusts the dude with a valise full
of money for the ransom payoff.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">But the ransom cash
is stolen from the back seat of Dude’s (Jeff bridges) car. His closest bowling
buddy Walter Sobchak (John Goodman), erroneously determines that the money was
stolen by a 12 year old. <span style="mso-spacerun: yes;"> </span></span></div>
</div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Meanwhile, the crew
of kidnappers (the “Nihilists”, actually a Germanic, punk band fronted by a former
porno star and friend of the alleged kidnapped wife), have faked the kidnapping
and are actually in cahoots with the millionaire Lebowski’s young wife.<span style="mso-spacerun: yes;"> </span>But, she becomes bored with the entire scene,
and goes back to her millionaire husband who, as it turns out, never provided
any ransom cash to “The Dude” in the first place. </span></div>
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<br />
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">In between these
events, the Dude’s apartment is inexplicitly trashed once again by the same
thugs who first ruined his carpet and who refuse to believe he’s not the older millionaire
Lebowski.<span style="mso-spacerun: yes;"> </span>Two additional sub-plots
include the Big Lebowski’s daughter, Maude (Julianne Moore), who coun<span style="font-family: "trebuchet ms" , "sans-serif";">sels</span> The
Dude and ultimately uses him as an unwitting participant in the conception of her
child. </span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Some will find this
plot either unconventionally flat, or then again, off the charts. In retrospect
(and considering “The Dude’s” character attributes), the story feels like it’s
being shaped under the influence.<span style="mso-spacerun: yes;"> </span>Which
is about right, as “The Dude”- even in middle age - is the ultimate
stoner.<span style="mso-spacerun: yes;"> </span></span></div>
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<br />
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The plot feels almost
Seinfeldian in its diffusing of what should be major plot points. But at the
end, there is no kidnapping, no ransom money, no theft of the ransom money –
and no bowling tournament, which probably is the most important thing Dude,
Walter and Donnie care about. Donnie (Steve Buscemi), a soft and thinly spoken
bowling buddy, <span style="font-family: "trebuchet ms" , "sans-serif";">who</span> essentially demurs and is just along for the ride, suffers a
fatal heart attack when he, Dude and Walter are confronted by the three “Nihilists”<span style="font-family: "trebuchet ms" , "sans-serif";"> - </span> demanding the nonexistent ransom money - for the nonexistent kidnap victim<span style="font-family: "trebuchet ms" , "sans-serif";">- </span> settle for pocket money. <span style="font-family: "trebuchet ms" , "sans-serif";">But who </span> <span style="font-family: "trebuchet ms" , "sans-serif";"><span style="font-family: "trebuchet ms" , "sans-serif";">are then<span style="font-family: "trebuchet ms" , "sans-serif";"> </span></span></span>viciously (though comically), dispatched by Walter. Donnie’s understated death
scene provides a quiet and contrasting irony compared to the misapplied
blunder-bust of every other character.</span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Characters:
The Dude and Walter Sobchak</span></b></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">“The Dude” is several
decibels below passive-aggressive and favors most any path of least resistance.<span style="mso-spacerun: yes;"> </span>He enjoys not working, frequent pot usage and
poceses an uncanny ability to find himself in most any environment capable of
supplying White Russians (an amusing running gag, throughout).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlQUrN69Ush8AMma8blKuJp8umZ-nljFvuBMWE0dZg4ERzmDGgMgNHiEHm__K58Wh1ZjtarsESwiKIMU6zMgSY03um6cm3AwwRjxWYnazjuqV6SbnQHccgooIDVjEOWChrl0LT15dnti0/s1600/White+Russians.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlQUrN69Ush8AMma8blKuJp8umZ-nljFvuBMWE0dZg4ERzmDGgMgNHiEHm__K58Wh1ZjtarsESwiKIMU6zMgSY03um6cm3AwwRjxWYnazjuqV6SbnQHccgooIDVjEOWChrl0LT15dnti0/s1600/White+Russians.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jeff Bridges owns"The Dude" <i>(Almost as much as "The Dude" now owns him).</i></td></tr>
</tbody></table>
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<i><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;"> </span></i><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">But throughout the
film, his sole objective is the replacement and repair of his ruined Oriental rug.
Everything else is a highly vexing inconvenient impediment to that end. </span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Underachieving is the
Dude’s philosophy of life. He has long ago adopted a “get along-go along” point-of-view.
<span style="mso-spacerun: yes;"> </span>Even when threatened in the parking lot
of his favorite bowling alley, he’s happy to offer the Three Nihilists (alleged
kidnappers), four dollars in lieu of a multi-million dollar ransom payday.</span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Walter, on the other
hand is not only all-in, but grossly over-committed. A veteran of Vietnam, his
experience and gung-ho patriotism informs every point-of-view and every
emotion.<span style="mso-spacerun: yes;"> </span>When descending upon the home
of a recalcitrant 12-year-old who refuses to confess to stealing the ransom
money (which he didn’t), Walter decides the kid has used his ill-gotten gains
to buy a flashy, red sports car <span style="mso-spacerun: yes;"> </span>parked
in front of his parent’s home (which he hasn’t), and impulsively pulverizes the
vehicle with a wooden baseball bat. An act of vengeance interrupted by the
kid’s next door neighbor who reciprocates by bashing the Dude’s dilapidated
wreck of a car.</span></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">This scene is
preceded by the Dude insisting Walter join him for the kid’s interrogation
about the ‘stolen’ ransom money. Walter angrily protests leaving his house as
it’s the beginning of Shabbat.</span></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">“Hey man, you’re not
even Jewish. You’re Polish Catholic, or something”, the Dude annoyingly points
out</span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">Walter, remembering
his Jewish, ex-wife, is incensed. “Listen, <i style="mso-bidi-font-style: normal;">you
just don’t stop being something!”</i></span></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The film’s one big
catharsis (at least for Walter), occurs when Walter aggressively defends the
Dude, Donnie – and all things American – against the three Nihilists. <span style="mso-spacerun: yes;"> </span>The parking lot of their bowling alley as his
battlefield, Walter becomes the aggressor, pitching his bowling ball into the
chest of one attacker, knocking unconscious another, and biting the ear off the
leader.</span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 150%;">The Big Lebowski may
at first seem convoluted entertainment. But ultimately, it’s a film whose
repeated viewing provokes more thoughts – and new laughs. </span></div>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-62444952143614106582016-05-31T12:19:00.001-07:002016-06-06T06:16:44.469-07:00Circus Vibes - from "Scenes without Words"<div dir="ltr" style="text-align: left;" trbidi="on">
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/mDRBt7uq1LA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/mDRBt7uq1LA?feature=player_embedded" width="320"></iframe></div>
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<span style="color: red;">"Circus Vibes"</span> on YouTube. </div>
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I've always loved chamber music and wouldn't dream of passing up an opportunity to write for the classic ensembles.<br />
<br />
"Scenes without Words" is about four descriptive pieces for three instruments - each one named after something popular, or at least theatrical, the exception being "Carl Churning Rides Again". (Please don't ask. I can't even fully explain the reference. It's title seemed right, yet impulsive - but nonetheless intuitive. Whatever..)<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/RXsrsmbR5Qo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/RXsrsmbR5Qo?feature=player_embedded" width="320"></iframe></div>
The 3rd piece"A Homage Nina Simone" has been premiered via YouTube with visuals I selected and edited. Consequently, its title is self-evident.<br />
<br />
So too with <i>"Circus Vibes" </i>(no. 1), which found its title when I realized one of the early themes resembled <i>"Entry of the Gladiators"</i> (also known as <i>"Thunder and Blazes"</i>)<i>.</i><br />
<br />
Once again, the performers are:<br />
<b>Performers:</b><br />
<br />
Piano: Warren Helms<br />
Violin: Amy Hamilton-Soto<br />
Cello: Amy Butler Visscher<br />
<br /></div>
Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-65271167913021090292016-05-21T12:10:00.001-07:002016-05-26T14:25:17.656-07:00A Homage Nina Simone<div dir="ltr" style="text-align: left;" trbidi="on">
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A Homage Nina Simone</h2>
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<i>"a Homage Nina</i> Simone" is the third of four chamber pieces I've written, grouped under the title "Scenes without Words". Others pieces include <i>1. "Circus Vibes", 2. "Dickens and Nelly" and 4. "Carl Churning Rides Again".</i><br />
<br />
<i>"Homage"</i> was titled after I had begun its composition, inspired by the versatility of Nina Simone, the African American artist and civil rights activist. She began her musical life as a classical pianist and singer of church gospel music, followed by folk, blues, and later jazz and popular music <br />
<br />
The work attempts to suggest that sense of eclecticism.<br />
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<br />
<b>Performers:</b><br />
<br />
<br />
Piano: Warren Helms<br />
Violin: Amy Hamilton-Soto<br />
Cello: Amy Butler Visscher<br />
<a href="https://youtu.be/RXsrsmbR5Qo">https://youtu.be/RXsrsmbR5Qo</a><br />
<br />
<br />
I can be contacted at <a href="mailto:Charlie@charlesgreenbergmusic..com">Charlie@charlesgreenbergmusic.com</a></div>
Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-58864397890062137032016-03-29T14:59:00.001-07:002016-05-09T15:56:30.370-07:00Five Categorical Reasons Why Wrong Notes Occur in Piano Recitals. <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://www.blogger.com/null" name="_GoBack"></a><b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%;"></span></b></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">While sharing a few
beers with my buddy <a href="http://charlie-greenberg.blogspot.com/2011/06/confessions-of-louis-c-monteverdi.html">Louis
C. Monteverdi</a> <span style="mso-spacerun: yes;"> </span>a couple of weeks ago,
we started (somewhat ruefully), discussing the phenomena of wrong notes in
classical piano playing. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Now, please keep in
mind, we’re discussing the great classical piano repertoire - by and of the
masters. <span style="mso-spacerun: yes;"> </span>Perfect, peerless, and at times,
ludicrously difficult stuff that is nonetheless, very well-known and highly well-thought
of.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">“Very well known”
despite decades– nay centuries!- of tumultuously tortured renditions. As the
night wore on, <span style="mso-spacerun: yes;"> </span>Louis and I formulated that
each and every great piece is itself accompanied in a parallel universe, a
meta-layer, a Superman Bizzaro World, if you will – by its wrong-note doppelganger;
a desperate twin of perfectly formulated wrong notes. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Why does this have to
happen?<span style="mso-spacerun: yes;"> </span>Do we need background checks
before the average Joe can even purchase a piano?<span style="mso-spacerun: yes;"> </span>But given the Jerry Lee lewis factor, maybe
it’s just a question of better securing the printed music.</span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">But I digress.<span style="mso-spacerun: yes;"> </span>Somewhere between the Tequilas and the
Buffalo-Wings, Louis and I ultimately came up with Five<b style="mso-bidi-font-weight: normal;"> </b>Categorical Reasons Why Wrong Notes Occur in Piano Recitals. (By
the way, to make things sporting, we decided to exclude <a href="http://charlie-greenberg.blogspot.com/2015/01/5-tips-for-overcoming-classical-piano.html">rampant
performance nerves</a> and memory lapses).</span></div>
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<ol style="text-align: left;">
<li><span lang="EN" style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;"> <span style="font: 7.0pt "Times New Roman";"></span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">“The Flub!</span></b><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>The flub is
the fart-in-church, so to speak. It’s unpredictable and indiscriminate.<span style="mso-spacerun: yes;"> </span>The greatest pianists know it well- and the
much lesser ones could give a flying flub. In other words, “flubs happen”.<span style="mso-spacerun: yes;"> </span></span></li>
<li><span lang="EN" style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">“</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The Learned Wrong Note”</span></b><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">
This doesn’t happen on the fly (as with “The Flub”). This is much more organic,
attributable to poor training and a potentially lethal build-up of ear
wax.<span style="mso-spacerun: yes;"> </span>“Can’t you hear that’s wrong?”, the
pianist coach might say.<span style="mso-spacerun: yes;"> </span>But then there
are very early recordings of “great” pianists who evidently adopted wrong notes
as part of their own unique styles and interpretations.<span style="mso-spacerun: yes;"> </span>Not to call anyone out in particular, but
check out the first decade of 20<sup>th</sup> century piano recordings (or rolls)
of </span><span lang="EN" style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Vladimir de Pachmann.</span></li>
<li><span style="font-family: "trebuchet ms" , "sans-serif";">"</span><b style="mso-bidi-font-weight: normal;"><span lang="EN" style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The Risk Taker” </span></b><span lang="EN" style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Yes, not all
tempos are created equal. You were all set to perform Chopin’s <span style="mso-spacerun: yes;"> </span>Ballad in G minor, ‘all set’ that is, until
you decided you would kick butt in the coda by bombastically and exponentially making
it so fast you finally wished they ha<span style="font-family: "trebuchet ms" , "sans-serif";">d</span> prematurely closed <span style="mso-spacerun: yes;"> </span>the curtains and turned off the lights.<span style="mso-spacerun: yes;"> </span>Aww, and it was your last piece on the
program! <span style="mso-spacerun: yes;"> </span>Well, there goes your encore of
that sweet little – and oh so much easier - Schubert, <i style="mso-bidi-font-style: normal;">M</i></span><i><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">oments Musicaux</span></i><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">.</span></li>
<li><span style="font-family: "trebuchet ms" , "sans-serif";">"</span><b style="mso-bidi-font-weight: normal;"><span lang="EN" style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The Technically
Outmatched” </span></b><span lang="EN" style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The cliché is, “don’t bring a
knife to a gun fight”. <b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>And then there’s”<b style="mso-bidi-font-weight: normal;"> </b></span><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">'Tis
better to have loved and lost than never to have loved at all”.<span style="mso-spacerun: yes;"> </span>But if the masterwork is a heavy weight- and
you’re a welter weight- then it’s best to wait- and come fight another day. </span></li>
<li><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">“Out-of-Focus</span></b><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">” No, this is not about memory
lapses. <span style="mso-spacerun: yes;"> </span>This is about your parents, your
significant other, or the old geezer who dozed off – all sitting in the first
row.<span style="mso-spacerun: yes;"> </span>And don’t forget the cell phone
lady who’s really distracting you.<span style="mso-spacerun: yes;"> </span>I
mean, for god’s sake!<span style="mso-spacerun: yes;"> </span>You’re trying to barrel
through the piano transcription of Stravinsky’s” <span style="mso-font-kerning: 18.0pt;">Petrushka’ and she’s playing <i style="mso-bidi-font-style: normal;">Words
with Friends</i>.<span style="mso-spacerun: yes;"> </span>Damn, there goes another
marred dissonance!</span></span></li>
</ol>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpLast">
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">You really suck, cellphone lady.<span style="mso-spacerun: yes;"> </span>You really suck!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraph">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"><br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></b></div>
</div>
Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-3509849591823582202015-11-30T06:09:00.000-08:002015-11-30T06:20:56.534-08:00Trump is GOP's Cosmic Comeuppance<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3sw6pPVp8tmGKzE5GHt221dyDeAF2pevchzusmgMK_OibhbRmzlmMPaIrGrVPMjwuELYSFSlR56qxg0Flc-69mCJw6CiUqiekgX0PJf5J6WYBTdMdzBpNzK4ZEJHyPEex1vdq_Pj_TRAi/s1600/GOP%2527s+Cosmic.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3sw6pPVp8tmGKzE5GHt221dyDeAF2pevchzusmgMK_OibhbRmzlmMPaIrGrVPMjwuELYSFSlR56qxg0Flc-69mCJw6CiUqiekgX0PJf5J6WYBTdMdzBpNzK4ZEJHyPEex1vdq_Pj_TRAi/s320/GOP%2527s+Cosmic.png" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">Donald Trump, whose unbelievably well
attended campaign stops have morphed into his own brand of group therapy (<i style="mso-bidi-font-style: normal;">How wonderful am I? C’mon, everyone, count
the ways!</i>), is dangerously close to becoming the Republican presidential
nominee, handily losing the general election to Hilary Clinton and giving the
GOP a richly deserved, cosmic comeuppance.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">And I say this at the risk of Trump
turning my neighborhood into a Scottish golf course.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">Finally<span style="mso-spacerun: yes;"> </span>- Trump’s primary opponents, who have long
since known better (which still excludes a few), are tepidly
stepping up to the political plate and hitting back some carelessly pitched
soft balls Trump has let fly about Muslim<span style="mso-spacerun: yes;">
</span>national registries and<span style="mso-spacerun: yes;"> </span>9/11
fantasy celebrations. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">Well, good for them.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">But you still have to wonder where any
of these people were in 2012 when Trump decided (as a potential GOP
presidential candidate), it was in his best political interests to go after the
Muslim-in-Chief.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">A validated Hawaiian birth
certificate?<span style="mso-spacerun: yes;"> </span>A verified certificate of
live birth?<span style="mso-spacerun: yes;"> </span>No credible evidence to
prove Obama was born in Kenya?<span style="mso-spacerun: yes;"> </span>“I’m prepared
to take the president at his word”, John Boehner magnanimously intoned, helping
to propagate a talking-point that would side-step the question, keep the right-wing
base delusionally happy, and enable fellow Republicans to commit a sin of
omission in order to maintain a perceived political advantage.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">Let’s be clear, if<span style="mso-spacerun: yes;"> </span>there ever was a remote chance Obama is not a
U.S. citizen, and an illegal occupant of the White House, the Republican
congress would have relentlessly investigated, impeached and then double-dared
President Joe Biden to pardon the disgraced, ex-president in order to avoid
excessive jail time.<span style="mso-spacerun: yes;"> </span>And they would have
been right to do so.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">That’s what so galling about Trump’s superficial
and self-serving exploitation of an explosive, constitutional crisis. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">In fairness to Trump (and you have to
“treat” Trump “fairly” lest he run a third-party candidacy), he did not
originate birtherism <span style="mso-spacerun: yes;"> </span>or the birther
movement.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">And yet, even though he thoroughly
discredited himself four years ago from being taken seriously as a presidential
candidate today- here he is again.<span style="mso-spacerun: yes;"> </span>This
time, however, instead of Obama who was more than his match, he’s putting<span style="mso-spacerun: yes;"> </span>his reckless and hateful hands around every
minority group that might enable his campaign<span style="mso-spacerun: yes;">
</span>For Trump, <i style="mso-bidi-font-style: normal;">brown is the new black</i>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">In 2012, the GOP enabled Trump by not
calling him out on the bizarre,<span style="mso-spacerun: yes;"> </span>birther
nonsense.<span style="mso-spacerun: yes;"> </span>2016 is their chance to make
amends and save their political hides.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , "sans-serif"; line-height: 115%; mso-bidi-font-size: 10.0pt;">Unless, of course, they prefer to
watch the next Democratic administration from outside that <i style="mso-bidi-font-style: normal;">“great big, beautiful wall”. </i></span></div>
</div>
Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-71168492755645357762015-02-27T11:04:00.001-08:002015-02-27T11:24:32.811-08:00The Romance and Scandal of Dickens & Nelly<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">Dickens
& Nelly, a New Musical.</span></b><i style="mso-bidi-font-style: normal;"><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Books/lyrics by Barbara Zinn Krieger; music by
Charlie Greenberg</span></i></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ9FM8A4OW3_UsEIBbrW_UwMZNoomoRH0pEc74EWcwtDHUSsjwZu28bBYpDTdbIbpJfSENq5aCF_Rg2NrKlIb5DPq3idMeogpnuLAusd8qvjnwhc2dBdolf-GeeY1L5vcIpiwlDZle15Gv/s1600/Dickens+&+Nelly-3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ9FM8A4OW3_UsEIBbrW_UwMZNoomoRH0pEc74EWcwtDHUSsjwZu28bBYpDTdbIbpJfSENq5aCF_Rg2NrKlIb5DPq3idMeogpnuLAusd8qvjnwhc2dBdolf-GeeY1L5vcIpiwlDZle15Gv/s1600/Dickens+&+Nelly-3.jpg" height="320" width="240" /></a></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"> In 1858, Charles Dickens’ affair with Nelly
Ternan, (the actress more than 25 years his junior), had become public enough
to compel Dickens to publish a denial: <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">“<i>I most solemnly declare, then -- and this I do
both in my own name and in my wife's name -- that all the lately whispered rumors
touching the trouble, at which I have glanced, are abominably false. And
whosoever repeats one of them after this denial, will lie as willfully and as
foully as it is possible for any false witness to lie, before heaven and
earth".</i></span></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-bidi-font-style: italic;">In the new musical “Dickens
& Nelly”, this spirited defense of Dickens’ integrity and Nelly’s virtue is
dramatized during a confrontation in London’s Anatheum Club.<span style="mso-spacerun: yes;"> </span>Having mocked Dickens for trying to hide his
affair, authors, including hypocritical Willkie Collins <i>(“I do as I please with both my
women”)</i>, Anthony Trollope, George Wills and William Makepeace Thackeray are
excoriated by an enraged Dickens.<span style="mso-spacerun: yes;"> </span>Dickens’
words soar in a new musical theater piece that understands there’s rarely as much heated
and continuous passion as there is in an illicit love affair.</span></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-bidi-font-style: italic;">Dickens is a control freak.<span style="mso-spacerun: yes;"> </span>He orchestrates the affair through selective
confidants and a mastering of train schedules. Exploiting his prodigious fame,
charm, and the vacuum created by an absent father figure, he seductively
isolates Nelly (the youngest of three sisters in a theatrical family), from her
siblings and mother.<span style="mso-spacerun: yes;"> </span>To protect his
reputation, he surreptitiously moves Nelly from location to location over a
period of 13 years, adopting an alias for them both. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-bidi-font-style: italic;">But, Dickens loses
control.<span style="mso-spacerun: yes;"> </span>His wife discovers the affair,
Nelly becomes pregnant, and the train crashes - with both Dickens and Nelly onboard.</span></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-bidi-font-style: italic;">Ultimately, Nelly rejects
victimization and reinvents herself, while never compromising her past love for
Dickens. <span style="mso-spacerun: yes;"> </span>In fact, she is a survivor of a
love affair that didn’t publicly begin to see the light of day till the mid
1930s – 20 years after her death.</span></div>
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<i><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">Dickens & Nelly will receive a
staged reading under the musical direction of Warren Helms</span></i></div>
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<div class="MsoNormal" style="line-height: normal;">
<i><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Location: Black Box Theater @ William
Paterson University in New Jersey.</span></i></div>
<div class="MsoNormal" style="line-height: normal;">
<i><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Date: Sunday, April 19<sup>th</sup>
@6:00PM</span></i></div>
<div class="MsoNormal" style="line-height: normal;">
<i><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt;">Admission: Free</span></i><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; mso-bidi-font-style: italic;"> <span style="mso-spacerun: yes;"> </span></span></div>
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</div>
Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-21110230895788104902015-01-29T17:46:00.004-08:002015-01-29T17:58:31.528-08:005 Tips for Overcoming those Pesky Piano Performance Anxieties<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><i style="mso-bidi-font-style: normal;"><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">This
is a guest blog by the less than legendary, <a href="http://charlie-greenberg.blogspot.com/2011/06/confessions-of-louis-c-monteverdi.html">Louis C. Monteverdi</a></span></i></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><i style="mso-bidi-font-style: normal;"><a href="http://charlie-greenberg.blogspot.com/2011/06/c"><img alt="http://charlie-greenberg.blogspot.com/2011/06/confessions-of-louis-c-monteverdi.html" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB00UYPYhVkiTbVjBs_O2egKwvexJ2Z597twvJtja6z-KaU2dIBGIoBhOwa4nJuH6bOUdmmRKtx_9iRI-wNSYobsg0YAjAAJXuilOVltil8ey7JpMKD44yDd_5wrprpJAdqhcdPqQ4cNO0/s1600/nerve+wracked+pianist.jpg" /></a></i></b></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">As a pianist performing regularly in front of live audiences
(well, at least they claim to be), I still struggle with hand jitters, wrong
notes, inaccurate rhythms and sudden sonorities of unknown origin.<span style="mso-spacerun: yes;"> </span></span><br />
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">While I know of no real remedies or telethon-type activities
related to alleviating this aggravating affliction of unaccountable nerves, I
can offer the following five tips in the hope that they may prove useful in
times of classical piano’s annoying nuances. </span><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"> </span></div>
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<ul style="text-align: left;">
<li><h2>
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">TIP #1: <u></u>Come Early
Before the performance</span></h2>
</li>
</ul>
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<div class="MsoListParagraphCxSpFirst">
<u><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="text-decoration: none;"></span></span></u></div>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">Avoid increasing your stress
level by leaving sufficient time for a preparatory period of relaxation. Relax,
compose your thoughts and slowly exercise your fingers with unrelated abstract,
technical studies till you have achieved a certain comfortable level of digital
dexterity.<span style="mso-spacerun: yes;"> </span></span></div>
<br />
<ul style="text-align: left;">
<li><h2>
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>TIP #2: Completely Ignore Tip #1 </span></h2>
</li>
</ul>
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<div class="MsoListParagraphCxSpFirst">
<u><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="text-decoration: none;"></span></span></u></div>
<div class="MsoListParagraphCxSpLast">
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">Don’t come early, fool!<span style="mso-spacerun: yes;"> </span>That will only make you even more uptight by
creating a misguided sense of importance about the whole stuffy business. Better
to come a little late. Have a couple of smokes, a couple of beers. <span style="mso-spacerun: yes;"> </span>Too bad, if people get pissed off and decide
to leave because it’s already 8:15PM.<span style="mso-spacerun: yes;">
</span>Screw ‘em!<span style="mso-spacerun: yes;"> </span>Keep repeating to yourself
“Screw ‘em. It’s just not that important”.<span style="mso-spacerun: yes;">
</span>Relax; the whole thing’s just this side of being a complete waste of everybody’s
time. </span><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span></div>
<br />
<ul style="text-align: left;">
<li><h2>
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>TIP
#3: <span style="mso-spacerun: yes;"> </span>Disrespect the Composer.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Does he
think he’s better than you!!?<span style="mso-spacerun: yes;"> </span></i></span></h2>
</li>
</ul>
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<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="text-decoration: none;"> </span>Screw Beethoven, the ugly
son-of-a-bitch. Clearly, the guy was never successful enough to afford a facial
or get a decent haircut. <i style="mso-bidi-font-style: normal;">What’s that, lady,
I was hitting wrong notes?<span style="mso-spacerun: yes;"> </span>What do you
expect, the guy was frickin’ deaf when he wrote this damn thing! <span style="mso-spacerun: yes;"> </span>Give me a break!</i></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"> </span></i></div>
<br />
<ul style="text-align: left;">
<li><h2 class="MsoListParagraphCxSpMiddle" style="text-align: left;">
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">TIP #4: Make Sure the Piano is
in an acceptable State of Disrepair </span></h2>
</li>
</ul>
<br />
<div class="MsoListParagraphCxSpLast">
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">Sure I’m nervous.<span style="mso-spacerun: yes;"> </span>Wouldn’t you be if you had to perform on this
reject from a down-market Salvation Army post? <span style="mso-spacerun: yes;"> </span>I mean, I might have warmed up, but I ran out
of time while I was Gorilla Gluing <span style="mso-spacerun: yes;"> </span>all
the broken keys back on, for cryin’ out loud!</span></div>
<br />
<ul style="text-align: left;">
<li><h2 class="MsoNormal" style="text-align: left;">
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">TIP
#5<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Just Go Play Cocktail Piano</span></h2>
</li>
</ul>
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<div class="MsoListParagraphCxSpFirst">
<u><span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="text-decoration: none;"></span></span></u></div>
<div class="MsoListParagraphCxSpMiddle">
<span style="font-family: "Trebuchet MS","sans-serif"; font-size: 10.0pt; line-height: 115%;">Find a restaurant with a big room
full of noisy people whose voices bounce off a carpet-less, slate floor, utterly
drowning out the sound of your dwarf baby-grand with zero amplification. All
that’s missing is a black cape and hood - and a Lone Ranger mask. <span style="mso-spacerun: yes;"> </span>Then you can be nervous all you want.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
</div>
Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-64007563561879296072015-01-25T15:55:00.001-08:002016-07-01T12:43:32.691-07:00Scott Joplin’s “Euphonic Sounds” vs. Jelly Roll Morton’s “Freakish” - - Classical Aspirations vs. Modern Accommodation<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0aOIicQahqTby47wsih-oAW0lgjpkcD9kjIsBbwvTFtjT8GSXonTk3UdH_P-fQR-YIPKKAzsETkx-aB0MowgTY_ZbcUuQMEkeqSSCdT-ZnO_EwdDtCimXPRW6pI1LqymyJWDEiWtEfC-4/s1600/Scott_Joplin_19072.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0aOIicQahqTby47wsih-oAW0lgjpkcD9kjIsBbwvTFtjT8GSXonTk3UdH_P-fQR-YIPKKAzsETkx-aB0MowgTY_ZbcUuQMEkeqSSCdT-ZnO_EwdDtCimXPRW6pI1LqymyJWDEiWtEfC-4/s1600/Scott_Joplin_19072.jpg" width="153" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Scott Joplin</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTlznVfXzSWkycIQkc4qDoSDCwV_tX4ll6j4IkDjEp6ac531y1tx_aSgX7xyaRgXps-neAz0OOtLfZDnEls7b0fIgqFFJdfL2O-tk5hNmBZZTNLyWK2EAKbMJIggq0ef0HkpcOEoD4yI6g/s1600/jellyroll.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTlznVfXzSWkycIQkc4qDoSDCwV_tX4ll6j4IkDjEp6ac531y1tx_aSgX7xyaRgXps-neAz0OOtLfZDnEls7b0fIgqFFJdfL2O-tk5hNmBZZTNLyWK2EAKbMJIggq0ef0HkpcOEoD4yI6g/s1600/jellyroll.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jelly Roll Morton</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We celebrate both Scott Joplin and Jelly Roll Morton as
American originals and classicists. Joplin
(1867-1917), as the “King” of classical ragtime composers and Morton
(1890-1941), as a progenitor of what has come to be considered<span style="mso-spacerun: yes;"> </span>early jazz, both as composer/arranger and (thankfully), recorded performer.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Joplin was a classicist in the most traditional and technical
sense.<span style="mso-spacerun: yes;"> </span>His piano writing adhered to
European music theory practices in harmony, voice leading and compositional form.<span style="mso-spacerun: yes;"> </span>(For example, there’s little difference
between the highly, formulaic musical structure of Joplin rags and Sousa
marches: AA/BB/A/CC/DD). </span></div>
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</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The magnificent results of Joplin’s’ genius was his blending <span style="mso-spacerun: yes;"> </span>of European classicism and African American derived
folk melodies - <span style="mso-spacerun: yes;"> </span>both inextricably bound
to a uniquely <span style="mso-spacerun: yes;"> </span>subtle and sophisticated binary, ragtime
syncopation.<span style="mso-spacerun: yes;"> </span>(On occasion, there is even
an early suggestion of blue-notes - flatted 3rds, 5ths - but these are always supported
by conventional harmonies or quickly resolved as non-harmonic tones). <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-spacerun: yes;"> </span>“Euphonic’s Sounds” (1909),<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>comes
from a particularly rich year of Joplin rag composition. It also coincides with
the beginning of Joplin’s obsession to write his grand, ragtime opera, “Treemonisha".
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>By 1907, Joplin had moved to New York City in order to be in a more compatiblle cultural
environment that might artistically and financially support a staging
of “Treemonisha”. </span></div>
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</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">All this is to say, <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>if you’re familiar with Joplin as the composer
of “Maple Leaf Rag”, “Easy Winners” and “The Entertainer” – you may well be
surprised by <i><b>Euphonic Sounds</b>' </i>very ambitious and surprising composition.</span></div>
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</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Clearly, <b><i>Euphonic Sounds</i></b> is a rag. It adheres to Joplin’s
(and generally), classical ragtime's consistent use of sequential 16-bar strains. <span style="mso-spacerun: yes;"> </span>Certainly, its 4-bar intro and first theme
sound fairly much like business as usual.</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The second theme, however, is where the traditional ragtime wheels
come off, and even the initiated may think they’re losing count.<span style="mso-spacerun: yes;"> </span>Yes, there are plenty of two-bar repetitions
as befitting Joplin’s 16-bar strains, but in “Euphonic Sounds”; they serve an
entirely different purpose. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">To illustrate this point, let’s look at the arch-typical
second-strain of <span style="mso-spacerun: yes;"> </span>Joplin’s 1908 rag, “Fig Leaf”.</span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Here, the 16 bars strain conforms to 2, clearly defined -8 bar
segments, divided into 4-bar phrases with clear thematic reiteration:</span></div>
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</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">2<sup>nd</sup> Strain: “Fig Leaf”</b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">----------- 16 bars ------------</b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">1<sup>st</sup> half:<span style="mso-spacerun: yes;"> </span>4+4: 2nd
half: 4+4)</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-spacerun: yes;"> </span>Conversely, and quite
atypically, “Euphonic Sounds'” second strain creates a 16-bar, through-composed arc, whose
melodic material evolves through several jarring modulations, reaching a highly romantic climax at bar 13:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuqJhDqYf_3Qmw_ClWxkppsrh1hmtBYfkDuRABV96jQpk9cifxd6GZMDZv1fuCiX0ZXlmGYyDgoNV0oVHTtiYSYeX9MW1jIrGXajgDp5PUpxy7wdo5ztj9b8zsnavrNMtW5gyCIR1FO-w/s1600/Euphonic+Sounds.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuqJhDqYf_3Qmw_ClWxkppsrh1hmtBYfkDuRABV96jQpk9cifxd6GZMDZv1fuCiX0ZXlmGYyDgoNV0oVHTtiYSYeX9MW1jIrGXajgDp5PUpxy7wdo5ztj9b8zsnavrNMtW5gyCIR1FO-w/s1600/Euphonic+Sounds.JPG" width="640" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Additionally, as Rudi Blesh and others have noted, there is a
suspension of the traditional bass-note-chord construct, a hall mark of not
only ragtime in general, but upcoming stride piano playing. </span></div>
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<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/DXg3b35T1iw?feature=player_embedded' frameborder='0'></iframe></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="mso-spacerun: yes;"><br /></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Stride pianist, James P. Johnson (for one), cited “Euphonic
Sounds” for its modernism. <span style="mso-spacerun: yes;"> </span>But while mind
reading should never pass for scholarship, was Joplin’s rebellious<span style="mso-spacerun: yes;"> </span>2nd strain<span style="mso-spacerun: yes;">
</span>in <i><b>Euphonic Sounds</b> </i> more focused on
expanding his concept of ragtime into another form of classical music, or <span style="mso-spacerun: yes;"> </span>even so-called, serious modern music?<span style="mso-spacerun: yes;"> </span></span></div>
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</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And what was Jelly Roll Morton thinking when he imposed the
descending, parallel voicings of disorienting<span style="mso-spacerun: yes;"> </span>dominant 9<sup>th</sup> chords in 1929’s “Freakish”?
<span style="mso-spacerun: yes;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbixo9FzL5SMQgg0pPDAyQbW9Wna839n65m-VyKGF6ifAzZZ8DwhgUtvy18gdzkUiiGwRy4BapgLSWMTysw-rr5VWUPIaxT3MtnDb9A9XCanPTUEegARgV8JlKjnuZklrRHwq0RSx3tNY/s1600/freaksih.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbixo9FzL5SMQgg0pPDAyQbW9Wna839n65m-VyKGF6ifAzZZ8DwhgUtvy18gdzkUiiGwRy4BapgLSWMTysw-rr5VWUPIaxT3MtnDb9A9XCanPTUEegARgV8JlKjnuZklrRHwq0RSx3tNY/s1600/freaksih.JPG" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Was Morton, on the cusp of being passe, thinking of cornetist, Bix Beiderbecke’s
1926 foray into impressionism called “In a Mist” (played quite well, actually, by Bix on piano)?<span style="mso-spacerun: yes;"> </span>Or, was he simply<span style="mso-spacerun: yes;"> </span>trying to say,<span style="mso-spacerun: yes;"> </span>“<i style="mso-bidi-font-style: normal;">Don’t
tell me, I get this modern stuff</i>!”<span style="mso-spacerun: yes;">
</span>And if he did get it, he may well have signaled <span style="mso-spacerun: yes;"> </span>he didn’t much care for it my calling his
composition “Freakish”.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Don’t get me wrong. <span style="mso-spacerun: yes;"> </span>I
love “Freakish”, and thanks to the most excellent transcriptions of James
Dapogny (in this case, transcribed from Morton’s 1938 Smithsonian recordings
with Alan Lomax, <span style="mso-spacerun: yes;"> </span>at a more relaxed, <i> “Don’t
tell me, I get this swing-thing”</i> tempo), <span style="mso-spacerun: yes;"> </span>I very much enjoy playing it.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But was Morton trying to sound modern, or was he mocking
it?<span style="mso-spacerun: yes;"> </span>After all, Morton’s<span style="mso-spacerun: yes;"> </span>“Freakish” conceit was about juxtaposing the
dominant <span style="mso-spacerun: yes;"> </span>9<sup>th </sup><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>chord
sonorities with more and longer sections based on more like ragtime-like<span style="mso-spacerun: yes;"> </span>lyricism and harmonies.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But for Morton, "Freakish" was another tune of many in his
club date and recording career. Joplin’s<span style="mso-spacerun: yes;"> <i><b>Euphonic Sounds</b></i>
</span>might have been a 16 bar cry for a different kind of recognition.</span></div>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-22235460601181124872013-12-29T10:15:00.001-08:002015-01-31T10:10:47.017-08:00Go Easy On Those Music Comparisons Between “Inside Llewyn Davis” and “O Brother, Where Art Thou?" <div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJRNn7atWBXyRJUv5V_x-E6OesPBGzRHP9jSAAHLsjGx-2kOzkaPlFnhPiWp6O8nPFcImgjgSW_q3jeiQ79gW0MChsdeEd794ouNCrTtUgIwuvUlb6HNkQv65c8uPXuxNBSYYtAFdSTAms/s1600/Llewlyn+at+gaslight.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJRNn7atWBXyRJUv5V_x-E6OesPBGzRHP9jSAAHLsjGx-2kOzkaPlFnhPiWp6O8nPFcImgjgSW_q3jeiQ79gW0MChsdeEd794ouNCrTtUgIwuvUlb6HNkQv65c8uPXuxNBSYYtAFdSTAms/s1600/Llewlyn+at+gaslight.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oscar Issac as the fictional folk artist, Llewyn Davis. </td></tr>
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Having read several different reviews for the latest Coen
Brother’s <span style="mso-spacerun: yes;"> </span>2013 release, “Inside Llewyn
Davis” (as well as having seen it), <span style="mso-spacerun: yes;"> </span>it’s
safe to conclude that Joel and Ethan <span style="mso-spacerun: yes;"> </span>have done it once again; creating <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>another
highly successful <span style="mso-spacerun: yes;"> </span>mainstream Indie-feeling
film. <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Indie-feeling </i>based on the film’s smaller budget and scale, and the
Coen’s typical non-formulaic approach to
both story line and characters. <span style="mso-spacerun: yes;"> </span>“Inside
Llewyn Davis” asks the viewer to make sense of a few days in the life of a very
talented, but near penniless and self-destructive folk musician. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>A
dreamlike film that at times is uncomfortably realistic, the Coen Brothers have
also created a comedy that risks taking its humor a little too seriously. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>In
other words, The Big Lebowski, it isn’t.<span style="mso-spacerun: yes;">
</span>But, it’s a wonderful film that meticulously recreates the place, time
and folk music of the west village in New York City during the winter of 1961. <span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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Reviews from the New York Times, Washington Post, and Salon,
to name a few, feel compelled to obliquely reference the Coen’s 2000’s “O
Brother, Where Art Thou?” with its inspired use of appropriately placed country
and folk songs that also evoke time and place - in this case, the state of Mississippi
<span style="mso-spacerun: yes;"> </span>in 1937. <span style="mso-spacerun: yes;"> </span>(The music for both films tracks is produced
and arranged by T-Bone Burnett). </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8NeBLsJ7AUkwgsgPbaoqqEPjVCKgCLEAhTp5HPX_IKBMBIQo00CpH59QuJm6J_XFgaI_uQiTKJbUBoaVAVWkyRXGxCBILxtGEFlAiHToMlnC6g-sFC8rnbjEJd-9QMi5ew24ubjHvmYiS/s1600/Baptism.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8NeBLsJ7AUkwgsgPbaoqqEPjVCKgCLEAhTp5HPX_IKBMBIQo00CpH59QuJm6J_XFgaI_uQiTKJbUBoaVAVWkyRXGxCBILxtGEFlAiHToMlnC6g-sFC8rnbjEJd-9QMi5ew24ubjHvmYiS/s320/Baptism.jpeg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tim Blake Nelson finds salvation as the baptismal choir sings "Down To The River To Pray" in "O Brother, Where Art Thou?"</td></tr>
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Certainly, there’s a comparison to be made between the two
films.<span style="mso-spacerun: yes;"> </span>“O Brother, Where Art Thou?” <span style="mso-spacerun: yes;"> </span>is the Coen’s loosely-based, sunny and often
hilarious tour-de-force of Homer’s Odyssey. George Clooney’s main character (Ulysses)
escapes prison with two fellow inmates (played by<span style="mso-spacerun: yes;"> </span>John Turturro
and Tim Blake Nelson), in pursuit of great treasure, the location of which is
known only to Ulysses. <span style="mso-spacerun: yes;"> </span>In contrast, Llewyn
Davis has a muted and depressing roundtrip journey to and from Chicago in search
of glory and riches (well, hopefully enough riches to rent his own place).<span style="mso-spacerun: yes;"> </span>An
orange tabby cat - <span style="mso-spacerun: yes;"> </span>who Llewyn feels obliged to adopt and carry
with him as he bums his way around the village and subsequent travels to Chicago
– is also named Ulysses. <span style="mso-spacerun: yes;"> </span>Musically
speaking, the most compelling similarity between the two films (in addition to
the inclusion of period American popular music), <span style="mso-spacerun: yes;"> </span>is that so much of the period music in both
films is performed and sung in real-time, with a few renditions even going
beyond a couple of minutes in duration. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhexgm-TkmIT2fUXkwXQSB2VUovooALK0fN_Zwpp0g_SheXvoMqJB-qV-ZwNlbzKIjzSVvmgPGQmhqhh0ApK7_PqrsX2dYCHFxT7zhyL1YXMYqvT0shSFQRJTg5JTywzqOdSltM2IH0jwkb/s1600/The+lady+Killers.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhexgm-TkmIT2fUXkwXQSB2VUovooALK0fN_Zwpp0g_SheXvoMqJB-qV-ZwNlbzKIjzSVvmgPGQmhqhh0ApK7_PqrsX2dYCHFxT7zhyL1YXMYqvT0shSFQRJTg5JTywzqOdSltM2IH0jwkb/s1600/The+lady+Killers.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Lady Killers'" gospel music.</td></tr>
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Beyond that however, the two films use their period songs for
different dramatic purposes, resulting in a contrasting dynamic. “O Brother’s” Blue grass, country and folk<span style="mso-spacerun: yes;">
</span>songs are mainstream and culturally
ubiquitous, ingeniously supporting scenes for baptisms, political rallies, an
encounter with seductive sirens (an Odyssey reference) - even a Klu Klux Klan rally. <span style="mso-spacerun: yes;"> </span>In fact, only the song “I Am a Man of Constant
Sorrow”, spontaneously recorded by the soon to be very popular, <i style="mso-bidi-font-style: normal;">Soggy Bottom Boys</i>, is the only music actually
used as a plot device, or part of the story. <span style="mso-spacerun: yes;"> </span>The music in Llewyn Davis, however, is not
mainstream, and representative of the 50s and early 60s folk counter culture. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Scorned
by other musicians (such as John Goodman’s pompous and bloviating jazz musician),
Llewyn struggles against selling-out when offered an opportunity to become a
third wheel in a newly formed folk trio (a clear reference to Peter, Paul and Mary).<span style="mso-spacerun: yes;"> </span></div>
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But perhaps the most important distinction between the two
films is the casting coup that gives us Oscar Isaac as the forlorn Llewyn
Davis. <span style="mso-spacerun: yes;"> </span>Mr. Isaac not only beautifully conveys
Lleweyn’s anguish and ambivalence, but is actually a very accomplished singer
and folk guitarist. The Coens have allowed him to perform live before the camera,
something we suspect (despite their faultless lip-syncing) George Clooney,
John Turturro, or even the Grand Wizard of the KKK (embodied by Wayne Duvall) are unable
to accomplish - live or otherwise. <span style="mso-spacerun: yes;"> </span>(In
all fairness, Tim Blake Nelson, provides his own signing).<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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Conversely, where “O Brother”<span style="mso-spacerun: yes;"> </span>showers the audience with a colorful array of
different vocal groups, Llewlyn Davis performs
a solo (and as we soon learn),<span style="mso-spacerun: yes;"> </span>lonely folk
act. <span style="mso-spacerun: yes;"> </span>When Mr. Isaac as Llewyn Davis opens
this film singing “Hang Me, Oh Hang Me” sitting on the stage of an actual, West
Village folk club, the <i style="mso-bidi-font-style: normal;">Gaslight</i>, he
and the Coens seamlessly evoke a poignant trifecta of time, place - and
character. </div>
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(In passing, and in the same context, it’s worth drawing
comparisons with the Coen’s 2004 film, “The Lady Killers”, which liberally uses
African American gospel music).</div>
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But, "No Country For Old Men" had no music on its soundtrack, whatsoever.</div>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-13527808736489258912013-01-03T13:24:00.002-08:002018-06-04T13:23:05.089-07:005 Great (and Evocative) Instrumental Movie Themes (Part1)<div dir="ltr" style="text-align: left;" trbidi="on">
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Going back to the earliest days of early sound, Classic Movie themes have been designed to evoke time and place, identify characters, provide another dimension of emotional support for those characters and - in either explicit or ephemeral ways - underscore the film’s big messages. These themes, which might serve as title music, also provide the melodic and motivic material for creating additional parts of the score. (Of course, this classical approach is not shared by those films going as far back as 1973’s American Graffiti, which rely almost completely on pastiches of popular songs for their sound tracks). <br />
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While there’s no shortage of great movie themes, and this wisp of a list could certainly be replaced a hundred times over, the following five movie themes (thank you YouTube), are great examples of this art. <i>(Caveat: Please keep in mind I fully understand there are dozens of great film composers and that Eric Korngold, John Williams, Howard Shore, Danny Elfin and Bernard Hermann – to name a very, very few - deserve their own lists).</i><br />
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<b>1. A Summer’s Place (1959) Max Steiner</b> <br />
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A pioneer of early film sound tracks - and the composer for 1933’s <i>King Kong</i> - Max Steiner wrote the tune for this nostalgic and highly memorable top-40s standard. The relaxed, summertime music is the love theme for two teenagers who have accompanied their respective parents to neighboring summer homes. <br />
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Steiner's love theme underscores the innocent interaction between the Sandra Dee and Troy Donahue characters, whose relationship soon turns to first love. We know it’s <i>their</i> music because Steiner’s simple, yet soaring string melody is scored over a typical, 50s Rock & Roll triplet accompaniment, supported by woodwinds and a subtle (for the time), pop rhythm section. <br />
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<![endif]--><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 10.0pt; line-height: 115%;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> <b>
</b></span></span></span><b><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">Dr. No (1962) Monty Norman/John Barry</span></b></div>
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Monty who? The late John Barry scored 11 James Bond films, but actually did not write the Agent 007 Theme. Monty Norman, a lesser known theater composer, deserves that credit (and royalties). But Barry, in addition to creatively employing the theme and its motifs across all his Bond films (<i>Dr. No</i> through <i>Octopussy</i>), deserves the credit for first arranging Agent 007 signature theme in its iconic, jazzy style. 50 years after its debut – and dozens of James Bond films later - the signature 007 Theme has yet to be discarded and is still recognizable (if just barely), as in the most recent Bond production<i> Sky Fall</i>. <br />
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With its pungent harmonies, punchy, syncopated rhythms and cutting-edge scoring, this theme tells us everything we need to know about its protagonist. He’s a cool, sexy hipster who bests his opponents and always keeps his act together - despite engaging in highly dangerous and life threatening situations. <br />
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And everyone<i><u> loves</u></i> that final electric guitar chord: <b>E</b> Minor/Maj7/Maj9!<br />
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<b>3. My Body Guard (1980) Dave Grusin </b><br />
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For this smaller budgeted indie sleeper, Dave Grusin makes an inspired choice. In scaling his instrumentation to a modestly sized chamber orchestra, he ingratiatingly supports <i>My Body Guard's</i> coming-of-age story and its wistful sense of nostalgia. A string quartet is used to good effect in evoking a youthful and sunny hopefulness. The main theme appears under the title, gracefully unfolding in ¾ time as Clifford, a high school student, rides his bike through the city of Chicago.<br />
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" <i>My Body Guard":</i> Main theme and title music.<br />
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<b>4. Out of Africa (1985) John Barry </b><br />
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Two major love stories unfold in <i>Out Of Africa</i>. Firstly, there's the romance between the aristocratic Karen (Meryl Streep) and the adventurer, Denys (Robert Redford). But there's also the broader, more arching love affair between the two lovers and the unspoiled vastness of the African plain (specifically, British Kenya, c. 1919). <br />
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Much of the lover’s musical underscoring is practical in nature. For example, Denys gifts Karen several acoustic 78 recordings of Mozart – played on a whirring, wind-up Victrola - which in turn underscores dialogue, helps pinpoint the time frame of the story and also reminds us these people are both cultured and from the upper class. Additionally, the period song,<i> Let the Rest of The World Go By</i>, is used as a love theme, played first as live dance music by a small band at a hotel party and later freely used as underscoring when played by Karen on her Victrola. <br />
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John Barry’s score, however, is ultimately about superimposing Karen and Denys’ bitter-sweet and mortal love affair (Denys, a solo pilot, dies in an airplane crash) and the lovers' relationship to the African continent. In one highly charged moment, Denys invites Karen for a ride in his small, single engine plane; flying her high into the air as they share the extraordinary view from the open cockpit. It is here – approximately two-thirds into <i>Out of Africa</i>, that Barry provides an indelible and sweeping love theme which represents - through his expansive use of contrasts in orchestral range - both the sprawling African landscape and the intimate connection between the film’s ill-fated lovers.<br />
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<i>Out of Africa:</i> The hook of the love theme begins @c.2:00</div>
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<b><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: 10pt; line-height: 115%;"><span style="font: 7pt "Times New Roman";"> </span></span>5. Glory (1989) James Horner </b><br />
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As in<i> Out of Africa</i>, James Horner’s magnificent score for the film<i> Glory</i> supports two large, thematic ideas set during the American Civil War. In the foreground is the true story of Colonel Robert Shaw (Mathew Broderick) - who led the first all-African American unit in the Union Army while struggling to obtain equal treatment for his poorly clothed and underpaid Black enlisted men. <br />
<br />
Horner’s score is epic in scope, but also often intimate in its evocation of the church choir, underscoring the ascension of former slaves who must make the ultimate sacrifice in a suicidal attack against the Confederate Army's formidably defended Fort. Glory’s main musical theme supports the nobility of their cause for freedom, while at the same time employing military cadences that stirringly bring heroic honor to scenes of death and destruction. <br />
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The final music for the charge against Fort Wagner, off the coast of South Carolina by the <i>colored</i>, 54th Massachusetts Volunteer Infantry, deftly transitions from the spiritual (with a wonderful assist from the Boys Choir of Harlem), to an exuberant military charge – only, upon their defeat, to be suddenly returned to the eulogistic main theme. </div>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com2tag:blogger.com,1999:blog-8338777656471504030.post-36568127759900110392012-09-20T12:21:00.000-07:002016-06-24T13:22:37.076-07:00Switched-On Chaplin<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.blogger.com/blogger.g?blogID=8338777656471504030" name="_GoBack"></a><span style="font-family: "trebuchet ms" , "sans-serif"; font-size: small; line-height: 115%;">When I was a teenager
just beginning my musical journey as both musician and wannabe musicologist, I
came across Walter Carlos (just prior to his Wendy conversion), and his/her
series of ground-breaking, <i>Switched-On Bach</i>
recordings. These adroitly and painstakingly Moog synthesized, electronic
adaptions of Bach, Handel, Monteverdi, and Scarlatti (realized more in the
abstract than as explicit instrumental recreations), captured both my
imagination and generated a profound interest in the music of the
baroque period. Carlos’ own sonic
interpretations of the Brandenburg Concerti, Handle’s Water Music and selected Scarlatti
keyboard works, produced a highly accessible portal which ultimately led me to
the original scores and their recordings.
Not so long ago, I heard a few tracks from the first Switched On Bach
recording and was taken aback by how technically dated and musically monotone they
seemed. Nonetheless, I still feel indebted
to the recordings and their creator for opening the door to literally a century’s
worth of wonderful music. </span><br />
<span style="font-family: "trebuchet ms" , "sans-serif"; font-size: small; line-height: 115%;"> </span></div>
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<span style="font-size: small; line-height: 115%;">And with this as the most incongruent of
preambles, I hope <i>Chaplin: The Musical!</i>,
which opened at the Ethel Barrymore Theater on September 10<sup>th</sup>, will
inspire its audience to look-up some of Chaplin’s Mack Sennett one reelers (35
produced in 1914); or the best of his work at the Essanay Film Studio (15 in
1915); all of the Mutual Masterpieces (12 from 1916-17); the First National
productions (including “A Dog’s Life”, “Shoulder
Arms” and “The Kid”) - and the sublime and indispensable United Artists feature
films (beginning with “The Gold Rush”, and followed by “The Circus”, “City
Lights, “Modern Times”, “The Great Dictator”, Monsieur Verdoux – and ending
with “Limelight”). </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Chaplin in The <i>Gold Rush</i>, 1925</td></tr>
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<span style="font-size: small; line-height: 115%;">For myself however (and, yes if it’s not clear by
now, <i>I am </i>a<i> </i>Chaplin fan and aficionado), I don’t feel especially compelled to
buy a ticket; much for the same reasons I wasn’t terribly enthused about seeing
a two-act musical called “The Civil War”.
I just think putting Chaplin on the
stage for a musical biop risks being disappointing for the initiated - and absolutely
maddening for the devotees. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Look twice: Chaplin imitator Billy West, c. 1918</td></tr>
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<span style="font-size: small; line-height: 115%;">Firstly, and generally speaking, shows about
silent film comedians always (and no pun intended) sell their subjects short.
Directors and actors get the clichés, the broad strokes and superficial characteristics
without understanding the driving impulse, timing and genius behind inspired physical
comedy and sight gags. </span></div>
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<span style="font-size: small; line-height: 115%;">Personally, I hate outer directed Chaplin impersonations.
I find they tend to be all derby and no Chaplin. Having not seen the Chaplin
musical, I can’t speak for Doug McClure’s well-praised performance as the “Little
Tramp”, but honestly: Lucille Ball,
Robert Downey, Jr. – even Billy West, an early screen contemporary of Chaplin,
who did an extremely convincing job of essentially ripping off Chaplin’s act -
couldn’t come close. The costume can be correct, the body-type close enough –
even the basic physicality can appear, seemingly spot-on.</span></div>
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<span style="font-size: small; line-height: 115%;">And yet, not one performer I’ve ever seen seems to understand
the inventiveness and subtlety of Chaplin’s facial pantomime and economy of
gesture; not to mention that under the make-up, moustache and pratfalls was a great comic
actor.</span></div>
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<span style="font-size: small; line-height: 115%;">For that, switch-on a Chaplin two-reeler. </span></div>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com1tag:blogger.com,1999:blog-8338777656471504030.post-87017354357523374002012-02-04T12:13:00.000-08:002012-02-21T06:29:10.739-08:00Travel Tips for New Orleans: Bring Cash<div dir="ltr" style="text-align: left;" trbidi="on"><div align="center" class="MsoNormal" style="text-align: center;"></div><div class="MsoNormal">I only needed one weekend In New Orleans’ irresistible French Quarter to nearly spend $200.00 in small gratuities. Solo street musicians, bands, jugglers, human statues (witness <i>Bourbon Street’s</i> hard-hatted construction worker, posing motionless on his ladder while holding a two-by-four over one shoulder for hours on end), hip-hop dancers and hucksters - the last group offering more in the way of desperation than talent – all had their hand-in for a hand-out By the time Saturday night rolled around, when Sue, (my traveling companion), and I observed a roach crawling across the very old bar at <i>The Spotted Cat</i> on <i>Frenchmen Street </i>, I didn’t know whether to kill it - or tip it.<br />
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</div><div class="MsoNormal">But for me, New Orleans has always been about the music. And if the Dixieland revival of the 1940s began a touristy homogenization of the music created by King Oliver, Louis Armstrong and Jelly Roll Morton in the first few decades of the 20<sup>th</sup> century, ultimately resulting in non-stop performances of “When The Saints Go Marching In” at Preservation Hall – and just about every place else in town - it’s still New Orleans. And I - like others early jazz aficionados - wouldn’t dream of not going.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHgqpF-816gKRDntfPAWrrgXwmgUUyb-TsBJcIMKyYNzlIkVcC0FiD31dWqAZfWMlgI3o1d7soz7j1MY9uFm5LUK3iMfvZUdetSGhLC9JJNbUxbqq9sl0lTEDAXxTvUl5WzTBytesHQccv/s1600/Hokum+High+Rollers.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHgqpF-816gKRDntfPAWrrgXwmgUUyb-TsBJcIMKyYNzlIkVcC0FiD31dWqAZfWMlgI3o1d7soz7j1MY9uFm5LUK3iMfvZUdetSGhLC9JJNbUxbqq9sl0lTEDAXxTvUl5WzTBytesHQccv/s320/Hokum+High+Rollers.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Hokum Highrollers</i></td></tr>
</tbody></table></div><div class="MsoNormal"><div style="text-align: left;">There are definitely two strata of musicians in New Orleans: those that are paid by salary or a percentage of the door cover (including headliners), and those that work exclusively for tips.<br />
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</div></div><div class="MsoNormal">Of course, the street musicians, solely dependent on tips, are the most visible. They dress in clothes of an indeterminate, but somehow indigenously convincing, bygone era. Many groups bring along their pet dogs who either sleep or wag their tails in time to the music. Adapted plastic water jugs and instrument cases are open for tips, with hand lettered cardboard signs requesting $1.00 per photograph. Some try to imitate the virtues and limitations of the old New Orleans jazz and country-folk styles with varying degrees of success. At worst, they seem creatively trapped by it. At best, you can hear and feel - even from the very young players just past their teenage years - a genuine yearning to make it all new and relevant.<br />
</div><div class="MsoNormal" style="text-align: left;">Thanks to the digital age and the internet, a few of the street bands offer up inexpensive CDs. The polished and talented Hokum Highrollers, comprised of guitar, banjo, fiddle, string bass and trumpet can be viewed on <b><a href="http://www.facebook/thehokumhighrollers">www.facebook/thehokumhighrollers</a></b> For their street concerts, they offer up an old-time, swinging, string-band sound, replete with southern vocal twangs and kazoo. Amanda Blake on trumpet (fighting off a cold when I saw here), employs an empty soda cup as a mute and tap dances; her metal taps (in addition to being entertaining), provide an inventive alternative to woodblocks or spoons.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilWQI0ZWHEVqZeEx5ecPM_mVMwgQxH0anqPeO64cZkF62J9cPBMhPfBlgTz-F8U2c6FYI6GPnWpT0X3B9lVoFc8EFWybm8WR_zxQwOJ14GqCrmRbZ2zPv4vZznmJ3eY6r61fgeZBG6EVSk/s1600/NO+String+Band+Trio.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilWQI0ZWHEVqZeEx5ecPM_mVMwgQxH0anqPeO64cZkF62J9cPBMhPfBlgTz-F8U2c6FYI6GPnWpT0X3B9lVoFc8EFWybm8WR_zxQwOJ14GqCrmRbZ2zPv4vZznmJ3eY6r61fgeZBG6EVSk/s320/NO+String+Band+Trio.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">These guys really nailed the string band sound of the early 30s.</td></tr>
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</div><div class="MsoNormal">While the Hokum Highrollers are attempting to brand themselves, many street musicians move back and forth between pick-up groups. One afternoon I cited a country guitarist/singer in three different bands in the French Quarter.</div><div class="MsoNormal"><br />
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If you want to weave in and out of a very inexpensive and rewarding club scene, however, <i>Frenchmen Street </i> has numerous restaurants bars and clubs – all noted for their music, accessibility - and some for a delectable seasoning of sleaze.<br />
</div><div class="MsoNormal">In just about any other city or town, <i>The Spotted Cat</i> is a bar that would have to be considered an old and unmitigated, mangy dive. But somehow, on Frenchmen Street - with its joyously maintained and seedy authenticity (and a portrait of my man, Jelly Roll, above the bar), I found it down-right exotic. For the price of a one-drink minimum, we were unexpectedly blown away by the <b style="color: black;"><a href="http://www.panoramajazzband.com/"><i>Panorama Jazz Band</i></a>.</b> Comprised (on this night), of clarinet, sax, trombone, sousaphone, accordion and drums, the ensemble brilliantly played inventive and tight arrangements of an eclectic series of jazz and Klezmer inflected tangos, waltzes, horas, and marches. Once I heard this group, I had absolutely no desire to move on to other destinations.<br />
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<div class="separator" style="clear: both; text-align: center;">The <i>Panorama Jazz Band</i>, at <i>The Spotted Cat</i></div></div><div class="MsoNormal">But despite my experience over the last two days – and given the quality of their performance – I was still surprised when the sousaphone player, Jon Gross (recently nominated by Offbeat Magazine for “Best Tuba/Sousaphonist” in New Orleans, who’s maybe 5’7” tall), stepped off the stand in the middle of a tune, and waded through the customers, soliciting tips – still performing - and without dropping a single note or beat. Playing the horn’s valves with his right hand, he held the ubiquitous plastic gallon water bottle aloft with his left - secured by his three middle fingers - while managing to hold two different CDs between his thumb and index fingers. Was I impressed? Let’s just say I wasted no time in taking a CD and dropping a twenty into the plastic bottle. <br />
</div><div class="MsoNormal">In talking with the trombonist, I learned the band seldom played outside of New Orleans – which somehow, was just what I wanted to hear. The <i>Panorama Jazz Band</i> rounded out the short stay beautifully. My final musical, New Orleans tip-touch-point before heading back to Jersey.</div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"></div><br />
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<tr><td class="tr-caption" style="text-align: center;">This unknown clarinetist really wailed.</td></tr>
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But wouldn’t you know it: as it turns out The<i> Hokum Highrollers </i>hail from Burlington, Vermont.</div><div class="MsoNormal"><br />
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</div></div>Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com1tag:blogger.com,1999:blog-8338777656471504030.post-45645570683790271392011-08-02T08:50:00.000-07:002013-01-04T13:17:24.592-08:00In Musical Theater, the Adapatation's the Thing<div dir="ltr" style="text-align: left;" trbidi="on">
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What do Stephen Sondheim’s <i closure_uid_qtnc29="108" style="mso-bidi-font-style: normal;">Pacific Overtures</i>, William Finn’s <i style="mso-bidi-font-style: normal;">Falsettos</i> and Bill Russel’s and Henry Krieger’s <i style="mso-bidi-font-style: normal;">Sideshow</i> have in common?<span style="mso-spacerun: yes;"> </span>They all belong to a rarified group of broadways shows that were <i style="mso-bidi-font-style: normal;"><u>not</u></i> adapted from preexisting properties.<span style="mso-spacerun: yes;"> </span></div>
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But theater, after all is still a business, and while true inspiration is in the eye and ear of the creator, true pre-marketability is foremost in the minds of producers and investors.<span style="mso-spacerun: yes;"> </span>And that’s understandable.<span style="mso-spacerun: yes;"> </span>With production costs soaring into the tens of millions of dollars, who wants to put money into some property or concept that hasn’t been market tested?<span style="mso-spacerun: yes;"> </span></div>
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Thus, the adaptation’s the thing.<span style="mso-spacerun: yes;"> </span>Presenting investors with a commerically proven subject area considerably ups the odds of an actual production. Adapting a successful film, television show, book, short story, or even comic (<i style="mso-bidi-font-style: normal;">Spiderman</i>, of course, comes to mind – but leave us not forget the 1960s <i style="mso-bidi-font-style: normal;">Superman</i>), provides a ballast when pitching to money men (or Angels), not to mention mitigating the need to over rely on their imagination.<span style="mso-spacerun: yes;"> </span>Additionally, presenting a potential musical vehicle as part of an preexisting, larger franchise or catalogue, makes a great case for increased, and follow-on investment opportunities. </div>
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Does Broadway love adaptations and franchises?<span style="mso-spacerun: yes;"> </span>You bet! <i style="mso-bidi-font-style: normal;">Lion King</i> meet <i style="mso-bidi-font-style: normal;">Beauty and the Beast</i>, Aida– and <i style="mso-bidi-font-style: normal;">Little Mermaid</i> and <i style="mso-bidi-font-style: normal;">Tarzan, </i>and arguably<i style="mso-bidi-font-style: normal;">, Mary Poppins</i>.<span style="mso-spacerun: yes;"> </span>No coincidence here. Disney’s animated film adaptations of children’s stories, re-adapated for the Broadway musical, are tourist and kiddy catnip. (Like investors, tourists typically want to spend their vacation dollars on a known quantity). </div>
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The Disney franchise may have been weakened a bit by the less than stellar <i style="mso-bidi-font-style: normal;">Little Mermaid - </i>and certainly <i style="mso-bidi-font-style: normal;">Tarzan - </i>both falling below ticket sales expectations.<span style="mso-spacerun: yes;"> </span>But as any parent of the last 20 years can tell you, the Disney franchise of adaptation still has plenty of juice left.<span style="mso-spacerun: yes;"> </span>Hopefully, Disney will forego an adapatation of the animated film version of “Hunchback of Notre Dame”, sparing us a deaf Quasimodo belting out love ballads (not to mention the choreographic temptations of all those bells and ropes).<span style="mso-spacerun: yes;"> </span></div>
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Composer, Frank Wildhorn and lyricist Leslie Bricusse, (whose investors, one speculates, desired to emulate Andrew Weber’s success with his musical adaptation and entry into the horror franchise, <i style="mso-bidi-font-style: normal;">Phantom of the Opera</i>), made a big commercial splash with their adaptation of Robert Louis Stevenson’s book <i closure_uid_m37ir1="123" style="mso-bidi-font-style: normal;">The Strange Case of Doctor Jekyll and Mister Hyde. <span style="mso-spacerun: yes;"> </span></i>Running, 1,543 performances. <i style="mso-bidi-font-style: normal;">Jekyll and Hyde’s</i> success begged for a follow-up adaptation.<span style="mso-spacerun: yes;"> The appearance of </span><i closure_uid_m37ir1="126" style="mso-bidi-font-style: normal;">Dracula, the Musical, </i>Wildhorn’s next vehicle in the genre - celebrating another highly-sexed maniac who relishes the night-life) - was probably not a huge surprise to Broadway theater-goers.</div>
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And surely, the appearance of <i style="mso-bidi-font-style: normal;">Young Frankenstein</i> was not a shocking development in lieu of the mucho mega-hit that was <i style="mso-bidi-font-style: normal;">The Producers - </i> signaling the start of a Mel Brooks franchise adaptation series.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Young Franke</i>nstein, in fact, is a serious contender for the <b style="mso-bidi-font-weight: normal;">Most Adapted Show of the Decade!!</b>; being<i style="mso-bidi-font-style: normal;"> </i>an adaptation of<span style="mso-spacerun: yes;"> </span>Brooks’ film from 1974, which is a satirical adaptation of the 1931 James Whale film, which is based on Mary Shelley’s gothic novel of 1818, which, itself, is based on the Prometheus legend from Greek Mythology. </div>
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But, commercially speaking, Young Frankenstein faring only a fraction as well as the <i style="mso-bidi-font-style: normal;">The Producers</i>, may have tabled the continuance of the Brooks broadway brand.<span style="mso-spacerun: yes;"> </span></div>
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Which is to say, you probably shouldn’t worry too much about holding your breath for the “Flatulence Fandango” adapted from the cowboy bean-eating scene for <i style="mso-bidi-font-style: normal;">Blazing Saddles, the Musical!</i></div>
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The Youngest Frankenstein of them all! Thomas Edison's Frankenstein one-reeler from 1910.<br />
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-90689868470132618282011-07-08T12:38:00.000-07:002013-01-04T10:25:19.868-08:00Three PhD Dissertations on Jazz - I Won’t Write.<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;">As I concluded my graduate work toward</span><span style="font-size: small;"> my MA in music composition at CUNY (including my thesis piece, a two-movement, atonal string quartet), there was the immediate, somewhat knee-jerk assumption I would move right along into the PhD program in composition. </span></div>
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<span style="font-size: small;">I didn’t - and since then, the earth has cooled considerably. Now, if I were to pursue a PhD, I’m fairly certain it would be in jazz studies.</span><span style="font-size: small;"> But as the years roll on, even that seems unlikely.</span><span style="font-size: small;"> Consequently, I’m prepared to throw open for consideration - and </span><span style="font-size: small;">surreptitious appropriation<b> - </b>three subjects for possible dissertations.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Coleman Hawkins</i></td></tr>
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<li class="MsoNormal"><span style="font-size: small;"><b><u>Coleman Hawkins- and His History of Jazz</u></b></span></li>
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<span style="font-size: small;">When Ken Burns made his milestone documentary “Jazz” (2000), he used both Louie Armstrong (1901–1971) and Duke Ellington (1899-1974) as referential, connecting threads to help ground his story’s chronology and construct. After all, both Armstrong and Ellington were there at the beginning of Jazz’s luminous second generation of players and composer/arrangers (the first generation - Buddy Bolden, etc. - being extremely under represented by recordings – if at all). </span><span style="font-size: small;"> Both Armstrong and Ellington lived well into the period of avante guarde and free jazz.</span><span style="font-size: small;"> Their deaths, in fact, came at a time when a good deal of jazz had settled into a comfortable and more commercial homogenization of late swing and be-pop.</span></div>
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<span style="font-size: small;">Armstrong, by virtue of his historic longevity, tremendous commercial output, and highly affable and accessible media personality, provides a strong emotional tie-in for Burns’ 19 hour opus. As an innovator, however, no one would argue that Armstrong continued to evolve past the mid 1930s.</span><span style="font-size: small;"> Ellington did evolve, however. As a composer, he continued to grow harmonically, rhythmically and structurally.</span></div>
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<span style="font-size: small;">So, it is more with Ellington in mind that aligning the study of jazz with the ongoing and cutting edge development of a seminal performer, such as tenor sax giant, Coleman Hawkins, strikes me as compelling idea and a justification to take yet another, but hopefully, different PoV for an in-depth study of jazz (By the way, if you can find a like performer that would qualify for a similar study – I’d love to know about it).</span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">Coleman’s discography begins in 1921 as a 17 year old sideman for blues “Queen”, Mamie Smith and her “Jazz Hounds”.</span><span style="font-size: small;"> Listen to the down and dirty, polyphonic instrumental ensemble on “Crazy Blues”- and then compare that to Coleman’s tenor sax solo (not to mention the rest of the very well, and tightly arranged, Fletcher Henderson Orchestra) in the 1924 recording of “Sugar Foot Stomp”.</span><span style="font-size: small;"> Now, imagine the same instrumentalist playing with Django Reinhardt, Charlie Parker, Dizzy Gillespie, Thelonius Monk and Max Roach - to mention just several great and innovative musicians.</span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">But before you explore those recordings, listen again (and how lucky for you if it’s the first time), to Hawk’s 1939 recording of “Body and Soul”.</span><span style="font-size: small;"> This, in my estimation, would be the centerpiece, the “golden mean” of this suggested dissertation.</span><span style="font-size: small;"> As well as the place and time that Hawkins became an undisputed leader in the world of jazz.</span></div>
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<span style="font-size: small;">The late Lance Hayward - the blind and gifted jazz pianist from Bermuda - used to play solo at the Village Corner on Bleeker Street in Greenwich Village back in the 1970s and 80s.</span><span style="font-size: small;"> Given there was no cover charge, inexpensive brews, and Lance’s very long sets, it was an irresistible opportunity to hear really fine jazz piano.</span><span style="font-size: small;"> During breaks, Lance was accessible and available for conversation – no matter how pretentious or silly.</span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">Once (during one of my deeper moments), I asked, “How do you define jazz?”</span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">“The only thing I know”, said Lance, rather modestly, while snapping his fingers, “is that you feel the beat on two and four.</span><span style="font-size: small;"> Jazz is on two and four.”</span><span style="font-size: small;"> (If you’re unsure what this means, watch video of Sinatra snapping his fingers along to Nelson Riddle arrangements).</span></div>
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<span style="font-size: small;">But Lance’s definition would exclude most everything from the earliest days of jazz recording (arguably beginning in 1917 with the “Original Dixieland Jazz Band”) through mid-period swing (into the late 1930s) and a lot of Latin feels that are essentially 8/8.</span><span style="font-size: small;"> Of course, <i>this</i> is where it becomes interesting. </span></div>
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<span style="font-size: small;">The general notion of swing is that it has become standardized.</span><span style="font-size: small;"> Having written more instrumental theater arrangements then I’d care to admit, I’ve been asked consistently over the years if a particular arrangement, or passage, is “swung”.</span><span style="font-size: small;"> If I say “swing it” - amazingly - everybody seems to have a great sense of the same, if generic interpretation. </span><span style="font-size: small;"> In fact, the majority of performers would assert exactly how a writer should represent swing through actual notation.</span><span style="font-size: small;"> (With no automated notation available, I’ll describe what everyone probably expects: If, by example, </span><span style="font-size: small;"> a line is comprised of ten “swinging” eight notes, the “swing” conversion would be notated by five triplets; the first sound ((within each triplet)), being represented by a quarter-note,</span><span style="font-size: small;"> and the second sound by an eight note).</span></div>
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<span style="font-size: small;">We see this convention all the time in bluesy pop-music and theater scores.</span><span style="font-size: small;"> An alternative to the pesky triplet notation would be changing the beat unit to a dotted quarter and the meter to 12/8.</span><span style="font-size: small;"> What most of us prefer, however, is writing straight 8<sup>th</sup> notes and simply indicating <b><i>“Swing!”</i></b></span><span style="font-size: small;"> </span><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">And yet, the earliest recorded jazz (1917-1930) defies this application of conventional swing. Listening to the earliest ensembles, we hear swing expressed as a feel somewhere between syncopated march-time and a more relaxed triplet feel; oft times occurring in the same recording, and represented by different players. A great example of this occurs in any number of Armstrong’s solos from his Hot Five and Hot Seven recordings (1925-1929). Listening to Armstrong’s double-time passages (clearly nascent versions of Lance Hayward’s two-and-four swing), one can’t help be struck by the jarring juxtaposition his sense of swing evokes when compared to the older style of his colleagues. </span></div>
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<span style="font-size: small;">But since I’m not writing this dissertation, here are a few thoughts for exploration regarding the evolution of the jazz rhythm section and its advancement toward the modern sense of swing:</span></div>
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<li class="MsoNormal"><span style="font-size: small;">The abandonment of the woodblock</span></li>
<li class="MsoNormal"><span style="font-size: small;">The abandonment of the banjo</span></li>
<li class="MsoNormal"><span style="font-size: small;">The creation and expanded use of the high-hat</span></li>
<li class="MsoNormal"><span style="font-size: small;">The development of the ride cymbal</span></li>
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<span style="font-size: small;">Of course, if your goal is not to write this dissertation, but to recreate the sound and integrity of early jazz ensembles, ignore a. (Jelly Roll Morton and his Red Hot Peppers re-creationists, excepted), and b and c.</span></div>
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<span style="font-size: small;">My third possible subject for a jazz dissertation is undoubtedly the most difficult to execute and substantiate, clearly (or perhaps because there’s lack of clarity), the most theoretically convoluted, and – for the aspiring scholar and musicologist – the most risky and dangerous.</span><span style="font-size: small;"> In other words, it’s potentially the most worthy of the three.</span></div>
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<span style="font-size: small;">Putting aside cinema (which organically grew with, and was inextricably bound to the invention and ongoing development of film as a medium), has anyone ever attempted to link the development of an art form with a particular mechanical media in such a holistic manner?</span><span style="font-size: small;"> </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Surely the early recording process must have had a developmental impact on an art form increasingly based on improvisation?</i></td><td class="tr-caption" style="text-align: center;"></td></tr>
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The germ of this idea actually began when listening to a 1906 acoustic recording of Mimi’s aria from Puccini’s La Boheme, Si, mi chiamano Mimi . At one point I realized I was hearing an echo of Mimi’s aria in the orchestra played by a flute, instead of its usual representation on harp, as orchestrated by Puccini. This had everything to do with the technology of the one, or two horn, acoustical recording process unable to capture the delicacy of the plucked harp. Needless to say, technology caught up with the finer points of Puccini’s instrumental and vocal requirements, as it did with all preexisting and subsequent orchestral, band, choral, and chamber music. I don’t know whether this type of practical substitution annoyed Puccini, or if he even cared about his music being recorded. I’m certain, however, it did not impede his creativity or thwart his development as a composer. Neither did it ultimately misrepresent his intentions. Any music student of 1906 could review Puccini’s instrumentation in his score, or find a performance that faithfully realized the composer’s intentions.<br />
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But in 1906 sound recording was in its nascency. And so was jazz. Arguably, they grew up together. Further, unlike classical music, jazz was an aural phenomena; its players a mix of educated music readers and “head” musicians. Stock arrangements existed, but were loosely interpreted with actual performances containing worked out, or improvised two-bar breaks and freely expressed rhythmic and melodic tune variations.<br />
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Without the written scores, which only suggested improvisation amd the use of blues, aspiring jazz players learned by hearing it live or listening to recordings.<br />
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If we assume the conductor and sound engineer accommodated the limitations of the recording process by swapping out a harp for a flute in the 1906 La Boheme aria, what might the impact have been to the earliest jazz recordings, and in-turn, how did the perception formed through those recordings impact jazz’s development? In other words, what degree of musical compromise are we experiencing in this early collaboration between musician and engineer? <br />
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Here’s a short list of examples citing how technical limitations impacted recorded, early jazz performances:<br />
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<li>1. Recordings tended to run under 3 minutes </li>
<li>2. Drummers tended to favor woodblocks, which were audibly much brighter than snares and tom-toms and cymbals. </li>
<li>3. Tracks weren’t mixed – players were mixed. (e.g., the classic tale regarding Louis Armstrong being told to stand 10 feet behind his first recording ensemble, “King Oliver’s Creole Jazz Band”, because of the power of his sound).</li>
<li>4. In general, recording could be decently or poorly mixed through the positioning of players. Poorly mixed recordings were particularly injurious to the polyphony of early jazz.</li>
<li>5. The state of recording actually made piano-rolls a viable alternative into the mid 1920s.</li>
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In conclusion - -any takers?<br />
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0tag:blogger.com,1999:blog-8338777656471504030.post-27292322323226980702011-06-27T11:33:00.001-07:002017-07-30T10:04:51.751-07:00Confessions of Louis C. Monteverdi: An Educated Cocktail Pianist<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;">Thinking back to my youth in the 1980s, my issues with being a successful piano player have always revolved around a lack of ambition, a lack of dedication, a lack of good timing (no pun intended), and - well – a severe lack of talent. A lethal career cocktail (if you will), that nonetheless never stopped me from playing low-rent weddings, receptions and restaurants. </span><br />
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<span style="font-size: small;">But in the spring of 1983, it stopped me dead in my tracks from being seriously considered for admission into Julliard, Manhattan School of Music, Manes School of Music – and even my safety school - the music department at Bronx Community College. </span></div>
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<span style="font-size: small;">After this unfortunate parade of highly deserved, missed opportunities, I had zero intentions of attending any college as a Liberal Arts Major. I mean, you’re a liberal arts major either because you can’t decide what to do with yourself, or somebody else has decided <i>what you’re not going to do with yourself</i>. Just my opinion, mind you.</span></div>
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<span style="font-size: small;">But my father, Frankie Monteverdi - he saw it differently. “All the Monteverdi’s have been well-schooled in their trade”, he told me. “You are – well, let’s face it, Louie - a cocktail pianist. But you should be the best goddamned cocktail pianist you can possibly be.” Frankie then proceeded to tell me about the Brooklyn College of Popular Professional Musical Services. </span><br />
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<span style="font-size: small;"> BCPPMS, in fact, had a major in Commercial Club Dating – and even though it was late June – they were still auditioning. So, Frankie (I always called him Frankie), paid my application fee and set me up with an audition date in mid-July.</span></div>
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<span style="font-size: small;">BCPPMS quickly responded with a letter congratulating me on this golden opportunity to audition for them - and included a copy of the audition requirements:</span></div>
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<span style="font-size: small;"><i>All Commercial Club Dating performance auditions, with a concentration in Cocktail Piano, will require the auditionee to prepare from the following cocktail piano repertoire:</i></span></div>
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<li class="MsoNormal"><span style="font-size: small;"><i>Any slow tempo, commercially popular standard or ballad composed between 1920 and 1960, and played with a distinct use of rubato enabling the display of an exhaustive and gratuitous use of arpeggios and filigree.</i></span></li>
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<li class="MsoNormal"><span style="font-size: small;"><i> A heavy rock tune of the last decade (by Kiss, Led Zeppelin, Frank Zappa, etc.) transformed into cocktail piano style and played with a distinct use of rubato, enabling the display of an exhaustive and gratuitous use of arpeggios and filigree.</i></span></li>
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<li class="MsoNormal"><span style="font-size: small;"><i> A tune of your choice, which will be performed while conversing with the jurors. </i></span></li>
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<span style="font-size: small;">My audition, as I later found out, was to be conducted by four faculty members. First, there was Marie Canto, the Chairwoman (I guess you would call her), of the entire Commercial Club Dating Department. Next, the very elderly Lawanda Smith who taught <b>Requests 101 and 201</b>. Next was Professor Jan Minisky, who spoke with a thick Polish accent and would later become my private instructor and mentor. And finally, this very uptight guy named Steve Cosmos, who taught jazz and improvisation studies. </span><br />
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<span style="font-size: small;">The audition itself was rugged. First, the piano was decidedly out of tune and several keys – in commonly used areas – were broken. When I mentioned this, the jury smiled, and Ms. Canto simply said “yes, of course.”</span><br />
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<span style="font-size: small;">During “Laura”, my ballad selection, the two ladies talked and laughed loudly (a downright cackle, I’d say), while Prof. Minisky purposely hit his coffee mug with a big metal spoon. Steve Cosmos lit three cigarettes, a cigar – and was stuffing his pipe bowl as I finished the first number. But at the end of it, the jury nodded approvingly - except for Steve Cosmos, who muttered something like, “swings like a rusty gate”. </span></div>
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<span style="font-size: small; font-weight: normal;">My second number (“Stairway to Heaven” – a shrewd choice on my part), was subjected to the same spirited lack of attention and discourtesy. Except this time, Lawanda Smith sang along, way off pitch (and the wrong lyrics, to boot), while Prof. Minisky suddenly (and this – believe me - I was in no way expecting), turned on a cappuccino maker.</span></h3>
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<span style="font-size: small; font-weight: normal;">For my final selection, I hit them up with “For the Good Times”, another good choice to be sure. Good for talking over, since the tune has more silence in it than actual melody. </span></h3>
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<span style="font-size: small; font-weight: normal;">We were cool with the convivial small talk, until Steve Cosmos said, “Can you play, “Doctor Zhivago”. Well, of course, I knew it was a trick question - ‘cause there ain’t no such song. Plus, he had this devilish gleam in his eye. But, I was concentrating on my playing, I was nervous – and my eyes were starting to hurt from the smoke. So, I simply said, “I’m sorry. I don’t think I know that one. Is there something else you’d like to hear?” Do I have to tell you how that response went over like a lead balloon? “O-kay”, Maria Canto said, very low key. A big pause. Then, “thank you very much, Louis. We will be contacting you regarding our decision.”</span></h3>
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<span style="font-size: small; font-weight: normal;">Of course, the song was “Somewhere My Love”, or “Lara’s Theme”. “Even I know that one,” Frankie later lamented. But the news was not bad for long: </span></h3>
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<span style="font-size: small; font-weight: normal;">“Congrats, Louie”, beamed Frankie, only a few days later - and as proud as he could be. “You’ve been accepted! On probation, y’know. But you’ll get through that with the right amount of hard work, right?” </span><span style="font-size: small; font-weight: normal;"> </span></h3>
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<span style="font-size: small; font-weight: normal;">BCPPMS offered a comprehensive, two year program in Cocktail Piano, which included the following curriculum:</span></h3>
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<span style="font-size: small;">Applied Cocktail Playing</span><span style="font-size: small; font-weight: normal;"> (Private Instruction)</span></h3>
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<span style="font-size: small;">Aural Skills</span><span style="font-size: small; font-weight: normal;"> (Playing by ear)</span></h3>
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<span style="font-size: small;">Applied Improvisation</span><span style="font-size: small; font-weight: normal;"> (Which included Faking, Riffing and Noodling.)</span></h3>
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<span style="font-size: small;">Physco Therapy I</span><span style="font-size: small; font-weight: normal;"> (The exploration of strengthening cognitive concentration skills and fortification of self esteem and the suppression of undue sensitivity).</span></h3>
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<span style="font-size: small;">Physco Therapy II</span><span style="font-size: small; font-weight: normal;"> (Making astute repertoire choices based on the analysis of room ambiance and the diner’s mood).</span></h3>
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<span style="font-size: small; font-weight: normal;">But it was Prof. Jan Minisky who provided me the support, motivation and intestinal fortitude I needed to succeed. When not testing me with the sonic intrusions of broken glasses, dropped diner plates and very smelly and sonorous belching, we had very serious and deeply philosophical conversations regarding the art of cocktail piano.</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Me:</b> Professor, when does a cocktail pianist stop competing with the all extraneous noise?</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Prof. Miniski:</b> Never. You are one wit ze noize. Vy? No noizy cocktails, no customers. No restaurant, no bar - no cocktail pianist. No cocktail pianist, no money. Zo, vat are ve doink here?</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Me:</b> But, isn’t there a time – or a place - where you should not accept a piano job?</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Prof. Miniski: </b> No. If you must, you perform in a sport’s bar with drunken men yelling without meaning at big TVs.</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Me:</b> But then I’m forcing – forcing all the time and - you know - always banging the keyboard to be heard.</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Prof. Miniski:</b> Then, you must make the choice.</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Me:</b> You mean-</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Prof. Miniski:</b> Yah. Electric piano. Then you vill turn up amplifier to be heard, without forcing the quality of ze tone.</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Me: </b> But then the TV’s will get louder – and the drunken men will get louder – and I’ll be completely alone in a universe of pointless and cacophonous sound.</span></h3>
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<span style="font-size: small; font-weight: normal;"><b>Prof. Miniski: </b> But, my boy, zat’s the beauty of it. And zat iz ven you’ll know - vat’s it all about, Alfie.</span></h3>
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T<span style="font-size: small; font-weight: normal;">he Professor also enhanced my knowledge of handling requests. For example, if the request was “Memories”, by Barbara Streisand, the song was actually “The Way We Were”. If they were asking for a song by “Frank Sinatra”, they meant any of the songs he was most famous for singing (not writing, of course). And, if they said play, “Phantom of the Opera”, they probably just wanted to hear, “All I Ask of You”.</span></h3>
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<span style="font-size: small; font-weight: normal;">In May of 1985, Frankie proudly attended my graduation recital. He sat grinning ear to ear as the audience, comprised of fellow students, faculty members, parents and custodial help, couldn’t possibly have been more disengaged.</span></h3>
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<span style="font-size: small; font-weight: normal;">Toward the end of my performance, I saw Steve Cosmos rise from his chair and start walking toward me. As he leaned distractingly right into my face, he insisted, “Hey, can you play “Clockwork Orange”?</span></h3>
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<span style="font-size: small; font-weight: normal;">“Sure”, I replied. “Just as soon as I’m done with these requests.”</span></h3>
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<span style="font-size: small; font-weight: normal;">Steve lit a cigarette, gave me the thumbs-up, and walked away.</span></h3>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com3tag:blogger.com,1999:blog-8338777656471504030.post-58894694731383679062011-06-15T11:18:00.000-07:002013-01-04T10:11:57.852-08:00The Inflation of the Standing Ovation<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPNX46ZEzn4g-sGZYVI92kQB5qQNZompoHinFT1gzmo9A3bIZxcJjpqdlufS4dhfhOqRl06-PbgA8Ivyu4eGeQUKiFJqaDXAQprV8dS9lE5k0JUz0Iawy8Py1MQcYcZmSv0Dp49NRaQldM/s1600/e4d46db6_standing-ovation-auditorium-pop_8703.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPNX46ZEzn4g-sGZYVI92kQB5qQNZompoHinFT1gzmo9A3bIZxcJjpqdlufS4dhfhOqRl06-PbgA8Ivyu4eGeQUKiFJqaDXAQprV8dS9lE5k0JUz0Iawy8Py1MQcYcZmSv0Dp49NRaQldM/s320/e4d46db6_standing-ovation-auditorium-pop_8703.jpeg" width="320" /></a></div>
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Early on, I had the perception that standing ovations were infrequent, and decidedly well deserved. I assumed people only rose to the occasion for extraordinarily profound and exceedingly brilliant performances. I remember (and please excuse the name dropping), standing ovations for Vladimir Horowitz and Artur Rubinstein. I recall being enthralled by - and eagerly standing for - Angela Lansbury and Len Cariou in <i style="mso-bidi-font-style: normal;">Sweeney Todd</i>. I remember rock concerts in Madison Garden where the applause was thunderous, but the vast majority of people remained seated – stoned or otherwise.</div>
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So, based on my own recent and modest sampling, why does it seem in the last couple of decades that audiences give-up standing ovations with the regularity of a <i style="mso-bidi-font-style: normal;">gesundheit - </i>or a fifteen percent-tip? Which is to say, I’ve become highly suspect of the entire convention for some time now, and question the integrity of its seemingly ad hoc application. I hereby offer up a list of seven likely root causes (expressed in the “fictional” first person), behind this cultural phenomena.</div>
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<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">I could sit down if the jerks in front would stop blocking my view.</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">I hope this guy appreciates the effort – what with the off night he seems to be having.</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Damn these wedgies!</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">When will I ever stop succumbing to peer-pressure?</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Standing Ovation-Schmation! My parking lot closes in five minutes.</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">For a friggin’ $120 a ticket, you better believe there’s goin’ be a standing ovation.</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Great! Now I can find my cell phone.</li>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com2tag:blogger.com,1999:blog-8338777656471504030.post-67817783418348153512011-06-10T08:11:00.000-07:002013-01-04T10:10:43.685-08:00Today's Electronic Music: Not Your Grandfather’s Avante Guarde<div dir="ltr" style="text-align: left;" trbidi="on">
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Some of us old timers who studied music composition a few decades ago, well remember the exalted artistic purpose behind the invention and engineering of electronic instruments and computer enabled synthesizers. In a time before Sam Ash had almost entirely dedicated their showroom to electric guitars and digital keyboards, the raison d’etre behind the creation and development of electronic music was two-fold: Firstly, to create a world of new and exotic sounds or “instruments” that would inspire the serious, modern-day composer beyond the constraints and all too familiar sonorities of conventional, orchestral instruments; and 2), provide a technology that would propel the next avante gurard movment on a path unencumbered by the limitations of human performers. Yes, those poor bastards.</div>
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In the 1950s, Milton Babbitt, a composer originally schooled in composing for acoustic instruments - and having heard one too many disappointing performances of his works - welcomed the advent of computer music as a way of finally reaching the level of inhuman accuracy required to successfully reproduce some of his most extraordinarily difficult and - some might argue - absurdly, complex poly-rhythms.</div>
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During the 1970s, as part of my post-graduate work in composing, I took a course in “Electronic Music” with Professor Hubert Howe, at what is now the Aaron Copland School of Music at Queens College, CUNY. The course covered tape manipulation (Musique Concrete), the resident Moog Synthesizer (looking every bit like the album cover of "Switched-On Bach"), and ultimately, computer music - generated through an IBM370 Mainframe, circa 1977, via punch cards - I kid you not. <br />
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This out of the main stream music might best be described as academic, esoteric, very, very interesting, pass-the-joint-strange, certainly atonal, or stuff that most folks might not particularly care to dance to.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiqgkgjQu7ak6ft7n9q-G__KVto8nu76QzzNewB8E-qNj2Tbj2f-XYefDlXGjPWj8vsgGcgN1D1Si2TwG3er8eS294AI4sfK3xbA_jcmwzoLoOFW-eMxFeYwYo6-5274v4FtIPyvQGddRc/s1600/forbiddenplanet1308.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiqgkgjQu7ak6ft7n9q-G__KVto8nu76QzzNewB8E-qNj2Tbj2f-XYefDlXGjPWj8vsgGcgN1D1Si2TwG3er8eS294AI4sfK3xbA_jcmwzoLoOFW-eMxFeYwYo6-5274v4FtIPyvQGddRc/s320/forbiddenplanet1308.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>In "Forbidden Planet", Robby the Robot was not the only electronic instrument.</i></td><td class="tr-caption" style="text-align: center;"></td></tr>
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At that time, the pursuit of computer-generated music was not driven by a desire to supplant or emulate conventional instruments. Morton Subotnick, Mario Davidosky, Otto Leuning, Morton Feldman and Karl Stockhausen, saw electronics (as well as the manipulation of magnetic tape), as representing an inspirational portal to a highly creative, futuristic world – as did Hollywood, for that matter, in the synthesized, science fiction-driven score for “Forbidden Planet” (1956) - one of the earlier uses of electronic music targeted at a mass audience.<br />
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By the 1960s, commercialism, fueled by a confluence of different tracts, began to supercede electronic music's initial mission. Firstly, there was Rock n” Roll, and then Hard Rock - and Acid Rock – a decidedly, plugged-in, oscillator generating phenomena. </div>
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And then, well - how 'bout those old string players and the Rolling Stones?<br />
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Somewhere around 1965, the idea of mixing in a string section with rock ‘n roll bands took a fateful turn. It may have been the incongruent imagery of Mick Jagger singing a rock-ballad like “As Tears Go By” while accompanied by a string section of old geezers wearing tuxedos and bowing violins with handkerchiefs draped over their shoulders. Or it might have been a producer who looked at the cost of hiring a 12 piece string ensemble and realizing they were a nice-to-have, but non-essential entity, under utilized, and merely playing simple and slow moving chordal backgrounds. Something that could be done – perhaps single handedly - by an electronic keyboardist. We know the rest: The raw, unfiltered soundwaves that could be extracted from the early synthezisers were customized, repackaged and offered "out-of-the-box", as patches emulating strings, winds, brass, percussion - you name it.</div>
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Fast forward to the present and a new dawn in Broadway orchestra pits, where local 802 officals are struggling to avoid professional immolation by defending their musician members - through contractual constraints - against electronic emulation. Two to three synths have become the norm in today’s Broadway pit. Re-scoring revivals of Broadway classics <span style="text-decoration: none;"></span>is becoming more and more a point of contention and arbitration between local 802 and producers – with the producers typically winning the day (At this time, the "independent" arbitration panel is comprised of three orchestrators, typcially hired and paid by broadway producers).<br />
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As the Broadway pit suffers from budgetary attrition, background strings, background brass, accordion, harp, bells, organ, harpsichord, organ, piano and marimba are oft times the province of only two keyboard players. </div>
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It’s probably not going to change. Firstly – and foremost- producers have become addicted to the cost savings. More to the point, however, orchestrators and arrangers have developed a strong preference for synths and have come to find creative sustenance in their ubiquity. If synths are pragmatically becoming the new convention, they’ve also inspired a highly creative movement resulting in some very fine theater scores, seamlessly integrating electronic keyboards and acoustic instruments. A good case in point would be arranger Lynne Shankel’s arrangements for small theater instrumental ensembles, such as Off-Broadway’s “Summer of ‘42”. Her highly inventive, and convincingly quasi orchestral scoring, disguised the fact that only a sextet of players, consisting of two keyboards, a reed double, cello, bass, and a multi faceted percussionist, were utilized.</div>
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Probably not what Milton Babitt had in mind, but that's progress for you.</div>
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Charles Greenberg -A.K.A - Korg Composer<br />
- <a href="http://www.msplinks.com/MDFodHRwOi8vd3d3LmNoYXJsZXNncmVlbmJlcmdtdXNpYy5jb20v">www.charlesgreenbergmusic.com</a></div>
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Charlie Greenberghttp://www.blogger.com/profile/06259528981554715267noreply@blogger.com0