(I’ve also been only moderately active on Reddit, Digg and StumbledUpon and not enough to mention.) As of this morning, my social media numbers: I began this Pinterest presentation (at SAE Nashville, Friday, July 18, 2014) by outlining my social media activity. This post was nearly complete the day I delivered my presentation but I let things get in the way and fell for every distraction I could. It’s time to get to the 2nd Pinterest post finished. The Beatles – Martha My Dear (no drum set until 1.00 – can the drummer come in in the right tempo when s/he joins at 1.00) (There seems to no longer be a link to “Martha My Dear.”) Weather Report – Port Of Entry The music at 2.23 – 2.28 foreshadows what will happen at 4.30 – 4.39 with the fabulous end at 4.57.ĭire Straits – Why Worry(1.04 – 1.08 2.44 – 2.48 4.23 – 4.27) Note that the reentry of musicians at the end of these breaks is on an upbeat and not the more normal and expected downbeat.
The Beach Boys – The Little Girl I Once Knew at 0.31 – 0.36 and again at 1.08 – 1.13. The examples below demonstrate these sudden silences followed by a reentry of musicians, with the drummer being perhaps the most important of the musicians: Was the tempo after the break the same? Slightly faster? Slightly slower? To cut to the chase and refer back to the title of this post – this is one way in which I want to audition a drummer – play the music that leads up to this break (in sound, hear the almost silence of the break in sound, and then hear if the drummer (and others) can reenterĭid the drummer “rush” the silence and come in too soon? Too late?ĭid the drummer stay in the same tempo as the tempo that had preceded the silence?
I value a drummer who can maintain a solid tempo – the tempo is consistent and solidly underpass the rest of the instruments and music. the unexpected and unwanted end of the music? I get to play a guessing game as to what will come next – a repeat of something earlier, something different, much different, or is this sudden sadness, i.e. I long to hear what will come after the but really enjoy the sudden silence of the space. To me, this quiet, space is usually just the opposite – something intriguing and exciting for my consciousness. Usually this is only a second or a few seconds but the lack of drums / lack of drummer / lack of percussion can be suspenseful – why is there this unusual space in this musical context? In most popular music, this space – this quiet, empty space – is infrequent and often undesirable to many. (Of course there is no such thing as “silence,” but let’s dissect the presence or lack of presence with respect to almost-silence, the intended lack of musical attacks.)įor example, there are great places in a few recordings where the sound and pulse come to an end. Where these sounds have stopped and silence has been inserted. What fascinates me and what I often investigate are the spaces where we are NOT hearing melodies and/or chords. In most popular music, we are hearing chords, melody and rhythm at virtually in almost every second of a recording. One of the aspects of time that we rarely consider is the space between sounds. That too is an artistic element that is often not important in visual art.Īll of this brings me to a small part of experiencing time. Listening to the opening of my 40 minute orchestral composition will leave one knowing nothing about the music, its style(s), textures, drama, delight, anger, abstractness, associations, tone colors, etc. On the other hand, the initial one second of a music recording usually reveals very little. The initial one second we spend looking at a painting can reveal much. (I’ll go no further with the discussion of the “painting” now because those last three nouns of the last sentence – subject, scope and meaning – mean too much and delving into them could lead this post off the tracks).īut, visual art can be perceived quickly. If we spend 10 seconds, 30 seconds or 2 minutes looking at the painting, we can comprehend even more about the subject, scope or meaning of the painting. We can see the entire painting in a second or less. For example, we can experience a painting as quickly as we wish. Time, to me, is the most important element that separates music from many of the visual arts.
The subject of time is fascinating and central to the act of creating, performing and experiencing music.
0 kommentar(er)
