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Joined: May 2012
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...recordings or scores? (assuming you had to pick between the two)
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Scores, always. Recordings are nice to have, but if I'm supposed to say anything about the composition itself (rather than its performance), then I vastly prefer scores.
I have an ice cream. I cannot mail it, for it will melt.
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Do you think that is the view of most people who surf this forum? (and nice signature )
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Scores. For a start, it weeds out the compositions from the improvisations.
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Scores. For a start, it weeds out the compositions from the improvisations. Wait... what's wrong with an impro then? Anyhow, the formal reply for me would be both: If you have a composition that's for more than 1 instrument (piano) then any pianist would have a bit of trouble thinking of what's going on in there. This is a job for other composers, and not many I know can use their inner ear that well anyways... So a recording IS curcial. Same goes for scores... A score will give a much better understanding of what's going on. And it's really helpful to see what's going on in a very slow and analytical manner, rather than taking a mental 'photograph' of what you're listening to, in order to offer some feedback later on. ___________________________ One should also be aware of the situation each composer is in: One may want to offer the score, because the recording is for sale. Another may want to release the recording, because the score is for sale. Etc... There is no clear answer, I'm afraid.
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]Wait... what's wrong with an impro then?
Nothing at all. But it's rarely a composition untill the ideas in it are pinned down and given structure.
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]Wait... what's wrong with an impro then?
Nothing at all. But it's rarely a composition untill the ideas in it are pinned down and given structure. What I meant was, "a score vs. a recording of what's written on the score"
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I personally would go with the scores. I'm very much a "reader", and always really appreciate following the scores as the music is being played.
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I don't mind a recording, but definitely want to see the score.
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Du holde Kunst...
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Apart from anything else, it's difficult to comment on a recording other that "I enjoyed that! Well done!" (which, I suppose, is all that many people submitting recorded improvisations want to hear anyway:-)
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In my view a recording is what an audience will hear, so in terms of evaluating a piece for dramatic impact and to a degree harmonic sophistication I don't need a score. While analysis is useful to see what's going on I don't think it matters in how successful a piece is, because the audience very seldom has access to a score. A piece of music will succeed or fail based on its audience perception and that typically means sans score.
To get to Wombat's comment, if you didn't enjoy it, it doesn't matter what's in the score. As far as improvisations are concerned it's pretty easy to tell when a piece is improvised as there's usually a repeating chord progression involved. For me through composed music will always be much denser regarding content.
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Scores. For a start, it weeds out the compositions from the improvisations. Wait... what's wrong with an impro then? . . . If you have a composition that's for more than 1 instrument (piano) then any pianist would have a bit of trouble thinking of what's going on in there. This is a job for other composers, and not many I know can use their inner ear that well anyways... So a recording IS curcial. I have been pondering this interchange all weekend. Like Mr. Exalted, in my mind there is a clear distinction between a Composition and an Improvisation. The former is music that is somewhat “formalizedâ€, in that it is finished, complete unto itself, and repeatable by someone other than the originator. Typically, a composition is committed to paper, and that is the primary way it is transferred from composer to performer. An improvisation, as its name implies, is ad-hoc, extemporaneous, and would seldom, if ever, be repeated note-for-note. (An exception to this might be the transcription of a jazz solo, where the student is attempting to analyze for learning.) The improvisation carries the connotation of being in the moment, and not lasting beyond the “nowâ€. As for Composers: I believe that REAL Composers, of which there are several on this Forum, need an exceptional command of the musical language, and its tools. I think of Composition as a craft, with all the implied rigor and study and experience that culminates in the mastery of anything. Like a conductor, the composer is an exceptional musician with a bird’s-eye-view of music. With that in mind, I find it difficult to picture a real Composer who cannot look at a relatively tonal score, and immediately “hear†the music. If that ability has not yet been cultivated, then we probably do not yet have a real composer. Just LoPresti’s opinion, naturally. So, if I have to pick one, I’ll take the score any day. Ed
In music, everything one does correctly helps everything else.
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OT: Joe, is that your picture as your avatar or one of the singers from One Direction (not proud I just made that reference, )
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Yes. Despite anecdotes of a few genius composers who could extemporise a fully-structured piece of music, most of us need to work a little harder to produce something worthy of consideration!
Not that a recording isn't also useful for comment and criticism. The (relative) layman's opinion is also valuable.
But heck, who am I to tell a composer how to compose! If the result's good, who cares about the medium? :-)
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OT: Joe, is that your picture as your avatar or one of the singers from One Direction (not proud I just made that reference, ) Yes, that's me. One direction can go pound sand.
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Music is my best friend.
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Sound is all that matters to me. Whether a piece possesses an approximate visual equivalent, i.e. score, whether it was created slowly over a long time, worked out at an instrument or not, or recorded on the spot using improvisation, or even produced by a computer program doesn't matter. Any other answer would render me inconsistent. So a recording for me.
"Mistakes are the portals of discovery." - James Joyce
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I think the basis of music creation and appreciation is that it is audible, in all musical genres.
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Piano
by Gino2 - 04/17/24 02:34 PM
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Piano
by Gino2 - 04/17/24 02:23 PM
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