Oh boy, I can't wait for the flames. Please, roast me with all you have.The hate makes me stronger <3No, but really, I'm interested to see if y'all agree.Have a good night everyone
Creativity is within the musician, not the genre. How many ways has Canon in D been played ? Just like A-Train.
Bob, there was a LvB masterclass given by Barenboim, LL attending and trying on one of the 'war horse', familiar sonatas. the limited esteem I had for LL was eroded by his apparent unfamiliarity with the sonata -- he sight read it as if he'd never heard it before and had no clue of what was getting expressed through the notes. one could almost imagine that he'd done so well exploiting Chopin et. al. in his career he hadn't gotten around to even listening to Beethoven sonatas.
@Rach You don't need any of that to sound good in jazz. Modern jazz certainly has a tendency to do that, but listen to early players. Lester Young, Louis Armstrong, etc weren't doing those things.Classical also has a lot of crazy chromatic sh*t; look at Mahler, Liszt, Prokofiev, etc.
rachmaninoff_forever, by 'weird crazy stuff', what do you refer to, post bebop ? there are still plenty of practitioners who are doing New Orleans, or swing/stride piano (which might be considered the 'classical' period for jazz), but it can be in a pop music or cocktail/cabaret context.
And If you're gonna make a comparison to early jazz then compare it to like early baroque or renaissance or some sh*t.Cause nobody plays in that style anymore everyone's all about doing weird crazy stuff
Canon in D has been played too many different ways Is it really equal, though, finding an interesting way to play Canon in D vs taking an improvised solo?
There is some pretty weird crazy stuff even in renaissance music. Just listen to some of Carlo Gesualdo's stuff ( for example). In fact I think the classical period is way less adventurous musically than the renaissance.
The whole name of the game is that composers are more adventurous as time progresses.
I don't like renaissance music btw but this madrigal is kinda dope
I don't think that's necessarily true. Early composers were experimenting all the time. That's how we went from simple monophonic music in ancient times to the complex polyphony of the Baroque. In certain respects you are right of course because later composers have a longer history to draw on than early composers. Even so, early composers were a lot freer in regards to dissonance, for example, because they were still trying to figure out how to write polyphonically. Have a listen to this little gem for example; https://vimeo.com/207109347It may not sound "dissonant" but the part writing is way freer than anything you would hear in the baroque - full of 2nds, 7ths, 4ths, crossed voices, parallel 5ths and all sorts of things that became outlawed in the baroque.Stravinsky's favourite composer apparently.
The whole name of the game is that composers are more adventurous as time progresses.I mean dude literally everything in classical music with the exception of text in ars subtilior is more adventerous than mideival and renaissance music. You don't even have modulations yet lol
I dunno. I'm not musically trained and I can't say whether my view has any objective truth to it, but when I listen to Renaissance music I'm usually struck by how complex it is: seemingly as complex as anything before Bach and then up to Beethoven.
Of course, it's also possible to write complex yet unadventurous music. The question, is how far are you willing to deviate from the norm? Which brings us back to the question of creativity.
Disagree, Art Tatum + Oscar are early examples of complex and technical jazz. If you want the really adventurous stuff, check out Herbie Hancock (who has all the technique and all of the sounds of Debussy and all his jazz predecessors in his ears) or Brad Mehldau (who literally improvises an entire piece with no preconceived notion of the song, almost like a jazz fugue)