RHETORIC AND MUSIC

This post will discuss the close relationship between Rhetoric (the art of persuasive verbal communication) and Music. Understanding these two disciplines can help music performers to improve their awareness in musical composition and performance practices that date back to medieval times (Boethius c.480-524 AD, Guido de Arezzo c. 991/992-1033, Ars Nova) and the Renaissance, while providing insight to expressive and persuasive parameters involved with musical interpretation. It is noteworthy to point out that musical works often mimicked the structural outline of classical orations. Also, it’s important to bear into account that instrumentalists were encouraged to imitate speech in performance.

Of course, the art of Rhetoric dates back to the time of Classical Greece. It is well known Plato’s ( c. 428–423 BC - 348/347 BC) theories on the ability of music to have an impact on our emotions and behavior. Aristotle’s (384–322 BC) concept of ethos (the characteristic spirit of a culture, era or community), pathos (the use of emotion to persuade an audience) and logos (a rhetorical device that uses logic, facts and evidence to persuade an audience appealing to their sense of rationality) have all had an influence on musical expression.

RH EXERCISE : THE TREMOLO TECHNIQUE

The Tremolo Technique is one the most basic classic guitar techniques for the RH, yet it's arguably the most difficult to perfect. Under normal circumstances, the p -cello- plays the bass strings (E,A,D), the i -viola- plays the G, the m -violin 2- plays the B, and the a -violin 1- play the E. I consider the fingers of the RH equivalent to a well balanced string quartet.

Wether the tremolo be played on a single string or on various strings, there should be at least three things to look out for. Namely, no arm movement, no interruption in tempo, and evenness in sound coupled with correct accenting.

Guitar Recital: Musical Meditations

I will be preforming the first of a total of four recitals at the cathedral of St. Mary of the Assumption in San Francisco, CA starting on 06-09-2024. You can live-stream the event here https://youtube.com/live/TNiJaGaomTM?feature=share

04/08/24 Concert https://youtube.com/live/bxLwhDQMWOA?feature=share

THE INFLUENCE OF THE VIOLIN ON THE GUITAR

 

This is the third post dedicated to the Art of Performance/Interpretation, but this time from the point of view of the violin, which has influenced the classic guitar in many different ways. Performance, left hand (LH) technique, and music notation are the points of interest that will be briefly covered.

Johann Leopold Mozart (1719-1787) born in Augsberg, Germany first published this didactic work in 1756, just after the birth of his son W. A. Mozart (1756-1789). The Treatise on the Fundamental Principals of Violin Playing appeared a few years after the Treatise on Playing Traverse Flute by J. J. Quantz (1752), and Ph. Em. Bach's The True Art of Playing Keyboard Instruments (1753). What caught my attention the most in Leopold's Violinschule, was that it was written more for the teacher than the student, and most importantly it can be used as a guide for "good artistic performance in general.' 

TO AMPLIFY OR NOT TO AMPLIFY

 

Amplified Acoustic Guitar

Or put in other words the title of this post could read, "To be or not to be." A quote taken from Shakespeare's play Hamlet (1599-1601). "To amplify my instrument or not" during live performance is a very important question that should be re-examined under today's technological advances in PA amplification, and the constant demand for "live music". Choosing to amplify your acoustic instrument can give the musician more possibilities of playing live in large or somewhat noisy venues.

Your instrument and the use and placement of the 4099 DPA Core super-cardioid condenser mic are the main factors that will allow you to reproduce during live performance the maximum sound quality at the highest possible volume depending on the circumstances. Eliminating feedback while achieving an accurate and natural sound is the main objective, and we must take into consideration that each venue has its own sound idiosyncrasies (indoor/outdoor, temperature, humidity level, number of guests, etc.).

TWIN PEAKS THEME FOR GUITAR

Angelo Badalamenti was born was born in Brooklyn, NY in 1937, and recently passed away on Dec. 22, 2022 in NJ. He is principally known for his unique music film/TV scores, namely the Twin Peaks TV series written in 1990 in collaboration with the director David Lynch. This theme received a Grammy Award and has become an international success. You can read more about the composer here A. Badalamenti Official Website

The Twin Peaks theme was originally composed for piano in the key of F/Dm. This is a transcription for guitar in the key of G/Em with a drop D tuning on the sixth string. The reason for this transposition is to take advantage of the open strings and make the piece playable for guitarist with an intermediate level.

Pacific Edge Voices: Journey to Peace

"Tree of Life" -Olga Kovtun

I recently played with PEVhttps://pacificedgevoices.org/who-we-are two Christmas concerts in S. Francisco and in Berkeley, CA. They were both dedicated to Ukrainian scholar and composer Hanna Havrylets who died tragically this year at the outset of the Russian invasion.

Here's the roster of musicians led by Ash Walker and program:

ESSAY ON THE TRUE ART OF PLAYING KEYBOARD INSTRUMENTS By Carl Philipp Emanuel Bach (1714-1788)

This is the second post dedicated to the Art of Interpretation/Performance, but this time from the perspective of the  keyboard which has a lot of similarities with the classic guitar. I previously posted Casals and the Art of Interpretation http://christianlaremont.blogspot.com/2015/05/casals-and-art-of-interpretation.html on May, 15, 2015. This treatise was written by C.P.E. BACH and was translated and edited by W. J. Mitchell under the editorial Norton & Co., 1949.

The Essay's main goal, according to Mitchell, is to raise "the art of performance, through teaching and practice to its perfection." Even though this was J.S. Bach's second son only extended theoretical work,the translator and editor states, "The most notable feature of this book is the attention given to artistic accompaniment, and it differs from all previous manuals on thorough bass."

Mitchell points out, "C.P.E. Bach was a musician's musician... His work is a compendium of the entire practice of music in the times of Frederick the Great (1740-1786)." Also noteworthy is the fact that, "This treatise is indispensable for every well informed musician..., pianist, singer or conductor." It's very impressive the list of accomplished musicians who have benefitted greatly from this mid eighteenth manual: Hayden, Mozart, Beethoven, Clementi, Czerny, etc.