Hello and good evening! I would like to ask you from where the sheets from 12:38 are coming from? Or maybe you could recommend on some comprehensive thesaurus of cadences? Thank you very much for interviewing! You do a big job!
I play lute, archlute and theorbo for almost 40 years, I've worked hours and hours using the reference bible "Continuo playing on theorbo" from Nigel North, and I still learn many things out of this video ! Thank You Master and congratulations to the producer. One point was specially relevant to me, such an obvious point but still relevant, like when you play tennis for many years and the coach tells you "you should watch the ball"... or "you should breath"... ;-). The point is that we usually prepare 3, 4 or 5 upcoming programs, working at the same time on musics from Buxtehude or Biber, John Eccles or Purcell, Castaldi or Barbara Strozzi, Forqueray or Marin Marais, Glück or CPE Bach... not to say Ockeghem where the FICTA rules prevails on the "Rule of the octave"... and we never have the time to immerse ourselves in the spirit, style of one of them at the point where we could anticipate the chords and modulations before reading the figures of the BC... just like we breath... or like we watch the ball ;-)))
These two books (in German) could be very helpful in checking Czerny's metronome markings: Henrike Leonhardt, Der Taktmesser - Johann Nepomuk Mälzel - Hamburg 1990. Grete Wehmeyer, prestississimo - Die Wiederentdeckung der Langsamkeit in der Musik - Hamburg 1989 You can make recordings on electronic pianos and then play them back at any tempo you want.
It is interesting to note that we can sing "Twinkle twinkle little star" (a French folk song from 18th century) using hexachord solmization because it contains the exact six notes of the natural hexachord (do, re, mi, fa, sol and la). And we can transposed it to any key and keep using the same syllables. Another good tune for practicing is the main melody of 9th symphony by Beethoven. There are many things from late 18th- and early 19th century we can use. Nursery rhymes are good as well.
Obviously we cannot use 18th century solfeggio on Ravel's La Valse or Debussy's La Mer. But I found it very useful to pop music. It is so because pop music has a very simple harmonic and melodic material. I am often solfaing in my head Lady Gaga's songs for example.
Thanks so much for doing this despite the small viewership. I knew about Prof Schubert's book for a while and even looked at it in the library at McGill where he teaches. However, I didn't know there was a new edition coming out, and it's even more affordable than the older edition! On side note, you seem to use the same Vivaldi that Jordan Peterson used/uses as an intro and outtro before he signed with Daily Wire.
Again a more than inspiring interview ! Although I hava a question : are there any sources available how iit was for stringplayers and more exactly for celloplayers to learn partimento ? And also how it was taught ? I've seen the Barbati-interview and some youtube videos of her teaching ! But how exactly was the impro-education was built up ? Thx a lot a 1000x for your inspring show !!!!!!
