Garth Knox Just for promotion. Please write me a direct message if you have complains about this upload concerning copyright issues. In that case, I will delete the video immediately.
nice! here, the difference between the action score and the sounding score is almost the diference between a tab and a (traditional) score, am I right? I mean it in the sense that in a tab we have the fingering and the "how to play" as opposed to the exact pitches written in a traditional score. did I get it right, belanna999? and, maybe more important: where do you usually get the scores for your uploads? (if you want to answer that, of course...)
You get it right. Here, Haas uses a scordatura, hence a difference between the fingerings and their regular soundings. Hence a staff for playing, and a staff for the real sound. The details of the tuning used are at the beginning of the score, if you are interested.
it is a formality and requirement in instrumentation to write the actual sounding music on top of the viola d'amore. Most of these scores can be found underground among composers and students or music libraries from institutions.
@Oscar S. The Gadget guy Circuts & strings No. 2 could you tell more about the scordatura in thies piece? How does he want the strings be tuned? And when he says "sympathetic strings" pizzicato with left hand... is it really possible to touch those strings and even to play them with the bow, as he asks in the end? Which scordatura he prescribes? Sometimes I have the feeling of amplification. Is that effect reachable only because of the nature of the instrument? Thank you for your patience.
@Oscar S. The Gadget guy Circuts & strings No. 2 thank you very much for your reply! Do you know which note each string of the viola d'amore would play, once the scordatura is done? I'd like to know that. Thank you!
Thank you for you're response. Don't get me wrong, I like the entire piece. There's many different moods in this piece. Laughter, mystery, bliss. Music doesn't necessarily have to have a melody to express emotion. That's just my opinion.
I agree with you about not having to have melody to express emotion and I actually listen to and lot a lot of dissonant and atonal music (a lot of microtonal stuff too) and I think Haas is a brilliant genius composer ("Limited Approximations" probably being my favorite of his pieces... the part after around 20 minutes in being one of the most breathtaking sounds I've ever heard in music) but this particular piece just doesn't do it for me until the last section. I just don't personally get any enjoyment out of listening to anything before the 12 minute mark. I'm glad you do though :)
Nah, we’re so classy listening to this. We don’t care about dramatical line, which is none here, expression which doesn’t vary all the time, or harmonical (nah..) progress. Bravo us, we so enlightened.
James :D I’m a musicology student and I’m just curious. My disgust is partly real, partly funny, I dont really know myself. There are also very many people who just “feel good by enjoying things they don’t truly like and understand”, and I hate that. For me, maybe it was just very diferent expectation, given it is a Viola d’amore concerto and the instrument is here far from its conventional usage. You can rarely even see that instrument thus the usage of it in a modern music is even crazier. And honestly I’m really not a fan of this particular piece, I don’t like so many aspects of it. But maybe some day, I’ll get to liking it :D
@James I certainly don't "like" things that I don't get, but I am fascinated and eager to learn more about them. I suppose that's why I like so much contemporary music. Most listeners would get turned off completely by the first listen.
Good God, come on now! I can see you know how to "notate," but are you capable of composing a melody, or using counterpoint and harmony? This sounds to me like when someone steps on a cats tail...many cats tails....geeezz..
That's not really the point. Composers write music with a sound in mind, you are getting upset that the sound in Haas' mind didn't sound like Palestrina. What you're doing is barely removed from listening to a piece in a minor key and complaining that it's not a piece in a major key instead.
"Good God, come on now! I can see you know how to "notate," but are you capable of composing a melody, or using counterpoint and harmony?" Oh, shit, grampa. Are you out of your meds again?
