------------------------------ Loopers-Delight-d Digest Volume 97 : Issue 132 Today's Topics: Ambience [ Warren Sirota To: Loopers-Delight@annihilist.com Subject: Ambience Message-ID: <33F073D8.476F5143@wsdesigns.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi again, Y'know, it occurred to me that because I play jazz guitar in restaurants every week, that I am truly making "ambient music," in the most literal sense, on a regular basis. Take it from me, after a while it's not that satisfying from a performance point of view. Maybe it's my Old Age ego, but the more people that actually pay conscious attention to me, the happier I am (in line with that, I'm cutting back my restaurant schedule in order to make room for other things). Note, however, that if I brought my Echoplex to one of these restaurants, the results would undoubtedly be "non-ambient", due to the novelty alone, even if I played "polite" music. -- Yours truly, Warren Sirota musician, programmer, writer http://wsdesigns.com/wsirota ------------------------------ Date: Tue, 12 Aug 1997 11:02:13 -0400 (EDT) From: KILLINFO@aol.com To: Loopers-Delight@annihilist.com Subject: Re: RE: Ambient effects -- something wild and crazy, please! Message-ID: <970812105654_143038046@emout02.mail.aol.com> To David Kirkdorffer, Looking for something extreme in terms of signal processing? One suggestion and a favorite toy of mine is a Ring Modulator (in my case a old EH Frequency Analyzer). Numerous companies have made these in the past, Electro Harmonix, Oberheim, Musitronics, Colorsound, etc. The effect is a little hard to describe, but it can render most instruments unrecognizeable to the unprepared listener. What it does is take an incoming audio signal and creates an entirely new signal (or signals) based on the mathmatical sum (and/or difference) between the original signal's frequency and the frequency of an adjustable internal oscillator. To get a primitive idea of this, try whistling some notes while at the same time trying to hum some totally different ones. Depending on the mix of wet and dry this effect can range between a subtle irritating distortion to something that transforms most sounds into the sound church bells, whale songs, radio static, theremin, Mongolian throat singers, and God knows what else. Beware however of multi-effects processors that claim to offer this effect. It's usually a "faux" effect that is really just extreme flanging in many cases. There is no mistaking the real thing when you hear it. Its one of those effects that has the potential to be so down right UGLY that it's beautiful. Works great on instruments, vocals and loops. Ted Killian ------------------------------ Date: Tue, 12 Aug 1997 10:57:49 -0400 From: David Kirkdorffer To: Loopers-Delight@annihilist.com Subject: No, No, No -- You're wrong. Actually, the World's Best Instrumen t is... Message-ID: <30C4F9E5EBE1D0118B760000C0DD100F18E99B@mail.exapps.com> Content-Type: text/plain Excellent! We've started a really stupid and pointless thread in our Looping tappistry! OK -- I'm gonna pour some gasoline on a very non-loop oriented thread. There is IMHO no such animal as THE most expressive instrument. What bullshit is that! Spare me the agony of your reasoning, whatever it may be. Travel the world and discover what makes the emotions stir in other cultures. Travel through time and hear how instruments were used in the past. If there is an instrument that typically has proven itself to stir valuable experiences IN YOU -- excellent, wonderful, powerful. Such experiences can be one of the treasures of life. They are alive. And, they are personal. Explaining them is as difficult (if not as futile) as explaining humor. And even if we took a poll of the Inhabitants of Earth and asked them "What is your favorite instrument?" my guess is many will not check the box marked Electric Guitar. And, if we learned that "THE VOICE" is statistically more popular than "Piano" or "Guitar" does that mean that Mozart's Piano Sonatas or Hendrix' Purple Haze would sound better sung by a choir? And if you think I'm full of shit -- that's OK too! It's a big world and I can learn from you, too. Ignorance is expensive. Now -- BEFORE you flame me -- please read this post again. David P.S. John P. -- my posting is not directed at you specifically, but to answer a question you asked -- here is a listing of some bassoon solos and bassoon music... International Double Reed Society Library Holdings - Music: Solo Bassoon ------------------------------------------------------------------------ The following is music for Solo Bassoon. The entries in this list are sorted by Composer. COMPOSER-TITLE-EDITOR 1.Adelberg-Rudow, Vivian-Kaddish 2.Allard, Maurice-Bassoon Method- 3.Allard, Maurice-Tablatur, Trills, Diatonic and Chromatic Scales- 4.Allard, Maurice-Variations sur un theme de Paganini (24e caprice)- 5.Anonymous-Tablature du Basson Ancien (Bassoon Method including etudes and fingering charts for old systems)- 6.Arnold, Malcolm-Fantasy for Bassoon- 7.Bach, Johann Sebastian-Three Suites for Bassoon-Hellyer, Roger 8.Bajeux-Traits Difficiles- 9.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Two- 10.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Three (Wagner)- 11.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Four- 12.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Five - 13.Bassoon Excerpts-Bassoon Excerpts from Standard Orchestral Repertoire: Book Six- 14.Bassoon Music-Zeitgen†ssische Musik fr Fagott Solo-Hhnchen, Dieter 15.Batashov, K.-Etudes for Bassoon-Terekhin, R. 16.Bentzon, Jorgen-Studie i Variationsform- 17.Bizey, Prudent & Co.-Tablature du Basson Ancien- 18.Bona, Pasquale-Rhythmical Articulation for Bass Clef Instruments, Parts II and III from the Complete Method- 19.Borsody, Laszlo-Shavings, Nine Pieces for Bassoon Solo- 20.Bozza, Eugene-Graphismes, Graphic Notations: Preparation for the Reading of Different Contemporary Musical Graphic Notations- 21.Capanna, Robert-Remembrance- 22.Chasalow, Eric David-Advent of the Wyvern- 23.Cuciureanu, Georghe-Capriciul 5, Capriciul 6- 24.Cytron, Warren-Wild Mushrooms- 25.Denisov, Edison-Sonate pour Basson seul- 26.Flament, Edouard-Exercises Techniques pour le Basson- 27.Gambaro, J. B.-18 Studies-Kovar, Simon 28.Gower, William-Rubank Advanced Method, Bassoon, Vol. 1 (and Fingering Chart)- 29.Grigoriew, B.-Etiudy na puzon-Kwiatkowski, F. 30.Hachigian, Dorian-Piece for Unaccompanied Bassoon- 31.Israel, Brian-Dance Suite-Garfield, Bernard 32.Jacobi, C.-6 Caprices-Kovar, Simon 33.Jancourt, Eugne-26 Melodic Studies- 34.Kessler, Claude S. ed.-Bassoon Passages: Book Two- 35.Koch, Erland von-Monolog 5- 36.Kopprasch, C.-60 Studies- 37.Kopprasch, C.-Sixty Selected Studies for Trombone (Bassoon), (2 vol.)- 38.Langey-Langey-Carl Fischer Tutor for Bassoon 39.Lerstad, Terje Bjrn-Fagott Solo, Op. 136-Kovar, Simon 40.Mignone, Francisco-16 Valsas para Fagote Solo-Kovar, Simon 41.Milde, L.-25 Studies in Scales and Chords, Op. 24-Allard, Maurice 42.Milde, L.-Concert Studies, Op. 26 (Vol. 2)-Allard, Maurice 43.Milde, Ludwig-25 Concert Studies, Op. 26b- 44.Milde, Ludwig-25 Concert Studies, Op. 26a- 45.Milde, Ludwig-25 Studies on Scales and Argpeggios, Op. 24- 46.Milde, Ludwig-Concert Studies for Bassoon, Op. 26 (2 vol.)- 47.Milde, Ludwig-25 Studies in All Keys for Bassoon-Smith, Linda 48.Mozart, Wolfgang Amadeus-Album of Orchestra Parts for Bassoon I- 49.Mueller, Florian-A Method for Bassoon- 50.Nordensten, Frank Tveor-Poema del sol-posto: Four Studies for Bassoon Solo 51.Orefici, Alberto-Studi Melodici- 52.Oromszegi, Otto-Fifteen Characteristic Pieces in Hungarian Style- 53.Oromszegi, Otto-Tiz Modern Fagott-Etud 54.Oromszegi, Otto-Twenty Advanced Bassoon Studies- 55.Osborne, William-Rhapsody for Bassoon- 56.Oubradous, Fernand-Enseignement Complet du Basson: Preludes and Etudes- 57.Oubradous, Fernand-Enseignement Complet du Basson: 3me Cahier-Whistler, Harvey S. 58.Pares, Gabriel-Daily Exercises and Scales for Bassoon- 59.Pares, Gabriel-Pares Scales for Bassoon- 60.Perle, George-Three Inventions- 61.Persichetti, Vincent-Parable- 62.Pezzi, Vincent ed.-Orchestra Studies for Bassoon from the Works of Peter I. Tchaikovsky- 63.Piard, Marius-16 Characteristic Studies- 64.Piard, Marius-Quatre-vingt 65.Prescott, Gerard R.-The Prescott Technic System for the Bassoon- 66.Presser, William-Partita for Bassoon- 67.Prunty, William-Five Sketches for Bassoon Solo-Kovar, Simon 68.Rnnes, Robert-Liten suite for unge fagottister- 69.Satzenhofer, J.-24 Studies- 70.Schoenbach, Sol ed.-20th Century Orchestra Studies-Mueller, Florian 71.Skornicka, J. E.-Rubank Elementary Method and Fingering Chart- 72.Smith, Linda -A Method for Bassoon-Boehm 73.Stadio, Ciro-Difficult Passages and "Solos"- 74.Strauss, Richard-Orchestral Excerpts from Symphonic Works-Batashov, K. 75.Taub, Bruce J.-Composition: Forme- 76.Terekhin, Roman Pavlovich-Etudes for Bassoon- 77.Uhl, Alfred-Fifteen Etudes-Voxman, H. 78.Van Beurden, Bernard-Music for Solo Bassoon- 79.Vaulet, Albert-Twenty Studies for Bassoon- 80.Vobaron, E.-32 Celebrated Melodies for Trombone- 81.Voxman, Himie-Rubank Advanced Method, Vol. 1 (and Fingering Chart)- 82.Voxman, Himie-Rubank Intermediate Method (and Fingering Chart)- 83.Weait, Christopher-Variations for Solo Bassoon- 84.Weait, Christopher-Bassoon Warm-ups 85.Weissenborn, Julius-Bassoon Studies, Op. 8, No. 1 for Beginners-Ambrosio, W. F. 86.Weissenborn, Julius-Bassoon Studies, Op. 8, No. 2 for Advanced Players- 87.Weissenborn, Julius-Method for Bassoon (with trill table and two fingering charts)- 88.Weissenborn, Julius-Practical Method for the Bassoon, including "Fifty Advanced Studies"- End of the list. http://idrs.colorado.edu/IDRSLib/IDRS.Lib.Holdings/idrscm2.htm and... MUSIC AND RECORDINGS New Music for Bassoon + Concerto for Bassoon and Orchestra (piccolo, flute, clarinet, bass trombone, timpani, percussion, harp, and strings) (3 movements, 15 minutes) By Stephen Paulson : This new and interesting concerto is now available on rental from Theodore Presser Co., Presser Place, Bryn Mawr, Pennsylvania, U.S.A. For a hearing, Mr. Paulson will mail a copy of his tape. The address is: 633 Averill Avenue, Rochester, New York 14607 + Concerto for Bassoon and Orchestra by David Amram Kenneth Pasmanick of Washington, D.C., has commissioned this work which is nearing completion. Pasmanick will perform and record the concerto soon after publication (probably Peters Edition. New York). Mr. Pasmanick has also commissioned another piece for bassoon and orchestra by the American composer, Robert Evett. When available, publisher or source will be listed. + Piece for Bassoon, Piano with Optional Voice By M. William Karlins. Available (rental?) from American Composers Alliance, New York. This piece was mentioned by Steve Basson, principal bassoonist of the Milwaukee Symphony. Mr. Basson notes that this is very good music and suitable for a recital program. + Dialoghi per Fagotto e Pianoforte: -By Miklos Kocsar (Published by Hungarian Government. Write Hans Riedel Musikalienhandlung, Uhlandstrasse 38, 1000 Berline 15, Germany.) Recommended by my friend, Alan Stout, composer at Northwestern University, Evanston Illinois, Mr. Stout also recommends an old piece, "Furchet Euch Nicht" by Ahle, a cantata for voices and four bassoons (in Denkmaler Deutscher Tonkunst. Vol. V. pp. 92-99). + "Chronicon" for Bassoon and Piano - By Joseph Schwantner (Published by Peters Edition. New York) This is an avant-garde work, not too difficult, employing two of the multiple sound effects mentioned in Bruno Bartelozzi's "New Sounds for Woodwinds" (Oxford University Press.) Boston Symphony Chamber Players (Sherman Walt, Bassoon) *Poulenc Trio *Haiff Duo *Villa-Lobos Bachianas-Brasileriras No. 6 (RCA LSC 6184) +Bassoon Solo Recital(Featuring George Zukerman) *Telemann F Minor Sonata *Galliard Sonata in F Major (compilation of movements from F Major and D Minor Suites) *Boismortier Suite in G Major (compilation from Sonatas) (CAMPI SCG 11.005. Italy) *Villa-Lobos Bachianas-Brasileriras No. 6 (RCA LSC 6184) Melos Ensemble of England (William Waterhouse, Bassoon) *Francaix Trio *Poulenc Duo *Boismortier Suite in G Major (compilation from Sonatas) (CAMPI SCG 11.005. Italy) *Francaix Divertimento for Bassoon and String Quintet (Angel 36586) http://idrs.colorado.edu/publications/TWBassoonist/TWB.V1.2/Music.Record .html > -----Original Message----- > From: John Pollock [SMTP:johnpollock@delphi.com] > Sent: Tuesday, August 12, 1997 12:44 AM > To: Loopers-Delight@annihilist.com > Subject: Re: LOOPING PHILOSOPHY (condensed) > > Kim Flint wrote: > > > > Yet more proof that guitarists are the most arrogant people on > earth.... > > Bad day at the office, Kim? > > > Could we please broaden our minds a little bit and stop trying to > prove that > > one approach to music is oh so much more special than another? > There's no > > need to be threatened by someone who's a bit different from you. > Learn from > > the differences, you might grow a little bit. > > 'Kay, my mind's open... Show me any example of a DJ's work that can > make > me feel like, say, Ry Cooder's solo on "Lipstick Sunset" or Amos > Garrett's on "Midnight at the Oasis"-- please! > > For that matter, point out the killer bassoon solo... > > > (and next time you want to make gross generalities about some group > or > > another, recall that you live in texas and there's no shortage of > good > > redneck jokes! :-) ) > > Seems to me there's a profound difference between generalizing about > instruments and generalizing about people. Motley was talking about > instruments. > > And there's scarcely a paucity of Californian jokes here in Texas... > (I'd put a smiley here, but that's not the way I feel right now.) > > > At 07:12 PM 8/11/97 -0500, Mikell D. Nelson wrote: > > >Ian///Shakespace wrote: > > >> A DJ's abilities as a DJ are just as inate as a guitarist's > abilities as a > > >> guitarist... you're born with a certain amount of talent that you > hone > > >> through practice. ... I really don't see a difference between a > guitarist > > practicing his > > >> craft and a DJ practicing his. ... a DJ is grafting, adding > elements and > > >> removing, much the same way as a guitarists picking or strumming > may add or > > >> take away notes from a riff. > > > > > > Creativity can be brought to almost any human endeaver, but that > > >doesn't make two activities equal in a more important sense. A jock > can > > >pick the sample, playback rate, & what context he drops the sample > into. > > >But a guitarist can do equivalent things AND choose tone, phrasing, > & > > >attack; he can bend notes, add vibrato, & play harmonics. The > number of > > >options available for expression affects the power and > expressiveness of > > >the instrument or method. A 7 note thumb piano is not as capable of > > >expressing human emotion as a tenor saxophone. > > > Another way to say this is that if you don't play guitar but want > to > > >play like Alan Holdsworth, then you had better get started; it'll > be a > > >10 or 20 year journey if it's even attainable for you. However, > becoming > > >a great DJ might take a few months to a year and a half; again, if > you > > >have it in you. So... is there a difference in the activities > because > > >one is more difficult. Certainly. If you master a more powerful, > > >expressive medium you can create more emotional, evocative music. > > > Another angle is that the DJ chooses a piece of music (sound), > *that > > >someone else created*, to add to his mix. The guitarist makes the > same > > >choice but uses his own pallet, his own voice. > > > > > > On another, somewhat related, note I have always thought that > some > > >instruments are more expressive than others, and wondered why. Why > are > > >there more sax, guitar, trumpet or violin solos than other > instruments? > > >The best answer I've come up with so far seems to be the point I > was > > >making above about the options. The number of ways an instruments > can > > >shape a note is directly related to it's expressive power. There is > a > > >reason sax is more popular than French horn; or guitar more popular > than > > >banjo. I believe great players can touch us more deeply with these > > >instruments. > > > > > >Look out... incoming... > > > > > >Motley > > > > > > > > > > > ________________________________________________________ > > Kim Flint 408-752-9284 > > Mpact System Engineering kflint@chromatic.com > > Chromatic Research http://www.chromatic.com > > -- > John Pollock > mailto:johnpollock@delphi.com > http://people.delphi.com/johnpollock (Troubador Tech) ------------------------------ Date: Tue, 12 Aug 1997 08:16:44 -0700 From: Warren Sirota To: Loopers-Delight@annihilist.com Subject: DJs must really be threatening to some people... Message-ID: <33F07E5C.DB4EF8D6@wsdesigns.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The one common thread that I see in this discussion is the reluctance of many people to knight DJs with the term "musician." This reminds me of the early days of sequencing, when the debate was whether someone who step-entered music (or even quantized a performance!) was really a musician - not to mention those who created algorithmic music by programming. There's room enough for everyone. Whether or not you call someone a "musician" makes not a whit of difference, except to your own ego. ------------------------------ Date: Tue, 12 Aug 97 12:43:25 -0000 From: "T.W. Hartnett" To: "Looper's Delight" Subject: Re: RE: Ambient effects -- something wild and crazy, please! Message-Id: <199708121741.KAA08960@apple.com> Content-Type: text/plain; charset="US-ASCII" >Looking for something extreme in terms of signal processing? One suggestion >and a favorite toy of mine is a Ring Modulator (in my case a old EH Frequency >Analyzer). Just this weekend I tried out the Boss Bass Synthesizer pedal (which was going for about $225). It's aimed at bassists, but you can get all sorts of head-turning, room-clearing sound out of it. I didn't have the manual, but it had ten or so modes, a few were auto-wah, some were "vowel sounds", the rest were marked "internal sound" or something similiar. It had a mix control, resonance, frequency, sensitivity controls. I don't know what they did technically, but I played around with it, just with a guitar plugged into it and then into an amp, and I got all sorts of bizzare shit out of it. Particulary good if you play a chord and watch it try to figure out what notes to play. For instant "what the hell is that?" impact, I don't think you can beat it. Travis ------------------------------ Date: Tue, 12 Aug 1997 12:52:26 -0500 (CDT) From: Kim Corbet To: "Mikell D. Nelson" cc: Loopers-Delight@annihilist.com Subject: Re: LOOPING PHILOSOPHY (condensed) Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII > So... is there a difference in (guitaring v. djing) because > one is more difficult. Certainly. If you master a more powerful, > expressive medium you can create more emotional, evocative music. > ...the DJ chooses a piece of music (sound), *that > someone else created*, to add to his mix. The guitarist makes the same > choice but uses his own pallet, his own voice. .......(Hiya, Slashboy)...'scuse me...Uh, I agree that whatever takes the most "discipline and dedication" is going to give rise to more depth and expressiveness. However, I have to agree that there's no significant difference between the media, whether it be instrumental goddom or technical technique with pre-recorded stuff...so that if our hypothetical DJ with the aforementioned "d and d" for, say, the same 20 years some like-talented picker is slaving over a hot amp, the expressive result should be roughly the same. They are both masters of their craft. They are simply using different tools to let it out. To say they're fundamentally different is to say one instrument is inherently more capable of deeper expression...which brings us to... > Why are there more sax, guitar, trumpet or violin solos than other > instruments? .............the actual reason there are more of these solos is far more historical than according to any sort of "natural selection". Alot of it, I suppose, originally had to do with the acoustics of unamplified concerts/rituals/ceremonies. These traditional soprano and tenor instruments have long been used by composers in church and concert settings for their ability to sing over the texture, therefore attracting the efforts of those with enough talent and ego to handle the solo demands. Obviously, guitar is very new to the list, only since the advent of amplification has it REALLY stepped forward as a powerful solo instrument. Before that, it was used more as rhythmic accompaniment for solo voice. Now that technology has allowed other instruments to carry the larger expressive role, there is (and will be) more variety in timbre and texture. Oh, sure, there will always more "popular" instruments and, not to completely contradict your earlier premise, but it's the very ease of getting started with such instruments as the guitar and tenor sax (with the abundance of remarkable practitioners to be inspired by) that leads so many future talents down the same road. I could make the case, given the relative newness of the dj craft and the lack of traditions to fall into (without decades to hundreds of years of examples to draw on), that it's MORE difficult to DJ than it is to squeeze out fancy butt guitar. You may be surprised by what some of these guys are capable of in the not too distant future. There're already very hot examples if you're interested in seeking them out. Take a peek at Kitchens of Distinction and their use of hip-hop sampling techniques. If an artist chooses a sampler over the guitar or trombone, is he/she defacto any LESS capable or inspired? (personal note...thanks for babysitting my gear, boy...when's the next R+R gig we can settle up on?) ------------------------------ Date: Tue, 12 Aug 97 13:12:37 -0000 From: "T.W. Hartnett" To: "Looper's Delight" Subject: Guitar good, DJ's bad, etc (was LOOPING PHILOSOPHY) Message-Id: <199708121810.LAA21348@apple.com> Content-Type: text/plain; charset="US-ASCII" Well, the list is livening up. Some thoughts: Various instruments can be used in various ways, some more commonplace than others. If you're looking for an instrument to establish the rhythmic pulse of a piece of music, the drum kit (in its various configurations) is probably a good place to start. If you're looking for someone to make an improvised melodic statement, the drums would probably not be near the top of the list of likely tools. Why is it that in rock music, there's an acute shortage of "keyboard heroes", in the same sense that say, Jeff Beck is a guitar hero? How many breathtaking solos can you recall that were generated by something with a piano-keyboard interface? If someone says "I am not a musician", what does it mean if you insist that they are? And vice versa? Will say, Art of Noise records be referred back to in twenty years in the same way that Cream records are? Will Mobile Fidelity Sound ever release a remastered version of "It Takes A Nation Of Millions To Hold Us Back"? Did fusion kill bop? Did rock kill jazz? Did hip hop kill rock? Did rock kill disco? Did rock kill dance music? Did electronica kill rock? No instrument can do everything. It is not an admission of weakness or a lack of vision to concede this. Why is it that it's "Guitar *Player* Magzine", and "Bass *Player* Magazine", and then "Keyboard Magazine"? Why no "Keyboard *Player* Magazine"? Do you suspect that I'm a Guitar Bigot, or just trying to cause trouble? Travis Hartnett ------------------------------ Date: Tue, 12 Aug 97 13:20:06 -0000 From: "T.W. Hartnett" To: "Looper's Delight" Subject: Bassoon Uber Alles Message-Id: <199708121817.LAA29030@apple.com> Content-Type: text/plain; charset="US-ASCII" >P.S. John P. -- my posting is not directed at you specifically, but to >answer a question you asked -- here is a listing of some bassoon solos >and bassoon music... > > >International Double Reed Society >Library Holdings - Music: Solo Bassoon >------------------------------------------------------------------------ >The following is music for Solo Bassoon. The entries in this list are >sorted by Composer. (long list of works deleted) I think John P. may have (and if not, I am) been referring not to works written for unaccompanied bassoon, or featuring the bassoon, but rather spontaneous realtime composition and performance over a pre-decided backing, i.e., a hot bassoon solo in the pop music sense. ------------------------------ Date: Tue, 12 Aug 1997 11:52:18 -0700 (PDT) From: Paolo Valladolid To: Loopers-Delight@annihilist.com Subject: Re: Bassoon Uber Alles Message-Id: <199708121852.LAA15371@waynesworld.ucsd.edu> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit > >International Double Reed Society > >Library Holdings - Music: Solo Bassoon > >------------------------------------------------------------------------ > >The following is music for Solo Bassoon. The entries in this list are > >sorted by Composer. > > (long list of works deleted) > > I think John P. may have (and if not, I am) been referring not to works > written for unaccompanied bassoon, or featuring the bassoon, but rather > spontaneous realtime composition and performance over a pre-decided > backing, i.e., a hot bassoon solo in the pop music sense. All John requested was "Point out a killer bassoon solo" to which Dave complied. Sorry to nitpick but he didn't specify a pop music context. Even if he did, does it really matter? A killer bassoon solo is a killer solo regardles of genre. Paolo Valladolid --------------------------------------------------------------- |Moderator of Digital Guitar Digest, an Internet mailing list |\ |for Music Technology and Stringed Instruments | \ ---------------------------------------------------------------- | \ finger pvallado@waynesworld.ucsd.edu for more info \ | \ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \| ----------------------------------------------------------------- ------------------------------ Date: Tue, 12 Aug 97 14:08:58 -0000 From: "T.W. Hartnett" To: "Looper's Delight" Subject: Re: Bassoon Uber Alles Message-Id: <199708121906.MAA25648@apple.com> Content-Type: text/plain; charset="US-ASCII" >> >International Double Reed Society >> >Library Holdings - Music: Solo Bassoon >> >------------------------------------------------------------------------ >> >The following is music for Solo Bassoon. The entries in this list are >> >sorted by Composer. >> >> (long list of works deleted) >> >> I think John P. may have (and if not, I am) been referring not to works >> written for unaccompanied bassoon, or featuring the bassoon, but rather >> spontaneous realtime composition and performance over a pre-decided >> backing, i.e., a hot bassoon solo in the pop music sense. > >All John requested was "Point out a killer bassoon solo" to which >Dave complied. Sorry to nitpick but he didn't specify a pop music >context. > >Even if he did, does it really matter? A killer bassoon solo is a killer >solo regardles of genre. The definition of a "solo" varies by genre. A "solo" in the classical music genre most often refers to a precomposed (by someone other than the instrumentalist) section of music. I believe a cadenza is the term for an improvised solo performance, but I think that this is usually unaccompanied, and occurs at the beginning or end of a composed piece. A "solo" in pop-derived music (including for this purpose, jazz) usually refers to something composed by the instrumentalist, usually in some semblance of realtime. In a live context (to kill the topic of punch-in's or comp'ed performances), it's usually improvised, perhaps using previous improvisations as a guide or starting place. Following the jazz tradition, I would say that in it's purest sense, the "solo" within pop music is different each time. I think a good case can also be made that most "solos" in pop-music are ego-driven displays, designed to cut heads, or earn the Blow Job (as Zappa said). To deny this is noble, but inaccurate. Travis --------------------------------