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    @Acclarion said:

    Thanks again, Sam and William. Analysis of music is just like analyzing biblical scripture. You can find hidden codes and meaning in virtually everything. Do you know when a plagal cadence is more than just a plagal cadence? And what about that series of passing tones in bar 104? Just what was he trying to tell us with those ridiculous 32nd notes? But, you really should be scared by those composers that still insist on hand-writing their scores. Just look at the way he drew that treble clef, I swear there's an eye in there...Illuminati perhaps? 😊 lol Time to go read the Bach Code. Dave
    If my comments came across this way, I do apologize. Analysis can certainly go to ridiculous extremes, especially in academia. However, I think it can also be a tool for the listener to attempt to understand and appreciate the music with as much seriousness as the composer had in writing it. My intent was solely the latter.
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    Tom:  Your continued support and kind words do so much to motivate and inspire.  Thank you!  As for returning to composition, I think all musicians suffer from the Godfather reality:  "just when I thought I was out, they pull me back in."  :)

    Sam:  There's a complete misunderstanding re. my attempt at humour with the "analysis" post that followed William's mention of La Mer.  

    To clarify, I was absolutely blown away at your detailed analysis and quite honoured that someone would even take the time to listen/analyze something I wrote to that extent!  I fully agree with your thoughts that analysis can provide greater insight and appreciation, and that those gifted enough (such as you) to have this ability should by all means exercise it.  Thanks again for your contributions to this thread and elsewhere on the forum.  It's becoming a lively meeting place again.

    Cheers,
    Dave
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    @Acclarion said:

    Sam: There's a complete misunderstanding re. my attempt at humour with the "analysis" post that followed William's mention of La Mer.
    Gotcha. My bad! - Sam
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    @Acclarion said:

    As for returning to composition, I think all musicians suffer from the Godfather reality:  "just when I thought I was out, they pull me back in."  😊

    Truer words were never spoken. I think when my time comes, I won't keel over in a sunny terraza in Sicily. No, it'll be at the end of a community band concert, clutching a decrepit french horn in my gnarled talons, right after the final stinger of the Stars and Stripes Forever.
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    "...clutching a decrepit french horn in my gnarled talons..." - tchampe

    Isn't that what you already do?

     

     

    Sorry - I couldn't resist.  Your horn is NOT decrepit! 

    Also, I should not be taunting a horn player.  It is well known in orchestral circles that horn players are, well... different.  And they can have a short fuse.  Of course I have no personal experience with this.  😇 But why this is true is unclear, although it has been conjectured that it is a result of the very high and close partial series the instrument normally plays in.  Over time, this can have psychological effects. 
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    @Another User said:

    Also, I should not be taunting a horn player.  It is well known in orchestral circles that horn players are, well... different.  And they can have a short fuse.  Of course I have no personal experience with this.  😇 But why this is true is unclear, although it has been conjectured that it is a result of the very high and close partial series the instrument normally plays in.  Over time, this can have psychological effects. 

    In my case, it never made me particularly mean. It just totally removed whatever controls I may have had on my Midwestern smart mouth. At this point, I judge the quality of a conductor primarily on how well he/she can tolerate it. 
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    This of course brings up the question what is the difference between a bull and a symphony orchestra. 
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    That is so crude of me. This is a forum of respectable musicians and so really I have no right to be here.
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    @William said:

    That is so crude of me. This is a forum of respectable musicians and so really I have no right to be here.
    Everybody wants to unleash their inner William from time to time. Better here than in the grocery checkout line! Remember, crude and creative go hand in hand 😊
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    @William said:

    This of course brings up the question what is the difference between a bull and a symphony orchestra. 

    I hate to admit it, but there are a few conductors, after being subjected to some of my attitude, that would swear that both items are in the back (as anatomically impossible as that may seem).
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    I had the same attitude toward certain conductors.  What is it about horn players?  They are supposed to be so refined.  I think it has to do with the length of tubing.  It is just too much for a normal mind to deal with. 
  • PaulP Paul moved this topic from Orchestration & Composition on