[PDF] Nordberg, Frank - Flower Power Rag

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Frank Nordberg

[PDF] Nordberg, Frank - Flower Power Rag

Post by Frank Nordberg » Mon Jan 21, 2013 8:47 pm

I hope I've earned enough cred on this board by now to get away with this :wink:

With tablature:
norf-flower-power-gtab.pdf
and without:
norf-flower-power-gtr.pdf
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Bernhard Heimann
Posts: 1443
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Location: Augsburg, Germany

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by Bernhard Heimann » Tue Jan 22, 2013 2:02 pm

Hi Frank,

already seven downloads and no comment - well, I've had no opportunity yet to play through, but it looks nice and easy.
More feedback when I have heard it, too.
Thank you.

Bernhard

Frank Nordberg

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by Frank Nordberg » Tue Jan 22, 2013 8:50 pm

Bernhard Heimann wrote:already seven downloads and no comment
23 by now but I suppose some have downloaded but versions. Wouldn't be fair to except everybody to leave a comment I suppose. Quite a few are probably collectors who download everything posted here.

I have to admit though that of all the pieces I've posted so far, this is the one I'm most eager to get feedback from.
Bernhard Heimann wrote:it looks nice and easy.
The overall style and fundamental technique is mainly associated with blues and folk picking and may be slightly unfamiliar to many purely classical guitarists and of course you'll need to have your damping and alternate strokes in place. But all in all, yes, it should be quite easy for most of the visitors here.
Bernhard Heimann wrote:More feedback when I have heard it, too.
I'm looking forward to hear more from you! :)

JohnPierce

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by JohnPierce » Fri Jan 25, 2013 11:16 pm

Is this
triplet.jpg
intended to apply to only eighth-note pairs (e.g., measure 7) and not to "quadruplets" such as in the third measure (and others) of section C?
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Frank Nordberg

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by Frank Nordberg » Sat Jan 26, 2013 12:35 am

jwp wrote:Is this intended to apply to only eighth-note pairs (e.g., measure 7) and not to "quadruplets" such as in the third measure (and others) of section C?
Oh, I didn't think of that. I tend to approach this kind of music from a jazz point of view and forget that classical notation conventions are different. My intention was to keep the same feel throughout regardless of whether the eight notes are single or in groups of two or four.

That being said:

The C section is a "written improvisation". That means you should feel free to interpret it your own way - even replace the notated music with your own solo if you like.

Also, the notation of inegality has always been a problem. Depending on style and tempo it can vary from strictly even notes to sharply double-dotted ones and ever since the 17th century (and possibly even earlier) composers have struggled in vain to come up with a concise way to notate all those nuances. In this case I'd recommend only a slight hint of inegality - somewhere between even eights and triplets - thoughout.

Nodrog

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by Nodrog » Sat Jan 26, 2013 2:12 am

I like to hear these tunes. Wonder if it is on Youtube?

JohnPierce

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by JohnPierce » Sat Jan 26, 2013 2:37 am

Thank you. To be honest, if I'd come across this anywhere except a CG forum I wouldn't have had the question. I'm basically a blues player, where if you even have notation it's really only a hint at how somebody somewhere may have played it once.

Frank Nordberg

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by Frank Nordberg » Sat Jan 26, 2013 2:47 am

Nodrog wrote:I like to hear these tunes. Wonder if it is on Youtube?
Oh no! That was the one question I hoped nobody would ask!!! :P

I was planning to post some of my music on YouTube but I still have about 60 arrangements and transcriptions that aren't quite ready yet. I'd like to finish those before I start recording.
jwp wrote:Thank you. To be honest, if I'd come across this anywhere except a CG forum I wouldn't have had the question. I'm basically a blues player, where if you even have notation it's really only a hint at how somebody somewhere may have played it once.
That may be more true than you are aware of when it comes to classical music too. How well do those scores of Bach's and Mozart's and Giuliani's and Tarrega's and all those guys' music represent what they actually played? For some strange reason none of them ever made any recordings so we don't know for sure but from various written accounts we can deduce that what they wrote down aren't nearly as representative of how they actually played as we'd like to think.

JohnPierce

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by JohnPierce » Sat Jan 26, 2013 1:19 pm

I am aware that much of what we have in the way of pre-19th century music is somewhat suspect with respect to what was played historically, especially by composer-players. We don't even know the temperament Bach used for his keyboards, which certainly had to influence how he played. (You'd think that when CPE mentioned that his father was picky about tuning and did it himself, that he'd have had the decency to say how he did it.) In some cases, we don't know for certain what instruments were meant by the names composers used, e.g., the "flauti d'echo" in Brandenburg No. 4, and the "tromba" in No. 2. The latter seems very clear, but quite a number of very knowledgeable people don't agree on it.

It seems to me that the difference between how scores are viewed for the "classical repertoire" and 20th-21st century "non-art" music is that the scores we have for the former (however obtained and however unlike the historical performance they may be) are now generally considered canonical. One plays pieces in that repertoire in a way that differs significantly from the score, and/or everyone else, only at one's peril. This isn't true for "non-art" music, where a score, if one exists, isn't considered sacrosanct, and where both performers and audiences expect, even desire, differences between performances of what's nominally the same piece of music.

AlexRaven

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by AlexRaven » Wed Jan 30, 2013 5:38 am

Well, Frank, I try to interpret in blues style but it's not blues because of basic harmony. Because basicalIy I am rock guitartist I cannot agree that this kind of music has something to folk rock of late 60th. I think it's principally ragtime In early Scott Joplin style (like Breathe from Alabama) and so phrasing must be not blues triolets but rather 8th dotted - 16th.

Frank Nordberg

Re: [PDF] Nordberg, Frank - Flower Power Rag

Post by Frank Nordberg » Wed Jan 30, 2013 12:09 pm

I'm a bit reluctant to say too much about the style of this piece because even though it's my composition, I really like people to make their own decisions how to play it.
AlexRaven wrote:Well, Frank, I try to interpret in blues style but it's not blues because of basic harmony.
Remember, not all blues music follow the twelve bar form!

But yes, I agree. the harmonies of "Flower Power Rag" is one of the reasons why it's not really a blues tune. It was meant to be a straight guitar rag (and the guitar rag certainly belongs to that wide field of styles known collectively as blues) but then I started playing around with the VII-I progression and the mixolydian mode and that sent the music off in a completely different direction. Rhythmically it's still very much a rag but melodically and harmonically it's more British/Celtic folk music in style. Then of course there are the key changes between A mixolydian and G mixolydian. I don't know where I got that idea from - all I know is that I like it that way. :D

(Oh, you might want to know that I did actually write a true-to-form guitar rag afterwards and that one does follow the twelve-bar blues progression - at least some of the time. :wink:)
AlexRaven wrote:I think it's principally ragtime In early Scott Joplin style (like Breathe from Alabama)
That's a very good reference point. The rag and the ragtime are of course closely related; when it comes to the basic rhythmic feel they're essentially identical.
AlexRaven wrote:and so phrasing must be not blues triolets but rather 8th dotted - 16th.
That surprises me. I really wasn't expecting anybody to think of sharply dotted rhythms for this piece (and even less so for classic ragtime). But I won't say it's a bad choice, just ... interesting ... and quite intriguing too.

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