Tom Wimsatt wrote: ↑
Sun Feb 10, 2019 2:18 pm
Linda Kimbrel wrote: ↑
Tue Feb 05, 2019 6:49 pm
For the record, “Pavane” to my mind must be the dreariest, dullest piece we have been assigned to date. It holds zero appeal for me, and I generally discipline myself to at least play through everything we are tasked with.
(Still pondering on a fitting signature)
I used this recording to help me get past the drab nature of Pavane (I pictured this piece being played in some cold, dark castle somewhere ).
It's slow but it provided a musical context for me anyway.
Tom: you pictured a dark castle. I imagined a somber, overlong religious service. In Latin. In a dimly lit, chilly, musty venue. Pretty dreary either vision. Thank you for the link. I wasn’t inspired by it, but I did give thought to why I’m here and what I hope to gain. Ken’s opinion is that each score and exercise for a lesson has an intent, a specific reason why it is included, and I agree. Each one is another brick in the wall (or foundation), so to speak. I’m trying to build a solid foundation of music theory and technique, and it won’t be as broad and sturdy as it could be if I just grab the bricks I like and leave the rest on the shelves.
I am going to give Pavane a try. I figure the bricks I’m tempted to ignore are the ones I need the most - being self-taught, I tended to learn what I liked and wanted to play. Key of C, simple arrangements, uncomplicated meters. Anything beyond that took more time and effort simply to decipher than I had available . I was trying to read without knowing the alphabet past “E”. Missing bricks.
Thanks for the encouragement. I include Robert in my gratitude, for reminding me that nobody always likes everything, but you do it anyway, because. In my case, because I need every brick I can get my hands if I want a decent foundation.