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It was not forced. Please restrain your word choices. Salzedo often had four years or less to train a student who would then get a professional orchestral position, and have to have the Danses in their repertoire. If they had not been playing long, then having the simplified version made it accessible to them as well as to students. If you are playing in the kind of tempo Debussy indicated, with an accelerando in that passage, as he indicates, the notes by themselves are a scramble and sound so in many performances. Salzedo prized clarity and speed, a very French characteristic, and so, his version has its justifications. I have no problem with explaining or discussing Salzedo’s work, but I am tired of the hostile tone you keep reverting to.
It was not forced. Please restrain your word choices. Salzedo often had four years or less to train a student who would then get a professional orchestral position, and have to have the Danses in their repertoire. If they had not been playing long, then having the simplified version made it accessible to them as well as to students. If you are playing in the kind of tempo Debussy indicated, with an accelerando in that passage, as he indicates, the notes by themselves are a scramble and sound so in many performances. Salzedo prized clarity and speed, a very French characteristic, and so, his version has its justifications. I have no problem with explaining or discussing Salzedo’s work, but I am tired of the hostile tone you keep reverting to.
I spent a lot to photocopy the score and make a cut-and-paste solo part. Having done that, it is suddenly falling into place, and is much closer to being comfortable. I guess I have left that plateau. I wouldn’t necessarily say he overcomplicates his music, but he definitely writes thicker chords than are necessary and has this unfortunate tendency to go to sharp keys at the climaxes, which require so much more pressure on the string. I guess the higher tension of the strings equals higher energy for him, though the sound is tighter, so it has a logic to it. I am also certain that the more of his music that you play, the easier it becomes.
Here’s one that came today that is particularly dangerous, as it lacks the spelling and grammar errors that signalled the previous versions as spam. Do you agree that it is spam?
From:”Logan Scott” ll24429573@hotmail.com
Subject: Need a lesson teacher
Date: Sun, 16 Sep 2007 09:41:51 429573@hotmail.com #message871437817761173188140594503705910Glad to tell you that,my son will be coming to the United State for holiday.Will be more than glad if you can have private lessons with him everyday from 2pm-3pm or your suitable time(1 hour per day from Monday-Friday for two weeks making a total of ten lessons.If you can make it,kindly get back to me with the cost of your teaching for two weeks in the dates of October 15th-30th.He will be coming to your house for 1 hour each day for two weeks.I have someone that will always drive him down to your house His name Sam,he is 13 years old. I will want you to calculate 1 hour per day from Monday-Friday for the whole 2 weeks and get back to me.Looking forward to read from you.Best Regards
Well, it is quite a handful, and seems to take a lot of energy! I should have known, being that it is by Damase.
What Salzedo wisely did, to make the passage secure, audible, and playable in any tempo, is omit a chord tone that is played by the accompaniment. The root and third of the chord are present, which is enough to establish the basic tonality, and while the diminishing of the fifth is very important, the fact that it is doubled makes it possible to leave it out. When reducing chords, doubled tones are the first to go, and the root and third are more important than the root and fifth.
The question of whether or not we should have shortcuts in pieces is a separate one and an important one. They are often merely necessary. If the Danses were left only to those who could play every note,
What Salzedo wisely did, to make the passage secure, audible, and playable in any tempo, is omit a chord tone that is played by the accompaniment. The root and third of the chord are present, which is enough to establish the basic tonality, and while the diminishing of the fifth is very important, the fact that it is doubled makes it possible to leave it out. When reducing chords, doubled tones are the first to go, and the root and third are more important than the root and fifth.
The question of whether or not we should have shortcuts in pieces is a separate one and an important one. They are often merely necessary. If the Danses were left only to those who could play every note,
What Salzedo wisely did, to make the passage secure, audible, and playable in any tempo, is omit a chord tone that is played by the accompaniment. The root and third of the chord are present, which is enough to establish the basic tonality, and while the diminishing of the fifth is very important, the fact that it is doubled makes it possible to leave it out. When reducing chords, doubled tones are the first to go, and the root and third are more important than the root and fifth.
The question of whether or not we should have shortcuts in pieces is a separate one and an important one. They are often merely necessary. If the Danses were left only to those who could play every note,
I was taught that keeping a harp covered causes more breakage for some reason. The strings need to be able to react to the changes. All I can suggest is putting on a lot more nylon strings, or synthetic strings.
