pennsicdance: need some music

Maugorn at aol.com Maugorn at aol.com
Thu Sep 15 05:26:31 PDT 2005


In a message dated 9/13/05 12:07:01 AM Eastern Daylight Time, lindahl at pbm.com 
writes:


> someone will immediately seize on this as a reason
> to not follow 99% of the evidence, which says that the piva is a fast tempi.
> 

Someone perhaps. But that's not me, Greg
The fact that I say I don't like playing these tunes the way you drive NASCAR
(Accellerate!  Turn!  Accellerate! Turn!) doesn't mean that the alternative 
is a limp dirge.
... especially since that's not they way most of you are going to be happy 
doing it.
But...
A music/dance pairing is a whole package, and I absolutely refuse to believe 
that the music part of that package is an expendable, subordinate portion that 
is enslaved to the dancers' whim.  If your goal is to recreate this piece's 
essence, then BOTH parts need to be beautiful and complementarily so.

SO if you think that you have to speed a song up SO MUCH that music starts to 
be wrecked then I DO say that there's a high likelihood that there's a 
problem somewhere in your reconstruction.

Absolutely go with your evidence.  But bear in mind that when your "evidence" 
is ONLY what you read on a written page that's been translated from a 
language that is many hundred years out of current usage, you just might not be 
getting all of the evidence you need.  

Bear in mind also that dances are not read, they are moved, and that music is 
not read, it is played.  The page is not the music, it is a representation 
for communicating what the music should be and that representation, as any 
competent player will tell you, is only the tip of the iceberg when it comes to 
discovering what the Music IS.

I suspect choreographies are much the same. 

When I feel a piece of music, I've learned to trust my feelings, and my 
results speak for themselves.   Trust that evidence if you wish, ignore it at your 
peril
(He said with a prime, archetypal evidence of "Guitarists' Ego)

Maug



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