Classical #73

[Wade Cornell]

This is a very classical sort of guitar piece, yet it lends itself to improvisation (as you can hear). It's a matter of hearing harmonies and counterpoint and playing those lines. This one is Concert A minor (B minor for soprano and tenor, F# minor for sopranino, alto and baritone). 1st track with sax, 2nd without.

This track is embedded with the friendly permission by the creatives on wikiloops.com

View: https://www.wikiloops.com/backingtrack-jam-13297.php

This track is embedded with the friendly permission by the creatives on wikiloops.com

View: https://www.wikiloops.com/backingtrack-jam-9214.php

 

[rhysonsax]

Very nice and musical.

But listening on headphones the guitar is just too loud and the saxophone is relatively too quiet.

Rhys

 

[Wade Cornell]

You're absolutely right. This is one of the very early tracks I recorded at wikiloops. I wasn't very clued up when it came to mixing and didn't understand the protocol or culture of the place, which meant that I thought it would be best to keep the guitar out front and not "intrude" too much in adding to it. The same will be true for some other tracks. All of these tracks are here simply as examples of a number of different ways to IMPROVISE in different styles of music without it being a technical exercise. Improvisation was a hallmark of advanced "Classical" musicians and composers in the 18th century. Unfortunately it only just survived into the 19th century with a few of the most talented musician/composers (Chopin and Liszt are the best examples). By the 20th Century all cadenzas were written (none improvised) and classical musicians not encouraged to improvise. Interestingly enough, there is now a "school" of musical tought that is teaching/encouraging improvisation to "Classical" students again, and the results are looking very impressive. This is more or less an extension to the "Suzuki" method with the emphasis on being able to PLAY what you HEAR and then incorporating reading. If you are "one with your instrument" then you can potentially also play what you WANT to hear (not just listen to or read). None of this imbues talent yet it's a more direct way to bring out the inherent talent that an individual may have as the instrument is no longer a mechanical impediment twice removed from the player. Probably not the reply you were looking for, but gave me a chance to discuss "Classical" improvisation and a potentially different way to approach "non-classical" improvisation as well..

OK Rhys, now over to you to record at the right levels and show us how good this could sound!