dogonjon wrote: This appears to be an intentional response to Bream and Segovia who at times push the expressive elements a bit to far and suck for it.
dogonjon wrote:Don't get me wrong these are the greats of our time yet there are thresholds for expression that make music interesting but exceeding that is unproductive.
gee, if only Segovia and Bream had had you around to instruct them in the thresholds of acceptable expression and musicality, how much better and less "unproductive" and "dogmatic" they both would have been. where can i find the recordings of dogonjon - impartial arbiter of acceptable expressive thresholds - so I can better understand where Segovia and Bream went off the rails?
Before the worms dry let me say that the opinions I have offered about Bream (guitar face) and Segovia (tempo variations) are not my solely own and were adopted from others on this forum. I offered a comparison to Williams (robotic) playing with the hope that the juxtaposition of criticisms might induce a grin or provoke a thought. My yard stick of what proper expression is comes from OWL! I prefer Williams to Bream or Segovia for the fact that in my opinion he plays a bit closer to the score.
In John Williams Web site he says http://www.johnwilliamsguitarnotes.com/ ... orial.html
When writing out music there are some problems which are particularly relevant to the guitar. First, the need to convey a wide range on one stave (the treble or G clef) often necessitates using extra ledger lines or octave signs.
Second, the constant playing of melody and accompaniment together and/or several musical lines can create a very crowded stave. And third, in my view, we have become too reliant on written fingering; we are looking for fingering instead of music.
Although each of these problems is a discussion in itself, together they can make a very congested musical page. I try to simplify this with more use of octave signs, more single connecting stems and less fingering. Altogether this requires more thinking about the nature of the music as in traditional tablature and popular TAB.
Of course, the usual fingering conventions are used, but I give very few dynamic markings as I believe that it is up to each player's expressive choice and understanding."
The last part about limiting fingering and dynamic markings says a lot about his philosophy on expressive choices I happen to agree with.