Jason Vieaux- Ornamentation in the music of J.S. Bach
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- Опубліковано 16 сер 2015
- Grammy® winner Jason Vieaux lectures and demonstrates his methods of ornamentation in the music of Johann Sebastian Bach.
Filmed on location at Oklahoma City University
What a great teacher. It's not easy to find a fantastic performer who is also a fantastic teacher.
So insightful, a true gift to all of us. Thank you.
The core issue with classical guitar is that it's such a notoriously difficult instrument to master. People know the violin/cello is complicated, but the guitar has so many other kinds of issues one must deal with before getting it perfect. Every serious classical guitarist appreciates the valuable insight that you're sharing, Jason. Thanks!
I love his modern approach and rich tone
Fantastic guitar lesson
Great player and teacher. Thanks for sharing.
This is a very clear lesson on Ornamentation. Thank you Jason!
Wonderful teacher and player and conveys a felt sense of connectedness... thank you very much!
What a great tone, what a touch. Such a fantastically sensitive guitarist, and an outstanding teacher too.
I hope his students realize how lucky they are being taught by one of the greatest guitarists ánd best teacher.
I'm working on a Bach arrangement myself and this comes more than useful!! Thanks for this video, Jason is such a great player and teacher!
If you get a chance to attend a Jason Vieaux performance, do so. His concert at GFA Denver this year was a top notch musical experience. He showed every bit and more why he is a Grammy Award-winning artist.
A lot of the ornamentation finds it's essence in the knowledge of how the chord is build and the appogiatura which can be seen as a form of a dynamic as well as an agogic accent. The appogiatura sounds above or below a chord note and releases tension on the chordnote. Thrills are in general a faster way of playing the "delay dissonant" and the chordnote. Donnington wrote excellent books about the interpretation of early- and baroque music. The melodic ornamentation finds as far as I know it's historic origin in Diego Ortiz 'Tractado de Glosas' published around 1550.
EXCELLENT!....thanks for pointing out that many composers wrote these pieces down as "guides"....performers would enhance, and even add their own 'root basses" in parts, etc....this is what music truly is....people forget that yesterdays 'classical" music, was the pop music, or jazz, of the day..
Well done dude!!
Great lesson! Thank you.
"its nice" pretty sweet definitions of the style. its really nice.
i agree with gtrmusic69. We should lock ourselves inside the cube of conformity for all of eternity while we cast away those outside the cube. Rigidity, along with keeping an ignorant and closed mind, is what makes music so enjoyable to play.
Beautiful guitar
Great approach!
beauty execution brother
Brilliant
I just realised how much easier is when someone plays it, and I just imagine doing it myself.
You are far to modest...just like a great master would be. You have my support :)
is there a GoFundMe for the "campaign to decrecendo trilling arpeggios"?
Which guitar is it?
Why does your thumbnail go all the way from there to Timbuck two???
great
I'm surprised to see how long his thumbnail is. It's almost like Chet Atkin's thumbpick.
Have you considered the allemande in BWV996 in a different key. OK the original key was G minor, but in C minor key, so I think the whole suite may sound better? I think that Segovia did this allemande in C minor, so I think that perhaps the whole suite can be arranged in C minor?
Interesting suggestion and very relevant. In Bach 's time improvisation was very common contrary to many present day performers and teachers who obsessively and religiously follow the score.
What song was that at the beginning? I would like to learn it for school
For 'songs' you're better off watching Justin Bieber.
@@stavrosk.2868 I too enjoy being pretentious.
I don't think that cross string ornamentation is necessary, unless there is no other way of doing it. It is much easier to , as you said, to decrescendo with left hand ornamentation. As you have also said that it can be overdone, and timing can become an issue as you have demonstrated.
I was at his master class lucky me
11:00 for trill fingering.
literally the biggest thumb nail ive ever seen bar none
I don't like Baroque music that much, I play it because is part of my classical guitar foundation but my repertoire is mostly classical-romantic era+ latin-spanish styles.I really like the way Jason plays it, it makes me want to add some baroque pieces to my repertoire.Is like seasoning/spice an spinach based dish, Jason seasons it in a way that the spinach awful flavor/smell is lost in all the good flavors and aroma of the spices.
To moi ornaments are an open playground. What CPE does is give us his father's ornaments; what HIS father tended to do in each situ., not what other players OF his music MUST do. The hypocrisy is that, on one hand we will say that everyone must execute JSBach pieces EXACTLY. Then, we'll turn right around and point out how they all improvised back then (over figured bass)..I don't believe the maestro himself would want everyone to play the same ornaments as he, whether it's his own work or not.. It'd be as if all Christmas trees must be decorated the same way, all gifts use the very same blue ribbon, all hair dos the same, all spices the same in each food, and all jazz solos the same.. What Jason does is good. He spins it his way, while being mindful of the period of music he's swimming in at the time. There is NO rule in music about 'decorating' it (except in respect to the style and era the music was composed )... I assume we all know Bach put no tempo or dynamic markings on his charts..Now why would that be ? Hmm..... But, I too am no expert...That's for damned sure ! MH Los Angeles, Oct.2017
A sextuplet is not the same as two triplets. A sextuplet is one grouping of 6 with no break, just as a quintuplet is one grouping of 5, and not a triplet plus 2.
Holy thumbnail batman. If you need that much nail to perform professor, I hope you have a plan B if it chips or breaks the day before your recital ;-) That aside, @gtrmusic69 - to my knowledge JS Bach composed exactly *zero* pieces for the classical guitar, since it technically did not exist. Compositions for the lute are arguably the closest to adapt CPE's 'table of ornamentation' but then there are the solo 'cello suites where there is no right hand equiv. with a bow. Bottom line - guitarists have to adapt. All that said, I also think we can *way* over-think these issues. As long as the piece is played musically (vs. mechanically) I don't think it matters. Let the critics decide if something was over-or-under ornamented, and let the listeners decide if they enjoyed the performance.
+Tioga Fretworks I've seen him perform in Cleveland and I believe he glues a piece from a ping pong ball, or some kind of plastic material, to his thumbnail.
anybody want to give me pizza?
He's right. He is no expert. Not even close. Golly.....to even put that out there.....hahaha....only in the classical guitar, where 99% of the people are uneducated or badly educated, world would this be approved of and considered ok.
CPE left a table of ornaments that applies to his father's music, so we know precisely what JS Bach intended.
Adding staccato notes was not something he intended, nor was ALWAYS playing the bass note slightly ahead of the treble note, causing the treble note to be about a 1/4 beat late, when they are clearly right on top of each other and intended to be played together......lol......what a mess.
Your comment of classical guitarists being uneducated couldn't be farther from the truth. Yes, there are a lot of treatises left behind. For example Quantz is probably the most studied for baroque ornamenting. But there is the element of natural musicianship that rings true to players transcendentally from era to era. A good musician will pickup the harmonic and stylistic structures and add their own originality. Who wants to hear the same old, same old all the time? That kind of crap is what leads to no one caring to attend the same "boring" classical concert.
Not sure what your point is here. He states clearly that he is taking a modern and not a early music approach to interpretation. If you really think a musician of his caliber is unfamiliar with CPE Bach's (not undisputed) ornament table you are, I believe, fooling yourself.
Here's what I would like to say to all the young aspiring guitarists out there: Explore the music, especially the performances of Bach, of this incredibly talented, intelligent, gracious, and humble artist and decide for yourself if you think he has something to offer you, both as a musician communicating the essence and beauty of the music he plays and as a teacher sharing his insights and deep knowledge of his instrument.
And keep in mind Einstein's somewhat over used maxim:
"Great spirits have always encountered violent opposition from mediocre minds."
People like you is what gives classical music a bad and elitist name. Way to go to make a already obscure subject even less accessible. Perhaps you can contribute something positive instead of bashing '99%' of the guitar world? Barok music is music from a long time ago, this kind of music has lost its original meaning anyway. It does no harm whatsoever to approach it from a modern view. After all its 2018 and not 1700. Classical music is becoming less and less popular, it really needs a fresh approach on all levels. Going to the same old concert halls filled with elitist old people, with musicians dressed like 19 century nobility playing the same old music in the same old 'correct' way isn't going to cut it. Please, lets stop with all the pretension and just focus on the beauty and fun of making and listening to music. It really doesn't need highbrow people like you.
You have no idea what you are talking about.
gtrmusic69 Wir dürfen es nicht vergessen, alle Musiker spielen ihre Verzierungen vor dem Mittagessen, wenn sie Hunger haben schneller, als am Nachmittag nach der Mahlzeit. Soweit sie es sich leisten können, denn wenn nicht... spielen sie gar nichts.