Jazz Guitar 4 - Mastering Improvisation by Jody Fisher
By Jody Fisher
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Sample text
If I am at home, I like to play chamber music. I like to play very often on a clavichord. The sound is so small and so nice, and I have to listen very carefully so I can hear. And I always try to get to a point where I am able to hear whispering. If I am at home and I am listening to a fantastic stereo, maybe not only stereo but quadraphonic sound, and my ears are full of sound, it may be I feel like I have taken a wonderful drug, and I am very high. But if I am high, I am losing control, and I never will have a spiritual impression.
Something else I want to stress is all the men you've mentioned learned their trade in the opera house. How many people are doing that now? Banal: Not too many. If I remember your biography, you did. Davis: I'm still there. I think that's the place where you find out about conducting and find out about music, because all this wonderful symphonic music really began in the theater, and the theater really began in the church. Banal: Well, it's like drama too. Davis: Well, it is, isn't it? How can you really handle a Bruckner symphony if you don't know Die Meistersinger or The Ring?
Previous page page_26 next page > < previous page page_27 next page > Page 27 Davis: As I said on the Marathon, 2 it is the greatest piece of public music. That leaves out things like the Mozart string quintets, so we don't have to get into that. But it is astounding, and I was proud of that recording. Badal: How do you use recordings? Simply, as you say, as informationto find out what a piece is like? Davis: Yes. I mean, if I've got to do the Berg Three Pieces for Orchestra and I've never heard them, I can't see any shame in following a record and just getting an impression of the kind of sound.