Actually finding out whether or not someone has activated a given modality is a difficult, yet interesting and worthwhile task, and methods of doing this are something that I want to experiment with. So, to that end, I'll be throwing out small exercises which I hope will allow people to better understand the nature of their own modal thought processes.
Here are two videos:
https://www.youtube.com/watch?v=dZn_VBgkPNY
https://youtu.be/GphBC2f70TY?t=22s
Beginning each of them is an example of the same piece, the Bach Cello Suite No 1.
I will straight up say now that I greatly preferred Yo-Yo-Ma's rendition of this when I didn't have EVP and I expect that everyone without EVP will find Rostropovich's interpretation to be rushed, stilted and lacking in emotion.
After gaining EVP though, I could understand what it was that made the latter work and why he plays the music in this way, as opposed to the romanticism of the former. I can feel now how each phrase is played to fits in to one another in order to clearly continue on the structure of the piece, and I suspect that other people who have developed EVP will likely feel the same.
That is all I really need to say here, so I hope that this might make it easier to understand what level of development you are at. This is not a test and there is no need to worry about anything. Just feel, and be honest with yourself.
Hi man.
ReplyDeleteI can explain regarding my theory why a rock/pop oriented listener can enjoy yo yo ma better.
Yo Yo Ma is a Santana's friend and he knows about rock music.
In his version of Cello Suite he accents some bass notes creating a sub-rythm/sub-melody pulse.
That pulse is a repetition, a cycle, a riff.
Rostropovich makes nothing to engage the uneducated listener and gives the same importance to all notes. You have to follow the counterpoint to enjoy and there are no sugar, no shortcuts.
I had tens of these tests in the old days when I started my method. Now it is not necessary, since I understood testing is not necessary.
I mean the other two kinds of music I consider appear so evidently and consistently boring (the first) and disgusting (the second) that everyone can understand when he gets "there".