Solo SR single "Carnation" 11/2

[W3iHong]

Originally Posted by thespidereggs

Huh. I do hear it. I just thought there was something way more offensive that I was missing; it isn't really enough to ruin the song for me.

Each to his own, I guess.

Ok. No more space marine fervour for me. I can't help it. My violin teacher used to comment how dirty my legato bowing sounded. I guess I took a part of his personality.

Now, to practise my violin at 2:10am in the morning. Shouldn't have slept just now on the sofa. Damn.

[karateexplosion]

^I'm intensely curious as to what "dirty legato" sounds like now. Sexy, I bet.

[W3iHong]

Originally Posted by karateexplosion

^I'm intensely curious as to what "dirty legato" sounds like now. Sexy, I bet.

Dirty legato is like... 1)shaking of the bow(very unpleasant shaky sound) and/or 2)pressing too hard on the strings with the bow(Jarring sound).

You could say dirty legato is sexy when done right:

La Cumparsita for Solo Violin - Maria Millar

This is an exaggerated example. Notice how she "slams" the end of the bow on a down-bowing at around 0:09. It is dirty-sounding because the horsehair on the bow tends to recoil on hard impact and thus getting that shaky sound. But the song was meant to be dirty and lusty, so it sounds great in here.


But on a romantic/nocturne/slow (Like the beginning of carnation). It sounds quite terrible.

This might sum it up.

Maxim Vengerov Masterclass on Sibelius Violin Concerto

[Carlx]

^
La cumparsita, that song was composed around 1915. Such sad and melancholic lyrics, which is kind of characteristic in Tango.

Another Tango song played tastefully with violin, by Ikuko Kawai — I wish I could find the whole concert:

Ikuko Kawai - Libertango

EDIT: Okay, she's a great violinist and a pretty woman, but what caught my attention the most was that pianist, specially at the end!

[W3iHong]

^ Haha. I love that video too! The pianist is a total badass!

Have you heard of Naoko Terai, Carlx?

Another beautiful violinist. Ikuko Kawai likes to play smoothly legato while Naoko Terai loves to contrast both staccato and legato, or sometimes even mix them both.

寺井尚子　libertango　リベルタンゴ Naoko Terai

Again, the pianist is a total badass. Different, but would still have women at his feet.

[kuro_neko]

jesus I'm so sick of reading about dirty vocals and lyrics shit, get over it, its really not that bad. its really just personal preference. I adore cello and one of my favorite bands Rasputina consistently uses distortion and effects to dirty up the cello, it adds atmosphere and drama. if you edit out all the little imperfections things start so sound fake and artificial.

[W3iHong]

Originally Posted by kuro_neko

jesus I'm so sick of reading about dirty vocals and lyrics shit, get over it, its really not that bad. its really just personal preference. I adore cello and one of my favorite bands Rasputina consistently uses distortion and effects to dirty up the cello, it adds atmosphere and drama. if you edit out all the little imperfections things start so sound fake and artificial.

I am classically trained. I have to look out for this little details to improve myself. In this little details, you can really feel the musician, whether is he scared or calm, one who likes to rush or another who enjoy the melody of the notes.

And like I said, La cumparsita works really well but classical(specifically nocturne or slow) pieces would rarely work. You would never add distortion or effects on Debussy's Clair de lune, would you? Let alone, another similar piece.

I know that Ringo always likes to add growls or breathes into the microphone. But it was always on purpose. However, in this instance, she accidentally did it, even putting it on an official release.

What you feel of Carnation and my take on its 'dirty vocals' is like "Oh, its just a silly slip, let it go already. The rest of the song is good enough already."

It is an official release. I don't see why they couldn't brush it up unless it was a matter of time.

[kuro_neko]

I guarantee with all the people involved on this particular track who *are* classically trained (not including ringo of course), someone must have caught it.they probably left it in because its a tiny little blip that no one other than a few might notice and at any rate it gives the song soul, character. as I said before, editing out breathes and effects KILLS it. when I listen to albums by pianists I want to be able to hear their feet kick the pedals and hear the mallets touch down on the strings. it makes it feel organic. its the same reason why seeing an artist live is infinitely better than on cd.

[deadgrandma]

Lol everyone is so pissy today, on all the threads pretty much. Don't you realise you're arguing over Carnation? Even I know that it's not special enough to be defended at all. I just think it's a nice song.

W3ihong, you classically trained wussy, stop causing trouble :-p

[W3iHong]

Originally Posted by deadgrandma

Lol everyone is so pissy today, on all the threads pretty much. Don't you realise you're arguing over Carnation? Even I know that it's not special enough to be defended at all. I just think it's a nice song.

W3ihong, you classically trained wussy, stop causing trouble :-p

Like the umpa lumpas in Charlie's Chocolate Factory?

Ok, ok. I submit. I shall not start an >implying battle.

I did realize that it might add to the feel of the song beforehand but I guess my Classical Nazi took over.


Or that it was a live recording, Ringo sang at the same time as the orchestra was playing, which answered EMF's calls for a more "band-feel" in Dai-Hakken.

Have a nice song.

David Oistrakh plays Prokofiev Death of Juliet