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Strict Standards: Non-static method BP_Options::get() should not be called statically in /home/actidemann/ on line 9
<br/> <b>Strict Standards</b>: Non-static method BP_Options::get() should not be called statically in <b>/home/actidemann/</b> on line <b>9</b><br/> Vardan Ovsepian Mirror Exercise Book « The Kurt Rosenwinkel Forum

Vardan Ovsepian Mirror Exercise Book

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  1. holy moly! my mirror exercise book just arrived! it looks very exciting and to the point. it seems riddled with super cool /ambiguous structures formed from triads or rows ( or things of a less diatonic maj/min/mel min/harm min/ dim/ aug type schemas) . lines with neat contours and then displacing each hand by a beat.
    i'll see what i can do ( using the loop station to set up the " left hand " to get the full desired effect... since i probably cant pull off doing both parts without it becoming a little ballet i have to memorize and then having it turn into the only thing i play for 2 weeks) and where this takes me!

    Magical rainbow ponies
  2. jseaberry

    What do you see that is different about it than other treatises?

  3. jseaberry

    I guess, what I mean is, how do these piano techniques relate to guitar or transfer to guitar?

  4. the 1st one is super cool so far. it's written in 4 but the motif is in 7 and its fun to do with the metronome because since the contour of the motif is imposed over 4 ( as it's is doing the exercise 2 triads per bar) you see things shift and the harmonic filter is also given different perspectives as the contour obeys the pulse?¿? i put it through the loop station and played the other line against it ( the left hand line ). and it is cool and the whole thing has a logic. at this point there is an added dimension because in the first example, it is a triad and then another triad a certain distance away while simultaneously the "left hand " is doing the mirrored contour only ( harmonically ) the chord's order of appearance is reversed ( e.g. if you go from g then to b , simultaneously its b going to g ) ; which is really cool because the harmonic meta-gist is conveyed in its entirety rather than only showcasing one thing on the bottom always and the other on top always. this moves downhill though all keys. then, i've tried doing this with both lines myself ( not with the help of the loop station )... it is considerably slow right now, and ( as i predicted ) like learning a little ballet. by that i mean that at this point it is not something i am reading, and im just doing two notes at the same time and just trying to do that and just understand before hand. what the concept was ( which is kind of what i don't like about this method- all of crazy work to do something impressive rather than improving the skill of adapting in real time). the 7ishness is tough to point out with much conviction also ( as im just trying to land everything ).as far as other treatises i don't really know as i am not super versed in piano method stuff. i have checked out some chopin and bach and beethoven ... but i feel like that is music. not to knock this, i love this kind of stuff, but this feels to be more like the raw tools and architectural nature of a musical terrain and its somewhat aesthetically neutral in nature. you can kind of do what you want with the concepts after that. sort of like the slonimsky book ( although at the time i was mainly playing the first 120 or so lines- not going for anything pianistic... i gave up on the leibman book because it was hard for me to hear sounds on sounds like that and it felt pianistic and over my head). wi i imagine for a pianist can get the FULL intent of this stuff. in a sense , i might have bitten off more than i can chew but i dont mind attempting this and within an hour or so i have: taken in a new set of sounds ( this chord against chord ); i am reading; i am playing with a click ( and not doing too shabby because if i can't set up a good loop then it's proof that i'm off);i've played the motifs voiced a few different ways- for speed and as the line moves lower the string sets change and more so to accomodate doing both lines at the same time so its showing me the neck through the notes rather than the other way around- all at the same time kinda. the tonality was also something that i was craving ( like the stuff in the veras youtubes).
    this is just from the first example. i get a little scared becuase in the past , material like this means that it's the only thing i play for a little bit and i'm using a lot of energy to barely produce this stuff that pianists can just barf in a second upon the first glance if they can kinda read. then after a week in my nerdiverse attempting to do these structural things and realize that i havent advanced much( that i can see )and that i still suck and nobody ( except for friends ) would call me up to play a wedding gig.
    boo hoo.
    anyways , slowly thing have gotten a little better so it's less pressure/effort to do this stuff.i'll do what poparad mentioned elsewhere and not just do this for 5 hours but give it 20-30 mns a day over the course of a few weeks.
    gonna get back to it!

  5. JorgeRubiales

    yeah, 7 over 4 is a b%$ch sometimes. I find it easier to play 5 over 7, go figure...

    That book sure looks interesting, at least for harmonic ideas

  6. jseaberry

    Beautiful post; thank you.


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