Mr.Gumby wrote:
Quote:
Also, when doing the strike part of the roll, at least on a G, Tansey and others seem to use both B1 and B2. Is this a common thing, perhaps for more pop? Maybe flute-dependent?
Ornamentation and cutting in particular is a far more intricate and varied subject than that projected by Larsen's simplified thinking on the subject. Reality is much less codified and infinitely more varied, and at times more nuanced, considered and expressive, than the book will have you believe.
The late Bill Ochs wrote
a nice demolition of Larsen's cutting system when the book was first published.
I agree with you. But then that is the case with pretty much all tutor books. Their descriptions can always be read as overly proscriptive or 'simplified'. They're usually only a starting point.
I'll be the first to admit that I'm not much of one for learning music from books but I have read the chapters of Larsen's book on ornamentation. One useful example he gets across is how ornamentation is often misleadingly notated. Personally I found that helped me to better understand the basic dynamics of cuts and rolls i.e. the basics of what I should be aiming for. And when we get the basic dynamics it frees us when we are listening to variations and replicating more easily to go in a more expressive and nuanced direction without being hampered by misperceptions and misinformation.
Sometimes being shown what
not to do is worth taking on board. If it works, it doesn't matter to me where that guidance comes from.