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Evan
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Not to be a dork, but I find that Mexican dance no. 1 is not a piece which is the best example here, as it isn't even open for musical imagination as much as no. 2 even. Wasn;t it originally conceived as an etude? I mean, someone who shapes the legato line in no.1 will sound better than someone who doesn't, but it's still not an uber-romantic piece, right? I find it more bothering when people play something like Bach with no expression. You can emphasize the precision of the counterpoint without being a robot.
There's a lot to be said for expanding your horizons technically on marimba. There's a section in MoM which is titled 'ten years later' which is a great way to think about your playing. If you try something challenging when you're young, good for you. If it lacks imagination or maturity, that's not to say it will forever. If I play a piece like crap now, will I play it better the next time? If I learn it while I'm in high school then come back to it again later in university or later, it will be a different and most likely better expression. Just because you play a piece once and its not very good because of experience or imagination or whatever doesn't mean that you never play the piece again and or it will always suck.
Funny as well how many people have replied to this post when the "musical integrity" of one of our instruments is being questioned by 'gasp' another marimba player? Perhaps we doth protest too much? :)
Let the flaming begin...
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[2925]Re:Re:Re:Integrity of the Marimba (283 reads)
[2908]Integrity of the Marimba <Greg>
