Barry first found music when he borrowed his sister's record collection when he was about eight and was hooked. When Caroline started it was a new beginning, and he listened to all the stations, but Caroline was his favourite by far. Later he became a singer in a band, then started doing discos when he was 18. He joined Caroline in 1977, touring the country with the Caroline Roadshow for 10 years, having great fun. Barry helped with tender trips and worked on the Ross Revenge in '84 and '85. ...
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Innehåll tillhandahållet av Alex Gimenez. Allt poddinnehåll inklusive avsnitt, grafik och podcastbeskrivningar laddas upp och tillhandahålls direkt av Alex Gimenez eller deras podcastplattformspartner. Om du tror att någon använder ditt upphovsrättsskyddade verk utan din tillåtelse kan du följa processen som beskrivs här https://sv.player.fm/legal.
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Alex Gimenez
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Manage series 1071075
Innehåll tillhandahållet av Alex Gimenez. Allt poddinnehåll inklusive avsnitt, grafik och podcastbeskrivningar laddas upp och tillhandahålls direkt av Alex Gimenez eller deras podcastplattformspartner. Om du tror att någon använder ditt upphovsrättsskyddade verk utan din tillåtelse kan du följa processen som beskrivs här https://sv.player.fm/legal.
Practicing the lost art of classical improvisation. Classical improvisation was once the widely practiced cornerstone of classical composition and how classical composers played their own pieces themselves. They improvised those too. No two performances were ever quite the same. And so, improvisation was a part of classical performances. Mozart, Beethoven and Liszt were all virtuoso improvisers whose concerts often included ad-lib fantasies and spontaneous variations on themes called out by their audiences. In my case, I’m not sure how I’m able do it but I can. Improvised when I recorded it on the first take. I don’t very much care the classical purists, particularly classical music professors, are unaware that this is a legitimate lost art they maybe never learned or want to teach as it’s an all but forgotten part of what could be a more complete classical curriculum. All of my copyrighted music is right here in one place for you to enjoy. Many of them were recorded live as I composed them on the spot and played them on the spot on the first take. I’m classically trained but not much bound by the classical instruction straitjacket of “we don’t improvise”. All rights reserved.
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20 episoder
Markera alla som (o)spelade ...
Manage series 1071075
Innehåll tillhandahållet av Alex Gimenez. Allt poddinnehåll inklusive avsnitt, grafik och podcastbeskrivningar laddas upp och tillhandahålls direkt av Alex Gimenez eller deras podcastplattformspartner. Om du tror att någon använder ditt upphovsrättsskyddade verk utan din tillåtelse kan du följa processen som beskrivs här https://sv.player.fm/legal.
Practicing the lost art of classical improvisation. Classical improvisation was once the widely practiced cornerstone of classical composition and how classical composers played their own pieces themselves. They improvised those too. No two performances were ever quite the same. And so, improvisation was a part of classical performances. Mozart, Beethoven and Liszt were all virtuoso improvisers whose concerts often included ad-lib fantasies and spontaneous variations on themes called out by their audiences. In my case, I’m not sure how I’m able do it but I can. Improvised when I recorded it on the first take. I don’t very much care the classical purists, particularly classical music professors, are unaware that this is a legitimate lost art they maybe never learned or want to teach as it’s an all but forgotten part of what could be a more complete classical curriculum. All of my copyrighted music is right here in one place for you to enjoy. Many of them were recorded live as I composed them on the spot and played them on the spot on the first take. I’m classically trained but not much bound by the classical instruction straitjacket of “we don’t improvise”. All rights reserved.
…
continue reading
20 episoder
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