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PBDB Book Review Dept. : Sound in Motion Jason Heath's Double Bass Blog
In the second half of the book, he moves gradually away from Tabuteau and into his own views on a
vast array of musical topics. A section on specific issues of woodwind playing then moves into a long
section headed, appropriately, Controversy. In this section he lays out his views on vibrato, tone,
intonation, ornamentation, and engages in a long discussion on Baroque performance practice.
Without going too extensively into his views on any one of these topics, I would characterize his
overall musical worldview as conservative in character and evolutionary in outlook. He idolizes the
style of the early- and mid-20th Century Romantic master performers such as Fritz Kreisler and
Maria Callas, and has a dim view of most, if not all, of the Baroque performance movement. He
makes many valid points about some of the more dogmatic and thoughtless exponents of Baroque
style, but in my opinion goes way too far in his criticism, often getting more than a little strident and
polemical as he goes after even the very idea that performing on original instruments can be
musically equivalent to performance on modern instruments, much less superior:
4/24/16, 10:04 PM
McGill sees an evolution of musical ideas through history (peaking with artists of the early and midtwentieth century) that, in an almost Darwinian way, led to better and better musicality. However,
this approach neglects the role of culture and society in musical style, and can turn changes or
developments in style which are real and important into improvements that mean that what
came before is by definition inferior.
I cannot recommend this book enough. It has been some time since I have seen any book on musical
style and phrasing this good. While I encourage readers to seek out a variety of views on the topics
he lists in his Controversy section, none of them should be a reason to turn down the opportunity
to learn from Mr. McGill. Thought-provoking, well-organized, and well-written, his book is an
invaluable resource for anyone who wants to seriously apply themselves to learning greater
musicality. Indeed, McGills most important point throughout the book is that, by studying the
structural elements of music, and by analyzing the core principles that guide great performers like
Tabuteau, we can apply basic principles to our own phrasing that can dramatically improve our
musicality. Interpretation is not primarily about feeling or talent, he writes, but about study, logic,
and hard work:
http://doublebassblog.org/2008/09/pbdb-book-review-dept-sound-in-motion.html
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PBDB Book Review Dept. : Sound in Motion Jason Heath's Double Bass Blog
4/24/16, 10:04 PM
Musical expression is not just the posession of the chosen few. By virtue of our
innate intelligence and human capacity to express and feel our emotions, we are
all born with the potential to be musically expressive The real talent that leads
to musical expression is intelligence. The development of expression is the
development of the intellect.
This smart and inspiring book is one that any serious music student or performer should seek out and
read.
Follow-Up to Rabbath
versus Simandl
The limping neck gig story
from Deborah Lamb
CBC 145 - David Cutler and
The Savvy Musician
4-3
http://doublebassblog.org/2008/09/pbdb-book-review-dept-sound-in-motion.html
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PBDB Book Review Dept. : Sound in Motion Jason Heath's Double Bass Blog
4/24/16, 10:04 PM
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