Hi:

I concur. We should not be limited by orthodoxy when seeking the most effective
means of expressing whatever music we are performing.

In my exploration of very early music, I am drawn to the Lydian mode with it's
augmented 4th, and playing in parallel 5ths. It's a style popular in Iceland
and lends itself well to old Norse poetry. Bagby has used it to good effect in
his recordings of the Eddas.

Larry the M

gregory balsewicz wrote:

> hi elly
> i think that an instrumentalist of any era would push his playing to
> show off his instrument to the max. of course keeping in mind the
> theoretical usages of the era is important, one has to wonder how
> bound by these guidelines the harpers were. we're all taught now that
> parallel fifths and octaves are no-no s and yet the harp is perfectly
> suited for this 'transgression'. the objective of the performer is to
> wow his audience. anything possible to do on a triple or any other
> historical type instrument should be brought in to play. preciously
> perfected playing tends to strike me as tol-lol- something that
> belongs pinned to a wall of a museum instead of food for hungry,
> novelty-seeking audiences. this is a great topic, as i feel
> oftentimes due to lack of historical record we minimalize the sonic
> potentialities that could come into play with 'early' music. keep us
> posted on your travels through this music and remind us when the
> concert nears.
> gregory
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