18:28
@Robusto BTW here's the bit that I found very easy to sing:
@Robusto There's that vague idea on the tip of my tongue, I'm not sure how to even put it.
Here's the thing. It's a spectacularly well-written piece. But duh. That's not something I learned only yesterday. That's something you and I would have always said.
I think what I actually learned is that that's actually not how I would put it now.
Instead I would say: it's a spectacularly well written part. And I would say that about any of the parts. Because it is true.
If you are given the first note, whether by the people around you, or the concertmaster at the piano or whatever. If you are given the first pitch, you can sing the rest.
If you see a leap coming up ahead, you know exactly how far you have to leap. You know it instinctively. Even if you've never leaped before. It is self-evident. That's how good the writing is.
And if there's no leap, you just sing it like it's nothing. You just read it like a book.
It's really quite fascinating.
Like, that's also not really something I learned only yesterday. Voice leading. Horizontal continuity.
I always pay great attention to that in my own writing and arrangements, and I've been preaching it for years to others, too. Because all the kids these days don't give a fuck and don't even know the terms. They just play a couple chords on their midi keyboards, and then split them willy-nilly between whoever happens to have whichever of the notes in their range.
So I can't say that's something I only just discovered yesterday. But I did discover some new quality to it.
It's one thing to have a part make sense and be beautiful if you play the instrument. But it's a different thing altogether to have a part that makes such sense you can play it if you don't play the instrument. All you need is for someone to show where the first note is, then you're golden.
I need to think of a better way to explain this. But it's only been a day.