![]() The portability of lightweight music stands can lead to some problems. ![]() The rack area for holding the music is either pre-set at a slight incline away from the performer (as compared with being straight up), so that music will lie open naturally, or the degree of incline can be adjusted. Folding stands typically have a foldable tripod that supports the column and the music shelf. Folding stands consist of a rack for the music and a telescoping cylindrical column for supporting the rack, with screws or other fastening devices to secure the extended columns at the desired height. Lightweight stands are not designed to support heavy books of music such as full-size fake books while the fake book may stay open on the stand, the music stand may fall over. Amateur orchestras and some youth orchestras may ask members to bring folding stands to rehearsals, and sometimes also to performances, as this saves the ensemble the cost of buying or renting, and transporting one or more racks of non-folding stands. They are a popular stand type for practicing, rehearsals, auditions and even some types of performances. When folded, a folding music stand can often fit in an instrument case or backpack. This is the kind most often used by music students in youth orchestras. Metal folding stands often have solid wire extensions or metal "arms" which can be folded out to support more than two pages of music or over-size sheets or pages. Some singers use stands, such as lounge singers and wedding vocalists who have a repertoire of hundreds of songs, which makes remembering all of the verses difficult.Ī folding music stand in its collapsed position, ready for transportation.įolding stands, also known as karate rangers, range from inexpensive, lightweight models made of metal, which are designed to hold a few pages of sheet music or a thin songbook, to stronger, more expensive heavy-duty models. For choirs, singers typically hold their music in a folder, and singers performing solo recitals or opera performances typically memorize the lyrics and melodies. Music stands enable musicians to read sheet music or scores while playing an instrument or conducting, as the stand leaves the hands free. Many types of keyboard instruments have a built-in or removable music rack or stand where sheet music can be placed. Most music stands for orchestral, chamber music or solo orchestra-family instruments (violin, oboe, trumpet, etc.) can be raised or lowered to accommodate seated or standing performers, or performers of different heights. Its weight and fine finish make it unsuitable for daily transportation to rehearsals and gigs.Ī music stand is a pedestal or elevated rack designed to hold sheets of music in position for reading. This stand is designed for use in a private home or teaching studio. That provides an audible purpose throughout Here It Is, but the greatest tribute Klein pays to Cohen here is the gift of reinterpretation, giving his songs some fresh looks and new treatments that only add to Cohen's great legacy.A heavy wooden music stand. Klein was a close friend and collaborator of Cohen's from the early '80s to his death. James Taylor, for instance, explores his lower register for "Coming Back to You," while Peter Gabriel channels his garrulous inner Cohen on "Here It Is" and Mavis Staples puts some ache into a waltz-styled "If It Be Your Will." That's in contrast to Norah Jones' subtly buoyant delivery of "Steer Your Way," Gregory Porter's full-voiced assuredness on "Suzanne" and David Gray's muscular rendering of "Seems So Long Ago, Nancy." Iggy Pop is perfectly cast for "You Want it Darker," his dark, sinister rumble doing just that as he commends himself heavenward with a poignant exhale and a declaration that " I'm ready, my lord." And anyone who believes the "Hallelujah" market was played out will change their minds after hearing Here It Is' combination of Sarah McLachlan's purity and Klein's detailed arrangement, with Wilkins' sax motifs sliding in between the verses. The vocal approaches are just as welcome, however, and most come at Cohen's works from some personalized place. And Klein demonstrates that Cohen's songs don't even require a singer, as guitarist Bill Frisell and saxophonist Immanuel Wilkins - the entire album's MVP - lead instrumental takes of "Bird on a Wire" and "Avalanche," respectively. Klein's touch is light and atmospheric throughout with a core band of all-stars he crafts an evocative ambience that, like Cohen himself, leaves lots of space to for each of the vocalists to create their renditions.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |