Monday, November 30, 2009
solo instrumental music
Solo forms of instrumental playing. A person playing a musical instrument, called "solo." Such as the accordion solo, piano solo and so on. Sometimes one person solo, as well as accompaniment to another person. Such as the erhu solo, dulcimer accompaniment; violin solo, piano accompaniment and so on. There is also a human solo, orchestra accompaniment. If suona solo, orchestra accompaniment such as China.
vocal/instrumental music with or without accompaniment
Singing along with background instrumental ensembles. Peking Opera singing accompaniment to the main musical instrument tones of the main use of wholehearted way full with the accompaniment. Accompaniment and singing tunes that are basically the same, during which there may be a variety of ornaments, or the level of 8-degree turn outs. Accompaniment is also mandated to get married to be playing musical instruments such as a pure part of them to join to sing sentence. The vocal music is often referred to, including the main musical instrument-based band accompaniment included.
a composition diary
The composition i worte it was have one day it was rainning and after the rain there has the rainbow on the sea, there was so nice, and i was thinking i was seat on the chair and to see the rainbow , and i found the composition is so hard because i do not know how can i write the song can tell everyone what am i thinking about~
and i want to call this song is RAINBOW beacuse this song was when i sew the rainbow then i worte so i want to call this is RAINBOW, and i worte this song make me lose a lot of times about 1 week, and the song is not same last time just come to my maind it was when i hear the sea sound and see the rainbow and i was found when i am a child i was play with my family that feel~ and i think the rainbow can make us feel so happy and good so i made the song more upbeat,i think the song is okay but i think it can be better~
and i want to call this song is RAINBOW beacuse this song was when i sew the rainbow then i worte so i want to call this is RAINBOW, and i worte this song make me lose a lot of times about 1 week, and the song is not same last time just come to my maind it was when i hear the sea sound and see the rainbow and i was found when i am a child i was play with my family that feel~ and i think the rainbow can make us feel so happy and good so i made the song more upbeat,i think the song is okay but i think it can be better~
Bibliography
1) Liszt Liebestraum 00:00-01:30
http://www.youtube.com/watch?v=y6hdDOFtW64
2)Ivan Staykov - Fly Me To The Moon
http://www.youtube.com/watch?v=6ZH0ItD5Kn8&feature=related
3)Vampire Knight ~Guilty~ OP -Rondo- by On/Off
http://www.youtube.com/watch?v=riAzCTJCwss&feature=PlayList&p=6CA8415D0DC9D3BC&playnext=1&playnext_from=PL&index=9
http://www.youtube.com/watch?v=y6hdDOFtW64
2)Ivan Staykov - Fly Me To The Moon
http://www.youtube.com/watch?v=6ZH0ItD5Kn8&feature=related
3)Vampire Knight ~Guilty~ OP -Rondo- by On/Off
http://www.youtube.com/watch?v=riAzCTJCwss&feature=PlayList&p=6CA8415D0DC9D3BC&playnext=1&playnext_from=PL&index=9
a performance critique
The song i played is over the hills and far away, i was very nervous and i played a lot of wrong note of the song, and i did not played it make the audience feel interesting, it is on soft and strong, did not master the time signature and the important thing is the song i played is unskilled~
I will try very hard to practice~ and i will caution the pitch and duration and more things for my exam next time~
I will try very hard to practice~ and i will caution the pitch and duration and more things for my exam next time~
Sunday, November 29, 2009
The role of improvisation
Improvisation is the practice of acting, singing, talking and reacting, of making and creating, in the moment and in response to the stimulus of one's immediate environment and inner feelings. This can result in the invention of new thought patterns, new practices, new structures or symbols, and/or new ways to act. This invention cycle occurs most effectively when the practitioner has a thorough intuitive and technical understanding of the necessary skills and concerns within the improvised domain. Improvisation can be thought of as an "on the spot" or "off the cuff" spontaneous activity.
The skills of improvisation can apply to many different abilities or forms of communication and expression across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines. For example, improvisation can make a significant contribution in music, dance, cooking, presenting a speech, sales, personal or romantic relationships, sports, flower arranging, martial arts, psychotherapy, and much more.
Where the improvisation is intended to solve a problem on a temporary basis, the 'proper' solution being unavailable at the time, it may be known as a stop-gap. This particularly applies to engineering improvisations.
Improvisation is usually defined as composing music while playing an instrument at the same time. In other words, the art of improvisation can be understood as composing music "on the fly". This of course requires great skill and knowledge, and is a very important aspect of music in general, for any experienced musician. Musical improvisers often understand the idiom of one or more musical styles—e.g. blues, rock, folk, jazz—and work within the idiom and music-theory of the certain style to express ideas with creativity and originality. Improvisation can take place as a solo performance, or interdependently in ensemble with other players. When done well, it often elicits gratifying emotional responses from the audience. Very few musicians have ever dared to offer fully improvised concerts such as the famous improvised piano recitals by classical composers/pianists like Franz Liszt. The origins of Liszt's improvisation in an earlier tradition of playing variations on a theme were mastered and epitomized by Mozart and Beethoven. However, some have managed some very poignant attempts similar to these precedents, one of the most successful of these is Keith Jarrett. He is a jazz pianist and multi-instrumentalist who has performed many completely improvised concerts that have captivated audiences all over the world. In the same creative aesthetic as such named masters, including the late innovator and guitar master Derek Bailey, comes a new breed of improvising musician. Pioneers like cellist Eugene Friesen have brought improvisation to traditionally classical instruments. A few pianists have given modern recitals of improvisation in the baroque style, which may be less intimidating because of its stricter development and range of modulation and yet, on the other hand, more daunting because of its polyphony. One of the masters in the style of baroque improvisation was Glenn Gould. There have also been a few other exceptional improvised solo piano concerts in Stuttgart, Southern Germany in the 1990s. In the realm of silent film music, there are also a small number of musicians whose work has been recognized as exceptional by critics, scholars and audiences alike: Neil Brand, Guenter A. Buchwald, Philip Carli, Stephen Horne, Donald Sosin, John Sweeney, and Gabriel Thibaudeau, all performers at the annual conference on silent film in Pordenone, Italy, "Le Giornate del Cinema Muto." Their performances have to match the style and pacing of the films they accompany, often at first sight, and demand a knowledge of a wide range of musical styles, as well as the stamina to play for films which occasionally run over three hours in length without a pause. It is used in drama to ast out charaters.
For example:
Ivan Staykov - Fly Me To The Moon
http://www.youtube.com/watch?v=6ZH0ItD5Kn8&feature=related
The skills of improvisation can apply to many different abilities or forms of communication and expression across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines. For example, improvisation can make a significant contribution in music, dance, cooking, presenting a speech, sales, personal or romantic relationships, sports, flower arranging, martial arts, psychotherapy, and much more.
Where the improvisation is intended to solve a problem on a temporary basis, the 'proper' solution being unavailable at the time, it may be known as a stop-gap. This particularly applies to engineering improvisations.
Improvisation is usually defined as composing music while playing an instrument at the same time. In other words, the art of improvisation can be understood as composing music "on the fly". This of course requires great skill and knowledge, and is a very important aspect of music in general, for any experienced musician. Musical improvisers often understand the idiom of one or more musical styles—e.g. blues, rock, folk, jazz—and work within the idiom and music-theory of the certain style to express ideas with creativity and originality. Improvisation can take place as a solo performance, or interdependently in ensemble with other players. When done well, it often elicits gratifying emotional responses from the audience. Very few musicians have ever dared to offer fully improvised concerts such as the famous improvised piano recitals by classical composers/pianists like Franz Liszt. The origins of Liszt's improvisation in an earlier tradition of playing variations on a theme were mastered and epitomized by Mozart and Beethoven. However, some have managed some very poignant attempts similar to these precedents, one of the most successful of these is Keith Jarrett. He is a jazz pianist and multi-instrumentalist who has performed many completely improvised concerts that have captivated audiences all over the world. In the same creative aesthetic as such named masters, including the late innovator and guitar master Derek Bailey, comes a new breed of improvising musician. Pioneers like cellist Eugene Friesen have brought improvisation to traditionally classical instruments. A few pianists have given modern recitals of improvisation in the baroque style, which may be less intimidating because of its stricter development and range of modulation and yet, on the other hand, more daunting because of its polyphony. One of the masters in the style of baroque improvisation was Glenn Gould. There have also been a few other exceptional improvised solo piano concerts in Stuttgart, Southern Germany in the 1990s. In the realm of silent film music, there are also a small number of musicians whose work has been recognized as exceptional by critics, scholars and audiences alike: Neil Brand, Guenter A. Buchwald, Philip Carli, Stephen Horne, Donald Sosin, John Sweeney, and Gabriel Thibaudeau, all performers at the annual conference on silent film in Pordenone, Italy, "Le Giornate del Cinema Muto." Their performances have to match the style and pacing of the films they accompany, often at first sight, and demand a knowledge of a wide range of musical styles, as well as the stamina to play for films which occasionally run over three hours in length without a pause. It is used in drama to ast out charaters.
For example:
Ivan Staykov - Fly Me To The Moon
http://www.youtube.com/watch?v=6ZH0ItD5Kn8&feature=related
Piano, stringed keyboard musical instrument, made from the harpsichord and the clavichord. Also the name is pianoforte, it different is predecessors principally in the introduction of a hammer-and-lever action that can make the player to feel is and soft and hard of the sound by the stronger or weaker touch of the fingers. So we can know the first of the model (1709) was called a gravicembalo col piane forte (Italian for “harpsichord with soft and loud”). It was made by Bartolomeo Cristofori, a harpsichord maker of Florence, Italy, who is generally credited with inventing the piano. Two of his pianos still exist. The case of one, dated 1720, is in the Metropolitan Museum of Art, New York City; the other, dated 1726, is in a museum in Leipzig, Germany.
Early Evolution of the Piano
It is start in 1725, when the noted German organ maker Gottfried Silbermann of Freiberg adopted Cristofori's action, the next major developments took place in Germany. Perhaps the most important contribution was made by Johann Andreas Stein of Augsburg, who is credited with inventing an improved escapement that became the foundation of the “Viennese” piano praised by Wolfgang Amadeus Mozart and favored by most German composers of the late 18th and early 19th centuries. Twelve masters from central Germany migrated to London about 1760 and established the English school that, under John Broadwood and others, turned to the production of pianos of a stronger build, resembling those of our own day. The French manufacturer Sebastian Erard founded the French school in the 1790s, and in 1823 created the double action that is still in general use. By this time artisans in all Western nations were working to perfect the pianoforte. Numerous improvements were and are still being made in design and construction. Germany and the United States have long been distinguished for fine pianos, notably those of the German firm founded by Karl Bechstein and the American firms of Baldwin, Mason & Hamlin, Steinway, and Chickering. The pianos of the Austrian Bosendorfer firm are also highly respected.
The compass of the early piano was, like that of the harpsichord, only four, or at most, five octaves, but it has gradually increased to a compass of more than seven octaves as structural changes allowed for increases in tension amounting to several tons.
Modern Structure
The modern pianoforte has six major parts (in the following discussion, the numbers in parentheses refer to the accompanying diagram (Diagram #1 below) of the structure of a pianoforte): (1) The frame is usually made of iron. At the rear end is attached the string plate, into which the strings are fastened. In the front is the wrest plank, into which the tuning pins are set. Around these is wound the other end of the strings, and by turning these pins the tension of the strings is regulated. (2) The soundboard, a thin piece of fine-grained spruce placed under the strings, reinforces the tone by means of sympathetic vibration. (3) The strings, made of steel wire, increase in length and thickness from the treble to the bass. The higher pitches are each given two or three strings tuned alike. The lower ones are single strings made heavier by being overspun—that is, wound around with a coil of thin copper wire. (4) The action is the entire mechanism required for propelling the hammers against the strings (see Operation of the Action below). The most visible part of the action is the keyboard, a row of keys manipulated by the fingers. The keys corresponding to the natural tones are made of ivory or plastic; those corresponding to the chromatically altered tones, of ebony or plastic. (5) The pedals are levers pressed down by the feet. The damper, or loud pedal, raises all the dampers so that all the strings struck continue to vibrate even after the keys are released. The soft pedal either throws all the hammers nearer to the strings so that the striking distance is diminished by one-half, or shifts the hammers a little to one side so that only a single string instead of the two or three is struck. Some pianos have a third, or sustaining, pedal that does not raise all the dampers, but keeps raised only those already raised by the keys at the moment this pedal is applied. The use of these pedals can produce subtle changes in tone quality. Many upright pianos have been built in which the application of a pedal interposes a strip of felt between the hammers and strings so that only a very faint sound is produced. (6) According to the shape of the case, pianos are classified as grand, square, and upright. The square form (actually rectangular) is no longer built. For use in private homes it has been entirely superseded by the upright, which takes up far less room. Grand pianos are built in various sizes, from the full concert grand, 2.69 m (8 ft 10 in) long, to the parlor or baby grand, less than 1.8 m (6 ft) long.
Upright pianos include the late 19th-century cottage piano, of which the upright grand is merely a larger form. The modern spinet and console pianos are small uprights related to the cottage piano. In the upright pianos the strings run vertically, or diagonally, from the top to the bottom of the instrument. Uprights and small grands are sometimes overstrung; that is, the bass strings are stretched diagonally across the shorter treble strings, thereby gaining extra length and improved tone quality. The combined tension of the strings on a concert grand piano is about 30 tons, on an upright about 14.
Diagram #1
Operation of the Action
Essentially, when a piano key is pressed down, its tail pivots upward and lifts a lever that throws a hammer against the strings for that key's note. At the same time a damper is raised from these strings, allowing them to vibrate more freely. The following is a much more detailed description of how the action works; the numbers in parentheses refer to the accompanying diagram (Diagram #2 below) of the action of a grand piano.
The piano key (1) is a lever that pivots on a balance pin (2). When the player depresses the key, the tail rises and the capstan screw (3) in the key pushes up the whippen (4), which is hinged. The free end of the whippen rises, taking with it an L-shaped piece called the jack, or escapement lever (5), and the repetition lever (9).
The jack pushes the knuckle, or roller (6), a roll of felt that is fixed to the hammer shank (7); the hammer thus rises. The jack's upward motion is stopped when its protruding end hits the regulating button (8). The hammer flies up away from the jack and strikes the appropriate strings. The repetition lever (9) also rises, but only until the end where the jack passes through it and touches the drop screw (10); this lever stays raised until the key is released.
The hammer falls back, but only partway. It is stopped by the knuckle (6) hitting the raised repetition lever (9). The jack (5) can thus slip back under the partially raised hammer shank and into its original position. At the same time, the backcheck (11) keeps the hammer from rebounding against the strings.
If the key is partly released, the hammer moves free of the backcheck, and the repetition lever stays raised. If the player again depresses the partially released key, the jack (5) can once more push the knuckle (6) and hammer shank (7) upward. (This system allows rapid repetition of notes before the key and hammer have time to return to their original positions. It was an important improvement over early, simpler piano actions.)
Meanwhile, the tail of the key has also pushed up the damper lever (12), which lifts the damper (13) off the strings for that key. When the key is even partially released, the damper falls back onto the strings and silences the note.
When the key is fully released, all parts of the mechanism return to their original positions because of gravity. Unlike grand pianos, upright pianos cannot rely on gravity to cause everything to return to place. In a grand piano the action sits horizontally on the key; in an upright piano the action is adapted so that it sits more or less vertically. Because it cannot completely rely on gravity, it includes various springs and small strips of cloth to pull some of the action parts back into place.
Diagram #2
Ludwig Von Beethoven
Beethoven's Piano Concerto no. 4 in G Major, op. 58
An extraordinary pianist in his own right, 19th-century composer Ludwig van Beethoven wrote many piano concertos early in his career. Therefore, it is not surprising that many of his piano concertos were written to suit his own improvisational style. As this excerpt from the third movement (a rond? of his fourth concerto shows, Beethoven was structurally dependent on classical concerto form although he expanded on the established framework by intensifying the solo voice of the piano with expressive contrapuntal inventiveness and phrasing.
Sergey Rachmaninoff
Chopin's Nocturnes
As both a pianist and composer, Chopin composed almost exclusively for piano. The impressionistic and deeply introspective character of his style is evident in his ballads, preludes, and nocturnes. As a result, all of his works require a high level of technique and creative use of the pedals. Chopin’s Nocturnes, from which this excerpt is taken, reveal his most intimate harmonic explorations and are clearly influenced by the dramatic use of melody developed by Italian opera composer Vincenzo Bellini.
Johannes Brahms
Brahms' Piano Quintet in F Minor, op. 34
In 1862 Johannes Brahms originally composed the Piano Quintet in F Minor for a string quintet with two violoncellos. Later, he arranged it for two pianos, only to change his mind once again to combine stringed instruments with the pianoforte. The first movement opens with a rather restrained allegro in sonata form, from which the theme explodes in fuller glory. Throughout the quintet, the intricate relationships between themes and motifs are explored, bringing to surface an extraordinary balance between freedom and logic in the composition.
"Brahms: Quintet for Two Violins,Viola, Cello and Piano in F Minor,Op. 34" from Schumann, Brahms:Piano Quintets (Cat. # 8.550406)(p)1990 Naxos of America, Inc. Allrights reserved.
Bela Bartok
Bartok's Microcosmos
As a pianist and composer, Hungarian Bela Bartok contributed a great deal to 20th-century music. Though he composed music for orchestra, ballet, choir, opera, and chamber instruments, his works for piano were his most intensely expressive. Interested in exploring new sounds, he would treat the piano almost as a percussion instrument or attempt to imitate East European folk instruments such as the Serbian bagpipe. Interrupted melodies and dissonant intervals, another influence from East European folk music, also peppered his unique compositions.
Jazz:
Meade Lux Lewis
Boogie-Woogie Pianist Meade Lux Lewis
Early boogie-woogie pianist Meade “Lux” Lewis helped popularize a blues-based piano style in the 1930s. His biggest hit, “Honky Tonk Train Blues,” is one of the most vibrant examples of the idiom, featuring Lewis’ percussive right-hand melody contrasted with repeating left-hand syncopated rhythms. Boogie-woogie piano, made popular in southern honky tonks and later making its way to Chicago, was a precursor to popular jazz piano styles such as the “stride” and “trumpet-style” piano playing that became part of early New Orleans jazz.
Jazz Pianist Bill Evans
Contemporary jazz pianist Bill Evans was known for expanding the typical jazz trio—piano, bass, and drums—popular in the 1950s and 1960s. Typically, the piano serves as the lead melodic voice while the bassist and drummer set the rhythm. As a pianist and composer Evans exchanged those musical voices and worked for a creative interaction among all instrumentalists. His work emphasized feeling and attitude and served to develop a shared philosophy among modern-day jazz performers.
Early Evolution of the Piano
It is start in 1725, when the noted German organ maker Gottfried Silbermann of Freiberg adopted Cristofori's action, the next major developments took place in Germany. Perhaps the most important contribution was made by Johann Andreas Stein of Augsburg, who is credited with inventing an improved escapement that became the foundation of the “Viennese” piano praised by Wolfgang Amadeus Mozart and favored by most German composers of the late 18th and early 19th centuries. Twelve masters from central Germany migrated to London about 1760 and established the English school that, under John Broadwood and others, turned to the production of pianos of a stronger build, resembling those of our own day. The French manufacturer Sebastian Erard founded the French school in the 1790s, and in 1823 created the double action that is still in general use. By this time artisans in all Western nations were working to perfect the pianoforte. Numerous improvements were and are still being made in design and construction. Germany and the United States have long been distinguished for fine pianos, notably those of the German firm founded by Karl Bechstein and the American firms of Baldwin, Mason & Hamlin, Steinway, and Chickering. The pianos of the Austrian Bosendorfer firm are also highly respected.
The compass of the early piano was, like that of the harpsichord, only four, or at most, five octaves, but it has gradually increased to a compass of more than seven octaves as structural changes allowed for increases in tension amounting to several tons.
Modern Structure
The modern pianoforte has six major parts (in the following discussion, the numbers in parentheses refer to the accompanying diagram (Diagram #1 below) of the structure of a pianoforte): (1) The frame is usually made of iron. At the rear end is attached the string plate, into which the strings are fastened. In the front is the wrest plank, into which the tuning pins are set. Around these is wound the other end of the strings, and by turning these pins the tension of the strings is regulated. (2) The soundboard, a thin piece of fine-grained spruce placed under the strings, reinforces the tone by means of sympathetic vibration. (3) The strings, made of steel wire, increase in length and thickness from the treble to the bass. The higher pitches are each given two or three strings tuned alike. The lower ones are single strings made heavier by being overspun—that is, wound around with a coil of thin copper wire. (4) The action is the entire mechanism required for propelling the hammers against the strings (see Operation of the Action below). The most visible part of the action is the keyboard, a row of keys manipulated by the fingers. The keys corresponding to the natural tones are made of ivory or plastic; those corresponding to the chromatically altered tones, of ebony or plastic. (5) The pedals are levers pressed down by the feet. The damper, or loud pedal, raises all the dampers so that all the strings struck continue to vibrate even after the keys are released. The soft pedal either throws all the hammers nearer to the strings so that the striking distance is diminished by one-half, or shifts the hammers a little to one side so that only a single string instead of the two or three is struck. Some pianos have a third, or sustaining, pedal that does not raise all the dampers, but keeps raised only those already raised by the keys at the moment this pedal is applied. The use of these pedals can produce subtle changes in tone quality. Many upright pianos have been built in which the application of a pedal interposes a strip of felt between the hammers and strings so that only a very faint sound is produced. (6) According to the shape of the case, pianos are classified as grand, square, and upright. The square form (actually rectangular) is no longer built. For use in private homes it has been entirely superseded by the upright, which takes up far less room. Grand pianos are built in various sizes, from the full concert grand, 2.69 m (8 ft 10 in) long, to the parlor or baby grand, less than 1.8 m (6 ft) long.
Upright pianos include the late 19th-century cottage piano, of which the upright grand is merely a larger form. The modern spinet and console pianos are small uprights related to the cottage piano. In the upright pianos the strings run vertically, or diagonally, from the top to the bottom of the instrument. Uprights and small grands are sometimes overstrung; that is, the bass strings are stretched diagonally across the shorter treble strings, thereby gaining extra length and improved tone quality. The combined tension of the strings on a concert grand piano is about 30 tons, on an upright about 14.
Diagram #1
Operation of the Action
Essentially, when a piano key is pressed down, its tail pivots upward and lifts a lever that throws a hammer against the strings for that key's note. At the same time a damper is raised from these strings, allowing them to vibrate more freely. The following is a much more detailed description of how the action works; the numbers in parentheses refer to the accompanying diagram (Diagram #2 below) of the action of a grand piano.
The piano key (1) is a lever that pivots on a balance pin (2). When the player depresses the key, the tail rises and the capstan screw (3) in the key pushes up the whippen (4), which is hinged. The free end of the whippen rises, taking with it an L-shaped piece called the jack, or escapement lever (5), and the repetition lever (9).
The jack pushes the knuckle, or roller (6), a roll of felt that is fixed to the hammer shank (7); the hammer thus rises. The jack's upward motion is stopped when its protruding end hits the regulating button (8). The hammer flies up away from the jack and strikes the appropriate strings. The repetition lever (9) also rises, but only until the end where the jack passes through it and touches the drop screw (10); this lever stays raised until the key is released.
The hammer falls back, but only partway. It is stopped by the knuckle (6) hitting the raised repetition lever (9). The jack (5) can thus slip back under the partially raised hammer shank and into its original position. At the same time, the backcheck (11) keeps the hammer from rebounding against the strings.
If the key is partly released, the hammer moves free of the backcheck, and the repetition lever stays raised. If the player again depresses the partially released key, the jack (5) can once more push the knuckle (6) and hammer shank (7) upward. (This system allows rapid repetition of notes before the key and hammer have time to return to their original positions. It was an important improvement over early, simpler piano actions.)
Meanwhile, the tail of the key has also pushed up the damper lever (12), which lifts the damper (13) off the strings for that key. When the key is even partially released, the damper falls back onto the strings and silences the note.
When the key is fully released, all parts of the mechanism return to their original positions because of gravity. Unlike grand pianos, upright pianos cannot rely on gravity to cause everything to return to place. In a grand piano the action sits horizontally on the key; in an upright piano the action is adapted so that it sits more or less vertically. Because it cannot completely rely on gravity, it includes various springs and small strips of cloth to pull some of the action parts back into place.
Diagram #2
Ludwig Von Beethoven
Beethoven's Piano Concerto no. 4 in G Major, op. 58
An extraordinary pianist in his own right, 19th-century composer Ludwig van Beethoven wrote many piano concertos early in his career. Therefore, it is not surprising that many of his piano concertos were written to suit his own improvisational style. As this excerpt from the third movement (a rond? of his fourth concerto shows, Beethoven was structurally dependent on classical concerto form although he expanded on the established framework by intensifying the solo voice of the piano with expressive contrapuntal inventiveness and phrasing.
Sergey Rachmaninoff
Chopin's Nocturnes
As both a pianist and composer, Chopin composed almost exclusively for piano. The impressionistic and deeply introspective character of his style is evident in his ballads, preludes, and nocturnes. As a result, all of his works require a high level of technique and creative use of the pedals. Chopin’s Nocturnes, from which this excerpt is taken, reveal his most intimate harmonic explorations and are clearly influenced by the dramatic use of melody developed by Italian opera composer Vincenzo Bellini.
Johannes Brahms
Brahms' Piano Quintet in F Minor, op. 34
In 1862 Johannes Brahms originally composed the Piano Quintet in F Minor for a string quintet with two violoncellos. Later, he arranged it for two pianos, only to change his mind once again to combine stringed instruments with the pianoforte. The first movement opens with a rather restrained allegro in sonata form, from which the theme explodes in fuller glory. Throughout the quintet, the intricate relationships between themes and motifs are explored, bringing to surface an extraordinary balance between freedom and logic in the composition.
"Brahms: Quintet for Two Violins,Viola, Cello and Piano in F Minor,Op. 34" from Schumann, Brahms:Piano Quintets (Cat. # 8.550406)(p)1990 Naxos of America, Inc. Allrights reserved.
Bela Bartok
Bartok's Microcosmos
As a pianist and composer, Hungarian Bela Bartok contributed a great deal to 20th-century music. Though he composed music for orchestra, ballet, choir, opera, and chamber instruments, his works for piano were his most intensely expressive. Interested in exploring new sounds, he would treat the piano almost as a percussion instrument or attempt to imitate East European folk instruments such as the Serbian bagpipe. Interrupted melodies and dissonant intervals, another influence from East European folk music, also peppered his unique compositions.
Jazz:
Meade Lux Lewis
Boogie-Woogie Pianist Meade Lux Lewis
Early boogie-woogie pianist Meade “Lux” Lewis helped popularize a blues-based piano style in the 1930s. His biggest hit, “Honky Tonk Train Blues,” is one of the most vibrant examples of the idiom, featuring Lewis’ percussive right-hand melody contrasted with repeating left-hand syncopated rhythms. Boogie-woogie piano, made popular in southern honky tonks and later making its way to Chicago, was a precursor to popular jazz piano styles such as the “stride” and “trumpet-style” piano playing that became part of early New Orleans jazz.
Jazz Pianist Bill Evans
Contemporary jazz pianist Bill Evans was known for expanding the typical jazz trio—piano, bass, and drums—popular in the 1950s and 1960s. Typically, the piano serves as the lead melodic voice while the bassist and drummer set the rhythm. As a pianist and composer Evans exchanged those musical voices and worked for a creative interaction among all instrumentalists. His work emphasized feeling and attitude and served to develop a shared philosophy among modern-day jazz performers.
Monday, November 23, 2009
吸血鬼骑士-Vampire Knight ~Guilty~ OP -Rondo- by On/Off
Vampire Knight ~Guilty~ OP -Rondo- by On/Off
http://www.youtube.com/watch?v=riAzCTJCwss&feature=PlayList&p=6CA8415D0DC9D3BC&playnext=1&playnext_from=PL&index=9
Duration:
1. the tempo is very fast and then getting lower.
2. the time signature is 6/8 and then change to 4/4.
3. the time signature is compound.
4. the time signature is changed.
5. there is the rhythmic repetition, EG from 00:00-00:36 are the same as 01:40-01:56.
6. the rhythm is syncopated, the melody and the accompaniment are both in the beginning very fast and the getting lower.
7. there has 7 different rhythmic layers. Piano, dram, violin, cymbals, guitar.
8. there has comiuous rhythmic ostinatos- ling ling ling ling bang~~
Pitch:
1. the tonality is major.
2. the melody is Disjunct(leaps)
3. the accompaniment is conjunct(stepwise)
4. they use diatonic harmonic.
5. the rate of hatmonic change is 6 per bar and 4per bar.
6. thr range of the melody is getting soft and lower.
7. there has melodic repetition, from 00:00-00:16 they repeat a lot.8. there has sequences.
8. there are not have counter melodies.
Texture:
1. there has 7 layers of sound.
2. the role of each layer are accompaniment.
3. the texture is homophonic- melody and accompaniment.
4. the texture is dense.
5. the texture remain the same through out. beacuse its the same as before .
Tone Colour:
1. Identufy the voices playing.
2. The sound is use Piano, dram, violin, cymbals, guitar.
3. the sound is rich.
4.it is vary, they vary time signature a lot sometimes is 3/4 sometimes is 4/4.
Dynamic and Expressive Techniques:
1. it is loud in the beginnig is very louder after getting soft.
Structure:
1. . The song has two similar parts with the following inner parts - intro, verse, bridge, chorus. Then the song continues with insturmental break. chorus solo, chorus with group, intro and piano coda
2. it's ABAB~
http://www.youtube.com/watch?v=riAzCTJCwss&feature=PlayList&p=6CA8415D0DC9D3BC&playnext=1&playnext_from=PL&index=9
Duration:
1. the tempo is very fast and then getting lower.
2. the time signature is 6/8 and then change to 4/4.
3. the time signature is compound.
4. the time signature is changed.
5. there is the rhythmic repetition, EG from 00:00-00:36 are the same as 01:40-01:56.
6. the rhythm is syncopated, the melody and the accompaniment are both in the beginning very fast and the getting lower.
7. there has 7 different rhythmic layers. Piano, dram, violin, cymbals, guitar.
8. there has comiuous rhythmic ostinatos- ling ling ling ling bang~~
Pitch:
1. the tonality is major.
2. the melody is Disjunct(leaps)
3. the accompaniment is conjunct(stepwise)
4. they use diatonic harmonic.
5. the rate of hatmonic change is 6 per bar and 4per bar.
6. thr range of the melody is getting soft and lower.
7. there has melodic repetition, from 00:00-00:16 they repeat a lot.8. there has sequences.
8. there are not have counter melodies.
Texture:
1. there has 7 layers of sound.
2. the role of each layer are accompaniment.
3. the texture is homophonic- melody and accompaniment.
4. the texture is dense.
5. the texture remain the same through out. beacuse its the same as before .
Tone Colour:
1. Identufy the voices playing.
2. The sound is use Piano, dram, violin, cymbals, guitar.
3. the sound is rich.
4.it is vary, they vary time signature a lot sometimes is 3/4 sometimes is 4/4.
Dynamic and Expressive Techniques:
1. it is loud in the beginnig is very louder after getting soft.
Structure:
1. . The song has two similar parts with the following inner parts - intro, verse, bridge, chorus. Then the song continues with insturmental break. chorus solo, chorus with group, intro and piano coda
2. it's ABAB~
Wednesday, November 18, 2009
Ivan Staykov - Fly Me To The Moon
Ivan Staykov - Fly Me To The Moon
http://www.youtube.com/watch?v=6ZH0ItD5Kn8&feature=related
Duration:
1. the tempo is medium fast.
2. the time signature is 4/4.
3. the time signature is simple.
4. the time signature does not change.
5. there have the rhythemic repetition, from the 00:13-00:36 and from 00:36-00:52 are the same repeat.
6. the rhythm is syncopated, and the melody and accompaniment are both medium fast.
7. there has different rhythmic layers, and there has 2 layers.
8. there has comtinuous rhythmic ostunatos-dang dang lang dang~~
Pitch:
1. the tonality is major.
2. the nelody is disjunct(leaps).
3. tompaniment is conjunct(stepwise) walking bass.
4. the range of the melody is getting loud and sometimes getting lower.
Texture:
1. There are 2 layers of the sound.
2. the accompaniment is the role of each of layer.
3. the texture is monophonic- one solo instrument only.
4. the texture is full.
5. the texture does not remain the same through out because there has the role of improvisation.
Tone Colour:
1. identify the instrument playing.
2. the sound only use the piano.
3. the sound make the listener feel is very romantic.
4. the sound vary sometimes, sometimes soft sometimes strong and sometimes very fast sometimes very slow.
5. they are using the role of improvisation to alter the tone quality.
Dynamic and Expressive Techniques:
1. it is soft in the beginning is very soft and then getting louder.
Structure:
1. there has 4 different sectitions.
2. What happens in each section- refer to other concepts
3. Use diagrams to show the structure. Clearly label each section and give details to why it is a new section.
4. it is instrment- A-B-A-C-verse-chrous-coda
http://www.youtube.com/watch?v=6ZH0ItD5Kn8&feature=related
Duration:
1. the tempo is medium fast.
2. the time signature is 4/4.
3. the time signature is simple.
4. the time signature does not change.
5. there have the rhythemic repetition, from the 00:13-00:36 and from 00:36-00:52 are the same repeat.
6. the rhythm is syncopated, and the melody and accompaniment are both medium fast.
7. there has different rhythmic layers, and there has 2 layers.
8. there has comtinuous rhythmic ostunatos-dang dang lang dang~~
Pitch:
1. the tonality is major.
2. the nelody is disjunct(leaps).
3. tompaniment is conjunct(stepwise) walking bass.
4. the range of the melody is getting loud and sometimes getting lower.
Texture:
1. There are 2 layers of the sound.
2. the accompaniment is the role of each of layer.
3. the texture is monophonic- one solo instrument only.
4. the texture is full.
5. the texture does not remain the same through out because there has the role of improvisation.
Tone Colour:
1. identify the instrument playing.
2. the sound only use the piano.
3. the sound make the listener feel is very romantic.
4. the sound vary sometimes, sometimes soft sometimes strong and sometimes very fast sometimes very slow.
5. they are using the role of improvisation to alter the tone quality.
Dynamic and Expressive Techniques:
1. it is soft in the beginning is very soft and then getting louder.
Structure:
1. there has 4 different sectitions.
2. What happens in each section- refer to other concepts
3. Use diagrams to show the structure. Clearly label each section and give details to why it is a new section.
4. it is instrment- A-B-A-C-verse-chrous-coda
Liszt Liebestraum
Liszt Liebestraum 00:00-01:30
http://www.youtube.com/watch?v=y6hdDOFtW64
Duration:
1. In the beginning is getting fast and the left hand is fast the right hand is slow.
2. In the beginning time signature is 4/4 and then change to 6/8.
3. The time signature is compound.
4. The time signature is change.
5. There is rhythmic repetition, For example 00:00-00:17 is the repetition is the same as 00:17-00:34
6. the thythm is syncopated , and the melody and the accompaniment is very fast.
7. There have the different rhythmic layer , the left hand and right hand they are the rhythmic are different the left hand is slow and the right hand is fast.
8. There have continuous rhythmic ostinatos-dang dang dang dang~~~
Pitch:
1. The tonatlity is Major.
2. The melody is Disjunct (leaps)
3. The accompaniment is Conjunct (stepwise).
4. We use diatonic harmony.
6. The range of the melody is getting fast and loud in the middle section.
7. There have melodic repetition , in the beginning they repeat a lot.
Texture:
1. There has 3 layers of the sound.
2. The role of each layer is Melody and accompaniment.
3. The texture is Monophonic - one solo instrument only.
4. The texture is sparse.
5. The texture does not remain the same through out, .
Tone Colour:
1. Identify the instrument playing.
2. The sound only use the piano
3. The sound is make the listener comfortable and relax the getting stronger.
4. the sound vary sometimes, sometimes is very soft but sometimes very strong too.
Dynamic and Expressive Techniques:
1. It is loud, In the beginning is soft and then getting loud very loud and then lower .
Structure:
1. 3 different sectitions
2. it's ABACD
http://www.youtube.com/watch?v=y6hdDOFtW64
Duration:
1. In the beginning is getting fast and the left hand is fast the right hand is slow.
2. In the beginning time signature is 4/4 and then change to 6/8.
3. The time signature is compound.
4. The time signature is change.
5. There is rhythmic repetition, For example 00:00-00:17 is the repetition is the same as 00:17-00:34
6. the thythm is syncopated , and the melody and the accompaniment is very fast.
7. There have the different rhythmic layer , the left hand and right hand they are the rhythmic are different the left hand is slow and the right hand is fast.
8. There have continuous rhythmic ostinatos-dang dang dang dang~~~
Pitch:
1. The tonatlity is Major.
2. The melody is Disjunct (leaps)
3. The accompaniment is Conjunct (stepwise).
4. We use diatonic harmony.
6. The range of the melody is getting fast and loud in the middle section.
7. There have melodic repetition , in the beginning they repeat a lot.
Texture:
1. There has 3 layers of the sound.
2. The role of each layer is Melody and accompaniment.
3. The texture is Monophonic - one solo instrument only.
4. The texture is sparse.
5. The texture does not remain the same through out, .
Tone Colour:
1. Identify the instrument playing.
2. The sound only use the piano
3. The sound is make the listener comfortable and relax the getting stronger.
4. the sound vary sometimes, sometimes is very soft but sometimes very strong too.
Dynamic and Expressive Techniques:
1. It is loud, In the beginning is soft and then getting loud very loud and then lower .
Structure:
1. 3 different sectitions
2. it's ABACD
Sunday, November 1, 2009
Wednesday, October 21, 2009
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