What piece makes you feel like an inferior untermensch the most? Which performer does?
Christian Garcia
Beethoven's late sonatas and string quartet, Haydin late sonatas and almost everything by Bach, especially WTC and AoF.
These are the works that make me feel like a complete retard every time I listen to them. Pure genius,
Jason Lewis
3 > 5 > 9 > 7
Gabriel White
9=7>8>5>3>6
Noah Scott
How should I approach getting into classical? It's all I really listen to now and all I do is thumb up and down songs on Spotify's classical radio.
Jackson Kelly
Liszt's sonata.
Gabriel Brown
Well if you're listening to Classical then you're already in to classical. All I can say is try to find more pieces from composers you like.
Lincoln Foster
>if you don't enjoy a piece it's likely 2deep4u at the moment, relisten it a couple of times (not too much, of course, you don't want to get sick of it) >if that doesn't work, find a different recording and try again >read about the forms and periods
>all I do is thumb up and down songs on Spotify's classical radio. This sounds like a horrible idea.
Jose Reed
but they were his late sonatas, he wrote a lot before them
Jordan Johnson
Are the performers on the general folder good?
Brody Anderson
I listen exclusively to classical music for some years now, and I really enjoy it and can't find any satisfaction in popular music anymore, I must admit. And of course classical music is much better. But something died with my enjoyment of popular music, some innocence is gone now, it's like I had to trade something to get into classical.
Christian Myers
Why is it a horrible idea? I really only thumb down movie tracks, and even then I rarely even bother. I mainly just like the things I like and spotimeme says it will improve the station to show me more things I like.
Kayden Williams
In my opinion classical is the most genuine format of music. People don't make classical to make money really, they make it cause they love it. Most popular music just isn't like that anymore.
Isaiah Watson
With most composer I always have the impression that I can catch on them, but not with Beethoven. Whenever I listen to his 32th sonata I always think that I could never come up with such excellence and art.
Asher Anderson
>listen to the diabelli variations once >immediatly understand that I'm not one of those gifted human beings
I feel you
Ethan Roberts
that's why he's so famous I guess. But I think Beethoven developed his piano sonatas by improvising and adding parts to it over a long time before starting to write it down, so he couldn't forsee the outcoming either. It's something that grows slowly. It's the fault of many composers to write things on paper to early, because they don't trust their memory. Beethoven adressed this point numerous times.
Jose Sanchez
>Beethoven adressed this point numerous times. Sounds interesting, anywhere I can read more of this?
Nolan Jenkins
>8 Shit taste.
Nicholas Wood
I don't know the source, but I read once how he developed ideas while improvising and then mostly turned them over in his mind for months until they became useful often in a whole different context than he thaught at first. He said that he has complete trust in his memory in this point. When I started composing I always struggled because I wrote stuff down too early, making composing no fun. I had to force myself really hard to trust my memory, in the end it turned out that I didn't forget anything that was good, even when I came back to it weaks later. Now I write pieces down when they are completely done, which makes composing much more fun.
Colton Hill
Is there any passage of classical music as eerie as this? (Starts at 3:37)
It's even more eerie considering the context, Messiaen wrote this in a fucking concentration camp
Elijah Diaz
Messiaen remains the only composer I've so far encountered who I just can't "get".
Isaac Garcia
is that matt damon
Jace Russell
>>
Beethoven took note of every single one of his musical ideas, and his late compositions are anything but improvisational.
Notice also that at this point he was stone deaf and apparently he had lost his virtuoso technique (he had no control anymore over the dynamics), and he composed almost none of his late music on piano.
His late compositions are actually extremely carefully planned (you have literally hundred of pages with unused musical ideas for his Sonata 31), and the musicality was tested by Czerny, who proofreaded all of his material.
Almost nothing is improvised, and everything is structural.
Xavier Gomez
the outcoming isn't improvisional, but the process is. When he became deaf he improvised in his mind until it came out to his satisfaction. That's why every single note is completely in his personal stile. It was Beethoven who brought this approach to composition to perfection, Mozart and his contemporaries had a completely different apprpoach.
How do you guys compose? I can make music in front of the piano or in my head, but when I have to write it I'm uncapable of accurately writing the rhythm correctly, i always end up with a more robotic version of what I have in mind.
Cooper Jones
My musical progression went from hip-hop to hip-hop instrumentals to trip-hop, jazz, and now classical. Nothing beats getting super high and listening to this guy.
Hunter Lewis
>dedicating a thread to Mauluh
Aiden Flores
videogame music/10
Nicholas Walker
Dance of the Knights has a kind of military-ish part.
Owen Walker
Wait, you regard Messaien as more intractable than Schoenberg or Webern? Hell, fucking Stockhausen?
Asher Adams
All canons sound like videogame music
Hunter Campbell
I love Schoenberg and Webern. And I can generally understand what Stockhausen is going for when I listen to his music, even if I don't make a habit of listening to it especially often. But Messiaen just confuses me for some reason.
Andrew Reed
this. to be fair i only listened to his organ works and every single one is godawful
Jaxon Watson
Was Igor Stravinsky the linkin park of his time?
Lincoln Ross
No, that was Schoenberg, Stravinsky was the Aqua of his time
Christopher Jenkins
Just think of a Vaporwave dystopia where you're plugged into meditative VR with birds chirping and a babling brook but somehow it all just feels artificial and incomplete. Works for me.
Brayden Garcia
sounds like shit
Blake Rodriguez
also nice meme bro ;)
Cameron Clark
Jazz is the true successor to romanticism.
Anthony Campbell
jazz is the true successor to Negermusik
Noah Johnson
Negermusik beats judenmusik any day.
Ayden Long
All of the day bro ;)
Angel Barnes
Make a Xenakis chart you lazy fucking dickhead
Adrian Harris
>implying cal knows anything apart from shitposting
Michael Gomez
You have to blow either Caccini, Monteverdi, or Gabrieli; who do you choose?
Christian Clark
Messiaen has always felt much more accessible to me than Webern et al. For some reason I find it easy to visualize the harmonies as colors with him.
Tyler Phillips
written notes are always gonna be more artificial than the rhythms you have in mind just because eighth and quarter notes can't account for musicianship. Unless you're actually just transcribing the rhythms wrong, in which case practicing transcription is your only way out
Brandon Baker
And your (you) just bumped this general to the top of the page
Jeremiah Robinson
Movement 1 is the bombing Movement 2 there's no more Dresden
Elijah Garcia
who who and who?
Jack King
depends. Sometimes start with melody in the head, sometimes improvise something, sometimes carefully construct a melody or chord progression from scratch either at keyboard or into a DAW. Recording whistling or singing, then playing along with a MIDI controller (while recording into a DAW) as closely as possible gives nice organic results. And thats just for melodies.
Doesn't seem like it has been recorded, though. I'm kind of curious now.
Christian Nguyen
I don't find that particular passage quite eerie. It's more beguiling and mystic. I think the meme around the Quartet with the concentration camp and all has been taken too far. Just think about love and Jesus, that'll get you through most of Messiaen.
Christopher Nguyen
Firstly, I think you can hold off on some of your materials. Plan where the canon actually starts. By immediately having the repetitions occur there's no real room for future development (Assuming you would like it to be a longer form or develop it forward. You could also consider making the Canon more obviously a canon by looking at other canons, rounds and fugal pieces. Fugues, in particular, are interesting because the canon is always present but also constantly presenting new material in the form of new themes or call-response activity. In general, think about how the material can interact with itself and how you can manipulate the harmony within the melodic progression.
A good way to try and deal with that is stacking where your repeat happens under your prime melody (You can just add another piano to your score, or some other instrument)...Figure out what harmonies are going to happen underneath it all and figure out how that is functioning with the canon and its thematic material.
Keep it up, canons, rounds, and especially fugues are difficult forms to work with if you want them done well. My biggest peeve atm is just that it doesn't quite sound like a Canon. I see the ideas and it's there, but I'm sure if you consider what makes your work a canon and compare it to some other ones, you'll be able to better refine your form. Keep it up
(Consider working with more chromatic harmonies and progressions, as well as more complex rhythmic structure, think 3:2 or more syncopation; It all feels a bit too squarish. Though that might just be taste.)
Ethan Thomas
Best Mahler symphonies in order
Das Lied Von der Erde, 5, 2, 10, 9, 1, 6, 7, 3, 8, 4
Dieskau's singing in Der Abschied is heavenly
Henry Hall
>5 that high >4 and 8 that low no
Grayson Walker
5 is the most engaging of all the symphonies from start to finish. The last movement of 8 is far too long. The first movement and the last 10 minutes of the second are great, everything in between is kinda eh. I just don't care for 4.
Austin Barnes
only good movements of the 5th are the first and last ones
Ethan Walker
Holy shit what? The scherzo is the best scherzo Mahler wrote in any of his symphonies, and the adagietto is the most gorgeous movement of any piece ever.
Eli Miller
>can't into the 2nd movement philistines
Christopher Gonzalez
>concerto for cymbal crash
Josiah Thomas
i suppose using articulations to get a better feel representation of what you want. Straight quarter/eight notes are alwasy gonna seem robotic if you dont add tenutos or accents or staccatos etc
Justin Miller
I'd suggest learning about orchestration. You clearly dont know what you're talking about.
Connor Edwards
>serious replies and critiques of this cannon
its the goddamn lazy town song with some piano embellishment you uncultured fucks
Dunno if there's any one best cycle, honestly. I might say Kubelik on DG if most of it wasn't in piss-poor sound. It's still the most appropriately mannered cycle, though. Not to mention that he uses superior orchestral seating with antiphonal violins, which is extremely important in Mahler (thanks for fucking it, Stokowski)
I guess I'll go with Gielen for best overall cycle even if he's a bit too slow in some bits.
Ayden Baker
The first movement of the 5th symphony is why everyone here thinks he's a yid hack tho
