they're playing a vivaldi cello sonata before they start playing thunderstruck, check out some of the fast movements he wrote
Connor Collins
That wasn't a serious post dummy
Parker Sullivan
guy who made this postthanks for the rec it was actually a serious post and my favorite composers are philip glass and mozart if i could have more reccs thx you
Grayson Parker
This guy isn't me btw
Juan Bell
*abruptly modulates to the tonic (B diminished)*
Michael Carter
Show me ONE Glass piece that does this
Daniel Watson
Don't be silly user. I don't know the names of any Glass pieces.
Aiden Richardson
If the harpsichord is so great how come no-one has transcribed Chopin for the instrument?
Jayden Cooper
>how come no-one has transcribed Chopin for the instrument?
Chopin relies on the timbre of the piano and lots of sustain pedal to sound good rather than the actual music. Its the opposite to Bach where he relies purely on the music with his keyboard works.
Andrew Harris
So what you're saying is that if Bach was alive when the grand piano was invented he would have wrote 10x greater music
Why is pic related the case? Is it because in the 20th century, the border between high art and popular works were successfully broken (whether you're talking about the Warhol-types in the art world, or the legacy and works of the jazz greats, and some of the rock people for music)? Is it the idea that popular works can be created that provide just as much insight into the human condition as much as so-called "high art"?
I was reading that old Stockhausen interview where he talks about modern electronic producers like Aphex Twin, and Stockhausen really seems to detest any form of repetition, for example. Stockhausen dismisses it as "post-African". There just feels like there's a strong disconnect in terms of values and ways of thinking here, even though the lineage of electronic/pop influences from Stockhausen to Aphex really does exist. What's this old high-art ideal, and where did it go? Is it really valid that it went away? Did it even go away? Does it really make sense to talk about Stockhausen and Aphex in the same sentence? (though this is /classical/ so I figure the answer in this thread would be a dismissive "no")
is it viable to learn jazz piano by yourself? asking here since the rest of the board probabbly never touched a piano I can already play some basic piano pieces and know the basics about theory
The difference is that high artists consider themselves to be conscious self-portraitists of the world they live in whereas low art is more of a subconscious reflection of the world they live in. Arvo Part was once told that Radiohead admired his music and he said something like "They are innocent children!"
Whether you agree with their attitude or not, I think that pretty much sums it up.
Luke Rodriguez
>high artists consider themselves to be conscious self-portraitists of the world they live in whereas low art is more of a subconscious reflection of the world they live in
What do you mean by that?
(also speaking of Radiohead, Johnny Greenwood seemed to get along with Penderecki, so there's that)
Lucas Scott
I guess it's a Freudian attitude that popular musician are like avatars of a sort of collective consciousness. They rise and fall sort of on accident according to the macro-trends of culture and so on. High artists on the other hand, feel as though they are apart from that process, that they critically examine the world and the art they produce is like, an exact quotation from some aspect of the collective consciousness.
Ethan Nelson
I guess how the notion of club-based music would not appeal to people who think that way.
But then again, "club" music ≠ mass consumption fodder. I imagine Squarepusher really did weird out his fans when he released Music Is Rotted One Note. And these days you can find niche audiences for anything, including noise, so maybe this line of thinking about the audience doesn't quite fit today's internet world of niches.
Brayden Morgan
Bach was alive when the piano was invented
Noah Barnes
>High artists on the other hand, feel as though they are apart from that process, that they critically examine the world and the art they produce is like, an exact quotation from some aspect of the collective consciousness. You think that has in part to do with critics? Popular music critiques tend to be "did I enjoy something", which is a pretty disappointing way to approach art, and different from high art critique, which seems more to focus on if some work of art were successful at its aims.
Oliver Jackson
This has been true for most periods of classical music. Composers always want to incorporate everything around them into their music.
Blake Johnson
My mom thought that classical will make me smart. I ended up enjoying nothing but classical. How do I move to other genres?
Matthew Jenkins
by listening to classical arrangements of pop until you transition
>Nobody has suffered more than Mozart from sentimental misjudgment. The 19th century dealt with the glory of his composure by calling him 'mellifluous', as if he were really just the Fragonard of music. To the nineteenth century - which prized the evidence of effort - he was not wholly serious: charming, of course, but a little lightweight; graceful beyond measure, but lacking in muscle. The truth, of course, is entirely other. Try cutting into Mozart; you will soon find out where the muscle is. It runs right through the tissue of the music, and totally resists the knife.
Underraters BTFO
Joseph Evans
It's not the case desu. I don't know how's the situation in America but at a contemporary classical festival and numerous other concerts and recordings with contemporary works I haven't heard a single piece that sounds like that. At most some have jazz elements or jazzy passages.
>This is etude No. 13 which is an obvious symbol, but every bar is divided into three sections (notated with dashed bar lines). Each of these sections is six beats. So every full bar has 666 embedded into it. Some fun numerical references going on.
Sebastian Thompson
Mozart's Sonata for two piano in D major performed by Perahia and Lupu
Fucking this. One of the best things I've ever fucking heard. It's just so spot on and the euphoric climax...
Owen Mitchell
How does one get started with roman numeral analysis? Especially focusing on /classical/? Any good books out there on it?
Liam Richardson
>listening to "modern" classical, bartok, stravinsky >literally sounds how I play when I feel directionless So this is where classical died
Eli Campbell
>coldplay stick with classical you guys
Anthony Brown
No, I'm saying Bach's music was infinitely many times better than Chopin's because it stands on its own without the aid of an interpeter and is mathematically perfect.
James Powell
>hurr durr musicisn't good unless every retard knows what's going to happen
Samuel Bennett
Greenwood seems to have a better harmonic ear than Part if you listen to some of his soundtrack work.
Ian Bailey
>how can I listen to other genres >start with the worst one
youtu.be/yfJVpjI3wJM?t=1h1m This duo of Sviatoslav Richter and a pianist whose apearance has fled my memory. Maybe an user can help me.
The smiles on their face make them look so happy and content. Wish i was there.
Dominic Sullivan
at 1:01:00 btw
Easton Carter
genres that are classical influencd like jazz and prog rock
Mason Garcia
Hey quick question, Prokofiev's Violin Concerto is Neoclassical not Modern Classical.
Logan White
How can I tell the difference (learn to hear) from a normal chord progression to a modulation? I'm asking this mainly thinking on Scarlatti sonatas.
Brody Anderson
I've often wondered the same.
Josiah Young
you cannot really quantize that experience, but a few thoughts: modulation often happens when chords emerge that aren't part of the normal cadenza. so knowing how a cadenza sounds can help finding modulations. it can still be an 'ausweichung' though (dont know the english term), which means that the change of key is only temporal. from a psychological view: a modulation is supposed to create a shift of mood or a different lighting or level. so when I studied partituras of pieces I knew before I was able to detect modulations by ear, I noticed that modulations always happened when I subjectively had the feeling that the music gravitated somewhere else, like my ears lost track and suddenly the music sounded completely different.
all that applies to classical music only, I have a hard time detecting modulations in polyphonic music
Prog rock is pretty good and it is complex enough in structure to compare with some kinds of classical music. Interpol comes to mind
>protip: learn to enjoy and appreciate the evolution of music over time by taking interest in each period of music until you reach the present day. iktf, user, I was a turbo autist in middle school well into adulthood who would listen to nothing but Beethoven and Wagner in the corner during lunch.
Tyler Rogers
>Prog rock is pretty good how can you say a complete genre is good or bad? any genre can be both
Jose Martin
no, polka can't be good for instance
Aiden Turner
How should i go about learning music theory? Very basic understanding atm
Ethan Rodriguez
:(
Christian Perry
I hate how the numerals are all upper case and don’t indicate minor chords.
Ryder Nelson
Since you're talking about Scarlatti I would say the most obvious starting point is to be aware of every time you hear an accidental. There are some non-modulatory chromaticisms in the Classical and Baroque periods but many of them are functional. So listen for that, then when you find a passage you are sure of is a modulation and just a temporary tonicisation , listen to it a few times and see if you can detect where the tonal ambiguity takes place. Often you can hear the modulation before the chromatic note, but by the time you've heard it you can be pretty sure the modulation is either finished or in full swing. Just listen to it a lot, see if your ear can "get it" then find another one and do it again.
Nolan Mitchell
The Complete Idiot's Guide to Music Theory
Eli Moore
>a modulation and just a temporary tonicisation NOT just a temporary tonicisation**
Grayson Thompson
Popular culture and music has far greater prestige now than it ever did in the past. Those different types of music were perfect for postmodernists to use. youtube.com/watch?v=h65aDay1znc
Hunter Cruz
I would recommend Peter Schubert's textbook on Baroque music in conjunction with a more general textbook like Tonal Harmony by Kostka and Payne to help you with any terms Schubert expected you to already know. I would poke around in Tonal Harmony but definitely prioritize Schubert's book as it is very "active" and personable compared to most music theory textbooks, which can feel often very dry.
>tfw professor can introduce me to head of comp faculty at Yale for grad school
shit lads, i hope i can actually make it
Daniel Robinson
Tell him Carter and Cage were hacks. If he disagrees, tell him you had already suspected Yale was beneath you anyway.
Grayson Edwards
>you will always be am*rican
Adrian Carter
See if he knows who Petzold is and if he doesn't say his department isn't worth entering.
Jeremiah Bailey
Just downloaded the 99-disc complete piano works of Liszt what should I expect?
Jose Stewart
>John Adams is a postmodernist composer
Jonathan Bailey
top lel
i'll keep that in mind when i talk to him guys, thanks for the feedback
Jacob Jones
>no, polka can't be good of course it can, dumbass
Kayden Miller
>you hear an accidental I guess user's question was how you do that.
Andrew Mitchell
Everyone can hear accidentals. See:
Henry Robinson
I'm not gonna watch an 1h video on that and I'm pretty sure that not everybody can hear accidentals and certainly not in every music or situation. I'd like to test you if you can hear every accidental in any development section of a sonata or in a bach fugue
John Cruz
just read the score with the music, then you will see them and eventually you will train your ear to hear them
John Martin
The guy was asking about Scarlatti so I tailored my response to match that. Don't know why you're acting aggressive, maybe you should go to sleep.
Gabriel Nguyen
even if you read along and train your ears u will never hear every accidental in any situation except you're the new Mozart. I'm quite good at this myself but I'm not pretentious
Liam Collins
i havent seen the whole lecture, but honestly i do not know that having an "ear for accidentals" even matters because the entire idea of an accidental is to utilize a different pitch from the c major scale. it's totally irrelevant because if one were to, say, retune a harpsichord so that written C sounds concert D, then the accidentals are totally different and sound differently.
and what about transposing instruments? am I to say that a written B natural on a horn is not an accidental? or that a written Bb on a clarinet is not an accidental either?
if this lecture is about hearing differences in tonality, then fucking everyone can do that. could someone tell me this isn't what this lecture is trying to prove? it seems so useless.
Chase Rogers
there's a difference between accidentals and key signature m8
Luke Rivera
What can you tell me about him? Is his conducting good? What composers he does his best? Are his personnal works any good?
