>General Folder #1. Renaissance up to 20th century/modern classical. Also contains a folder of live recordings/recitals by some outstanding performers.
mega.co.nz
>General Folder #2. is kill. rip Papillons
>General Folder #3. Mostly 20th century/modern with other assorted bits and pieces
mega.co.nz
>General Folder #4. Renaissance up to early/mid-20th century. Also contains a folder of Scarlatti sonate and another live recording/recital folder.
mega.co.nz
>General Folder #5. Renaissance up to late 19th century
mega.co.nz
>General Folder #6. Very eclectic mix
mega.co.nz
>General Folder #7. kill
>General Folder #8. The user who made this loves the yellow piss of DG on his face. Also there's some other stuff in here.
mega.nz
>Renaissance Folder #1. Mass settings
mega.co.nz
>Renaissance Folder #2. Motets and madrigals (plus Leiden choirbooks)
mega.co.nz
>Debussy. There is an accompanying chart, available on request.
mega.co.nz
>Opera Folder. Contains recorded video productions of about 10 well-known operas, with a bias towards late Romantic
mega.co.nz
>Random assortment of books on music theory and composition, music history etc.
mega.nz
/classical/
Other urls found in this thread:
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rateyourmusic.com
youtube.com
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instaud.io
youtube.com
youtube.com
youtube.com
youtube.com
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michaelkrzyzaniak.com
youtube.com
mega.nz
strawpoll.me
youtube.com
twitter.com
First
Satie is muzak and not a composer
Kikes invented serial....
Damn The Mikado is fun.
The way Glass writes, I have to wonder if he's ever deleted a single note in his entire career..
I started a new thread before
Fuck off, also Satie is thrash
It really is. It's a damned shame how it's really fallen out of favor since it's a good Comic Opera gateway to the wider world of music.
Also would you guys like some Golden Age (1920's) D'Oyly Carte Recordings of some of the Savoy Operas?
>not even an edition
>posts SUCKTIrE
Come to the new based thread
Can you guys recommend pieces for two pianos besides Mozart piano sonata Kv. 448?
fuck off with the thread wars bullshit
this thread is objectively superior because it doesn't mention you know who
poly?
t thinking meme editions are the superrior thread
please leave
does anyone know the answer to this, I asked yesterday but honestly don't know.
Dude, just perceive the key
...
he has like 3 sonatas in A major and minor though, and they transposed Bach's from g minor to a minor so it could be a number of them. On RYM they have 20 different sonata's in A minor listed.
you've cursed us all
It's been a long time nigger
He has a catalog of works?
>rateyourmusic.com
not sure if it's a meme, but like yeah. The nice things about OP numbers is regardless of the title it's easy to find other versions of. you just search the number. This is like a cluster fuck. seriously.
Asked in the other thread. Can the Carter all-interval chord (for instance A, A#, C#, D#) basically be used to transition to any phrase in place of a diminished?
In a modern context, any chord can be used to transition to another. What you seem to have here is a slightly richer suspended chord but it still sounds floaty and aimless and would probably dispel any tension in the music.
Okay thanks. I tried it with some meme chord progressions in place of the dominant, subdominant etc.. and it sounded pretty fresh but its hard to say what the dramatic implication would be.
Where the FUCK is all the music in this thread?
youtube.com
we already listened to it
Would anyone know the best way about deriving an optimal tone row to emulate another composer/musician's tonal signature?
analyze their music
but they don't use tone rows. In other words what's the best way to evoke some particular sound with a tone row?
>how to sound like someone while using techniques that didn't use
that's what your asking
outline 3 or 4 chords that sound like the artist using all the notes, then arpeggiate the chords and that will give you a row.
Care to explain?
Yes. Twelve tone is something that fascinates me as a total autist. I'm curious what its expressive limits are. I've already written major-sounding stuff and other stuff that is more or less consonant. But my process so far has involved noodling around mostly. Now I want to get even more specialized and systematic by zeroing in on evoking the sound of various composers.
a theory/comp general would help
>poly edition
>it was shit
really makes you think...
Bach / Chiara Massini
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youtube.com
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fucking amazing
What's the big deal?
Could someone unironically explain to me what exactly people don't like about Satie?
lack of structural integrity. Same reason a lot of people here diss Debbie
I mean the problem with twelve tone is your not supposed to have a tonal center. In order to be true 12 tone all the notes are distributed equally, there isn't supposed to be a pull to something. So if you have something that sounds major I'm not sure if you're truly using 12 tone
well I made this out of 12 tone rows for instance. Its not serial but its 100% twelve tone.
that's not 12 tone. Maybe the melody could be using all "12 tones" but you're repeating phrases, which is a serial technique, and it has a tonal center. I can't tell because I don't have perfect pitch but this is 12 tone
youtube.com
>not serial
I should clarify. I mean I didn't transform the rows. The melody is its own series of rows. The strings have an unrelated row.
True 12 tone is very limiting. That's why they branched out and why the well of ideas with it have run dry like 40 years after it's invention. That includes serialism. It might have been refreshing and new at the time, but there isn't much you can truly do with it. And if you stray to far from it it's either tonal or atonal and defeats what they were intending.
I know 12 tone music well. What I did was make 4 tetrachords with each chord sharing only 1 note with an adjacent chord. If we call the chords "cells" we can think of this shared note as being at the end of one cell and the beginning of another. The pizz is just an arpeggiation of the chords and therefore I would say is isomorphic and purely there to fill up the empty space. The objective was to create the most poppy 12 tone music I could. also if you want to hear some major-ish-sounding twelve tone try 8:30 in this piece
I would follow the process to the letter if I could get inspired by the transformations of the row but I'm not musically gifted like that unfortunately.
get rid of the pizz it throws off the entire thing, when I hear that I don't hear () I hear something 12 tone over tonal arpeggios. But still, for it to be true 12 tone it's very limiting what you can actually do.
backwards, simple music in the age of impressionism and experimentation.
There's just nothing to like beyond some simple, inoffensive tunes.
Parade is ok tho
>majorish
okay "jolly" would be a better term
Ah desu I don't really get what that means. I never really got the classical thing but my mom is really passionate about it and Satie was one of very few she listened to that I loved myself. I guess I liked the simpler stuff.
I'm not picking on you, I get what you're saying but I am a bit confused, what do you mean you can't get inspired by the transformations?
So Satie was the Coldplay of his day?
thats wrong though. Debussy has very free forms, but Satie has very basic, repetitive forms A-B-A-B kind of deals. Debussy and Satie are at opposite ends of the spectrum in terms of form
also if he wants jolly I'd say use happy, light rhythms. maybe use softer instruments. Flute, the upper register of a piano, use accents.
>Debussy and Satie are at opposite ends of the spectrum
;)
ah, I think it is what it is at this point. I've moved on to using more or less the same technique of freely joining rows to other bigger projects. I'm working on a chorale where each voice sings a series of rows. I dunno, it works for me. My reason for composing in 12 tones is that I felt some affinity with Hauer both in terms of the mystical bs and also that composing with some subset of the chromatic scale is essentially arbitrary.
I mean I'm not musical enough to have any idea what they sound like without making them.
>instaud.io
This isn't 12 tone. You have 3 or 4 tonal chords, whose notes together make up a 12 tone row.
Real 12 tone does not have tonal chords.
I think you should be looking at traditional harmony and maybe some jazz / modal harmony rather than trying to do what you're doing with 12 tone. Its like using a microscope to hammer in nails.
With Satie its not the form that is lacking but good harmonic sense and voice-leading
I'm not saying it's bad, but it's kind of not what you're explaining what you want to do. It'd be like if I wanted to make something romantic with debussy harmonies and made a jazz tune. It might sound good, but not what my intention was. Also I avoid 12 tone in my compositions unless it's to evoke an emotion or for to make you feel unnerving. Other than that, for me, I don't find much use. All though I've thought about writing a meme book of compositions and use "concept pieces"
That too. Satie lacks many things
t late to the party ()
also take a theory class, it might help
>real 12 tone doesn't have tonal chords
Why do you say that? There is no stricture that says this and a ton of the harmony in Schoenberg's piano concerto is tertian or quartal. If you think this isn't 12 tone then I've accomplished my job.
give me spicy fugues
anything that isn't bach? or handel
best string quartet ever written desu
Tra-la-la-la Tra-la-la-la
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It's actually still in favor. G&S and the Merry Widow are the only operettas that opera houses still perform anymore. Also yes to the recordings.
>Poly thread
No.
Prepare your anus
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12 tone doesn't usually construct tonal chords for the sake of it, any crossover harmony is incidental.
Blotted Science use "12 tone" in the say way you do, except they usually go for diminished chords:
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Which isn't twelve tone...
you're a fucking nigger, I made a thread for you and now you fucking show up after it's dead
Thanks. This "riff" is very common for some lyrical 12 tone composers like Berg and Dallapiccola.
It is. Dodecaphonic and serial are not the same thing. In fact you can make a serial composition with a pentatonic scale if you were so inclined.
We're in different time zones user.
You didn't even post any of my music...
...
>You didn't even post any of my music...
But I figured you'd show up :(
Not even the best of the G minor succession of Quartets
Implying Nibelungen can out composer Wotan
I don't know what any of that means
your fucking ass is thrash m8
t can't into Wagner
I was the one who replaced Beethoven with him in the new trinity. Its just not like I'm going to actually listen to 4 hours of music with half a dozen motives.
Sure they'll do Pirates and maybe Pinafore, but Mikado has been on the outs unless it's heavily changed because of issues with the traditional costumes.
I agree on wanting to see more diversity in operettas, especially some of the Offenbach ones that aren't Orphee.
Not completely used to using Mega but here's a link.
mega.nz
This features the electric recording of the Mikado from 1926, Trial by Jury from 1927 and the acoustic recording of Princess Ida from 1924.
The Mikado set is the first Gilbert and Sullivan opera recorded electrically, and the Princess Ida set was released with a Ruddigore in 1924 to be the first to feature what was (mostly) a cast that actually performed the operas on stage.
Almost all of the voices on here (save for the great George Baker) were people who either worked with Gilbert or Sullivan in their lifetime. Most notable is the great Sir Henry Lytton who covered for George Grossmith as Robin Oakapple during Ruddigore's initial run at the Savoy. He would revive the role nearly forty years later in the 1920's when it was finally brought back by the main D'Oyly Carte Opera Company.
On the Princess Ida recording it has the song "Come Mighty Must" performed by great contralto Bertha Lewis. After she died in a tragic car accident in 1932, they cut the song from all performances of Princess Ida, since none were thought to do it as well as her.
*14 hours*
Reminder.
>Schoenjew
Wagner would not approve
>mfw Schoenberg's unpublished D major quartet.
Post your favorite unpublished works.
can i get some reccs on baroque music that isn't bach?
Lully
Buxtehude
Handel
Schutz
Monteverdi
Biber
Scarlatti (both of them)
Corelli
Purcell
Tartini
ty
That reaction face does not suggest you enjoyed it at all
the reaction suggests a stupefied trance, which can be interpreted as enjoyment.
you don't even keep a folder full of dumb pictures to post on Sup Forums do you?
reaction images have always been my weakest point.