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Old 09-28-2012, 08:53 AM   #581
griffRG7321
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ermagurdd the videos are showing

nice dump
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Old 09-28-2012, 09:06 AM   #582
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What the actual fuck? Since when does UG embed videos? that's like brand new.

Now I'm a dick for a huge dump like that.
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Old 09-29-2012, 02:30 PM   #583
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Originally Posted by descara
Any further tips on string works by Schubert?


Lol, that's it really, as far as I'm concerned. You're right in terms of consistency, Schubert is not at all consistent. The later symphonies are awesome, it's such a shame about the unfinished symphony, I really think it would have been one of his greatest works. But really, when I think of Schubert, I think of the great piano sonatas and his Lieder.
There's a lot of discussion on Schubert and his two idols of Beethoven (instrumental music) and Rossini (vocal). He never really lived up to either, it's all a bit tragic really, his great music is so beautiful, but the rest is average at best and dire at worst. I find it all a very interesting subject, I think that Schubert and the combination of his influences are really the spark for the entire romantic era, (or rather, romantic music). I did a dissertation on it, I can't find it atm
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Old 10-06-2012, 06:21 AM   #584
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Hey guys, first post on the forums.

I've found a lot of great pieces and interesting conversations in this thread and now I have a question: what should I look for when listening to classical music?
Two and a half years ago I only listened to metal when I was directed to learning classical music theory (by this and other threads). Then I discovered that there are great melodies and sounds in classical pieces (I think the firsts were Mussorgsky's Pictures at an Exhibition and Elliott Carter's Sonata for violoncello and piano).
Recently I watched some of Bernstein's Concerts for Young People and I realized that though development is a really important thing in classical music, I never really looked for it and I barely recognize it. I started to look for it and discovered the awesomeness of Beethoven's 5th Symphony, a piece that I found boring before. What other aspects might I have missed that need/should be looked for?

Also, an awesome piece: Arnold Bax's Harp Quintet

Last edited by vtan : 10-06-2012 at 06:23 AM.
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Old 10-06-2012, 12:05 PM   #585
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Originally Posted by National_Anthem
Lol, that's it really, as far as I'm concerned.


Well, that sucks.

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Originally Posted by vtan
What other aspects might I have missed that need/should be looked for?

^ Well, if you're after specific things it's always nice to have a basic understanding of, say, fugues.

Xiaoxi made a really neat video on them (open it on youtube, description's helpful as well):



And here's a Bach fugue that's pretty easy to follow (only version I found with the sheet music in it):




Speaking of fugues, anyone care to listen to a piece/movement I'm working on? It's more or less something of a posttonal fugue.

http://soundcloud.com/desc/fugue-wip
https://docs.google.com/open?id=0Bx...US1ZdkZyTmVKVjg

Did some weird choices with this one so far, like the unrelated introduction and random exposition of a new subject that doesn't return in the middle. Thoughts appreciated!
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Old 10-06-2012, 01:15 PM   #586
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I don't get what you mean by an unrelated introduction; it's pretty related. That opening rhythm and line shape unmistakably links the introduction with the subject (which is a good thing). The only 'weird' thing about it is that you're kind of developing the subject before you expose it. Overall all though, it wasn't that bad. At times I thought the lines meandered a bit and weren't fully aimed somewhere, which is obviously one of the most difficult aspect of maintaining the mass of a fugal texture. But I could appreciate how most of it was at least somewhat related the subject which gave it a fairly integrated form, up to a point... The middle subject is something I don't get. You've built this world of chromatically snaking quarter note lines with that dotted rhythm which is working really well and then you toss this other line in. At first it's really shocking, but then you state it again and it almost becomes something I can understand, but I think it needs more developing to make it into an actual idea and not just something that you seemingly threw in to spice something up.

Notationally there's some weird stuff going on.
Some of the trills at the beginning have wavy lines, some of them don't and you should be consistent. Also, what's you intention with those trills? If you want a sustained trill with no accenting on beat one, I'd be more inclined to write one trill with a wavy line over all 8 measures and tie the notes together. Even if you want beat one to be accented I'd probably still write a single line with the notes detached and maybe marcatos.

Measures that are completely silent don't really need rests in both voices.

At some points you use cresc. and sometimes you use hairpins. What's the difference? pp sempre cresc. What does that mean? sempre usually indicates to continue doing something, but you didn't indicate cresc. just before, you had a diminuendo! I actually see that twice which makes me think you think you're indicating something else that makes sense. Measure 11-14, what gives? You have a hairpin in both voices, end the treble hairpin a bar earlier and then the next bar indicate cresc. (with the bass hairpin crescendoing into a crescendo). A lot of your hairpins cresc. or dim. into the ether, where do you want them to go? For example, mm. 24, the left hand is (presumably, although I can't be exactly sure) at forte, and then you dim. somewhere, have one bar of no indications and then you dim. again, possibly to piano.
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Last edited by jazz_rock_feel : 10-06-2012 at 01:19 PM.
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Old 10-06-2012, 02:06 PM   #587
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^ thanks for the feedback, I'll probably take a look at it tomorrow when it's settled a bit (wrote the second half or so today) and hopefully intergrate the second subject better!

You shouldn't have taken such a look at the dynamics and articulations My bad for not mentioning that the score is just a very early sketch though, I thought I did. I like to get my pieces completed before I at all start to proof read spellings, add actual dynamics etc - the dynamics so far are just some weird notes for myself to remember stuff, essentially.

On that subject though - I'd say there's nothing weird about sempre cresc., it's pretty common. I use it sometimes for longer crescendos to emphasize that it's cresc all the way to the new dynamic.
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Old 10-06-2012, 03:04 PM   #588
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Ah, no worries, I figured it was early goings, but I like being a picky asshole.

As for the sempre thing, I still think it's weird, I can't really recall ever seeing it. Usually a long crescendo is indicated by cresc. and a dashed line.
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Old 10-07-2012, 09:18 AM   #589
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Originally Posted by jazz_rock_feel
Ah, no worries, I figured it was early goings, but I like being a picky asshole.

As for the sempre thing, I still think it's weird, I can't really recall ever seeing it. Usually a long crescendo is indicated by cresc. and a dashed line.


I see it once in a while in everything from Haydn to Chopin, never seen it outside of piano repertoire though.. honestly I mostly use it because I think dashed lines are ugly-ass and take up a lot of space
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Old 10-07-2012, 02:16 PM   #590
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Cresc sempre is fairly common, normally in passages which build over an extended period from pp up to ff, for example. I've also seen it used it in conjunction with diminuendo hairpins, when you have a a series of figures that diminuendo repeated, each one successively more than the last.

Also, I use both hairpins, and cresc/decresc. To me, hairpins are subtle, and they generally represent phrasing, gestures or sometimes special effects, whereas cresc./decresc. represents a change of dynamic.
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Old 10-07-2012, 02:35 PM   #591
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Originally Posted by National_Anthem
Also, I use both hairpins, and cresc/decresc. To me, hairpins are subtle, and they generally represent phrasing, gestures or sometimes special effects, whereas cresc./decresc. represents a change of dynamic.

I get using both, I do too, but the only practical difference between them is length. Hairpins are used for shorter indications of gradual dynamic change whereas the words are used for longer durations. A performer will generally interpret them (and should interpret them) as being the same.
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Old 10-26-2012, 03:48 PM   #592
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O...M...G...

https://www.youtube.com/watch?v=ysuddlMbW9U&t=3m1s

This has my vote for the best use of unison in the history of music (4:01).
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Old 10-26-2012, 05:35 PM   #593
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I really love this one

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Old 10-27-2012, 03:28 AM   #594
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The importance of knowing the limitations of players:
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Old 10-27-2012, 08:54 AM   #595
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The importance of knowing the limitations of players:

That guy really knows how to faint. Dat thud.

Had my second performance as a figured bass player this wednesday:

Couldn't get a hold of a cellist nor a cembalo but whatevs
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Old 12-23-2012, 09:05 PM   #596
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Biber, you crazy motherfucker


The frog and the quail imitations are my personal favourites
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Old 02-08-2013, 03:49 PM   #597
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Jesus Christ.

Three reasons for posting:
1) This thread needed a bump
2) Holy fuck this is a great piece
3) JESUS FUCKING H. CHRIST this is an amazing performance.
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Old 02-14-2013, 09:46 PM   #598
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So I'm just gonna keep bumping this thread with sick shit. I don't care if anyone responds.

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Old 02-15-2013, 12:03 PM   #599
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Yes ^
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Old 02-15-2013, 03:40 PM   #600
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Ligeti's Devil's Staircase etude for piano !

I would say any classical music person should listen to the entire Bach well tempered clavier 48 preludes & fugues and Beethoven's 32 piano sonatas and 9 symphonies and 5 piano concertos. That'll keep you occupied for years.
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