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23

I'd say 2. is likely the closest, but it may just be as simple as personal taste. You're just not that used to hearing it and as you say, there's no emotion associated with it. I doubt I'd be capable of appreciating the subtle nuances and emotions in Indian Raga and I can't imagine such a melody stirring any great emotion in me. We have sounds and ...


22

Why the past tense? How do classical (or rather, orchestral) composers write music? How does any composer write music for instruments they don't themselves play? Although a composer doesn't necessarily need to be able to play an instrument to a high standard, they do need to understand the mechanics of the instrument, its limitations and capabilities. This ...


21

The term "voice leading" comes from choral music, but it applies to chord progressions in all sorts of arrangements for all sorts of instruments. A chord progression has two dimensions: horizontal and vertical. Let's say you are playing four-note chords in sequence. You can think of the progression as a series of block chords (vertical), but you can also ...


20

But there are rhythms, harmonies and melodies in nature. When you walk, you establish a nice solid beat. Two beats to the bar, at its most basic level - but by adjusting your gait or the way you count, you can think of it as four beats, or three, or as many as you like. Skipping brings in different rhythms. The musical intervals that make up melodies are ...


16

Many classical composers frequently used this method that you stated. Bach wrote over 1120 pieces. Naming 1120 pieces, each with a unique name can be hard. Some were named for where they were performed e.g. the Brandenburg Concertos. It was also common for a composer to number his pieces of the same format. Eine Kleine Nachtmusik is also known as Serenade ...


16

Le quattro stagioni is the original title of this work, which translates to 'The four seasons'. This title was indeed chosen by Vivaldi himself, who deliberately composed the pieces to reflect the mood of each season. The wikipedia article sums the titles up pretty nicely!


14

Just to expand on Pat's answer, there is a figured bass symbols for all type of inversion including root position. The picture above shows the complete figured bass symbol and how it will be denoted in analysis. As you can see root position triads and 7th chords have their own complete figured bass symbols, but reduce drastically because how common they ...


13

Some audience members will be familiar with the piece. It is also possible to pick up visual body language cues from the performers (if they are continuing to ignore the audience after finishing a movement, that's a good sign that there is more to come). But more than all of this, is the fact that the performance programs (handed out by ushers or available ...


12

I don't consider the "classical music" criteria to be a determining factor. A piano is a piano is a piano, and though digital pianos generally do have some feature overlap with things like electronic keyboards and synthesizers and midi controllers, the reason for buying a digital piano should only be because an acoustic piano is impractical for whatever ...


12

There may be a small amount of "performance practice fad" about that, but for the most part it does serve a purpose. Breath is used in many styles of music as a cue. If you think about wind instrument players, for example, every phrase is preceded by a breath, and experienced players will take that breath in rhythm. As a rhythmic gesture, it can be used to ...


11

When asked about how "masterworks" are created, Nadia Boulanger, a French composition pedagogue during the 20th century, had this to say: "I can tell whether a piece is well-made or not, and I believe that there are conditions without which masterpieces cannot be achieved, but I also believe that what defines a masterpiece cannot be pinned down. I ...


11

This is a positive thing. Studies have shown the positive effect music has on unborn babies, see: Whitwell, Giselle E. "The importance of prenatal sound and music." Journal of Prenatal and Perinatal Psychology and Health 13 (1999): 255-262. http://intraspec.ca/music.pdf


11

The double leading-tone cadence is certainly not the "single defining characteristic" of Ars Nova. As to the chronology, Philippe de Vitry (born before Machaut, and one of the "inventors" of Ars Nova, to whom the eponymous treatise "ars nova" is ascribed) used double leading-tones in his isorhythmic motets. See, for example, the end of Tuba sacrae/In ...


11

very simple answer... E-Bow I've had one for 30 years, there's nothing quite like it, but it is a technique in & of itself. You can do the standard 'never-ending note' by simply holding it over a string & sliding/hammering up & down the fretboard, but with a little practise you can make it sound like violin/cello spiccato by banging the string ...


10

The basic idea of the style is that it's in 3/4 time (or other triple meter), with accents on beats TWO and THREE. The accents are what makes it feel unbalanced. You are probably used to waltz style, where the accents are on ONE and THREE. As such, it may be easy to mistake beat 3 of a mazurka for beat 1 of a waltz, since those accents are in the same place ...


9

One point I would make in addition to slim's excellent answer is that theory is more to explain composition, not dictate it. In other words, talented composers write the music they do because they are translating what they 'hear' internally, not because the rules of music theory tell them that this is 'right'. Although understanding theory is certainly a ...


9

You're paying the money, you should, within reason, be asking your teacher to provide pieces that you will enjoy. Give teacher a list of 10 tunes that you feel are within your capabilities, maybe get the dots for them, and present them to teacher, who should be able to find something you can be taught by them.Often, half of any lesson I may give will be ...


9

I actually studied music composition and computer science myself. Great combo! It sounds like what you are really looking for is a formal music composition program, so, first of all, I would say that if this is something that really interests you, and you have the time and the means, you should look into trying to study music through your school, either by ...


9

The top of an acoustic guitar (steel-string or classical) is also referred to as the table. This is the flat piece of wood making up the front of the guitar's body when in playing position (which is a bit confusing!) It is the flat piece of wood which has the sound-hole in it, and which has the bridge stuck to it. This part of the guitar is also called the ...


8

For one thing, J. S. Bach's music for solo keyboard represents only a small fraction of his work as a composer. Bach was primarily a composer of choral and vocal music, and music for chamber orchestra. I would suggest listening to recordings of his choral and vocal music (notably, his cantatas and masses) and his orchestral music to gain a broader ...


8

For some reason, Bach is better appreciated by learned musicians. Talking to any well-trained musician who plays a lot of Bach, you will realize that it is fully possible to make an emotional connection with the music. In fact, I would argue that Bach alone has written the very most inspirational music, ever. Here's why: Bach was a genius. As user Widor ...


8

Wheat gave a very good explanation of voice leading and I thought I'd just add a bit about counterpoint. Up until relatively recently (1600s/1700s) the concept of a chord wasn't around - composers may have thrown a C-E-G out there but they didn't refer to it as a 'C Major' chord. However there were certain rules prescribed that told what was legal or ...


8

They are figured bass numbers, as used under bass lines in (primarily) the Baroque era to indicate harmonic content to be improvised by continuo players such as the harpsichordist. The numbers refer to the diatonic intervals above the bass. Look at your 6/4 example above. The two distinct notes above the bass note are a sixth and a 4th above, hence 6/4. This ...


8

I was in a similar situation to you when I learned how to play the piano as a kid. My piano teacher was really into classical music and picked literature for me, but I preferred electronic music and contemporary orchestral and piano music. As soon as my lessons with her ended, I quit practicing, and now I can barely read beginner-level pieces. School band ...


8

the numbers are indeed fingerings. The circle indicates that the hand position is changing. The long curved lines are not sostenuto pedal markings, they're "legato" markings. Legato means that you play the marked phrase smoothly note into note, without spaces or rests between the notes. You're correct that the numbered measures near the repeat sign are ...


7

Both are fine. Choose one. You will not miss out on anything if you choose one over the other. The most important thing for you is daily, quality practice. Choose literature that is playable but challenging.


7

The melody (right hand) should be played in time. Don't shift it to try to match something temporally funky in the accompaniment (left hand). The broken chords should be played so that the last note of the chord occurs in time with the melody. The lower notes should come just ahead of the beat. The reason for this is that the higher notes in the chord will ...


7

There are three different things here: the sonata(-allegro) form, the (multi-movement) sonata form, and the title sonata. The sonata(-allegro) form is a form of one movement. It's usually fast (hence the allegro) and the big structure is ABA, where the first A is called exposition, B is development, and the second A is recapitulation. Sometimes there's a ...


7

To answer your question head on, an experienced teacher will listen to the student's voice for all the qualities you mentioned: "range, tessitura, and voice color". The teacher will then mentally compare those qualities to other singers that they know. They will also be comparing that voice to the kinds of voices they are used to hearing in various roles. In ...


7

My music theory book best put the definition of texture as "The way melodic, rhythmic, and harmonic are woven together in a composition." By this definition the texture of a piece is a combination of all the pieces that make up music, but looking at them all together instead of separately. A composer will use each of these to define their music so the ...



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