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18

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 ...


14

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!


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 ...


10

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


10

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 ...


10

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 ...


8

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 ...


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 ...


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 ...


7

I think that the differences you mentioned have more to do with the size of the groups involved than their preference for classical or rock music. Also, I'm willing to wager that there is as much diversity in terms of goals among members of the same category (rock or classical) as there is between the two. You mentioned orchestral music, but that is only a ...


6

Music21 is a musicology software developed at MIT and includes within it a large corpus of western classical, and other, music. From their website: Music21 is a set of tools for helping scholars and other active listeners answer questions about music quickly and simply. If you’ve ever asked yourself a question like, “I wonder how often Bach does that” ...


6

The earliest version I can think of is Bach's Musikalisches Opfer which is a series of canons Bach composed after given a theme by the King. The music can be played forwards and backwards simultaneously harmoniously in various ways (refer to the video). I also remember reading a score of Mozart's violin duet piece called "The Mirror". To play this piece ...


6

As Wheat says, voice leading mostly doesn't happen on guitars, but there are a few cases where it does: descending/ascending bass-lines using certain patterns, like Travis-picking, the bass-line may be a more or less distinct part throughout the piece. triad followed by triad+seventh (eg. C / C7 /) restricting chords to fewer strings to free-up melody ...


6

It depends. For most music the answer is no, since this amounts to transcribing, which is still most accurately done by humans. There exist libraries of Parson's codes for existing known themes and songs. For a sound file that consists of a single melody line in isolation, this becomes much more practical. All there is to do is generate an FFT for each ...


6

"Fugue" is just a form and style of composition of which Bach alone wrote hundreds. Same thing for "Sonata", "String Quartet", "Symphony", etc. it's not that the particular key is of central importance or that transposition would necessarily change the piece entirely, it's just a convenient way to distinguish between various iterations of the same form. They ...


6

These are all good answers, but I'd just add a historical note. Composers before the time of, say Beethoven, composers like Bach and Mozart, often did not publish all or even most of their musical works, either because no one wanted them, or because they wanted to keep the pieces for their own use. The vast majority of Bach's music was not published in his ...


6

You are correct: I would not be appropriate to cough or clear a throat during a Western classical vocal performance. It is for this reason that many vocalists will carry water out with them and will drink during a break between movements or while resting. If a vocalist absolutely must cough, it is excusable to cough between movements or songs during a ...


5

Simple. Wait for others to clap first. If the applause is sporadic and accompanied by embarrassed looks from one audience member to the other... don't join in the applause. If the applause is confident, join in! It is customary to applaud only after the completion of an entire work. The audience knows when the work is over by reading the program and by ...


5

I like to think about dolce as applied to character, and cantabile as applied to articulation. The dolce instruction gives you an idea more linked to the character, to a feeling that your playing might suggest. This reflects directly into the dynamics of the piece you are playing, although not strictly as bound to the "speed vs. strength" matter as it ...


5

The key signature should always fit nicely inside the staff for any key and any clef and are defined and standardized so it all looks the same no matter what piece you play. Putting the F# on the bottom line will put the C# on a ledger line or it will break the common pattern. This site shows what the standard key signatures for many diffrent keys on bass, ...


5

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 ...


5

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 ...


5

If music of any kind touches you deeply, then definitely don't quit. The best time to learn a musical instrument is when you're young. (25 is still young.) But you will appreciate what you've learnt when you're old too. When you're young, your taste could be narrower than when you're older. That's certainly how it worked for me. As a teenager I was ...


5

When I got to this point -- I started studying piano at 6yo, and this was when I had just turned 16 +/- a couple months -- I realized that the music I was most interested in wasn't really played on the piano. I had spent a decade studying classical music, and classical didn't do it for me. I spent about a month soul-searching and listening to recordings. ...


4

Here is what I read from my guitar book: Most authorities agree that the best approach to flamenco technique is through careful study of basic classic guitar technique. Because of the unusual and striking effects required to perform true flamenco music, the playing technique is necessarily somewhat different; however, the basic technique of playing the ...


4

As @Menglan pointed out, the crab canon from Bach's musical offering is probably the most famous example. I transcribed it and put it on musecore: http://musescore.com/rpbouman/scores/143009 The art of fuge (Also Bach) has 2 fugues which can be inverted. Look for Contrapunctus XII and XIII (there's a rectus and an inversus version for both of them) I ...


4

By law of averages, it's very unlikely that Wolfgang Mozart was unique (this is quite a shocking statement, I realise). There were a lot more working composers of the age who's work hasn't survived, and a great many again who's work is known, but obscure, and not considered part of the classical music cannon. Of these, most will have been following the ...


4

According to your examples march music is orthogonal to classical music. There are classical music marches, but for many (if not most) brass instrumentation would not be first choice (funeral marches?). Your classical examples consists mostly of non-marches (e. g. all Handel examples, Ode to joy). There are genres of classical music completely inappropriate ...


4

Okay, here's an answer, although it might not be the one you're hoping for... Having listened through to Stravinsky's Mavra following the score a couple of times, I can't find material significantly similar to Blanter's Katyusha either. That doesn't mean, of course, that there is no possibility of a link, but to my ears there is no easily discernible one. ...


3

Every instrument that can make a pitch has a voice. Voice Leading is the study of how these voices move, resolve, and fit with the harmony. Every melody, every chord, every harmony can be looked at from a voice leading perspective. How the voice moves, what the range of the voice is, it's function in the harmony, how the voice interacts with the voice are ...



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