Originally posted by Auferstehen
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Musical questions and answers thread
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Thanks again to all.
As I said in my OP, we’ve been given a simple melody for the clarinet of two and a bit bars long, in 6 / 8 time, and we have to complete the melody on the G clef for eight bars. They asked me to modulate. That’s when the trouble started...
I’m also told to try and “hear” the music. This I simply cannot do. I’ve tried and failed. It’s like trying to recognise intervals. Pretty hopeless.
The only modulation that I think makes sense to me is Joseph K’s suggestion of going to the relative Maj key.
Would a perfect 5th above D min (A Maj) or a perfect 5th below (G Maj) make sense, because of the tonic-dominant relationship? NO, because these keys have not been suggested!
If I’m in D min, apart from F Maj, why would I go elsewhere, apart from the sound effect, which I cannot hear in my mind’s eye?
Sorry to continue parading my ignorance publicly.
Mario
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Originally posted by Auferstehen View PostThanks again to all.
As I said in my OP, we’ve been given a simple melody for the clarinet of two and a bit bars long, in 6 / 8 time, and we have to complete the melody on the G clef for eight bars. They asked me to modulate. That’s when the trouble started...
I’m also told to try and “hear” the music. This I simply cannot do. I’ve tried and failed. It’s like trying to recognise intervals. Pretty hopeless.
The only modulation that I think makes sense to me is Joseph K’s suggestion of going to the relative Maj key.
Would a perfect 5th above D min (A Maj) or a perfect 5th below (G Maj) make sense, because of the tonic-dominant relationship? NO, because these keys have not been suggested!
If I’m in D min, apart from F Maj, why would I go elsewhere, apart from the sound effect, which I cannot hear in my mind’s eye?
Sorry to continue parading my ignorance publicly.
Mario
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Originally posted by Auferstehen View PostThanks again to all.
As I said in my OP, we’ve been given a simple melody for the clarinet of two and a bit bars long, in 6 / 8 time, and we have to complete the melody on the G clef for eight bars. They asked me to modulate. That’s when the trouble started...
I’m also told to try and “hear” the music. This I simply cannot do. I’ve tried and failed. It’s like trying to recognise intervals. Pretty hopeless.
The only modulation that I think makes sense to me is Joseph K’s suggestion of going to the relative Maj key.
Would a perfect 5th above D min (A Maj) or a perfect 5th below (G Maj) make sense, because of the tonic-dominant relationship? NO, because these keys have not been suggested!
If I’m in D min, apart from F Maj, why would I go elsewhere, apart from the sound effect, which I cannot hear in my mind’s eye?
Sorry to continue parading my ignorance publicly.
Mario
Regarding modulating, it sounds like a fairly short piece, so the relative major is probably the safest bet ...
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To Ein Heldenleben and Joseph K, genuinely, thank you both so much for your suggestions.
I WOULD like to be able to sight-read a piece of music and be fairly accurate as to how it should sound before hearing it. I don’t know why, it just sounds like an important skill to develop.
Thank you both for giving me the motivation to continue.
Mario
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Originally posted by Auferstehen View PostTo Ein Heldenleben and Joseph K, genuinely, thank you both so much for your suggestions.
I WOULD like to be able to sight-read a piece of music and be fairly accurate as to how it should sound before hearing it. I don’t know why, it just sounds like an important skill to develop.
Thank you both for giving me the motivation to continue.
Mario
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Listening now to Quartetto di Cremona playing Beethoven's Op.130 I was struck by the thought that the instruments (including the bows) might not be able to get anywhere near the power and attack of their playing. No wonder the Kuijkens put aside their historically set-up instruments when they recorded Op. 59.
The question, directed at experienced string players here, is "has the beefing-up of the construction and stringing of baroque instruments fundamentally changed their root characteristics in the way those of the piano have changed? We know that Beethoven was dissatisfied with the power of the violin, from the exchange between him and Schuppanzigh. I feel the Quartett di Cremona make a good fist of exploiting the power of their instruments while being considerably informed by the historical conditions obtaining at the time Beethoven was struggling with the restrictions of the instruments he had available to him".
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Originally posted by Bryn View PostListening now to Quartetto di Cremona playing Beethoven's Op.130 I was struck by the thought that the instruments (including the bows) might not be able to get anywhere near the power and attack of their playing. No wonder the Kuijkens put aside their historically set-up instruments when they recorded Op. 59.
The question, directed at experienced string players here, is "has the beefing-up of the construction and stringing of baroque instruments fundamentally changed their root characteristics in the way those of the piano have changed? We know that Beethoven was dissatisfied with the power of the violin, from the exchange between him and Schuppanzigh. I feel the Quartett di Cremona make a good fist of exploiting the power of their instruments while being considerably informed by the historical conditions obtaining at the time Beethoven was struggling with the restrictions of the instruments he had available to him".Last edited by ahinton; 03-08-22, 16:39.
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Originally posted by Mario View PostTo Ein Heldenleben and Joseph K, genuinely, thank you both so much for your suggestions.
I WOULD like to be able to sight-read a piece of music and be fairly accurate as to how it should sound before hearing it. I don’t know why, it just sounds like an important skill to develop.
Thank you both for giving me the motivation to continue.
Mario
Dominant 7ths!
7/5/3, 6/5/3, 6/4/3 and 6/4/2, trying to embed these in my memory for Level 6 Theory.
But casually surfing I see there’s 9ths and even 11ths to come! So, here’s my question.
Am I expected to have to memorise all combinations of these as well, and where does it all stop? Are there Dominant 27ths around?
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Originally posted by Mario View PostOne quick question please, and asked with some trepidation…
Dominant 7ths!
7/5/3, 6/5/3, 6/4/3 and 6/4/2, trying to embed these in my memory for Level 6 Theory.
But casually surfing I see there’s 9ths and even 11ths to come! So, here’s my question.
Am I expected to have to memorise all combinations of these as well, and where does it all stop? Are there Dominant 27ths around?
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Suggest just doing plenty of playing from figured bass. R.O. Morris's Figured Harmony at the Keyboard books 1 and 2 just take you through step by step. It's a bit outdated (though still available) in that most continuo work is for Baroque music, and the Morris books are not typical of the score that will be shoved in front of you (where sometimes the 'figuring' is less complete and relies on you to scan the score as well).
I had an interesting pleasure recently. A late-teenage Norwegian niece + family came to stay with us a couple of weeks ago. She spotted my harpsichord and fell in love with it. I mentioned 'continuo work' to her, which she-hadn't heard of. So I explained roughly what a continuo player does in a Baroque ensemble, and then dug out my old R.O. Morris books and gave them to her as a present. She became almost obsessed with the whole thing and spent hours practising, sometimes preferring this over trips to the seaside.
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Originally posted by Mario View PostOne quick question please, and asked with some trepidation…
Dominant 7ths!
7/5/3, 6/5/3, 6/4/3 and 6/4/2, trying to embed these in my memory for Level 6 Theory.
But casually surfing I see there’s 9ths and even 11ths to come! So, here’s my question.
Am I expected to have to memorise all combinations of these as well, and where does it all stop? Are there Dominant 27ths around?
Comment
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Originally posted by ardcarp View PostSuggest just doing plenty of playing from figured bass. R.O. Morris's Figured Harmony at the Keyboard books 1 and 2 just take you through step by step. It's a bit outdated (though still available) in that most continuo work is for Baroque music, and the Morris books are not typical of the score that will be shoved in front of you (where sometimes the 'figuring' is less complete and relies on you to scan the score as well).
I had an interesting pleasure recently. A late-teenage Norwegian niece + family came to stay with us a couple of weeks ago. She spotted my harpsichord and fell in love with it. I mentioned 'continuo work' to her, which she-hadn't heard of. So I explained roughly what a continuo player does in a Baroque ensemble, and then dug out my old R.O. Morris books and gave them to her as a present. She became almost obsessed with the whole thing and spent hours practising, sometimes preferring this over trips to the seaside.
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