When I studied orchestration, I noticed how the woodwinds worked with the strings (and I especially noticed the oboe solo in the first movement).Īnd on and on, there are hundreds of lessons in every piece. When I studied sonata form, I noticed the key scheme. When I came back to the same symphony later, I noticed the dynamics and what a big impact they have on the overall effect. The famous motif from Beethoven’s 5th Symphony The first few times I heard and read Beethoven’s 5th symphony, I simply followed that “dun dun dun dunnn” motif all throughout. The beautiful thing about musical analysis is that it’s so rich in lessons.” When you come back to a score the second, third and more times, there are new lessons for you there. The beautiful thing about musical analysis is that it’s so rich in lessons. What is interesting about it? How does it progress? If you’re studying a particular topic, how does the music make use of it? If it doesn’t, what’s the effect of its absence? When you read a score ask yourself what makes this music work the way it does. Either way, this is one of the most underestimated activities today even though it’s one of the most valuable. You can do this while listening to the music and you can do it without. Just like we can read a poem written on paper, we can read music written on the staff. Score reading is exactly that: reading a (musical) score. This kind of critical listening is essential to a budding composer. What could you adapt from it to make it your own?.What is it that you don’t like about it?.But do take it as an opportunity to be curious.
We all have our preferences – being a musician doesn’t mean liking everything that’s out there. Yes, you will run into music that you don’t like and that’s good news. And each one of their creations has something to say about what music can be.Įach one of their creations has something to say about what music can be.” There are only so many notes (and sounds) available to us and yet, millions of musicians, composers and songwriters have found – and continue to find – something new to do with them. Why do I emphasize listening to such a variety of music? Because through this variety you will experience how other musicians thought about music. Listen to instrumental music, choral music, electronic music and any other you can think of. Listen to the music of other cultures as well as to your own. Listen to ancient music, contemporary music and everything in between. You should listen to all sorts of music by all kinds of artists of all types of styles. Now you’re probably thinking “But Matt, I listen to music all day long… is that all it takes?” Of course this is not all. It’s a lot like how children learn their first language simply by immersion. It should be rather obvious that to get to know music, we simply need to listen to it. The first few points in this article are all about nurturing your musical instincts and the most basic activity to do so is to listen. First Build the House, then Choose a Front Door Judge Your Work (fairly and not too early)
He trained for the priesthood and was ordained in 1703. Vivaldi’s concertos became a model for his contemporaries, and the form was soon one of the most important in eighteenth century Europe. He introduced a range of new styles and techniques to string playing and consolidated one of its most important genres, the concerto. But his most important achievement was in his music for strings. He ignited transformations in music for the church, the opera house and the concert hall. Antonio Vivaldi’s (4 March 1678 – 28 July 1741) influence on the development of Baroque music was immense.
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