Jonathan

http://www.youtube.com/watch?v=VbGlOkuM8V8

It's a set of variations based from a Filipino Folk Song.

I remember Petr B suggesting on listening to Germaine Tailleferre's Piano Concerto (http://www.youtube.com/watch?v=4Wm6-kcMAVk). It sounds Baroque-ish to me.

Is it the technical difficulty composers are trying to achieve? If a composer who preferred Baroque styles surfaced, would anybody listen to him? I find the extravagance and simplicity of the era as (probably) the best.

http://www.youtube.com/watch?v=-PqB1lYQ0ZM

Something seems odd sounding . . . It's a draft. Before giving it to my professor as a gift, anyway.

(3x^3h + 3x^2h - 19x^h + 17) / (2x^h - 3)

I can't solve it.

It would be handy of you have a score with you.

1. Introduction: Except on ms. 10, should we maintain strict timing? On ms. 4, some pianists overlook that on the fourth 16th beat of the fourth beat are 9 notes and they slow down. I confess I find it difficult to compress 9 in that division but I did it. Can we put a bit of retardation there?

2. S.T. (When the arms interchange), Is there a small accent on the solb?

3. Cl. T. 1 no legato after the holds so, no damping of sound needed?

4. Before the repeat, how long should the G7 chord hold?

5. After the repeat, how long should the D7 chord hold?

6. Cm trill, start with fa or mib?

In the strictest sense. A book called "Mozart on the keyboard" defined those two as separate entities but now they are both referred to as simply rubato.

Rubato = consistent tempo, rhythmic deviation of the melody/motif?

Agogics = deviation of the rhythmic pulse (not the ritardando and the like stuff). In a nutshell, deviation of pulse on the artist's discretion. (A perfect example would be Chopin's E minor prelude, Op. 28 no. 4)

Which is which?

This is a hypothetical question:

Assume there are two rooms, an air conditioned room, perhaps refrigerated, and outside, with a temperature similar to the noon time and at a tropical zone. Only a wall divides them. Then, there is a hole enough to fit an arm. If you stuck your arm in it, would it be enough to maintain body heat?

http://achantar.deviantart.com/#/d5d22a9

Is my poem too shallow?

These are the only updates:

Dispatched to Sort Facility

May 08, 2012, 7:07 pm

PORTLAND, OR 97223

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May 08, 2012, 10:24 pm

PORTLAND, OR 97218

Shipment Accepted

May 10, 2012, 12:00 pm

STROUDSBURG, PA 18360

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May 11, 2012, 9:06 pm

LOS ANGELES, CA 90009

International Letter

It's a first class international mail. I haven't had received any update from then. Is it lost? I've been told it'll be only 6 - 12 days (so . . . i assume it would be 2 days more because of Sundays.) It's to be shipped to the Philippines.

http://answers.yahoo.com/question/index;_ylt=AoDG....

I really don't know when to get exasperated or get amused. Hahahaha.

Yes, this is not a miscat. Answerers on other sections don't know the intellectual capacities of this section of Yahoo! Answers THAT IS WHY IT IS NOT A MISCAT.

So tell me . . .

Because frankly, I'm amused.

My teacher assigned me Mozart's K. 330 sonata (in C) and there are several editions I like. The URtext (of course), Epstein's edition and the edition published by Breitkopf and Hartel.

Of course, reading several commentaries on how to play Mozart, I see differences in their suggestions in playing, like the ornamentation in measure 2, 1st movement (Epstein edition) there are four notes notated in that edition (as well as in the Breitkopf . . . ) but the URtext I have, there are is no ornamentation except for the trill on the first beat (to the following).

Though on the URtext I have, the last measure has that G7 42 chord. The common tone sol is held and ends in a C 63 chord while the lower staff has this C octave held then adds the two other notes when C63 is struck . . . (that's the best illustration I can give) . . .

The phrasing as well are different, as well as the articulation . . .

With that ground, is it "lawful" to base off interpretation from various editions?

HT - Hands together

HS - Hands separate

I've thought of index cards as flash cards and then trying to practice her note-reading with such.

Anything else?

I assume all music majors had had Education Psychology, so, how do I teach her beneath that stubborn attitude (she has the capacity to learn quickly yet she chooses not to)?

One other thing: her fingers are weak . . . What sort of exercises can help her? She's doing five finger exercises at the moment.

Some Y!A Classical Music folk said that you don't need emotion but purity of tone, and things like that. I cling on that rationale for a while but a while ago, I felt different. I was reading through Mozart's K. 466 (only reading through), and I felt all tingly inside. That was at the main theme. I felt happy and at peace. Then at the more agitated theme, I was all nervous. Though I decided not to finish it since the score was too small and unreadable at some points. Then back to the main theme.

A friend of mine noticed that I played better today than before which was only 5 times before. He said that the dynamics were good (I had to add some since Breitkopf and Hartel does not have excessive indications) and were appropriate (but I don't like it because I HAD to add . . . and that's wrong). Everything was better.

Yeah, I'm with the "purity in tone" stand, but that a while ago made me reconsider . . .

I'm posting this in two categories.

Also, I saw this dude a while ago . . . his arms were not that big but his chest was buff. Is that possible? O.o

I do pushups . . . I hear that's the best.

Murray Perahia does a very good job adding to some piano concertos.

Also, am I right in saying that unexpected fermatas in Mozart (score editions where Cadenzas, if not written, are separately transcribed) allow some "quasi cadenzas"?

Wikipedia SO confused me because I saw that K. 450 is said to be the hardest. While K. 482 -- no comment about that one.

http://www.youtube.com/watch?v=knrKrs8RfXo&feature...

The above video is an audio sample of an arrangement of Beethoven's Op. 57 (Appassionata) (a mix of both 1st and 3rd movements).

Do you have any comments with regards to Maksim? I know that he makes classical music sound techno-ish, perhaps the best way to kick-off younger people to classical music. Yes, maybe that's how it is helpful.

He's a great pianist no doubt. Though I see some technical flaws in his playing. Much like Franz Liszt needs some banging on some parts of his 2nd Hungarian Rhapsody, he does not do that at some points. His pedaling is also overused on the C# (I'm not sure what chord is that) octave ending too, making it too dissonant.

But this isn't about his technique. This is about his tolerance of pieces arranged for him . . .

Like this:

Hall of the Mountain King: http://www.youtube.com/watch?v=kwPujyHRphc

Since that is an arrangement, I'll skip the addition of a B theme (since it may only be an A theme and a Closing Theme) and the tempo instead of the slow-accelerating to almost presto. I think that is a great head-start for people who want Classical Music.

The Gypsy Maid: http://www.youtube.com/watch?v=f1ov_YMrxhw

For those unfamiliar with that, it is Verdi's Anvil Chorus from his Il Trovatore Opera. You can't hear the choral melody ("Vedi le fosche . . . ") but the introductory notes keep recurring throughout that arrangement. Only the "chorus" melody ("Chi dell gitano! . . . ") is used (much like the Chorus of the Maksim Version, too).

Nocturne Op. 9 no. 2 (E Flat Major - "To Love Again"): http://www.youtube.com/watch?v=PBpI3gQ5wzw

You can't deny, the music sounds more grand with the orchestra.

Appassionata: http://www.youtube.com/watch?v=knrKrs8RfXo

Now that -- THAT -- is a mortal sin . . . it's blasphemy . . . If you were a recording pianist, would you tolerate such arrangements? I'm not saying that it's not appealing -- it is for young people -- but it's a sin to commit changes (heavy changes) right?

Of course, Yiruma is another question . . . But Maksim. Is he doing a good job in spreading Classical Music?

I mean, accompaniments or minus ones. Where can I find them?

free of course . . .