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2:34
These exercises helped me to develop technique to play the last two notes of a triplet on the bass drum.
12 Jul 2009
299
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2:18
In the first part of this video there is a feet exercise that really helps to develop foot technique. It can be done on the pedals or without the pedals. The exercise is helpful to develop the muscles and develop precision even when you are not playing the pedals. The exercise is: Right Foot Heel Up, Left Foot Heel Up, Right Foot Toe Up, Left Foot Toe Up. This is the first step to develop a foot technique that I got from Steve Gadd. Some drummers call it rocking motion technique. It is a nice way to play single strokes with a single or a double pedal. This first exercise is also the best way to alternate between left and right foot when using the rocking motion on a double pedal. You can reach a nice speed on a single pedal too, I've been playing straight sixteenth notes 125bpm-130bpm. _______________________ The second part of the video is the application of the rocking motion technique on a single bass drum pedal. Here is how I developed the technique. Starting slow, playing quarter notes on the hi-hat and eight notes on the bass drum. As you develop the precision, speed up until there is a balance of speed, power and precision. Always use the metronome to really know if the notes values are correct. When I reach 120bpm, my leg starts to get a bit tense and I shorten the movement. There is an order to play the rocking motion technique: alternate between Heel Down, Heel Up (Toe Down). The downbeat is always with the heel down. You can always feel the downbeat with the heel down.
22 Sep 2009
1439
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5:24
This is one of the more complex 8-finger charts i've written, created late january of 2006. when i first heard the song, concepts for a stepchart immediately started popping in my head. the use of constant ostinato along with the versatility of the 3/4 time signature lended easily to the metric modulation and other time effects i wrote in the chart. it's not my best execution, but it's been a while and i'm lazy. it's played on "blind" because it's easier for me to read and there are some issues with syncing that i haven't gotten around to fixing yet. Like my other 8-finger charts, this is conceived to be played across a single row on the QWERTY keyboard to be read from left to right (i use SDFG HJKL).
29 Sep 2008
341
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8:00
I'm playing some 3/4 ideas from "The Drum Also Walzes" - RLL from the great Max Roach and 5/4 - RLRLL ostinatos. Neil Peart, Bill Bruford and John Bonham also played some ideas from "The Drum Also Walzes" in their drum solos.
12 Jul 2009
506
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7:59
I added a foot cowbell and a Tamborim to my kit. The solo stops because my memory card was full... I'm playing some 3/4 ("The Drum Also Walzes" - RLL) and 5/4 - RLRLL ostinatos. __________________________ ____ Pearl Drums: 12x10" - Remo Ambassador Clear/G1 Clear 16x16" - Remo Ambassador Clear/G1 Clear 22x16" - Evans EQ4 Clear/EQ3 Mapex Black Panther Brass 14x5.5" - Remo CS Black Dot/Remo Ambassador Snare 6" Tamborim Cymbals: 14" Zildjian A New Beat Top/Paiste Alpha Medium Bottom 18" Zildjian A Crash/Ride 20" Zildjian A Ping Ride 20" Zildjian A China Boy High 18" Paiste Signature Full Crash LP Cowbells Pearl Eliminator P2000C Pedal DW 5002AD3 Double Pedal Vic Firth Matt Cameron Drumsticks
12 Jul 2009
880
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1:40
Een film van Ramon Gieling over de dramatische invloed van het muziekstuk Canto Ostinato. Is muziek in staat is om mensen te veranderen? Ja, het gebeurt, heel af en toe. Net als met de liefde. De film Over Canto is een intrigerende documentaire over het leven van een aantal mensen dat er anders had uitgezien als Canto Ostinato niet was gecomponeerd. Heel af en toe is muziek, net als de ware liefde, in staat een radicale verandering in iemand teweeg te brengen. Deze compositie heeft het met een aantal mensen gedaan. Canto Ostinato Canto Ostinato, de drie uur durende compositie voor 4 piano’s van Simeon ten Holt, werd gecomponeerd tussen 1976 en 1979. Vanaf het eerste moment riep het stuk felle controverses op. De officiële muziekwereld veroordeelde het stuk als te mooi en zonder vernieuwing. Inmiddels is “de Canto” door een zeer grote groep luisteraars omarmd, en veel meer geworden dan een muzikale compositie voor vier piano’s. In de compositie Canto Ostinato stijgt de werkelijkheid als het ware boven de realiteit uit. Een aantal mensen, beter gezegd een aantal verhalen van mensen, cirkelt rond het hoofdpersonage: het beroemde, waanzinnig populaire muziekstuk Canto Ostinato van Simeon ten Holt. De personages doen hun relaas in schijnbare monologen waarin ze verslag doen van de emotionele rol die de muziek in hun leven heeft gespeeld.
8 Dec 2011
265
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1:56
Guido è timido, riservato, coltissimo. Antonia irrequieta, permalosa e orgogliosamente ignorante. Lui portiere di notte appassionato di lingue antiche e di santi. Lei aspirante cantante e impiegata in un autonoleggio. Si vedono solo la mattina presto quando Guido torna dal lavoro e la sveglia con la colazione. E tutti i santi giorni si amano. Sono i protagonisti di una divertente e romantica storia d'amore vissuta in una metropoli complicata come Roma, con dei vicini di casa rozzi, allegri e disperati e alle spalle due famiglie d'origine che non potrebbero essere più distanti. Un amore che sembra indistruttibile, finché il pensiero ostinato di un figlio che non viene non mette in moto conseguenze imprevedibili.
11 Oct 2012
218
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1:35
*******dimagrire-velocemente.plus101**** ---Consigli Per Dimagrire Velocemente. Questo Segreto Essenziale Per Bruciare i Grassi, passa per lo più sotto silenzio (spesso di proposito), ed è nascosto proprio davanti al tuo naso. E' la prima cosa che condivido con i miei clienti personali, e con le persone che usano il mio Semplice Sistema per perdere peso Garantito in 3 Fasi. Ti spiegherò come ho perso chili del Grasso Più Ostinato che era rimasto fedelmente 'al mio fianco' per decenni. Consigli, Per, Dimagrire, Velocemente, esercizi fisici per dimagrire, dieta veloce ed efficace, esercizi per dimagrire, aceto di mele per dimagrire, dimagrire velocemente 5 kg, dieta per dimagrire 10 kg, camminare per dimagrire, dieta efficace, dieta per dimagrire 5 kg, dieta drastica e veloce, anfetamine per dimagrire, correre per dimagrire, programma per dimagrire, trucchi per dimagrire, digiuno per dimagrire, carnitina per dimagrire, dimagrimento veloce, dimagrire in una settimana, allenamento per dimagrire
18 Apr 2013
397
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3:17
HEM ÖĞREN HEM ÇOCUĞUNA ÖĞRET Aykut İlter Aykut Öğretmen BLok flüt notası BOPSİTİLER DO Sİ LA FA SOL LA / Sİ LA SOL Mİ FA SOL LA SOL FA RE Mİ FA SOL RE Mİ SOLLL SOL SOL Mİ LA SOL SOL Mİİİİİ x 2 FA FA RE FA FA REE SOL SOL LA SOL FA Mİ RE DOOO Bopstiler Şarkı sözleri BOPSTİLER STİLER ASFALTTAN GEÇEMEZLER SEBEBİ SEBEBİ CEPLERİ DOLU LEBLEBİ BOPSTİLİN ŞAPKASI SANKİDE VAPUR BACASI SEBEBİ SEBEBİ CEPLERİ DOLU LEBLEBİ BOPSTİLİN KRAVATI SANKİDE VAPUR HALATI SEBEBİ SEBEBİ CEPLERİ DOLU LEBLEBİ BOPSTİLİN CEKETİ KOKUYOR BALIK ETİ SEBEBİ SEBEBİ CEPLERİ DOLU LEBLEBİ Orff nedir? Ritm; müzik, dans ve konuşmada doğası gereği varolan temel öğedir. Bu temel öğe üzerine kurulu bir “ dil ” olan Orff yöntemi; a) Ritm için vücut sesi ve jestler vurgulanarak, b) Enstrümanların en doğalı ve ilki olan “ses” kullanılarak, c) Her ölçü, şekil ve ses çeşitliliğine göre bütün davul türlerine büyük önem verilerek, d) Doğaçlamalara şekil veren öge olarak “ostinato” (tekrarlanan ritmik, sözlü veya söylenen biçim) kullanılarak doğmuştur. Orff Schulwerk çalışmalarının temeli müzik, konuşma, dans-hareket’in birleşiminden ortaya çıkacak yaratıcı gücün tetiklenmesidir. Bu gücün sonucunda ortaya çıkan ürünler ise süreç içerisinde çocukların kişilik gelişimine katkı sağladığı gibi sosyal ve iletişim becerilerini de geliştirmektedir. Yaratıcılığı doruk noktasına çıkaran çalışmalarda çocuklar tamamen doğaçlama hareket geliştirir, hiç bir sanatsal kaygı taşımadan çalgıları ve bedenlerini kullanarak spontan müzik yaparlar. Bu çalışmalarda çocukların yeteneklerinin olup olmadığı önemli değil, deneyim yaşadıkları süreç ve meydana getirdikleri ürün önemlidir. CARL ORFF KİMDİR? Carl ORFF (1895 – 1982) Alman Besteci ve Müzik Eğitimcisi Çoğumuz CARL ORFF'u besteci kimliğiyle ve yazmış olduğu en ünlü eseri Carmina Burana adlı oratoryosu ile tanırız. Eğitimci yönü ise, kendisinin geliştirdiği Orff Metodu ile karşımıza çıkar. ORFF YÖNTEMİ NEDİR? Ritm; müzik, dans ve konuşmada doğası gereği varolan temel öğedir. Bu temel öğe üzerine kurulu bir “ dil ” olan Orff yöntemi; a) Ritm için vücut sesi ve jestler vurgulanarak, b) Enstrümanların en doğalı ve ilki olan “ses” kullanılarak, c) Her ölçü, şekil ve ses çeşitliliğine göre bütün davul türlerine büyük önem verilerek, d) Doğaçlamalara şekil veren öge olarak “ostinato” (tekrarlanan ritmik, sözlü veya söylenen biçim) kullanılarak doğmuştur. Orff Metodu, çocuklara temel müzik eğitimi vermek için çocuğun alışık olduğu elemanları kullanarak tamamen doğal yolla öğrenmeyi teşvik eden, Carl ORFF tarafından geliştirilen bir metottur. Bu metodun en temel öğesi, dans, müzik, konuşma, dil, vücut, ve hareket birlikteliğidir. Bu temel öğeleri kullanarak, orff metodu uygulandığında, çocukta müzikal yönden gelişme sağlanır. Aynı zamanda bu gelişmeyle birlikte, çocukta öğrenme disiplini, grup sorumluluğu alma, başkaları ile çalışmayı öğrenme ve dikkat becerilerinin geliştirilmesi sağlanmaktadır.Taklit ve keşfetmenin, doğaçlama ve müzik yazarlığına yol açması ile aktif bir şekilde öğrenmeyi sağlar.Okuma ve yazmayı öğrenmeden önce çocuk konuşmayı öğrenir. ORFF ÇALGILARI Carl ORFF, tüm bunların yanında, çocuklara metodu uygularken, eğitimi daha eğlenceli hale getirmek amacıyla, kendi adını verdiği Orff enstrümanlarını kullanmıştır. Bu enstrümanlar : Çelik Üçgen Ritm Çubukları Zil Timpani Gong Ksilofon Metalofon Bango Marakas Kastanyet Tef Glockenspieller ve çeşitli büyüklükte davullar en çok bilinenleri arasındadır. ÖRNEK ETKİNLİK Amaca yönelik önceden hazırlanan bir hikaye : Hikayenin önemli noktaları öğretmen tarafından ders öncesinde belirlenir. Bu noktaların ifade edilebilir özellikte olması önemlidir. Örnek: gök gürültüsü, yağmur sesi, merdivendenhızla çıkan ya da inen bir çocuğun ayak sesleri, birşeyler yerken çıkardığımız sesler, sabah kalktığında kollarını iki yana açarak gerinen bir insanın çıkardığı ses, vb. Öğretmen tarafından org veya piyano ile sürdürülen bir ostinato kalıbı. Orff çalgıları sınıfın ortasına dağınık olarak yerleştirilir. Yapılacak çalışma çocuklara açıklanır. Hikaye öğretmen tarafından anlatılmaya başlanır. Belirlenen ostinato konuya göre öğretmen tarafından sürdürülür. Canlandırma ve uygulama anı geldiğinde öğretmen orgun-piyanonun başından kalkarak hikayenin kaldığı noktadaki durumu-olayı-sesi seçeceği çalgısıyla ifade etmesi için bir öğrencinin yanına ilerler ve omzuna dokunur. Öğrenci kalkar, çalgılara yönelir ve kendince uygun bulduğu Orff çalgısıyla düşüncesini hayata geçirir, canlan dırmasını yapar.Yapılan çalışmalarda çok farklı örneklere rastladığımız gibi bir olayı birçok öğrencinin aynı çalgıyı aynı şekilde kullandığı da dikkat çekici bir noktadır. Bu sırada diğer öğrenciler hikayeyi dinlerler ve uygulama yapan arkadaşlarını izlerler. Bu uygulama sırasında hikayenin resmi de yaptırılabilir. Tüm öğrenciler anlatılan masalı hayalinde canlandırır ve bunu kağıtlarına çizerler. Bu şekilde diğer öğrenciler de yaratıcılıklarını uygulama şansını resim yaparak gerçekleştirmiş olurlar. DERS Orff Bopstiler Anaokulu Çocuk Şarkısı ve Dans Figürleri Topkapı Doğa Koleji ders, orff, bopstiler, orff yaklaşımı, carl orff, aykut öğretmen, topkapı doğa koleji
19 Jun 2013
268
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0:00
Bekijk ook de volledige versie voor 2 piano's en 2 marimba's *******cultuurgids.avro.nl/front/detailklassiek.html?item=8176141 Eindhoven, 2 april 2011. Uitvoering van Simeon ten Holts Canto Ostinato door vier pianisten: Elizabeth Bergmann, Marcel Bergmann, Sandra van Veen en Jeroen van Veen. Tijdens het concert worden luchtfoto's van de Nederlandse fotograaf Karel Tomeï geprojecteerd.
5 Sep 2013
4531
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0:00
Le Carnaval des Animaux' (The Carnival of the Animals) is a musical suite of fourteen movements by the French Romantic composer Camille Saint-Saëns. Le Carnaval was composed in February 1886 while Saint-Saëns was vacationing in a small Austrian village. It was originally scored for a chamber group of flute, clarinet, two pianos, glass harmonica, xylophone, two violins, viola, cello and double bass, but is usually performed today with a full orchestra of strings, and with a glockenspiel substituting for the rare glass harmonica. Saint-Saëns, apparently concerned that the piece was too frivolous and likely to harm his reputation as a serious composer, suppressed performances of it and only allowed one movement, Le Cygne, to be published in his lifetime. Only small private performances were given for close friends like Franz Liszt. Saint-Saëns did, however, include a provision which allowed the suite to be published after his death, and it has since become one of his most popular works. It is a favorite of music teachers and young children, along with Prokofiev's Peter and the Wolf and Britten's The Young Person's Guide to the Orchestra. Strings without double-bass, two pianos, flute, and harmonica: This is one of the more musically rich movements. The melody is played by the flute, backed by the strings, on top of tumultuous, glissando like runs in the piano. The first piano plays a descending ten-on-one ostinato, while the second plays a six-on-one. These figures, plus the occasional glissando from the harmonica, are very evocative of a peaceful, dimly-lit aquarium. This intermittent section where the pianos play high sixteenths is reminiscent of parts of Tchaikovsky's ballet, The Nutcracker.
16 Jul 2008
2008
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10:50
HEAR MY MUSICAL DREAM JOURNAL *******torley.bandcamp**** philip glass piano opera new orchestra symphony music composed concerto work minimal minimalist contemporary serious classical art harmonic rich fundamental ostinato chamber arpeggio style chord progression noah everyday fringe theme koyaanisqatsi solo etude
3 Jul 2010
2318
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11:00
Because he wanted to be considered a composer of serious, substantial music, Camille Saint-Saens suppressed his "Carnival of the Animals" shortly after its premiere, in 1886, disallowing any execution of the suite and publishing only one movement, "The Swan", in his lifetime. And while that movement is a welcome addition to pieces written for the cello, the whole "zoological fantasy" is a most successful example of humourously themed music in the classical repertory and has become, with full right, one of the composer's most popular works. It is cast as a suite of 14 short pieces and was originally scored for, at first sight, rather small chamber group of flute, clarinet, two pianos, glass harmonica, xylophone, two violins, viola, cello and double bass, but is usually performed today with a full orchestra of strings, and with a glockenspiel substituting for the rare glass harmonica. But the brilliance of Saint-Saens' piece lies not only in the sheer number of surprisingly witty and charming depictions of the animals; the composer uses only the instruments he needs at the moment and draws exceptional music from different combinations of his compact "cast". My choice recording here is a charming and warm account by the London Sinfonietta under the leadership of Charles Dutoit, the recording that introduced me to the work itself and which is one of my preferences for this particular piece. I divided the movements into three separate uploads with the finale actually being separated from the rest of the tableaux, making for a well-placed recapitulation. This is also my first upload where I tried playing with the possibilities of Windows Video Maker, thus I included several captions to mark the changes between the movements. 1. No. 1. Introduction & Royal March of the Lion (strings and two pianos). The introduction begins with the pianos playing a bold tremolo, under which the strings enter with a stately theme (this section reminds one of the agitation one experiences when something stupendous is about to happen, in this situation, the appearance of a circus parade, perhaps). The pianos play a pair of scales going in opposite directions to conclude the first part of the movement. The pianos then introduce a march theme that they carry through most of the rest of the introduction. The strings provide the melody, with the pianos occasionally taking low runs of octaves or high ostinatos suggesting the roars of the lions. The movement ends with a fortissimo note from all the instruments used in this movement. 2. No. 2. Hens & Roosters (strings without double-bass, two pianos and clarinet). This movement is centered around a pecking theme played in the pianos and strings, quite reminiscent of chickens pecking at grain. The clarinet plays small solos above the rest of the players at intervals. In the middle of the section, you can almost see a rooster marching along the rows of hens who nervously run around him. 3. No. 3. Wild Asses (two pianos). The animals depicted here are quite obviously running, an image induced by the constant, feverishly fast up-and-down motion of both pianos playing scales in octaves. 4. No. 4. Tortoises (strings and piano). A slightly satirical movement which opens with a piano playing a pulsing triplet figure in the higher register. The strings then play a maddeningly slow (so slow, in fact, that it begins to sound like a dramatic lament) rendition of the famous "Can-Can" from Offenbach's "Orpheus". 5. No. 5. The Elephant (double-bass and piano). This section is marked Allegro Pomposo, the perfect caricature for an elephant. The piano plays a waltz-like triplet figure while the bass hums the melody beneath it. Like the previous movement, this is also a musical joke: the thematic material is taken from Felix Mendelssohn's "Incidental Music to A Midsummer Night's Dream" and Hector Berlioz's "Dance of the Silphs". The two themes were both originally written for high, lighter-toned instruments (flute and various other woodwinds, and violin, accordingly); the joke is that Saint-Saens moves this to the lowest and heaviest-sounding instrument in the orchestra, the double bass. 6. No. 6. The Kangaroos (two pianos). The main figure here is a pattern of "hopping" fifths preceded by grace notes. 7. No. 7. The Aquarium (strings without double-bass, two pianos, flute and glass harmonica). The melody is played by the flute, backed by the strings, on top of tumultuous, glissando like runs in the piano. The first piano plays a descending ten-on-one ostinato, while the second plays a six-on-one. These figures, plus the occasional glissando from the harmonica are evocative of a peaceful, dimly-lit aquarium. Hope you'll enjoy :)!
15 Jul 2011
4591
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5:21
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[citation needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (A-B-A), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat major. It is the familiar part of the piece, and has the left hand moving in pounding octaves. The theme is repeated up an octave with short trills that fill some of the auditory gaps in the theme. There is a brief interlude with a series of chord progressions that lead into a recount of the traditional polonaise melody, with the polonaise rhythm employed in the left-hand accompaniment. The theme of Section A then repeats once before closing. Section B opens with six loud arpeggiando chords before switching to a very soft bass ostinato of descending octaves first in the key of E major and then in D sharp major. A march-like melody follows the descending octaves and this occurs twice. Section B ends, with a long lyrical interlude firstly with harmonic chord progressions and frequent modulations. A flowing sixteenth note melody in the right hand and light accompaniment in quavers (eighth notes). This ends in a descending passage before Section A is replayed. The theme is played louder and more dramatically and ends in a coda which includes material derived from the main theme.
10 Oct 2011
8256
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8:09
Congrats to my friend, Mike Mangini -- he is the new drummer for Dream Theater, as officially announced just around 11 am est today - 4/29/2011. You deserve it buddy!!! This is one of the greatest drum solos I've seen (...having seen MANY), and it was recorded by a fan in the crowd at an Extreme concert (Hammerjacks, '95). The song they're playing before the solo is "Cynical," and the one they go into afterward is "Play With Me." (I have "Play With Me" in its entirety posted in a separate video.) Mike has greatly improved since then, of course, but there's something about this solo. I could write a full essay about the stuff that's awesome here. However, I'll just let the video speak for itself. Those of you who are into drums - in particular, soloing over ostinatos, double-bass, ambidexterity, polyrhythms (tough stuff!), etc. - you'll understand. Here's yet another example that shows that Mike has all along been a very musical drummer, ALONG with his obvious technical ability. Of course, this is all just my opinion. If you insist upon comparing him to other drummers (especially out-of-context comparisons like Buddy Rich or strictly-death-metal guys), then we won't agree. But hey - variety is good!
20 Dec 2011
9006
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Paul Pitman become a fan on facebook: facebook****/9Beethoven The Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", op. 27, No. 2, by Ludwig van Beethoven The sonata has three movements: Adagio sostenuto. Allegretto (click to go at 6:00 min). Presto agitato (click to go at 8:05 min). Adagio sostenuto The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a "lamentation", mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or "very quietly", and the loudest it gets is mezzo forte or "moderately loud". The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it "is one of those poems that human language does not know how to qualify. The work was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Carl Czerny, "Surely I've written better things. Allegretto The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as "a flower between two chasms."[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movement's cheerful disposition. Presto agitato The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing. It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopin's Fantaisie-Impromptu, which manifests the key relationships of the sonata's three movements. Of the final movement, Charles Rosen has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing. Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized. Beethoven's pedal mark See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: "Si deve suonare tutto questo pezzo delicatissimamente e senza sordino". ("One must play this whole piece [meaning "movement"] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethoven's day, leaving for a rather blurry and dissonant tone. One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethoven's original direction. For performance on the modern piano, most performers today try to achieve an effect similar to what Beethoven asked for by using pedal changes only where necessary to avoid excessive dissonance. For instance, the Ricordi edition of the score posted at the external link given below does include pedal marks throughout the first movement. These are the work of a 20th century editor, meant to facilitate performance on a modern instrument. Half pedaling — a technique involving a partial depression of the damper pedal — is also often used to simulate the shorter sustain of the early nineteenth century pedal. Charles Rosen suggests both half-pedaling and releasing the pedal a fraction of a second late. Banowetz offers a further suggestion: to pedal cleanly while allowing sympathetic vibration of the low bass strings to provide the desired "blur." This is accomplished before beginning the movement by silently depressing the piano's lowest bass notes and then holding these dampers up with the sostenuto pedal for the duration of the movement.
7 Apr 2012
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