Your choice of clarinet mouthpiece will largely affect the quality and type of sound that you will produce. After all, the mouthpiece is where sound starts and clarinet players have to use the right mouthpiece according to their level of expertise. Choosing a clarinet mouthpiece according to your specific needs and expertise is important to avoid problems while playing.
The mouthpiece has several purposes. First of all, it allows the user to get air vibrating through the clarinet in order to produce sound. And second, the mouthpiece works to hold the reed in place. A lot of things go into the decision on the type of mouthpiece that you should use. These include the material, interior and exterior design and the mouthpiece facing.
In a clarinet, facing on a mouthpiece is also referred to as the lay. This is the part where the reed sits in the mouthpiece. The size and length of the facing can affect the timbre of sound that the clarinet produces but it's not a focus of concern when choosing a clarinet mouthpiece.
Mouthpieces can be made of various materials. Most are made of plastic. Pieces made of wood or glass are rare. Even the material can affect the quality of the tone produced although many beginners cannot even tell the difference. As such, it's better to base your decision on your budget. You want to assess the practicality of purchasing a mouthpiece that is made from a specialty material in relation to the sound that it produces at your particular stage of expertise.
When choosing a clarinet mouthpiece it's also a good idea to look at the mouthpiece bore. If you want to produce a focused and compact tone, opt for a clarinet mouthpiece that has a small bore. A larger one is required if you want to create a dark and mellow tone.
Dance is an art which gives a chance to the individuals to
express their self expressions and emotions. Dance is the best way to reduce
stress and boost your mood. Today individuals of all age groups prefer to opt
for dance instead of exercises and jogging. This is because dance not only
helps in toning their body but it also helps in socializing and relaxing. Since
ancient times there are dancers who have contributed in the development of
different dance forms.
Some world famous dancers who are still remembered for their
valuable contribution in dance are:
•
Anna Pavlova:
She was known for her classical ballet. Even
today she is remembered for her performance in ‘The Dying Swan’.
• Mikhail Baryshnikov
Mikhail
was a director in American Ballet Theater. He had also worked as the male
dancer in ballet for some plays.
•
Vaslav Nijinsky
Vaslav
was a ballet dancer who was famous in 1950’s for his excellent athletic body
and ability to perform with perfection and confidence in theater plays.
Astaire with Eleanor Powel (Photo credit: Wikipedia)
•
Jack Cole
‘Jack Cole’ is considered to be
the father of jazz dance techniques that are used by many jazz dancers today.
Cole’s dance techniques emphasized more on angled placements, isolations and
change of directions.
•
Katherine Dunham
Katherine was the first African-
American women who found great success as a choreographer in the 19th
century. She even came up with her own dance troupe and gained popularity in
the world for her jazz steps.
• Fred Astaire
Fred
is well remembered for his flawless dance styles. Apart from a good dancer Fred
was also a singer, choreographer, actor and a leading entertainer in Broadway.
•
Michael Jackson
Well
known as the king of loping and popping Michael Jackson was one the famous
dancers in the world in 20th century. He revolutionized the world of dance with
his excellent dance moves.
Johann Sebastian Bach (1685-1750) was born in Thuringia as being the son and grand-son of a musical family. He died in Leipzig.
A selection of vital composers of the pre-classical age were his sons: Carl Philip, Wilhelm Friedman, Johann Christian.
Johann Sebastian received at Eisenach a colossal education and learning which included traditional Greek as well as Latin
Soon after his father's death his musical education and learning continued at Ohrdruf. He has been already proficient at the violin, the organ and the "clavicembalo". He studied musical composition with Herder and occasionally with Boehm at Luneburg.
Buxtehude, Vivaldi, Couperin, Frescobaldi were among the list of several composers he analyzed greatly the creations.
He individually knew quite a few important organists of his time and he had been named organist to the "Neue Kirsche" of Arnstadt in 1703. He soon began composing actively and building a fine status of skilled performer and church organ restorer.
Following a short time spent at Mulhausen, Bach is officially hired as first organist and artist, then "konzertmeister", at 1714, at the Court of Weimar. He composes there lots of cantatas and additionally wide range of his grandest harpsichord and organ compositions.
Johann Sebastian is "Kappelmeister" at the Court of Coethen in 1717. A Calvinist and reformist court at which Bach is asked to keep distant from the majority of church music he had been composing until then. He authored there his most important instrumental works which contain the Suites (English and French), the Well-Tempered Klavier - first book - the Inventions.
Dissents force him to leave Coethen for the work of Cantor at Leipzig, Saint-Thomas Church in 1723. That is where he will stay all the remaining of his existence.
As being the Cantor, Johann Sebastian Bach has to provide for the musical training, compose brand-new music for all special days at the church, the city and the University, this included the requirement for a new cantata each Sunday.
The requirements of the work and the meticulosity of his employers have been the source for quite a few disputes between Bach and his "bosses".
Apart from the Cantatas he authored here his masterworks of sacred music: his two Oratorios and his Passions.
Traveling generally, irrespective of the imposed restrictions, Bach created the Goldberg Variations at Dresden for the Count Keyserlingk and the Musical Offering for the King Frederic II of Prussia.
A bad cataract surgical procedure makes the composer almost totally blind at 1749. Nevertheless, the reason for his passing away is assumed to be a strike and the subsequent temperature in 1750.
The compositions of Johann Sebastian Bach are really the culmination and "the marvelous conclusion" of virtually all music which happens to be composed before.
The polyphonic style which has preceded him, come about, with Johann Sebastian Bach, to a degree unheard previously. He was not an innovator, that is not to mention the amazing harmonic situations that take place in a little bit of his fugues.
Glenn Gould mentions "early Schoenberg" when talking concerning the handling of the thema (notes: B-flat, A, C, B-natural) B-A-C-H within the last number, the unfinished fugue of the "Art of Fugue" BWV 1080. Furthermore, his instrumental advancements, particularly in the Goldberg Variations and his Toccatas are fantastic. Nonetheless his sons, predominantly Carl Philip Emmanuel, modeled the "new style" to come. Johann Sebastian Bach's music, inside his own last days, was thought to be "old-fashioned".
The Toccatas BWV 910-916 are musical works from the young Bach. In fact one can not date them correctly, still the style prevailing in all of them verifies that generally approved idea.
The Toccatas G major, G minor and E minor were actually the works of a 23 or 25 years old Bach, then organist at the service of the Prince of Saxe-Weimar. The ones in D major and D minor might be written by an even younger Bach, possibly around 1705-1708. 1709-1712 might be the dates for the Toccatas in F-sharp minor and C minor.
The Toccatas, as commonly with Bach, are not published within his life time. Merely one, in D minor has been revealed as late as early nineteenth century.
"To touch" ("toccare" in Italian) is the root of the musical style "Toccata". It refers to a piece for a keyboard instrument with, ordinarily, a maximum of virtuosity showing and of a free form.
Gabrieli, Andrea (c.1520-1586) and/or Merulo, Claudio (1533-1604) are generally cited as being the authors of the primary "Toccatas". Frescobaldi (1583-1643) prior to Bach, lifted the "Toccata" to a high level, sophisticated musical genre.
In fact, no musical instrument had been specified by Johann Sebastian Bach for the playing of his Toccatas. As being an incredibly good pipe organ and "clavicembalo" artist, J. S. Bach has been, at the same time, performing the Clavichord: a gentle and intimate music instrument we know he appreciated a whole lot. Even though, the radiance and the splendor of all those Toccatas require the "clavicembalo".
"Bach-Extravaganza" might possibly contain been a flashy title for J.S. Bach's Toccatas (BWV 910-916), if such things appeared to be existing then. This really is "unleashed" Bach.
Excellent keyboard works, free from almost any type of didactic, formal, stylistically codified church-related or court-related constraints. Those musical works can merely be compared with the composer's "Fantasias" and such an assessment will be towards the benefit of the Toccatas.
Toccatas BWV 910-916 seem transcriptions of Johann Sebastian Bach's famous improvisations.
All pieces stick to a nearly identical structural planning: "free-virtuoso-improvisatory" beginning ("a la Chromatic Fantasy"), then an alternation of lively fugatos and strikingly fine looking slow sections.
Those slow parts come each time with audacious harmonic progressions. They usually surprise us with the scope of the musical mind hiding behind them. Even when they seem to extend "too much" in length, they must be considered as "transcriptions" of the endless musical creativeness and proficiency of Johann Sebastian Bach improvising.
This Toccata N.1 in D min. BWV 913 was the first one published in the early nineteenth century. It has two fugues. Its introduction part is less cadenza-like as compared to others but it still has the general aspect of a "rhapsody". A beautifully expressive slow part, with four voices, comes before the first lively fugue. The second slow part is even more expressive than the first. A single short motive is processed with an unending flow of modulations which displays it in every lighting and shadowing imaginable. The brilliant last fugue concludes the work.
The Toccata N.2 in E min. BWV 914 is possibly composed around 1707-1710, this is the shortest Toccata. The short introduction in a free-prelude design precedes the first light "fugato". The Adagio is presented like a recitative with short instrumental proceedings in a very improvisatory design. The virtuoso fugue which follows is thought by some scholars as being originally conceived for the organ.
From probably between 1079-1712 this Toccata N.3 in F-sharp min. BWV 910 is a large piece, comprised of five movements with two fugues. The "usual" free-form introduction leads directly to one of the most sublime pages among all Toccatas. The large section in 3/2 time is intense and beautiful. It's chromatically descending thema sustains this melancholic movement. This theme is actually a Passacaglia or "basso continuo" thema which is made the main melody here. The first fugue: "Presto e staccato" displays an incredible imitative polyphony work and craftsmanship. The moderate tempo section in between the two fugues emerges as a meditative interlude. It connects with the final fugue of an exuberant character and the Toccata ends with arpeggios, not unlike the introduction.
We meet here in the Toccata N.4 in G min. BWV 915 with some "piano" and "forte" indications on the manuscript. This introduction in 24/16 time makes the frame for the entire piece to come. Another slow movement in 3/2 time, grave and majestic brings the first fugue in B-flat major which simultaneously presents two themes one with disjoint motions and the other proceeding by close steps. A few measures long, recitative-like movement separates the two fugues. The ultimate fugue is in "Gigue" form. Either edited as 12/8 or "C" time (with dotted values to be read as a ternary time).
It is customary to date this Toccata N.5 in D maj. BWV 912 1705-1708, before Bach coming at the Court of Saxe-Weimar. The piece opens with rapid scales and arpeggios. The first "Allegro" which follows is at the same time jokingly and pompous. A dozen bars of transition brings a slow double "fugato" and is followed by a movement: "Con discrezione", a very "rubato" section. The last part is a double fugue in 6/16 time. Again the "Gigue" idea is present all through this fast peaced fugue.
A "Chromatic Fantasy"-like, typical beginning opens this vast Toccata N.6 in C min. BWV 911 which presents, in my opinion, one of the most extraordinary fugues in the collection. The Adagio is grand and noble, almost religious in character. The comes to the very difficult but exuberant fugue.
The opening of the Toccata N.7 in G maj. BWV 916 is less improvisatory but more like a Concerto first movement. The instrument and the virtuosity of the performer are shining all through the section. A charming melodious section follows. Even though it is not as elaborated (polyphonically speaking) as the other slow movements of the series, this E minor section is indeed beautiful. The closing fugue is less elaborated than the previous ones in the series, but again, incredibly charming as well.
By Mehmet Okonsar, pianist, composer, conductor and musicologist is the First Prize Winner at the International Young Virtuosos Competition, Antwerp, Belgium, 1982 and laureate of other prestigious international piano competitions such as the Gina Bachauer, Sixth Prize, Salt Lake City-UT, 1991 and J. S. Bach, Second Prize, Paris, France 1989. He is graduated from the Brussels Royal Conservatory of Music. His extensive discography includes a series of works by J. S. Bach, Liszt, and Schumann. As a musicologist, writer and lecturer, Okonsar's writings are published in several music periods. His essays and analyses are released in English and French, he is a lecturer in music, composing and technology.
Even though George Gershwin's life was sadly cut short by a brain tumor when he was only 38 years old, his music still lives on in the hearts and minds of the world today. Some of his most famous works included "Rhapsody in Blue" and "They Can't Take That Away From Me." His storied career includes many other notable highlights and achievements over the course of his brief life.
George Gershwin was born in Brooklyn, New York to Ukrainian Jewish immigrants on September 26, 1898. He was named Jacob Gershowitz at birth. The family name was later Americanized by George to facilitate his show business career. Many of his other family members followed suit and changed their names accordingly. Gershwin had three siblings in his family.
George Gershwin revealed his talent for music at an early age. At the tender age of 10, Gershwin attended his friend Max Rosen's violin recital. He was absolutely fascinated by the passion behind the performance. He loved the sound of the instrument and the skilled nuance with which Rosen performed.
The Gershwin parents had bought a piano for George's older brother, Ira. George came home from the violin recital and was determined to learn to play an instrument, so he began tinkering around with Ira's piano at home. He learned the instrument quickly, so his parents were happy to help him find a suitable professional for a piano teacher.
The search for a piano teacher for young George Gershwin took nearly two years. He finally settled on Charles Hambitzer, who influenced Gershwin's musical life immensely. He taught Gershwin formal techniques and formal European music. Gershwin would attend classical music performances with Hambitzer, and he was often able to reproduce the melodies on the piano when he would return home. Hambitzer acted as Gershwin's mentor until the time of his death in 1918.
At 15, Gershwin dropped out of school to become a song plugger for Jerome H. Remick and Company, a firm from New York City's famed Tin Pan Alley. The position earned him $15 a week, but more importantly, it positioned him well in the music industry.
By 1916, Gershwin published his first song, entitled, "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want Em." He was 17 years old.
He followed up his release in 1916 with a 1917 release of "Rialto Ripples," which was a commercial success. In 1918, he released "Swanee." In 1924, Gershwin began his foray into musicals, a pursuit that would make him forever famous. He penned "Lady Be Good" and "Fascinating Rhythm" that year.
Follow-up musicals in subsequent years included "Oh Kay," "Funny Face," "Strike Up the Band," "Show Girl," "Girl Crazy," "I Got Rhythm," "Porgy and Bess" and "Of Thee I Sing." The latter of the group won the esteemed Pulitzer Prize.
Gershwin's success on Broadway eventually led to calls from Hollywood movie studios. He moved out to California to do some film work. While out in Hollywood, he began complaining of headaches in early 1937. Sadly, during his work on a film entitled "The Goldwyn Follies," George Gershwin collapsed due to a malignant brain tumor. He later died following a surgery to remove the tumor on July 11, 1937.
Although his life was tragically cut short, George Gershwin's legacy will always live on through his music. From timeless hits to musicals, his melodies still resonate in popular culture. His influence will be felt for decades to come.
Mary Poppins on Broadway today is only an inspired version from the book written by P. L. Travers which was illustrated by Mary Shepard. That book talks about the strange and magical English nanny named Mary Poppins. She came to Seventeen Cherry Tree Lane, London in the family of Banks. She takes care of their children. The kids experience different adventures with chimney sweeps and shopkeepers until Mary Poppins suddenly pops out.
The adventure does not only take place in one book but up until to the eight book. Mary Poppins can only be seen arriving and leaving in the first three books. It is explained by P. L. Travers that "She cannot forever arrive and depart" in that next five books.
It was then brought to musical Disney film in 1964 which starred by Julie Andrews and Dick Van Dyke. Then there was a stage musical adaptation in the West End theatre during the year 2004. By the year 2006, it was transferred to Broadway. Till now it is still running and more people are coming to watch the show. It is as successful as the classic 1964 film.
In fact, by the year 1938, there was already an attempt to purchase the film rights to Mary Poppins from P. L. Travers. Unluckily, Travers rejected the offer due to his belief that the film is not capable of giving justice to her work and she did not want an animated cartoon based on it. Fortunately, in the year 1961 Walt Disney succeeded but Travers demanded script approval rights.
It consumed two years of planning the film and composing the songs. Sherman Brothers created the songs in the film. The casts were played by Julie Andrews as Mary Poppins, Dick Van Dyke as supporting the role of Bert, Karen Dotrice and Matthew Garber as the Banks children and David Tomlinson and Glynis Johns as Mr. and Mrs. Banks. The film is rated G by the MPAA. It was observed that Mary was kinder than in her character in Traver's novels.
You can see all the adventures from the book in the films. You will witness additional adventures added by Walt Disney and his associates.
Six years ago a musical version of Mary Poppins opened at the Prince Theatre, London which is inspired by the Disney film and the books. It was praised by many viewers and luckily recommended for nine 2005 Olivier Awards. They won awards for Best Actress in a Musical for Laura Michelle and Best Theatre Choreography for Matthew Bourne and Stephen Mear. The original music and lyrics by Sherman brothers was use and was added with new songs and lyrics by George Stiles and Anthony Drewe.
By the year 2006, a Broadway production opened at the New Amsterdam Theatre, New York. It was a box office success and even nominated for Tony Awards for seven times. In fact, they won Best Scenic Design of a Musical for Bob Crowley. There are tour productions to many places among are National UK tour and National US tour.
Mary Poppins continue being friendly and helpful from the Disney film. She became vainer than her film portrayal following the books.
Sebastian Mayer has watched some great shows of Broadway. - Article Source: GoArticles
Fender Stratocaster history begins with the man some people call the king of surf music. Dick Dale is the man who some believe invented surf music as early as the 1950's. No, it wasn't the Beach Boys. It was Dick Dale.
He had the musical assistance of Leo Fender, inventor of the Fender Stratocaster. Part of early Fender Stratocaster history includes the story of Leo Fender's gift to Dick Dale of a Fender Stratocaster to use in his live performances. He wanted Dick to try the Fender Stratocaster - and the rest is history, as the saying goes.
Did he try that guitar! The Fender Stratocaster history at that point was one of taking abuse and living through it, as Dale beat that guitar, hurling loud raucous music into the night, and destroying forty-nine different amps until one actually caught on fire. Stratocaster history that night including the entertaining Dick Dale using the right handed guitar for left-handed play, playing upside down and created all new sounds.
Leo, Freddy Fender and Dale joined forces to find new, more tolerable speakers and this was the beginning of heavy metal Fender Stratocaster. They approached a company that made speakers and asked that they design a fifteen-inch Fender Stratocaster speaker. This made Fender Stratocaster speaker history.
Fender history included the fact that Dick Dale became the first person to take the quiet guitar player image and transform her or him into a loud heavy metal entertainer.
Included in this portion of Fender history was Guitar Player Magazine, who as a result now referred to Dick Dale as the father of heavy metal. Stratocaster history, then, is about the transition from quiet soothing sing along surf music to the heavy metal sound of the sixties.
Johann van Beethoven (Father of Ludwig) (Photo credit: Wikipedia)
Beethoven was among the most famous classical and romantic music composers. He was born in December 1770, in a place known as Bonn, the capital of Electorate of Cologne and a part of Roman Empire. Ludwig was born in a family deeply involved in classical music. His first music teacher was his father Johan Van Beethoven.
By the age of 14, he started to work as an assistant organist in a court. While he was working for Christian Gottlob Neefe who was a member of Order of the Illuminati, Beethoven got influenced by the ideas of Freemasonry. A secret society criticized for working for devils and worshipping occults.
In 1787 Ludwig's mother got sick and then died, following which his father went deep into alcoholism. Having no one to care for his younger siblings he had to stay in Bonn for next five years. In 1792, Beethoven left Bonn for Vienna where he learned playing music from Joseph Haydn and Leopold Mozart.
In Vienna, Beethoven had to strive hard to conceive notable reputation in the musical industry. For the premiere of his first symphony, he hired the Burgtheater and presented his Septet, the First Symphony and Piano Concertos, along with some works of Haydn and Mozart. Soon after these achievements, Beethoven started to gain fame and eminence.
In 1799, when Beethoven was teaching music lessons to Hungarian Countess's daughters, he started an affair with the youngest daughter, Josephine. But as soon as the Countess Anna Brunswick discerned this, she married her daughter Josephine with Josef Deym. The love between them didn't diminish and was accentuated again after the sudden death of Deym.
Picture representing Ludwig van Beethoven in 1823 (Photo credit: Wikipedia)
Beethoven's hearing ability started to deteriorate by the age of 26, it is said that he suffered from a severe form of tinnitus, typhus or some sort of auto immune disorder. He was used to writing letters to his friends and doctors, in which he wrote about the pain and agony he was facing but nothing would help. His ability to hear gradually decreased until 1814 when he completely became deaf.
Although Beethoven had lost his hearing ability, he didn't quit playing music. One of the famous incidents is when he blatantly started to cry before the audience due to his inability to hear the applause after his ninth symphony. He continued to have public concerts until the 24th of May 1824 when the concert was attended by few and nothing went well.
Josephine had already married another commoner and Beethoven was left alone. After a long sickness and bed rest of two months, he died in March 1827. The autopsy revealed that he died of liver damage and auditory dilation due to excessive intake of alcohol. His name as one of the best classical music composers will never be forgotten in the world of classical music.
If your drum tone sounds flat and dull then it needs tuning, before we go into the "How to Tune" part, let's discuss factors that affect rawhide. Rawhide by its nature shrinks or expands depending on certain conditions. In cold, moist and humid weather or these types of environments rawhide expands. In hot and dry weather or when exposed to a heat source rawhide shrinks.
Now, armed with this knowledge about rawhide we can use it to our advantage to tune our drum to that perfect tone we want. When your drum tone is flat and dull and the rawhide appears to be loose then you need to get the rawhide to tighten. We now know that exposing our drum to a heat source shrinks the rawhide.
Warning! Over exposing your drum to heat can lead to permanent damage. Please re-read that again, because whatever heat source you use it's important to know this. So don't place your drum in front or next to a heat source and walk away and forget about it. Ok, now that we have got that out of the way let us look at some different methods we can use to heat our drum which causes the rawhide to shrink and gives us a better tune/tone from our drum.
Methods to tune your Drum
Hair dryer - the quickest and easiest way to tune a drum. Start in the centre of the drum and work your way towards the edges. Should only take a few minutes.
Heat lamp - Place the drum in front of the heat lamp, once again should only take a few minutes. Periodically play your drum to test the tone.
Heater or fire place- Using this method it's important not to place the drum too close to the heat. If it's too hot for your hand then you need to move the drum further away.
Campfire - The preferred method of Native Indians to tune their drums. Most of us have seen the image of Native Indians dancing around the fire beating on their drums. Just make sure you do not place your drum too close to the naked flames.
Each of the above methods works well, just make sure you do not over do it. By that I mean, leave the drum in front or too close to the heat source for too long. If you do, over time the rawhide will become over stretched and eventually lose its natural elastic quality.
Also, if you over do it the rawhide can shrink too much and damage the timber frame of the drum. Regardless of the method you use, test the tune of the drum as you go through the process by playing the drum until you are happy with the tone. Providing it's done correctly you can repeatedly use these methods without affecting the life span of the drum.
So far we have talked about ways to tune your drum if it sounds flat and dull. What if you have the opposite problem? On a hot dry day the drum may sound very high pitched; in this case, the best way to get the rawhide to loosen is by spraying or sprinkling small amounts of water on the rawhide.
Start from the edges of the drum and work your way to the middle. Let it rest for a few minutes then test the tone of the drum. Keep repeating until you have the desired tone. Avoid wetting the timber frame of the drum and just like the heating method don't over do it. In fact, use this method if you do over heat your drum to loosen the rawhide.
Besides environmental conditions, there are other factors that affect the tone and pitch of Native Indian drums. They are:
Size of the drum. Generally the larger the drum size, that includes the rawhide surface area, timber frame width and depth, the deeper the tone and more the tone resonates. Small drums tend to have a more sharp higher pitch. Although other factors come into effect which can affect the tune, tone and pitch, regardless of the size.
Rawhide thickness. In my experience rawhide thickness has the biggest effect on the tone of drums, particularly "Hoop Drums". The thicker the hide the deeper the tone and pitch. Thinner hides have a higher sharp pitch. So you can have a large drum with a thin hide which produces a high sharp pitch tune or a smaller drum with a thick hide that producers a deep long tune.
These are all important factors you need to take into consideration when selecting your drum.
Southwest Trading Post is the direct importers of authentic Native Drums into Australia. All our drums go through the appropriate quarantine procedures when entering the country.
For me the baroque period music really has some of my favourite pieces in it, is usually bright and very positive in sound. From the wonderful sound of the oboe, to the really bright tones of the mandolin. There is something in this musical genre to lift anyone's spirits.
I do of course also like some of the sad and dark moments in the baroque music era as well, one that i love is didos lament (when i am laid in earth) from henry purcells opera dido and aeneas. This aria is really beautiful and very sad indeed, it cannot fail to move anyone almost to tears.
One really cannot do justice to the baroque period, which spans from about 1600 to 1750. With the wealth of composers contained within that timeframe, in just the brief context of this article. But we can list a few of the composers and some of my personal favourites.
1/ Lascia Ch'io Pianga (let me lament my cruel fate) from
rinaldo.
2/ Ombra mai fo from his opera xerxses (known as his largo)
3/ The Sarabande (3 beat dance)
4/ Sound an Alarm from his oratorio Judas Maccabeus.
Johan Sebastian Bach.
1/ Double violin concerto
(The Concerto for 2 Violins, Strings and Continuo in D
Minor, BWV 1043)
2/ The bach Cello Suites.
Antonio Vivaldi.
1/ The Four Seasons (spring,summer,autumn,winter)
2/ The mandolin concertos
Tomaso Albinoni
1/ The Oboe Concerto,s
2/ Adagio for Strings.
Johan Pachelbel
1/ Pachelbel,s Cannon (Canon in D major )
Gregorio Allegri
1/ Miserere mei, Deus" (Latin: "Have mercy on me, O God").
This is a truly beautiful piece of music.
I really hope i have managed to give you an appetite, and you will now explore the diverse amount of music contained within the baroque period.
The baroque period contains some real jewels to listen to, i never tire of listening to the wonderful music contained within this timeframe. I also look forward to discovering some more gems as i continue exploring the genre.
Saxophones, in comparison to many other instruments, do not have a very long history. The first one was designed around 1840 by a Belgian named Adolphe Sax in an attempt to improve the sound of the clarinet. Adolphe planned the saxophones as a family of instruments ranging in size from the sopranino, soprano, alto, tenor, baritone, bass, contrabass, and sub-contrabass. Saxophones were first introduced into a musical score in 1844 by Jean-George Kastner. Saxophones were initially used in symphonies, military bands, and chamber music, then in big bands, and in the 1920's saxophones were incorporated into jazz music.
Jazz music began it's infiltration into American music in March 1917. The principal instruments used included the trumpet, cornet, slide trombone, valve trombone, French horn, baritone, clarinet, family of saxophones, percussion, string bass, and piano. When members of the Original Dixieland Jazz Band were recording their music in a New York studio, they were instructed to play faster in order to fit the whole song on a record. This exciting, lively, assertive, rowdy, and bold music is what caught the attention of everyone's listening ears. It was a time when America was hard at work and needed an outlet, a way to play. They grasped this new style with full force and made jazz a favorite pastime.
Although this seemed like new music, it was not totally new in the truest sense of the word. It involves taking apart an already established song and then putting it back together in a novel way. Jazz also involves, to a large extent, the component of improvisation in order to interpret the melody or harmony in a fresh way. Playing jazz involves elements of spontaneity, spirit, creativity, and rhythmic drive. As stated by Gary Giddins, "It's the ultimate in rugged individualism. It's going out there on that stage and saying: It doesn't matter how anybody else did it. This is the way I'm going to do it." Jazz allows the expression of a full range of emotions with whichever instrument the musician is using.
Clearly, one of the most expressive instruments in this type of music are saxophones with their ability to squeal, laugh, shriek, and whisper. Saxophones are able to release the inner voice, the feelings, the inner personality of the musician playing them. Not only is jazz music an outlet for those listening to it, but also for the musicians playing the music with their saxophones. Certainly what wasn't able to be said in words was often verbalized musically whether through a soulful lament or a happy energetic, playful sound, especially with the tenor, alto, or soprano saxophones.
This means of expression is portrayed in the music of not only the early innovators of swing, but also in bebop, hard bop, jazz, free jazz, and electric jazz/rock/funk. Some of the best and most renowned music came from those musicians with the most difficult inner personal conflicts. It seems though that those with the most troubled lives had the most inner drive to make their music as brilliant as possible.
This author is a saxophonist, novice pianist, and novice guitarist. In addition, she is an occupational therapist who works with a host of disabilities utilizing sensory integration and neurodevelopmental therapy in combination with music and a variety of other techniques to assist these persons in achieving the highest level of function and quality of life possible. Article Directory: EzineArticles
Johann Sebastian Bach The Bach Museum, (Photo credit: Wikipedia)
The Johann Sebastian Bach biography is an interesting read. In Eisenach, Germany on March 21, 1685 Johann Sebastian Bach was born. He was the youngest child of Johann Ambrosius Bach and Elizabeth Lammerhirt Bach. His father was an organist in the church and many other family members were also musicians.
Members of the Bach family were skilled at playing many instruments including the clavichord, violin, organ and harpsichord. There were also singers in the family. Bach received training in all of these areas in the early years of his musical training.
Both of Bach's parents died when he was only nine years old. His father died first and his mom died just two months later. At age ten he went to live with his older brother Johann Christoph who was an organist at church and who became Bach's first music teacher. Bach had longed for a singing career and was a very talented singer. He was chosen to sing in the church choir.
In 1700 an opening came about at St. Michael's School in Luneburg and he was awarded a singing scholarship. His voice began to change and he started playing the violin. Bach graduated in 1702.
Exterior of St. Thomas Church, Leipzig, with Bach statue (Photo credit: Wikipedia)
By a church in Arnstad Germany Bach was hired in 1703 as an organist. This opportunity gave him ample time to practice his favorite instrument. In 1707 Bach became the organist for a church in Muhlhausen, Germany. He married his cousin Maria Barbara Bach later in that same year. This is also the year that Cantata No. 71, God Is My King was composed.
A year later Bach went to Weimar, Germany and became the court organist to Duke Wilhelm Ernst. From 1708 to 1710 Bach composed a large amount of original organ music. Prince Leopold of Cöthen, Germany offered Bach a position in 1716. A highlight of the Johann Sebastian Bach biography is that Bach produced his finest instrumental compositions during this period.
In 1720 Maria died. She left him a widower and with seven children. In 1921 Bach married Anna Magdalena Wulken who was a twenty-year-old singer. Over the next twenty years they had thirteen children together.
Bach was named the choir leader of Leipzig, Germany in 1723. His duties were to provide choral music to the churches St. Thomas and St. Nicholas. Bach also taught classes in music, gave private singing lessons, and taught Latin. It was while Bach was in Leipzig that he composed the majority of his choral music.
A sad ending of the Johann Sebastian biography is that Bach began to slowly lose his eyesight in his final years and went completely blind in the last year of his life. On July 28, 1750 Bach died due to complications from a stroke and high fever.
Bach was a well-regarded composer and musician, but his works were not published until he was forty-one. And it was not until fifty years after his death that he became well-known outside of Germany. To this day Bach is widely remembered for his exceptional compositions.
By Wendy Pan Wendy Pan is an accomplished niche website developer and author.
Beijing opera, more commonly known as Peking opera to westerners, is deemed the national opera of China. The accompanying music, singing and costumes are all fascinating and artistic. Full of Chinese cultural facts, the opera presents to the audience an encyclopedia of Chinese culture as well as unfolding stories, beautiful paintings, exquisite costumes, graceful gestures and acrobatic fighting. Since it enjoys a higher reputation than other local operas, almost every province of China has more than one Beijing Opera troupe, who is called "piaoyou" in Chinese. This kind of opera is so popular among Chinese people, especially seniors, that even a "Beijing Opera Month" has been declared.
It has existed for over 200 years. It is widely regarded as the highest expression of the Chinese culture. It is known as one of the three main theatrical systems in the world. Artistically, Beijing Opera is perhaps the most refined form of opera in the world. It has deeply influenced the hearts of the Chinese people. Although it is called Beijing Opera, its origins are not in Beijing but in the Chinese provinces of Anhui and Hubei. Beijing Opera got its two main melodies, Xi_Pi and Er_Huang, from Anhui and Hubei operas. It then absorbed music and arias from other operas and musical arts in China.
In the ancient times, Beijing Opera was performed mostly on open-air stages in markets, streets, teahouses or temple courtyards. The orchestra had to play loudly and the performers had to develop a piercing style of singing, in order to be heard over the crowds. The Beijing opera band mainly consists of orchestra band and percussion band. The former frequently accompanies peaceful scenes while the later often follows scenes of war and fighting. The commonly used percussion instruments include castanets, drums, bells and cymbals. One person usually plays the castanets and the drum simultaneously, which are the conductor of the whole band.
It is said that the facial painting art derived from the Chinese opera has different origins. But no matter what its origin is, the facial painting is worth appreciating for its artistic value. The paintings are presentations of the roles of the characters. For example, a red face usually depicts the role's bravery, uprightness and loyalty; a white face symbolizes a sinister role's treachery and guile; a green face describes surly stubbornness, impetuosity and lack of self-restraint. In addition, the pattern of the facial painting reveals the role's information too. In a word, the unique makeup in the opera allows the characters on the stage to reveal them voicelessly.
Liyuan Theater inside Qianmen Hotel in Beijing is an ideal place for you to enjoy some Beijing Opera.
About the Author: Jin Huang has an interest in Chinese Culture related subjects.
can be made of various materials. Most are made of plastic. Pieces made of wood or glass are rare. Even the material can affect the quality of the tone produced although many beginners cannot even tell the difference. As such, it's better to base your decision on your budget. You want to assess the practicality of purchasing a mouthpiece that is made from a specialty material in relation to the sound that it produces at your particular stage of expertise.
was born in Brooklyn, New York to Ukrainian Jewish immigrants on September 26, 1898. He was named Jacob Gershowitz at birth. The family name was later Americanized by George to facilitate his show business career. Many of his other family members followed suit and changed their names accordingly. Gershwin had three siblings in his family.
" and "Fascinating Rhythm" that year.
on Broadway today is only an inspired version from the book written by P. L. Travers which was illustrated by Mary Shepard. That book talks about the strange and magical English nanny named Mary Poppins. She came to Seventeen Cherry Tree Lane, London in the family of Banks. She takes care of their children. The kids experience different adventures with chimney sweeps and shopkeepers until Mary Poppins suddenly pops out.
opened at the Prince Theatre, London which is inspired by the Disney film and the books. It was praised by many viewers and luckily recommended for nine 2005 Olivier Awards. They won awards for Best Actress in a Musical for Laura Michelle and Best Theatre Choreography for Matthew Bourne and Stephen Mear. The original music and lyrics by Sherman brothers was use and was added with new songs and lyrics by George Stiles and Anthony Drewe.
history begins with the man some people call the king of surf music. Dick Dale is the man who some believe invented surf music as early as the 1950's. No, it wasn't the Beach Boys. It was Dick Dale.
speaker. This made Fender Stratocaster speaker history.
was among the most famous classical and romantic music composers. He was born in December 1770, in a place known as Bonn, the capital of Electorate of Cologne and a part of Roman Empire. Ludwig was born in a family deeply involved in classical music. His first music teacher was his father Johan Van Beethoven.
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, in comparison to many other instruments, do not have a very long history. The first one was designed around 1840 by a Belgian named Adolphe Sax in an attempt to improve the sound of the clarinet. Adolphe planned the saxophones as a family of instruments ranging in size from the sopranino, soprano, alto, tenor, baritone, bass, contrabass, and sub-contrabass. Saxophones were first introduced into a musical score in 1844 by Jean-George Kastner. Saxophones were initially used in symphonies, military bands, and chamber music, then in big bands, and in the 1920's saxophones were incorporated into jazz music.
