|
Zigeunerweisen
''Zigeunerweisen'' (''Gypsy Airs'', es, Aires gitanos, link=no), Op. 20, is a musical composition for violin and orchestra written in 1878 by the Spanish composer Pablo de Sarasate. It was premiered the same year in Leipzig, Germany. Like his contemporaries, Sarasate misidentified Hungarian folk music with the "gypsy music" of the Romani people, and the themes in the piece are not of Romani origin, but were all actually adapted from Hungarian music pieces: for instance, the third section borrows a melody by Hungarian composer (1836–1908), and the last section uses a theme from Franz Liszt's Hungarian Rhapsody No. 13, in the rhythm of the csárdás. As one of Sarasate's most popular compositions and a favorite among violin virtuosos, the work has remained a staple on records at least since Sarasate himself recorded it in 1904, in collaboration with fellow composer Juan Manén as the accompanying pianist in the aforementioned recording, although the 3rd movement was omitted du ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pablo De Sarasate
Pablo Martín Melitón de Sarasate y Navascués (; 10 March 1844 – 20 September 1908), commonly known as Pablo de Sarasate, was a Spanish (Navarrese) violin virtuoso, composer and conductor of the Romantic period. His best known works include ''Zigeunerweisen'' (''Gypsy Airs''), the ''Spanish Dances'', and the '' Carmen Fantasy''. Biography Sarasate was born in Pamplona, Navarre in 1844, the son of Don Miguel Sarasate, a local artillery bandmaster. Apparently, after seeing his father struggle with a passage for a long time, he picked up the violin and played it perfectly. He began studying the violin with his father at the age of five and later took lessons from a local teacher. His musical talent became evident early on and he appeared in his first public concert in A Coruña at the age of eight. His performance was well-received, and caught the attention of a wealthy patron who provided the funding for Sarasate to study under Manuel Rodríguez Saez in Madrid, where he gain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opus Number
In musicology, the opus number is the "work number" that is assigned to a musical composition, or to a set of compositions, to indicate the chronological order of the composer's production. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work. To indicate the specific place of a given work within a music catalogue, the opus number is paired with a cardinal number; for example, Beethoven's Piano Sonata No. 14 in C-sharp minor (1801, nicknamed ''Moonlight Sonata'') is "Opus 27, No. 2", whose work-number identifies it as a companion piece to "Opus 27, No. 1" ( Piano Sonata No. 13 in E-flat major, 1800–01), paired in same opus number, with both being subtitled ''Sonata quasi una Fantasia'', the only two of the kind in all of Beethoven's 32 piano sonatas. Furthermore, the ''Piano Sonata, Op. 27 No. 2, in C-sharp minor'' is also catalogued as "Sonata No. 14", ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Timpani
Timpani (; ) or kettledrums (also informally called timps) are musical instruments in the percussion family. A type of drum categorised as a hemispherical drum, they consist of a membrane called a head stretched over a large bowl traditionally made of copper. Thus timpani are an example of kettle drums, also known as vessel drums and semispherical drums, whose body is similar to a section of a sphere whose cut conforms the head. Most modern timpani are ''pedal timpani'' and can be tuned quickly and accurately to specific pitches by skilled players through the use of a movable foot-pedal. They are played by striking the head with a specialized drum stick called a ''timpani stick'' or ''timpani mallet''. Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras, and even in some rock bands. ''Timpani'' is an Italian ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mute (music)
A mute is a device attached to a musical instrument which changes the instrument's tone quality (timbre) or lowers its volume. Mutes are commonly used on string and brass instruments, especially the trumpet and trombone, and are occasionally used on woodwinds. Their effect is mostly intended for artistic use, but they can also allow players to practice discreetly. Muting can also be done by hand, as in the case of palm muting a guitar or grasping a triangle to dampen its sound. Mutes on brass instruments are typically inserted into the flared end of the instrument (bell). They can also be held in front of or clipped onto the bell. Of brass mutes, the "straight mute" is the most common and is frequently used in classical and jazz music, but a wide variety are available. On string instruments of the violin family, mutes are usually attached to the bridge, the piece of wood that supports the strings. Palm muting a guitar involves placing the side of the hand across the strings ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Violin Technique
Playing the violin entails holding the instrument between the jaw and the collar bone (see below for variations of this posture). The strings are sounded either by drawing the bow across them ('' arco''), or by plucking them (''pizzicato''). The left hand regulates the sounding length of the strings by stopping them against the fingerboard with the fingers, producing different pitches. Posture It is possible to play the violin holding it in a variety of ways. Most players hold the lower bout of the instrument between the left shoulder and the jaw, often assisted by a semi-permanently attached chinrest and detachable shoulder rest. If held properly under the chin, the violinist can let go of the instrument with their hands and it will stay there firmly. Other common ways to hold the instrument include the seated Carnatic attitude, with the scroll resting on a foot, or the dancing-master's " kit" or "''pochette''" hold, along the forearm, by the lower margin of the rib cage, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spiccato
Spiccato is a bowing technique for string instruments in which the bow appears to bounce lightly upon the string. The term comes from the past participle of the Italian verb ''spiccare'', meaning "to separate". The terms '' martelé'', ''saltando'', and ''sautillé'' describe similar techniques. Technique In typically consistent rhythms (of quavers or semiquavers, or quicker repeated sounds), the bow is held in a more relaxed manner and allowed to bounce, resulting in a series of short, distinct notes. This occurs because of the elasticity of the string and the natural springiness of the bow. The ability to create the effect is largely tempo-dependent. In slower tempos, a spiccato can also be manufactured using the fingers and wrist to deliberately manipulate how the bow falls to the string. The speed with which the ''spiccato'' is performed depends on bow placement. At the balance point – about a third from the frog – the ''spiccato'' will be slow, while above the middle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrase (music)
In music theory, a phrase ( gr, φράση) is a unit of musical meter that has a complete musical sense of its own, built from figures, motifs, and cells, and combining to form melodies, periods and larger sections. Terms such as ''sentence'' and ''verse'' have been adopted into the vocabulary of music from linguistic syntax. Though the analogy between the musical and the linguistic phrase is often made, still the term "is one of the most ambiguous in music....there is no consistency in applying these terms nor can there be...only with melodies of a very simple type, especially those of some dances, can the terms be used with some consistency." John D. White defines a phrase as "the smallest musical unit that conveys a more or less complete musical thought. Phrases vary in length and are terminated at a point of full or partial repose, which is called a ''cadence''." Edward Cone analyses the "typical musical phrase" as consisting of an "initial downbeat, a period of motio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar (music)
In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature. In simple time, (such as ), the top figure indicates the number of beats per bar, while the bottom number indicates the note value of the beat (the beat has a quarter note value in the example). The word ''bar'' is more common in British English, and the word ''measure'' is more common in American English, although musicians generally u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Time Signature
The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are contained in each measure (bar), and which note value is equivalent to a beat. In a music score, the time signature appears at the beginning as a time symbol or stacked numerals, such as or (read ''common time'' or ''four-four time'', respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter. There are various types of time signatures, depending on whether the music follows regular (or symmetrical) beat patterns, including simple (e.g., and ), and compound (e.g., and ); or involves shifting beat patterns, including complex (e.g., or ), mixed (e.g., & or & ), additive (e.g., ), fractional (e.g., ), and irrational met ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Minor
A minor is a minor scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has no flats and no sharps. Its relative major is C major and its parallel major is A major. The A natural minor scale is: : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The A harmonic minor and melodic minor scales are: : : Well-known compositions in A minor *Johann Sebastian Bach ** Violin Concerto in A minor, BWV 1041 *Ludwig van Beethoven ** Violin Sonata No. 4, Op. 23 ** String Quartet No. 15, Op. 132 ** Bagatelle in A minor, "Für Elise" * Johannes Brahms **Double Concerto, Op. 102 * Frédéric Chopin ** Étude Op. 10, No. 2 ** Étude Op. 25, No. 4 ** Étude Op. 25, No. 11, ''Winter Wind'' ** Mazurka Op. 17, No. 4 ** Mazurka Op. 59, No. 1 ** ''Boléro'', Op. 19 ** Prelude No. 2 in A minor, Op. 28/2 ** Waltz in A minor, Op. 34, B. 150 * Franz Liszt ** Transcendental Étude No. 2, ''Fus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
C Minor
C minor is a minor scale based on C, consisting of the pitches C, D, E, F, G, A, and B. Its key signature consists of three flats. Its relative major is E major and its parallel major is C major. The C natural minor scale is: : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The C harmonic minor and melodic minor scales are: : : Notable compositions * Charles-Valentin Alkan ** Prelude Op. 31, No. 16 (Assez lentement) ** Symphony for Solo Piano, 1st movement: Allegro ** Trois grandes études, Op. 76, No. 3 "Mouvement semblable et perpetuel" (Rondo-Toccata) for the hands reunited * Johannes Sebastian Bach **Passacaglia and Fugue in C minor, BWV 582 **Lute Suite in C minor, BWV 997 ** Cello Suite No. 5, BWV 1011 **The Musical Offering, BWV 1079 ** Partita No. 2, BWV 826 *Ludwig van Beethoven (See Beethoven and C minor) ** Piano Sonata No. 5 ** Piano Sonata No. 8 (''Pathétique'') ** Piano Concer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Tempo")