Information - Concerts, News,FAQs, Archives. Organs - Electronic (B3 etc.), Pipe, Theatre. Who's Who - Professional Pianists on Piano World Member Recordings - Non Classical Pianist CornerĮVENTS! Piano Concerts, Recitals, Competitions.įun Stuff! - Parties, Tours, Projects & More.įorum Members Parties, Tours, Cruises, & M. MY NEW PIANO or KEYBOARD! - Share Your Story! Prelude sostenuto in D major is also known as the Raindrop prelude or Regentropfen-Prlude and is 15 of the 24 Chopin preludes in Opus 28. Thank you very much though for the feedback and the compliment.ĭigital Pianos - Electronic Pianos - Synths &a. The above reasons are still very valid to me, so I am not considering changing the camera placement. But since I am doing this all by myself, I don't have that time. Of course, if I would have an editing crew I could make two video's, where in one the camera is fixed. I would obviously love it if everyone could enjoy my videos a lot. The third reason is that I can show the right or the left hand at a specific time for the certain passage that I want to be the focus of the attention.įor me, the above reasons are very essential to my teaching." It's too bad to hear that you can't connect with my first reason. Therefore in my experience, the movement adds to my teaching. Those two things aren’t always the easiest to explain in words. The second reason is that body movement has a huge impact on phrasing and timing in general. I believe, the viewer must see the nature of the hand movement through my eyes because I think this is the easiest way to understand what I am showing and explaining. The first one is that I want to present the exact angle as I see my hands. But I have several reasons to keep the camera placement as it is. So I copied the response where I gave an explanation before."Actually, I thought about it a lot because I really care about how people perceive my videos. Debussy was also influenced by Chopin and a phrase from the Nocturne in D♭ major is heard in Prélude à l'après-midi d'un faune.Ĭhopin’s pieces have also featured in a variety of television programmes and films including episodes of The Simpsons and Bond film The Spy Who Loved Me.It’s not the first time that I get a comment about the camera movement. Chopin’s influence can be heard in the music written by Spanish composers Isaac Albeniz, Manuel de Falla and Enrique Granados. Edward Grieg adopted the Polish composer's concept of patriotic music being regarded as ‘high art', and in 1903 Grieg wrote the Etude - Homage á Chopin in his honour. Bedřich Smetana, Antoni Dvořak and Leoš Janaček drew inspiration from Chopin by writing patriotic music, taking inspiration from native folk tunes and melodies. The larger keyboard - seven octaves - and improved mechanism opened up new possibilities of musical expression, which Chopin embraced.Ĭhopin’s influence can be heard in the technical piano studies written by Hungarian composer Liszt and the virtuosic concertos composed by Rachmaninov. More than any other composer, he developed a modern piano technique and style that is still heard and played today. In this video, pianist Henrik Kilhamn explains how Chopin manage to capture such sadness in his music, an. However, the interplay between the melodic and accompaniment elements in composition can be one of the most interesting features of a composition.Ĭhopin revolutionised piano writing by exploring the piano’s full potential. This is one of the most sad piano pieces out there. Within a piece for a solo instrument, the different lines are played simultaneously by one performer so it is important to be able to distinguish these in the music.Ī melody should be the centre of attention in the composition and the other instruments need to accompany it. For example modulating to the relative minor could mean that something negative has occurred since the original idea was first heard.īe aware that there is one line of melody and the ensemble is the accompaniment. Pay attention to new sharp and flat notes when moving from one key to another.Ī modulation can be used to change the mood of a piece. When composing a contrasting middle section, think of ways to vary dynamics, melodic material, time signature, instrumentation or key signature. The repeated A section could be played differently to help demonstrate the piece’s musical journey. It is important to think about how a repeated section can be reinterpreted in light of what has preceded it. Use ornamentation to decorate the melody - especially useful to implement in a solo.īy adding decoration to a melody shows variation in the repeating section. By understanding the effects of each may develop musicianship skills. Some of the techniques found in Frédéric Chopin's Prelude No.15 can be transferred to other performances and composing.
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