I have a couple of Microsoft Word documents from my 'A' level teaching days that might be useful to anybody who wants them. One is a 23 page, bullet point summary of the history of western classical music. The other is a 2 page 'at-a-glance' summary of music periods - main composers, types of composition, that sort of thing.
Anybody who wants a copy is welcome. Just pm me with a email address and I will send them to you.
Steve
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Hi Sania
Hope I got your name right. Replies below. Good luck with the diploma.
Steve
Sania wrote:
> Hi! I have study about my viva voce for dipABRSM. I found your reply for me for those several question is very helpful. Thanks very much...
> I have make lots of research but I cant find those things.
> I want to ask several things n hope you can help me n you dont mind:
> 1. What is the articulation in Baroque period? There is a little formula you can apply here. "Make the short notes long and the long notes short." Suppose you are playing a piece at about crotchet = 60. The semiquavers are 'short', so you play them legato. Quavers and higher are 'long', so play them staccato. Context is important, so we do not apply this formula without thought, but it usually works.
> 2. Is the feeling for Baroque period is one mood throughout the entire piece? Yes.
> 3. How about the tempo in Classical period? Always clearly marked by the composer - anything from lento to prestissimo. The interpretation comes in deciding how the tempo marking relates to a particular piece.
> 4. What is the characteristic for modern n contemporary music (about the dynamics, articulation, song form, feeling, the chord used, tempo, etc)? Follow the composer's markings with the greatest care. 'Modern' composers left nothing to chance and annotated their scores with great care. Can you tell me what is the specific differences between modern n contemporary music? I suppose that 'modern' covers the 20th century whilst 'contemporary' means written within about the last five years. I do not know what contemporary composers are getting up to. Sorry I cannot help more with this.
> 5. Why did Bach make WTC?>
> He made WTC in 12 keys because he wanted to prove the existence of the well tempered tuning system. While we know that previously that keyboards could only produce songs in several keys since the tuning system was mean tuning, which all the dominant should be heard perfectly. Is my answer correct already or it is not all correct, can you please correct it? Yes, this is correct.
>
>
> I hope you can understand my language. Thanks a lot.
> Anyway, maybe I have asking you lots of questions, but I really need the answer for my exam.
> Any suggestion appreciated.
> Waiting for your reply as soon as possible.
> GBU....
>
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Sania wrote:
> Hi!
> I have some question Mr. Steve.
> 1. What does someone have to bear in mind when playing the dynamics in, for ex. faure compared to beethoven? Is it faure more elegant and controlled n beethoven used lots of contrast especially in dynamics, n sometimes makes people surprise? is it correct or not, n can u give more advice? Yes. Although a later composer, Faure's music tends to be more fluid and songlike than that of Beethoven, so it will require gentler treatment. We need to consider the type of composer when judging our dynamic levels. For example, ff will mean a lot less to Mozart than to Rachmaninov.
> 2. What is the other composer in Faure's period? Saint saens, liszt??, what else?? You might find the attachments helpful here.
> 3. what advantages that we can get if playing from music? None if your memory is safe, in which case playing without the score is always better - your playing will have more freedom.
> 4. what features of the structure of the sonata affect the way you play its various sections? (especially beethoven sonata op.14 no.2) Only in subtle ways, I think. For example, knowing that you are playing the 1st subject in the recap gives the passage extra significance in your mind and will alter the way in which you play it.
> 5. How do you achieve to create the mood in Faure barcarolle no.1? (while we think that this is story about there are 2 lovers in their little boat n the emotion get aroused and aroused while the turn of the boat is always heared? n in what section that the turn of the boat is always heared in the music? can u help about this? I have never played this piece, but looking at the score makes it obvious that it is a 'typical' Barcarolle. A Barcarolle is a 'song without words' imitating the singing of the Venetian boatmen. You need a good singing tone in the RH over a gentle LH. You need to feel the gentle rocking motion of the boat in the 2-in-a-bar time signature. Restrain your dynamic levels - huge f and ff passages are probably out of place in this type of piece (but remember I do not play it myself and am not talking from direct experience.)
>
>
> Really need ur advice. Hope you dont mind to give me advice for this question. ROf course not.
> Thanks a lot. You are welcome.
>
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