Music and Fandom

Hello there. This is a blog for my arrangements of music from various movies, tv shows, and games. My fandoms: BBC Sherlock Doctor Who Hannibal Harry Potter AtLA/Legend of Korra About me: Ravenclaw, University student. Cellist.

[pianistical]

IT’S NOT A VIOLIN

ancient violist proverb (via chopin-demonium)

Sometimes when I walk around campus and see someone I don’t know carrying a violin case, I say, “Oh, so you play the viola?”

[starwars]

Join us in wishing a happy birthday to the legendary John Williams. The galaxy wouldn’t be the same without him.

[stahl-ebooks]

Visit Original Link

heres a midi of hips dont lie with a banjo as the vocals

[nicolas-px]

i cant believe this

[kevinburnsred-deactivated202304]

this sounds like it belongs in a legend of zelda game

[the-n3o-r0ck1ngf0x]

[rhapsody-in-blues-deactivated20]

I’m totally serious when I say I absolutely love this I’ve listened to it like twelve times now it’s fantastic 10/10

[wolfsbanesego]

Click reblog as soon as the banjo came in. That is amazing.

[123sesamestreet-deactivated2017]

I have missed this post

[nonbinarymerbabe]

….it actually does sound like LoZ music 

just imagine 

link dancing to this

[capillaryspice]

[thechristiannerd]

I love this so much

[dontsayshit-saychickenfuck]

@innocentlittlecinnamonroll

[celloat3inthemorning]

Here we see the importance of instrumental timbre and colors in shaping a piece of music!

[abcnews-deactivated20251106]

WATCH: We humans aren’t the only ones who like to dance to the soothing sounds of the violin. Pairi Daiza zoo in Belgium invited violinists to rehearse in front of these elephants.

[queercrybabyofficial]

asgardreid

[its-bangarang-deactivated201807]

Omg 😍

[thecuriouspianist]

Treble clefs by (L to R) Bach, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Brahms, Debussy, and Ravel.

Source

[transhumanisticpanspermia]

all musicians across all time periods: “fuck how does that thing go”

[thebirdroads]

Beethoven didn’t even try

[trumpetangst]

MUSICAL NOTATION, AS DESCRIBED BY CATS

(I would have liked to crop some of these gifs (like the accent ones) to make them more accurate but alas, I lack the skills.)

[lex-the-t-rex-deactivated201307]

[shaylen3]

i want to know the key signature so badly like it would change so many things

[jsbachtopus]

Hell, we don’t even know what clef this is in, this could sound like almost anything.

[lukeisherenow-deactivated201609]

the important part is it’s about a burrito tho

[jsbachtopus]

But the burrito might sound sad depending on the key. I want to know the emotional state of this burrito. I’ve become invested in learning its story.

[archiveofmemory-deactivated2017]

WHAT KEY IS THIS IN

[dennisbrain]

BURRITO IN D MINOR

[celloat3inthemorning]

Actually, it's more likely that it's in D major. If you look at measure 1, assuming treble clef, beat four is a C. If it were d minor, the written note would be C natural, and you wouldn't tonicize d minor with its leading tone. If it were d minor, there would be a sharp in front to C to make it C sharp. Therefore, for the C as written to be C sharp, the key sig would need to be D major.

[fororchestra]

[jordanconductor]

A very special kind of nerdborhood.

[celloat3inthemorning]

Practicing tips from Eugene Drucker

Eugene Drucker, violinist and member of the famous Emerson String Quartet, gave a violin masterclass at my university today. Here are some of the tips he passed along!

- Practice in front of a mirror. See yourself and your playing from an outside perspective in order to objectively analyze your work and engage in problem solving to improve your playing, both technically and musically. In essence, be your own teacher. Rote repetition will only get you so far. - Along those same lines, audio and/or video recording yourself is good too. Play it back and analyze it without focusing completely on being disappointed at how much it sucks (my words, not his). Mr. Drucker advises students to record themselves, and analyze the recording together with their teacher, who will be able to point out things the student doesn't notice. - When trying to work on bow-hand technique and left hand technique separately, isolate one by giving the other an easier task to do. For example, when practicing a technical passage, bow it in slurred groups so you can focus on the placement of your fingers. When practicing bow technique, one thing that can be done is to just bow the open strings of the corresponding notes. Mr. Drucker does note that this can sort of be difficult to do without writing out the open strings on staff paper. - When on stage performing a difficult passage you know you've had trouble with, Mr. Drucker advises identifying one main spot around which to structure your playing (in the technical sense, not the musical/phrasing sense), such as a high note that you know you'll be returning to. Use it as an anchor point for all the technical things that happen around it. - When learning a fugue (e.g. Bach fugue) be sure to focus on the movement of the new voices that pop in, and direct the listener's attention to them, such as when the voice is the lower part of a chord (don't let the high notes of the chord overshadow the note that belongs to the fugue's line).

[musica-mundana-archived-blog]

[bibassoon-deactivated20170106]

um you guys

[keepcalmandkarajan]

IF THIS ISN’T THE GREATEST THING YOU’VE EVER SEEN THEN YOU’RE LYING

[schoenbergwasright]

this is the culmination of the entire history of classical music

[celloat3inthemorning]

Will this feline musician be giving any masterclasses soon...?

[elsasketch]

"I learned to play the clarinet in school"

…and how long ago was that…

[celloat3inthemorning]

composers: a summary

bach: I FKN HATE PARALLEL FIFTHS

vivaldi: 3 billion concertos hhaha

cpe bach: who am i

mozart: sunshine and smiles

haydn: i basically invented every single genre lol

beethoven: ANGST ANGST ANGST and triplets and going deaf

chopin: my soUL

paganini: hahhaha noobs

liszt: AHAHAHHAHA noobs

alkan: fck ur fingers lol

brahms: cLARA

schubert: im a mushroom

wagner: have a twenty year long opera lol and leitmotifs

tchaikovsky: boom boom cannons

rachmaninoff: HANDS

debussy: sevenths and modes and whole tones awww yiss

ravel: bitch please ninths elevenths quadrillionths

holst: who needs stringed instruments ha anD I HATE THE PLANETS

prokofiev: lol get out of my way conventional tonality i will modulate in one measure to f double fuckflat minor and stay there for a page

shostakovich: anGST ANGST ANGST FUCK YOU STALIN

cage:

reich: rrrrererreeepepeepeppppeeeaaaeaeaeaeeaaaatattatttt

stravinsky: da da da da da DA da da

schoenberg: (/79jjsOO##jksi&@'

satie: im funny

[dduane]

Via @DavidGArnold and @Arwelwjones.

http://twitter.com/DavidGArnold/status/422505899761360896

[celloat3inthemorning]

Wish I had waited a bit before transcribing my version...! But be warned that this does not exactly match was was heard during the episode. There is one difference: the last E eighth note in measure 5 was an F on the soundtrack. Having it be an F is also consistent with the melodic pattern of the following two measures.

[celloat3inthemorning]

Waltz, for Mary and John by Sherlock Holmes. Transcribed by me.

[pianoplay]

[xchandlr]

#boom

[hooked-on-dodecaphonics]

This amuses me far more than I’m willing to admit.

[missxbungle]

Just practicing away when I noticed this…HA!

[teddytrumpet]

fuck that page of the clarke’s fuck it with a cactus or a sharp knife. 

[aural-skillz]

I did this once.

Once!

[baroquebassist-deactivated20131]

this is all i see