"Circle it, mark it in blood, sacrifice a chicken, I don't care.”
-My band director when the clarinets kept missing the key
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@serinesoprano
"Circle it, mark it in blood, sacrifice a chicken, I don't care.”
-My band director when the clarinets kept missing the key
Music Major Gothic
-The metronome keeps going, at its eternal, pulsing speed. You turned it off 3 days ago. It slowly drives you mad.
-You hear quiet sobbing from beyond the wall of your practice room. You go to check on your comrade, but the room beside you is empty. You realize it was you that was sobbing.
-The tuner is set to A = 460. You are unsure how, as your tuner does not have a setting that high.
-Your professor hands you your math midterm. You are in music theory. You do not understand.
-How long have you been in this practice room? You are uncertain. There are no windows and time doesn’t seem to pass here. You emerge to discover that it’s 2AM and you missed your graduation.
-Your private instructor tells you to buy a piece. You scour the internet, but you cannot find it. You find one copy, for $600, in “poor” condition. There are no recordings of it. It is not on imslp.
-The practice room clock has never worked in your years here, but it somehow always reads a different time.
-You suddenly forget how to play your instrument. Your fingers fumble on the foreign object. You’ve never played this piece before. Juries are tomorrow.
-The practice rooms are all full. You wait for hours, but no one comes out. You knock on the door, you just want to practice. Something hisses at you. You do not try again.
-There are intruders in the music building. They are unwelcome. They know this, and hurry quickly in and out of their music appreciation gen ed class. They do not make eye contact. You hate them, but you do not understand why.
-You see a familiar face in the hallway. You do not remember their name, but you do remember what instrument they play. They’ve been attending this school for seven years and you’re certain they graduated…..twice
-Your instrument whispers to you while you sleep. You haven’t been practicing enough. The voice is threatening, demanding. You’ve lost 2 roommates because of it. They never informed you of this. Your 3rd one trembles.
-You reach for a pencil during class only to discover that you have none left. You’ve lost the last one. Classes started three days ago. You weep softly.
-Your ensemble director keeps conducting. He never speaks. You sneak out when the class ends. He doesn’t stop. What is he conducting, anyway? It’s syllabus day.
Characteristics of Keys
C Major Completely Pure. Its character is: innocence, simplicity, naïvety, children’s talk.
C Minor Declaration of love and at the same time the lament of unhappy love. All languishing, longing, sighing of the love-sick soul lies in this key.
Db Major A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying.–Consequently only unusual characters and feelings can be brought out in this key.
C# Minor Penitential lamentation, intimate conversation with God, the friend and help-meet of life; sighs of disappointed friendship and love lie in its radius.
D Major The key of triumph, of Hallelujahs, of war-cries, of victory-rejoicing. Thus, the inviting symphonies, the marches, holiday songs and heaven-rejoicing choruses are set in this key.
D Minor Melancholy womanliness, the spleen and humours brood.
Eb Major
The key of love, of devotion, of intimate conversation with God.
D# Minor Feelings of the anxiety of the soul’s deepest distress, of brooding despair, of blackest depression, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible D# minor. If ghosts could speak, their speech would approximate this key.
E Major Noisy shouts of joy, laughing pleasure and not yet complete, full delight lies in E Major.
E minor Naïve, womanly innocent declaration of love, lament without grumbling; sighs accompanied by few tears; this key speaks of the imminent hope of resolving in the pure happiness of C major.
F Major Complaisance & Calm.
F Minor
Deep depression, funereal lament, groans of misery and longing for the grave.
F# Major Triumph over difficulty, free sigh of relief uttered when hurdles are surmounted; echo of a soul which has fiercely struggled and finally conquered lies in all uses of this key.
F# Minor A gloomy key: it tugs at passion as a dog biting a dress. Resentment and discontent are its language.
G Major Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,–in a word every gentle and peaceful emotion of the heart is correctly expressed by this key.
G Minor Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike.
Ab Major Key of the grave. Death, grave, putrefaction, judgment, eternity lie in its radius.
Ab Minor Grumbler, heart squeezed until it suffocates; wailing lament, difficult struggle; in a word, the color of this key is everything struggling with difficulty.
A Major This key includes declarations of innocent love, satisfaction with one’s state of affairs; hope of seeing one’s beloved again when parting; youthful cheerfulness and trust in God.
A Minor Pious womanliness and tenderness of character.
Bb Major Cheerful love, clear conscience, hope aspiration for a better world.
Bb Minor A quaint creature, often dressed in the garment of night. It is somewhat surly and very seldom takes on a pleasant countenance. Mocking God and the world; discontented with itself and with everything; preparation for suicide sounds in this key.
B Major Strongly coloured, announcing wild passions, composed from the most glaring colours. Anger, rage, jealousy, fury, despair and every burden of the heart lies in its sphere.
B Minor This is as it were the key of patience, of calm awaiting ones’s fate and of submission to divine dispensation.
From Christian Schubart's Ideen zu einer Aesthetik der Tonkunst (1806) translated by Rita Steblin in A History of Key Characteristics in the 18th and Early 19th Centuries. UMI Research Press (1983).
I feel like each person experiences each key in a different way (and also that different composers and songwriters will of course use the keys different) because I found myself agreeing with some of these but not necessarily with others, but it’s always interesting when musicians write about what each key means to them, especially if it affects their compositions.
Masterpost: Operas on Youtube
i’ve compiled a bunch of operas that you can watch for free in full on youtube! i tried to keep the quality pretty good, but feel free to add links if you find better ones (i didn’t look that hard). some have subtitles, some don’t; if you want to follow along with the libretto i’ve found that this site is pretty reliable, but you can also do a quick google search and it’s usually there. they’re harder to find with the more modern composers (bernstein, r. strauss, berg, etc) but the only libretto that i’ve been completely incapable of finding is der rosenkavalier.
anyways, enjoy, and go watch some operas
Beethoven: Fidelio
Bellini: I Puritani
Bellini: Norma
Berg: Lulu
Berg: Wozzeck
Bernstein: Candide
Bizet: Carmen
Debussy: Pelleas et Melisande
Donizetti: Lucia di Lammermoor
Gounod: Faust
Leoncavallo: Pagliacci
Mascagni: Cavalleria Rusticana
Massenet: Manon
Mozart: Die Entführung aus dem Serail
Mozart: Don Giovanni
Mozart: Idomeneo
Mozart: Le Nozze di Figaro
Mozart: Die Zauberflöte
Puccini: La Bohème
Puccini: Madama Butterfly
Puccini: Tosca
Puccini: Turandot
Rossini: Il Barbiere di Siviglia
Rossini: La Cenerentola
Richard Strauss: Ariadne auf Naxos
Richard Strauss: Elektra
Richard Strauss: Der Rosenkavalier
Richard Strauss: Salome
Johann Strauss II: Die Fledermaus
Tchaikovsky: Eugene Onegin
Tchaikovsky: Iolanta
Verdi: Rigoletto
Verdi: Macbeth
Verdi: La Traviata
Verdi: Aïda
Verdi: Nabucco
Wagner: Der Fliegender Hollander
Wagner: Götterdämmerung
Wagner: Lohengrin
Wagner: Parsifal
Wagner: Das Rheingold
Wagner: Siedfried (Part I) (Part II)
Wagner: Tannhäuser
Wagner: Tristan und Isolde
Wagner: Die Walküre
Weber: Der Freischütz
is this what the kids are listening to these days?
Took me a while to identify what in the world the other brass was till I realized it wasn’t.
Someone even transcribed it!
@maxopferkuch someone beat you to it
Doin this on my recital guys
Chair in C
@lillpon
La inteligencia musical desarrolla la capacidad de nuestro sentido auditivo
How to Practice
One of my favorite teachers had a paper on his office bulletin board that read Practicing Sucks.
Here are my favorite ways to make it not suck.
Most technical difficulties can be fixed by breathing deeper and smoother.
Never practice unless you want to.
Find ways to want to practice every day.
Stop your practice session when you feel like it.
Find ways to not feel like stopping until work is done.
Use sleep to your advantage: nap or go to bed one hour after practicing to learn faster. Practice hard music in the evening and then again first thing in the morning.
Consistency is essential. Five minutes a day on one passage for five days in a row will yield better, longer-lasting results than twenty-five minutes on that passage once.
Improve 1-2% in every area instead of making unrealistic goals.
Pause between repetitions of difficult passages. My favorite pause is taking three breaths.
Stretch or do yoga for five minutes before practicing.
Be aware of your fingertips.
Allow your sternoclavicular joint to move freely.
Don’t push on the piano keys while holding a note.
Be OK with the process. It probably won’t be finished today.
There is no such thing as “finished.”
Failure is fine and helpful.
Technical trick for fixing the hardest passages: stop, walk around the room, take full breaths, consciously release tension, and return to the piano. Now play the passage again.
Keep water in the practice area.
Don’t go more than a couple hours without stopping to eat.
Sightread a lot - easy things and small pieces of hard things.
Listen to every sound you make.
Know that all solutions are simple.
I slowed down Mozart’s Lacrimosa 800% with Paulstretch. Listening to this is like looking into the face of God and seeing Him smiling back and saying, “You are my most wondrous creation.”
WHY AM I CRYING WHAT ARE THESE FEE L I N GS
this is really interesting. Like… I cry every time I listen to the lacrimosa but this… Made me cry… More. @smallstanze
This is why I have a problem with composers.
Sergei Rachmaninoff, Op. 21, No. 5, Сирень - “Lilacs” (1902)
I don’t know who the singer is and it’s been torturing me for years now. If anyone could tell me, I would be eternally grateful.
What piece would you play if you were on a mountain?
I asked you guys that question a few weeks ago and this was why! :) I really was inspired when I visited Norway, there is just so much beauty…
So here is my 3rd video of the month, Please feel free to give me feedback! I hope you guys enjoy the music and the view… <3
P.S: can anyone guess the piece I’m playing? ;)
this is amazing. love it
Thank you! :)
Omg if I was not scared of heights I would do this
Yeah I wouldn’t recommend it if you are afraid of heights because it’s 989 m (3,245 ft)! :) @justanotherpiccplayer
This leaves me speechless.
I’m thinking this might be Debussy…what’re it is, though, it sounds gorgeous!!!
Thank you! :) It’s actually Fantasie by George Hüe :)
Oh my god the Hue is an awesome piece and it’s even better on a freaking mountain!
@mags-windham glad you like Hüe too! :)
Stop 👏Slutshaming👏Ludwig 👏van 👏Beethoven👏
Just gonna throw this out there @trombonin @marchingmywaydowntown
I’m mostly mad that it sounds so good
AHH I LOVE THIS WHY ISN’T IT LONGER???
I h440te music theory puns so much
okay which one of you just unfollowed me
Seduce me with your musical knowledge and leftist ideals
if you use the A-G letters in the name bernie sanders and write them as descending musical notes you get 3 perfect fifths one perfect octave and a minor seventh