#forzando

[leregirenga]

"Todo está tan mágicamente unido que si tiene que ser, no podrás evitarlo". Así que no andes buscando, forzando, obligando a que las cosas se den o a qué una persona a fuerzas este en tu vida. Lo.wue ha de ser, sucederá y no podrás evitarlo, y lo que no va a ser, por más que te esfuerces en que se haga posible, no va a pasar y así tiene que ser. Podrá haber mil posibilidades pero solo una se hará realidad. Leregi Renga

[dineroonline-blog]

Bellator 214: Refrescó a Ryan Bader forzando su camino hacia la conversación libra por libra

Bellator 214: Refrescó a Ryan Bader forzando su camino hacia la conversación libra por libra

Bellator 214: Refrescó a Ryan Bader forzando su camino hacia la conversación libra por libra

Ryan Bader ha ido 4-0 desde que se unió a Bellator MMA. Habla con Sporting News acerca de enfrentar su desafío más difícil hasta el momento: Fedor Emelianenko en la final del Gran Premio Mundial de peso pesado de Bellator el sábado por la noche.

FUENTE DEL POST ORIGINAL. LOS MEJORES SITIOS WEB SOBRE…

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[isthataword]

FORZANDO

:  [n, pl. -DOS or -DI] the playing of a note with sudden empasis [also: SFORZATO]

in musical notation, it looks like this:

[johngsmith]

Norman Wants some Private Time

It really is autumn now. Only the tips of the poplar trees are green. The mulberry tree has faded through lime green to a washed-out, greenish yellow.

I am meeting Norman today. At the Lamb and Flag. At 6:00pm.

We have this in common – we are both widowers. While it is not stated, we know that sometimes when we meet, it’s about that. About something we share and need to reflect upon, from time to time, alone.

Sylvia died only a few years ago, in 2005, just before I came back. She was much loved, — quiet, good-looking, dark-haired, modest, devoted to her family, of course.

And he adored her. That’s what I heard.

When I get there I find Norman has been to Ascot the day before, to the races.

“Drinks on me”, he says. “I came up trumps on a horse sired by Forzando, a stallion I remember well from his racing days.”

Norman always seems so on top of the things he does. I wasn’t particularly aware that he was a racing man.

“Why do people want to stop at the scene of an accident?” he said. “I feel exactly the same urge to look, tinged with fear that I will see something horrible.  But I force myself to look away and drive on”.

He had been delayed getting home.

Dennis is at the bar. He comes over and asks if he can join us. Dennis is semi-retired, but he does science shows in schools. A sort of Science deejay! He calls himself Professor Brainstorm.

After a while, Norman says: “Dennis, John and I have a dinner date, if you will excuse us”, and he looks at me firmly, with just a hint of a nod.

I see. He wants some private time.

We drive to a neighbouring village and find a table at another pub.

It had thought this would be about Sylvia. Perhaps to reminisce, perhaps to ask me about my own marriage, compare feelings. Perhaps it was an anniversary, though I had never asked him for Sylvia’s birthday or the day of her death and this did not seem the moment.

But we just chatted and then he asked me about charities for children who are separated from their parents and who live in foster homes.

I said I would look into it.

Then he was ready to go. “Work tomorrow”, he said. “I need an early night”.

And that was all.

Norman Wants some Private Time was originally published on The Journal of an Aging Hominid

[toelysianfields]

While listening to—and reading about—Ludwig van Beethovens Symphonie No 1, I came across the term sforzando.

»Sforzando (or sforzato or forzando or forzato), indicates a forceful accent and is abbreviated as sf, sfz or fz. There is often confusion surrounding these markings and whether or not there is any difference in the degree of accent. However all of these indicate the same expression, depending on the dynamic level, and the extent of the Sforzando is determined purely by the performer.« (Wikipedia)

[schoolofpiano]

Articulation on the Piano

To help you on your ever-lasting quest to be able to play like Tom and Jerry.

(or is that just my quest?)

(you can skip ahead from here if you want, the important stuff is below)

As I was looking over the Rachmaninoff Etude I'm going to write about later, I realized it might be good to do a post on articulation first. Everyone learns basic articulation (staccato, accent, etc.) but some of the other ones go unnoticed. Usually, we see them in the music and don't even think to find out what they mean.

So here I'll put up a basic description of articulations. Now, different composers use these differently, and some of these are up for debate. So please note there are multiple interpretations for some of these--we're left to decide for ourselves in the end (which is what makes this a creative art!).

The Important Stuff

Marks That Determine Length

I think I'll start with staccato, because this is the most misinterpreted marking in my opinion. That is because, as beginners, we are taught that a dot over a note means to play it as short as possible. This is not technically correct!

This actually means to hold the note for only half it's true value. So, a staccato quarter note would be performed as a quarter note with an eighth note rest:

(you can skip this next blurb)

So why are we being taught the wrong thing? Because little kids would often have a hard time understanding this. It's just like when teachers told you it was impossible to subtract 2 from 1, and then when you're older you learn about negative numbers. I teach my students the same thing about staccato, until they're ready for the more detailed explanation.

(back to the important stuff)

So, what if we want something shorter than that? Well then we use the staccatissimo mark:

This is far less common than a regular staccato, but you see it frequently. This means to hold the note for only a fourth its true value. So, a staccatissimo quarter note would be performed as a sixteenth-note with a dotted-eighth rest:

We also have the tenuto mark, which is sort of the opposite of the other two marks we've seen:

This means to hold the note for its full value (it has other possible meanings too, which I'll address later). Sometimes, you'll see the tenuto combined with the other two marks, which may seem like a contradiction. Well, it actually has a specific meaning. A tenuto over a staccato means to hold a note for three quarters its full value (rather than just half). Thus:

means to play

At this point, some of you that are math-haters might be staring at this post like this:

To make things clearer, I'll do these articulations over a whole note (which you will probably never see, but make it easier to understand).

(four beats become one beat)

(four beats become two beats)

(four beats become three beats)

(optional skip ahead point)

This kind of stuff isn't important at an elementary level, but is really worth knowing when you get more advanced. For example, Beethoven is always specific in his articulation: notice he sometimes writes staccato quarter notes, but sometimes staccato eighth notes. Something easily missed, but can really help make your performance more interesting. The same goes for Rachmaninoff (which is what inspired this post in the first place).

(back to the real stuff)

Marks That Determine Volume

I'll start with the most common mark, which is the accent (or marcato):

This means to play that note louder than the surrounding notes. But, not as loud as if you see a martellato:

*These marks can have different meanings depending on your instrument--these descriptions apply to piano*

And, once again, the tenuto mark:

In some contexts, a tenuto can mean a slight accent. It can also mean an accent that is held longer than usual. How do we know whether the tenuto is a length mark, volume mark, or both? Use your ears! Do what you think sounds the best. These marks aren't meant to have us getting out our calculators and dividing time into fractions, they're meant as guides to create something artistic and meaningful. You be the judge, or play it for a friend/teacher and get some input. Remember, you can always submit videos or recordings if you want some feedback from me!

Again, you can probably find some music dictionaries with varying definitions of these marks, and some "know it all" amateur piano assholes that spend their day criticizing other people and ideas in piano forums. In the end, it's up to you to do what sounds good.

Let me know if you want me to cover more articulations (this post hasn't covered everything), or if anything doesn't make sense!