Bartok divertimento midi

Instances of "The Lick" in Classical Music

2023.10.22 15:55 ThatEleventhHarmonic Instances of "The Lick" in Classical Music

This is what I've stumbled across so far, if there's any I'm missing, please let me know! Leo Ornstein, Piano Sonata 4 Igor Stravinsky, Firebird Vincent D'Indy, Piano Sonata Op.64 Carl Nielsen, Symphony No. 3 Einojuhani Rautavaara, Symphony No. 7 Joseph Jongen, Symphonie Concertante David Bruce, Lick Quartet Wolfgang Amadeus Mozart, Horn Concerto 3 Johann Sebastian Bach, BWV 963 Bela Bartok, Divertimento for String Orchestra Bela Bartok, String Quartet No. 4 (courtesy of BurbleGerbil) Bela Bartok, Sonata for Two Pianos and Percussion (courtesy of mmmhYes) Bartók, Piano Concerto #2 (courtesy of TheViolaKing) York Bowen, Phantasy for Viola and Piano Robert Schumann, Fantaisie in C major (courtesy of theProject) Alexandre Tansman, Suite in Modo Polonico (courtesy of JCFCvidscore) Pierre-Octave Ferroud, Foules (courtesy of TheViolaKing) Caroline Shaw, To The Hands (courtesy of suikunkun and ogorangeduck) Leroy Anderson, Piano Concerto
(Last Updated: 27/04/2024)
submitted by ThatEleventhHarmonic to classicalmusic [link] [comments]

2023.10.12 07:31 LaximumEffort A shoutout to Bartok

I was listening to the Symphony channel on Sirius last night and they played Divertimento for Strings) composed by Bartok. I felt compelled to note that was some of the most inventive music I’ve heard.
There are always questions on this sub asking if they can play “this chord in this progression” and the answer is always it depends, but as I listened to the third movement I swear almost every possible combination of interval, chord, or scale run was played and while at times it sounded odd, certainly not your average minor scale run sequences, it almost always resolved and each segment served the overall theme that I’m still trying to grasp. Plus it was never boring and rarely repetitive, more of a walk in a twisted forest that occasionally wound up in a sunny meadow that all of a sudden turned darkly barren.
Anyways, I hadn’t heard many pieces that cause me to think of how this sub would note what a mindbender it is.
submitted by LaximumEffort to musictheory [link] [comments]

2023.09.30 23:21 MusicGardenCat Cello Sheet Music Needs a Good Home

I have a LOT of cello sheet music. Sonatas and concertos, etc. Everything is in really good condition with a few exceptions that have some marks in the music. Many have some writing in ink (a name) on the cover, but a lot of pieces are like-new... just have been in storage for many years.
My goal is to get this music into the hands of cellists who can make good use of it.
Others have posted excellent suggestions (IMLSP, a dropbox with "everything", etc.) if you are looking for a piece and on an extreme budget and like playing from a computer screen or printing out parts yourself on printer paper. Those are excellent options. However, if you like to have hard-copy, published versions of the pieces; if you like to be able to write on your scores with pencil, then I might be able to help.
Here's the list (alphabetized):
A. Franchomme Fantaisie sur "Don Giovanni" de W.A Mozart for cello and piano Alan Hovhaness Suite for Violoncello and Piano opus 193 Edition Peters No.6324 Alessandro Scarlatti Three Sonatas for Two Violoncellos Early Cello Series No. 4 Alexander Glasunow Elegie opus 17 Violoncello und Klavier Alexander Tcherepnin Sonata III op. 30/2 for violoncello e piano Alexander Tcherepnin Sonate II op. 30/1 for violoncello e piano Amedeo de Filippi Adagio and Scherzo for c Amedeo de Filippi Divertimento for Violoncello Solo Amy Marcy Cheney Beach Five Pieces for Cello and Piano Hildegard Publishing Antonin Dvorak Polonaise for cello and piano edited by Terry King Beethoven Sonata Opus 17 for cello and piano (Leonard Rose) Beethoven Variationen for Violoncello and Klavier Edition Peters Nr. 748b Bela Bartok Roumanian Folk Dances transcribed for cello and piano (Luigi Silva) Bendik-Storck Leichte Cello-Duette (Easy Cello Duets) Edition Schott 5276 Brahms Sonata in D major Opus 78 for cello and piano (Janos Starker) Breval Sonata in G major for cello and piano (Gaspar Cassado) Cello Excerpts from Standard Orchestral Repertoire BOOK FOUR (VERDI) Chopin Nocturne in E flat major Opus 9, No. 2 for cello and piano (D. Popper) David Popper Cello Concert in E minor for cello and piano op. 24 David Popper Polonaise for cello and piano op. 65 no. 3 Kalmus String Series David Popper Spinning Wheel for cello and piano op 55 no 1 Early Pieces for two and three violoncellos Boosey & Hawkes (Pejtsik Arpad) Ernest Bloch Suite for Cello and Piano transcribed from the suite for viola Eugene Bozza Two Pieces for violoncello and piano transcribed by Luigi Chiarappa Evocation (1951) for Cello and Piano by Meyer Kupferman Four Pieces for Cello and Piano by Meyer Kupferman Frank Martin Ballade pour violoncelle et piano Universal Edition 12011 Frank Martin Concerto pour violoncelle et orchestre (piano reduction) UE 13514 George Crumb Sonata for Solo Violoncello Edition Peters No.6056 Glazunov 5 Novelettes Opus 15 for two violins, viola and cello Haydn (Joseph) Six Minuets for Two Cellos (Frances J. Steiner) Hindemith Trauermusik for cello or violin and string orchestra Schott 2515 Joaquin NIN Suite Espagnole pour violoncelle et guitare (Konrad Ragossnig) Kabalevsky (Dmitri) Five Studies in major and minor for the cello op 67 No.4422 Kabalevsky (Dmitri) Sonata for cello and piano op. 71 Kalmus Solo Series No.4433 L. R. Feuillard Le Jeune Violoncelliste 3B for 2 cellos and piano Liszt Liebestraum transcribed for cello and piano by Gaspar Cassado Lukas FOSS Capriccio for violoncello and piano edited by Gregor Piatigorsky Marcello (Benedetto) Sonata No. 1 for cello and piano (Gaspar Cassado) Mario Castelnuovo-Tedesco Greetings Cards Opus 170 No. 3 for cello and piano Mozart (W. A) Sonata opus posthumous K 292 for two cellos (Werner) Noel Da Costa Five Verses / with Vamps for cello and piano Orchestral Excerpts from the Symphonic Repertoire for cello VOLUME 1 Popper (David) Papillon opus 3, No. 4 for cello and piano (Leonard Rose) Romberg Sonata in G major - Opus 38, No. 2 for cello and piano (F. G. Jansen) Samuel Barber Sonata Op 6 for Violoncello and Piano G. Schirmer Serge Prokofieff Ballade Op 15 for cello and piano Sergei Prokofiev Concertino for cello and orchestra op. 132 in G Minor Smetana Trio in G minor Opus 15 Edition Peters No.4238 Cello and piano parts V. Lachner 6 Pieces Caracteristiques for Violoncello and Piano BOOK 1 (No. 1-4) V. Lachner 6 Pieces Caracteristiques for Violoncello and Piano BOOK 2 (No.5-6) Vincent Persichetti Sonata for Solo Cello Elkan-Vogel Co., Inc.
submitted by MusicGardenCat to u/MusicGardenCat [link] [comments]

2023.04.04 07:22 Pulsewavemodulator Bartok - Mikrokosmos Midi Files!!!

I've been looking for a series of pieces that start simple get harder and harder but have more interesting harmony and a different sensibility than Czerny exercises. I've thought Mikrokosmos may have a nice progression from simple to really challenging, but I can't find the MIDI anywhere. I've found a few pieces, but that defeats the purpose of working my way through the book...
Does anyone know where I can find MIDI files of Mikrokosmos, I'm willing to pay if I have to!
Alternatively, if anyone knows any other interesting pieces that progress from simple to very hard in this same way for learning, I'd love to hear other options.
Thanks in advance!
submitted by Pulsewavemodulator to synthesia [link] [comments]

2023.04.04 05:45 clbcarman My Review of Apple Music Classical — A welcome development, my thoughts on the room for improvement.

https://medium.com/@clbcarman/my-review-of-apple-music-classical-a-welcome-development-my-thoughts-on-the-room-for-improvement-213c5169dbd2
On March 28th, Apple released an exciting free addition to Apple Music: Apple Music Classical! This is a welcome improvement to the standard Apple Music app, which has no way to browse music other than by album, artist, or ‘song’. For context, I am an Apple Music student subscriber, and a semi-professional pianist who listens to a lot of classical music. Many outlets have already expressed criticisms over the lack of capability to download music, or how it is not optimized for iPad and is unavailable on Mac. That’s all well and good, but I wanted to give my own perspective as an avid classical listener and a prime target audience for Apple’s new app. The app is definitely not perfect, and it would be nice if the app didn’t crash and freeze as often as it does. I assume this is being rectified through updates by Apple. However, I think many of the app’s shortcomings are organizational rather than technical, And I wanted to lay all my thoughts out there for someone, maybe Guy Jones, the editor of Apple Music Classical and former head of Primephonic, to read. Many of my criticisms will become apparent when the app is held up next to its main competitor, IDAGIO.
Here is what I like:
Improvements:
These are only my thoughts. I am curious if anyone else thinks the same, or differently.
submitted by clbcarman to classicalmusic [link] [comments]

2023.04.04 04:47 clbcarman My Review of Apple Music Classical — A welcome development, my thoughts on the room for improvement.

https://medium.com/@clbcarman/my-review-of-apple-music-classical-a-welcome-development-my-thoughts-on-the-room-for-improvement-213c5169dbd2
On March 28th, Apple released an exciting free addition to Apple Music: Apple Music Classical! This is a welcome improvement to the standard Apple Music app, which has no way to browse music other than by album, artist, or ‘song’. For context, I am an Apple Music student subscriber, and a semi-professional pianist who listens to a lot of classical music. Many outlets have already expressed criticisms over the lack of capability to download music, or how it is not optimized for iPad and is unavailable on Mac. That’s all well and good, but I wanted to give my own perspective as an avid classical listener and a prime target audience for Apple’s new app. The app is definitely not perfect, and it would be nice if the app didn’t crash and freeze as often as it does. I assume this is being rectified through updates by Apple. However, I think many of the app’s shortcomings are organizational rather than technical, And I wanted to lay all my thoughts out there for someone, maybe Guy Jones, the editor of Apple Music Classical and former head of Primephonic, to read. Many of my criticisms will become apparent when the app is held up next to its main competitor, IDAGIO.
Here is what I like:
Improvements:
These are only my thoughts. I am curious if anyone else thinks the same, or differently.
submitted by clbcarman to applemusicclassical [link] [comments]

2023.04.04 04:46 clbcarman My Review of Apple Music Classical — A welcome development, my thoughts on the room for improvement.

https://medium.com/@clbcarman/my-review-of-apple-music-classical-a-welcome-development-my-thoughts-on-the-room-for-improvement-213c5169dbd2
On March 28th, Apple released an exciting free addition to Apple Music: Apple Music Classical! This is a welcome improvement to the standard Apple Music app, which has no way to browse music other than by album, artist, or ‘song’. For context, I am an Apple Music student subscriber, and a semi-professional pianist who listens to a lot of classical music. Many outlets have already expressed criticisms over the lack of capability to download music, or how it is not optimized for iPad and is unavailable on Mac. That’s all well and good, but I wanted to give my own perspective as an avid classical listener and a prime target audience for Apple’s new app. The app is definitely not perfect, and it would be nice if the app didn’t crash and freeze as often as it does. I assume this is being rectified through updates by Apple. However, I think many of the app’s shortcomings are organizational rather than technical, And I wanted to lay all my thoughts out there for someone, maybe Guy Jones, the editor of Apple Music Classical and former head of Primephonic, to read. Many of my criticisms will become apparent when the app is held up next to its main competitor, IDAGIO.
Here is what I like:
Improvements:
These are only my thoughts. I am curious if anyone else thinks the same, or differently.
submitted by clbcarman to Apple_Classical [link] [comments]

2023.02.04 10:44 Spycrabpuppet123 The

The submitted by Spycrabpuppet123 to ultrakillmemes [link] [comments]

2022.10.06 23:09 No-Permit6301 so i decided to take a break from the game and try this "Outside" thing, and i just found a bunch of subtle tes easter eggs!

so i decided to take a break from the game and try this submitted by No-Permit6301 to TrueSTL [link] [comments]

2021.12.28 18:28 I_Press_Keys_For_Fun How do I approach something as massive as classical music? A quest to find the most accessible classical pieces for beginners.

WARNING: this is a very long consideration on classical music for beginners and what I am trying to do here is to introduce a method. I'm not trying to objectify an art or create a rule that'll work for everybody. There's a lot of exceptions thanks to the beautiful variety of human beings.
​
Classical music is somewhat of a difficult topic to introduce. The fact alone that it started around the 11th century with the invention of modern notation and that it shares solid bonds with all the recurring cultural movements that history has provided us make it kind of difficult to introduce new people to this music.
Where do I start? What's the best period to approach classical music? The first thing that should be done is dividing the whole history of classical into the different periods with approximate dates:
Ancient classical music: V to X century (500 - 1000)Medieval music: X to XIV century (1000 - 1350)Reinassance music: mid XIV to mid/late XVI century (1350 - 1575)Baroque music: mid/late XVI to mid XVIII century (1575 - 1750)Classical music: mid XVIII to early XIX century (1750 - 1820) (this one is kind of debatable)Romantic music: late XVIII to mid XX (1770 - 1940) (Birth of Beethoven - Death of Rachmaninoff)Impressionistic music: late XIX to mid XX (1860 - 1940) (kind of debatable)Modernistic/Avant-Garde music: XX century to present day (1900 - )
Trying to initiate the listener to classical music by chronological order is, in my opinion, a terrible idea. The least appetizable sub-genres of classical music for beginners would be Ancient to Early-baroque, Modernistic and Avant-Garde.
This happens because there's a lot of change in common taste along the time (Music in medieval times was mainly sacred or sung in old languages or exctinct ones like Latin, while most of avant-gardistic music is supposed to be listened to after the assimilation of major composers' repertoire).
Also because of a thing called "Common Practice Period": it's a lenghty period in music history that includes the Baroque, Classical and Romantic period. This Common Practice Period groups all the classical music genres that use the same exact concepts of harmony and theory which are still used in pop music today, and that's why they're clearly easier to listen to rather than a mass by Pierluigi da Palestrina or a piano concerto by Bartok.
So, let's just consider these three music periods: Baroque, Classical and Romantic. Think about it: it's like processing music with a gigantic sieve: by putting all the possible pieces of classical music in an enormous sieve and moving it around a bit, most of them will stay inside it and only a smaller (but still considerable) percentage of pieces from the Baroque, Classical and Romantic period will pass through.
This is not enough, though. Not every piece from these three periods will do. If I made you listen to the Passion by Saint Matthew by Bach, an enormous almost 3 hours long work with a full orchestra and choir, you'd probably jump to my throat and kill me, even though we're talking about a piece of music from the baroque period. Although it passed through the sieve.
We need to use more sieves until we find the right pieces. The first round of elimination cleared out all the pieces of music from the non-common-practice-period group. Now we have to take a look at the most known forms of classical music.
If you've ever been near to classical musicians, you probably have heard of specific words such as fugue, concerto, quartet, chamber music, symphony, suite, mass, chorale, prelude, etude and so on. These are all different types of pieces of classical music which have specific structures or characteristics.
Good thing is, I won't need to explain them to you (phew!) because if you're a beginner, you probably won't have any idea of what is the structure of a piece. Words like recapitulation, sonata form, modulation, scherzo and menuet form will sound like gibberish to you.
And that's both an awesome and terrible thing. That's the problem with classical music. It sounds boring because most people can't actually tell what's going on. Why? Because in order to really appreciate MOST (not all) of these before-said forms of classical music (like a string quartet or a symphony) it's not ALWAYS enough to just listen at a theme. You have to know how different themes interact with each other, what's a modulation, what do I mean when I tell you that there's a radical change of tempo, et cetera. This is something that you'll have to learn if you want to take a more in-depth look to classical music.
Got it? Because it's time to bring an even bigger and less merciful sieve. You know, there's a small minority of pieces of classical music that can be listened to without any necessited knowledge of form: descriptive pieces. This sieve will move out of the way all of these complex musical forms that require a decent knowledge of music history and/or theory in order to be listened to.
What are descriptive pieces? They're pieces of classical common-practice music that have a title that describes a situation. A good example would be Vivaldi's Four Seasons: Spring, Summer, Autumn and Winter. Instead of cold names such as "Prelude in E flat major", "Sonata in F sharp minor" or "Divertimento for mezzo-soprano and Basso Continuo in A flat minor" you have simple, straight-forward pieces with painting-like titles, like "Wedding Day at Troldhaugen", "Dance of the Sugar Plum Fairy", "Nocturne" or "What has the West Wind Seen".
You now may ask, why?
It's quite simple! These pieces not only have funny cool titles but they also try to represent the same situation with music. Some of them even have one or two pages of text or poetry that you have to read in order to follow the story that the music's trying to tell you.
Let's say that you're listening to the piano piece "The Great gates of Kiev" by Modest Mussorgskij. It should have survived all the sieves: it's a romantic period piece with a descriptive title, whose huge chords on the piano might suggest the scene of a gigantic cathedral ringing its bells far in the distance, while a massive crowd is gathering under it. If you keep this image in your head and try to build a scene with the impressions that the music is giving you, you'll going to enjoy yourself way more. The "Nocturne" (literally "piece evocative of the night") is another genre of descriptive music that could be listened to in kind of the same way (although it might be a little bit more difficult to create a scenario). The most important "Notturno" (or Nocturne) composers are Field and Chopin.
Along with descriptive pieces, there's a smaller amount of non-descriptive pieces and extracts from major works that could be listened to via bare theme enjoyment, like Brahms' 3rd movement from his 3rd symphony, Mendelssohn's Italian's 1st movement, Beethoven's Moonlight Sonata (1st movement) and Sonata Pathetique (2nd movement).
Does this mean that these pieces have no structure?
Wrong! Most pieces have some sort of structure, it's just that descriptive pieces are very easy to listen to due to their descriptive and imaginative nature, and some of them are so hauntingly beautiful and/OR (yes, OR, not or) praised even by the mainstream that the knowledge that would normally be required to listen to them is just put aside.
So, if we ruled out pieces from periods out of the common-practice-period before, now we ruled out pieces INSIDE of the common practice period that although need formal knowledge to be appreciated, leaving out pieces that are really descriptive (descriptive or program classical music) or peculiar examples from other ruled-out musical forms (certain movements from certain sonatas or symphonies, impromptus by Schubert, expecially his opus 90) for their sheer beauty.
Side note: if you decide to do some digging behind these pieces, you'll notice that most of these are from the romantic period.
Now, the final sieve: lenght. It's higly advisable that due today's rightful habit to listen to short songs, the listener should start with pieces that are no more than a few minutes long, then gradually expand to slightly longer pieces.
That's the end! that was a long journey. Now I'll pretend like I did the actual thing and use this "process of elimination" method to select the most suitable piece for a beginner.
If I had ten fairly known pieces of music like these ones:
Bartok's Music for Strings, Percussions and CelestaLiszt's Vallee d'Obermann from Annees de Peregrinage (Book 1)Carlo Gesualdo's Beltà Poi Che t'AssentiMozart's Sinfonia Concertante for Violin and ViolaChopin's Nocturne opus 9 number 1Mahler's 5th SymphonyFinnissy's Verdi TranscriptionsBeethoven's Grosse FugeShostakovich's 11th SymphonyDebussy's Pour le Piano
I should first of all remove all the pieces out of the common-practice period, keeping:
Liszt's Vallee d'Obermann from Annees de Peregrinage (Book 1)Mozart's Sinfonia Concertante for Violin and ViolaChopin's Nocturne opus 9 number 1Mahler's 5th SymphonyBeethoven's Grosse Fuge
Then, by doing some research, or even listening to random extracts of the pieces, I should rule out the most difficult forms, keeping the ones that are easier to listen to or even a difficult form if I really enjoyed it:
Liszt's Vallee d'Obermann from Annees de Peregrinage (Book 1)Chopin's Nocturne opus 9 number 1(Let's say that I absolutely loved Mozart's Sinfonia Concertante and wanted to keep it)
And then listening to these pieces first. It's the listener's decision to follow any sort of criteria about the pieces' lenght.
There's a lot of pieces here and it'd take a lot of time to provide a link for every single one of them, but in case you wanted to hear any of these just tell me and I'll provide you with one.
submitted by I_Press_Keys_For_Fun to LetsTalkMusic [link] [comments]

2021.11.04 16:53 OldenWeddellSeal Most-viewed score videos on YT

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  115. 881K - Jenny Mozart Symphony 25 m1
  116. 873K - AXK Chopin Nocturne Op. 48 No. 1
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submitted by OldenWeddellSeal to classicalmusic [link] [comments]

2021.07.08 02:33 500scnds [Table] By day, we're studio musicians who've played on Star Wars, MCU and DC universe releases, Pixar flicks, Tenet, etc. By night, we're concert violinists who direct Salastina, a non-profit concert series that holds FREE weekly events every Tuesday with world-class musicians. AMA! pt 1/2

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Note: Submission title has been shorted to fit in character limit. The original is: By day, we're studio musicians who've played on Star Wars, Marvel and DC universe releases, Pixar flicks, Tenet, etc. By night, we're concert violinists who direct Salastina, a non-profit concert series that holds FREE weekly events on Zoom every Tuesday with world-class musicians. Ask Us Anything!
AMA was paused midway with the following message:
We're going to continue answering questions once our FREE weekly Happy Hour is over! We started these when covid hit and meant them to be a way for everyone to be less isolated.
If you asked a question and it wasn't answered, we'll get back to it as soon as we can this evening!
Rows: ~115
Questions Answers
How and who got you in trouble at the StarWars recording session?? Maia here: ok, perhaps I will get blacklisted forever from publicly telling this story, but it’s true, so... here goes!
​ In February of 2017, I was super pregnant with my first child, our son Galen. Kevin and I were at a Star Wars recording session. It was John Williams’ 85th birthday that day, and let’s just say his mood wasn’t exactly celebratory. The vibe at that session was much more tense than usual. Of course, everyone’s always on their best behavior for John Williams; this was different.
​ At one point, Kevin lightly tapped my knee with his bow. He had noticed a colleague and friend, who’d been out sick for a while, was finally back that day. I leaned forward to smile at her and give a little encouraging wave. The maestro immediately called us out in front of the whole orchestra for disrupting the session, pointing at us with his baton while sternly saying, “now’ s not the time for visiting!!”
​ He later had the contractor reprimand us, telling us it was a privilege to be breathing the same air as him. While that is, of course, true — and while that moment was certainly mortifying, in a way — I can’t say either of us truly felt ashamed of our actions. It was clear the reaction was more about the birthday blues than anything inappropriate we’d done. If anything, we felt a little like, “he knows us!”
​ Kevin: We got ourselves in trouble with John Williams.
​ John Williams sessions are a different animal. Each take is almost like a concert performance, so everyone feels a greater sense of responsibility, no matter how big the orchestra is. So even when we're not actually playing, people are on good behavior.
​ We rubbed him the wrong way with a small, friendly interaction, and he let us know lol. Like Maia said, we kind of cherish the personal interaction with him haha!
the below is a reply to the above ​
haha! "Who disturbs the Great and Powerful John Williams!!!" That's so funny! Still, I'd take being scolded by John Williams over never meeting and collaborating with him any day too. Which Star Wars score was that for? How often do you get to work on film scores? LOL! Totally. It must have been “The Last Jedi.” Pre-COVID, we could be in the studio five days a week, or not at all for a week or two at a time. It all depends on what’s being recorded, what you’re getting called for, and how to balance that with the other commitments you have (teaching, performing, etc).
​ Sessions are happening right now, with various COVID protocols in place. Some require testing, others don’t. They’re all socially-distanced, pre-screened for symptoms, etc. The next live session I’m doing is for “Space Jam 2” in March.
the below is another reply to the original answer ​
A former LSO timpani player described Mr Williams as a "steel fist inside a velvet glove". That he is a very kind and sometimes even jovial, but when it's recording time, he expects everyone to buckle down. Very well put! “Velvet hammer” is one of my favorite figures of speech :)
Hi, Jani here. Big fan! Question...what’s the hardest thing about being a studio musician? I feel like on the one hand it’s easy because there can be multiple retakes, but on the other hand you might have to be a fast learner, a great site reader with no room for mistakes without everyone booing you if you mess up a take lol. Can you share more? It seems exciting like you might meet and work with uber famous ppl. Who have you met? Maia here: hey Jani!! Thanks for coming by. I would say there are two hard things about being a studio musician. The first is that there is no job security. It is purely work-for-hire. You don’t “audition” to get in to anything stable or structured, and there’s no guarantee you’ll ever get called for anything ever again. It’s completely mysterious who gets called for what and why (or why not). As you can imagine, that creates a pretty... interesting work environment.
​ I personally have always looked at studio work as “icing on the cake,” even when —financially speaking — my bottom line is, like, 50% icing! This mentality is a way for me to not feel quite so “at the mercy” of invisible forces I can’t control. Now I can define myself as, in part, a studio musician and feel confident in that, but hardly like it’s the sole focus of my artistic life or identity.
​ In my twenties when I first started, I remember feeling like, “why’s everyone so stressed? What’s the big deal? All this music is so easy!” As classical musicians, we trained on much, much more challenging music than most scores present, so I didn’t understand why everyone seemed so stressed. The more I started doing studio work, and the higher the stakes were (financially and reputation-maintenance wise), I started to get it. If your chair moves, or your tummy grumbles, or you have a tickle in your throat, it’s easy to feel like, “THAT’S IT! I ruined it, I called negative attention to myself, and will never be asked to do this again.” Suddenly, the easiest note to play becomes a head-trip, because you feel like it has to be absolutely perfect. Something about the high financial stakes, lack of job security, need for silence and perfection, and in a way, even the less challenging music itself leaving room for a racing mind makes for this perfect cocktail of self-doubt.
​ It honestly took me until I was nearly thirty years old to feel more comfortable in that environment. I’m not really sure what changed for me! Probably just older and wiser, more perspective.
​ Hi Jani! Thanks :)
​ You often meet the directors (JJ Abrams, Steven Spielberg, etc) and the composers. Sometimes the actors are also there. (We have a pic with Mark Hamill somewhere.) It's fun, because the film score is one of the last steps in a movie, so everyone (except maybe the composer) is relaxed and excited at the same time.
​ It can get tense, but honestly everyone makes mistakes sometimes. You'll sometimes get 3 or 4 consecutive takes where someone different makes a bone-headed error. We laugh about it and move on.
​ Most times, the musicians we're in the room with have proven themselves time and time again. Sometimes, the thing you have to worry most about is your stomach howling like a wolf during a quiet take!
the below is a reply to the above ​
Thank you for this honest perspective about the job. It is very interesting and frightening what you have to go through even if you are very talented musician. I could picture the situation in my mind and it gave me anxiety! But it is important to know that with experience and a wiser prospective, even if the things around you remained the same, you can change and control the environment (and yourself) better. Anyway I couldn't handle this kind of stress. Nope. Live performance (of almost any kind) in front of people for me is a big no! Maia here: you’re so welcome! Yes, it often feels like walking a tightrope for a living. I remember my own mother being like, “why would you do that to yourself?” It’s so meaningful to sublimate, or even attempt to sublimate, those feelings in the service of grace.
the below is another reply to the original answer ​
I write orchestral music purely as a hobby (digitally, through realistic midi VSTs) and may end up having something played by live musicians at some point. Are there any common newbie mistakes composers make when they're having their work played by real musicians for the first time? Like not leaving enough breath gaps or writing in impossible ranges for the real instrument etc. Maia here: well, you’ve just named two of the biggies! Range is a big one. I’d say a common newbie mistake is hemming and hawing in delivery of comments to the players. Sometimes that’s how someone’s lack of experience comes out — it takes a really long time to get meaningful direction. Having the confidence to just spit it out goes a long way!
​ Kevin here to add on: We love playing music suited to our instruments' strong points. String players groan when we get passages much better suited to a synth - like repeated fast figures that go on forever. Give us a beautiful melody to play, and we'll give you our hearts.
the below is another reply to the original answer ​
That’s awesome! That would be me lol! Grrrroooowwwwl! What an exciting life 😁 Maia here: hmm, particularly memorable sightings... I remember meeting Daisy Ridley and Kobe Bryant — they were super nice!
​ I also asked Steven Spielberg to autograph something for my husband, who’s a huge fan. He was so gracious!
​ I remember seeing Amanda Seyfried in real life and being so struck by how drop-dead gorgeous she was in person. Charlize Theron was there too — also a knockout, of course.
Wait wait, what is this story about an audience member sneeze-farting during a performance? It was a disaster. We were playing an incredibly beautiful piece of music (Schubert's Cello Quintet), and during the most delicate, whisper-like passage, this crazy sound came from the audience. Our best guess was that it was a sneeze-fart, but it really was such a weird, out of context, almost animal noise. We looked at each other and started giggling (I can't control it on-stage). 30 secs later, in the 2nd most quiet passage, it happened again. By this time, we were shaking and crying, barely holding on to our instruments. The audience started laughing, too.
​ We really should have left, but we weathered the 10 minutes hysteria. Afterwards, we looked for the audience member so we could apologize, but they (or it) left.
the below is a reply to the above ​
Haha! I can't imagine trying to hold a giggle in like that. I would be dying. One of us might have peed a little. Maia deals with the giggles by thinking about something completely unrelated, but even she broke. I tried to turn my ugly crying face into a tragic emotional face, but no one bought it
the below is another reply to the original answer ​
Does a video of this exist somewhere? I wish!
​ Kevin here - That was our first thought! We wanted to investigate just what that sound was, so we checked with the presenter. Nada.
​ I also just remembered that the venue was a theater that was being prepared for a Little Mermaid musical, and they didn't want to take anything down just for us. The little fish and mermaids didn't help the situation.
the below is another reply to the original answer ​
Your story reminds me of "the firebird scream". Here, it's hilarious: https://youtu.be/WnMv6-XTROY An unrelated question, do you find the "generic epic background orchestral track" that is very common in movies good to play? Or does it feel a bit more like a chore when the music has no obvious purpose or emotional value? Maia here: ah yes... the “generic epic background orchestral track.” Is it fun? No. Does it feed my soul? No. Do I know my, and its, place? F*%k yes. Plus, it pays the bills — which affords me the luxury of fun, soul-feeding stuff (read: Salastina!).
Jim McMillen here. My wife Kathy and I are big fans of Salistina, in fact Kevin was kind enough to include us as orchestrators for the hopefully soon upcoming O.C. fan Tutte! And recently we were fortunate to have placed 4 of our Vitamin String Quartet Arrangements in the hit Netflix series Bridgerton. I was wondering if you were familiar with our wonderful violinist Simon Orvista? Hi Jim and Kathy! I heard Simon Orvista is ten feet tall, shoots fireballs out of his ass, is so handsome that to look at him will boil your eyes, and also plays the violin. It's also a pseudonym for me. For anyone reading this, please look up James McMillen. I've worked with him on all kinds of stuff, including major label releases for pop stars. He and Kathy are the real deal. You need them for your next project, trust me. Congrats on the success of Bridgerton - or should I say, congrats to all 3 of us?
the below is a reply to the above ​
I'm gonna second this. Jim is amazing! (Kathy, I'm sure, is amazing too.) And dang, have you watched Bridgerton? It's pretty racy! The only thing I get to watch these days is Pokemon, Tumbleleaf, and Frozen
the below is another reply to the original answer ​
Well, that explains all the charred seat cushions! Seriously, Kevin is a world class violinist, a great concertmaster, and just the best to work with. He brings his love of music to everything he plays. The charred seat cushions are because of other reasons... Thanks, Jim :)
the below is another reply to the original question ​
Jim! Hey man, it’s Chris!!! Another superstar! I talk about you in a different reply, Chris!
​ If you don't know Grammy winning composer Christopher Tin, you should. Right now.
​ Hugs
For those who don’t know, how much time do you get to rehearse a piece of music before recording in a pro session environment? ChristopherTin What is this thing you speak of, rehearsal?
​ Very, very few composers actually send out their music ahead of time. And even if they do, very few musicians have time to look at it. So we show up, there's music on the stand, we read it, they record it!
​ You get used to it quickly!
​ Hey Chris, Maia here! Thanks for joining us :)
​ We almost never rehearse. “The red light,” meaning recording, usually happens from the first note. I remember James Horner was one of the few composers who liked to “rehearse” his music with us before we recorded. Nearly everyone else records it from the first read-through because you never know, it might be perfect and you need to move on in the interest of time. Alan Silvestri is definitely someone who can be perfectly happy with first takes.
the below is a reply to the above ​
Man that’s intense, and I’m in no way comparing my level of skill to yours, but I work as a chef in a highly awarded fine dining restaurant in a busy city. In some ways, it’s not all that different to find out everything on the menu has changed and on a Friday night no less. You’re expected to execute fast and perfect, with little to no explanation, but wicked high expectations. As JK Simmons character says in whiplash, there are no two words more harmful on the English language than “good job”. All that being said, what is your take on a movie like whiplash? Is it to musicians the way that Burnt is to a chef? A gross misrepresentation of the field with some truths peppered in? We all bleed for our art in some way or another, but what’s your opinion on the matter? Kevin here - thanks for sharing that! I haven't seen Whiplash (i know, i know), but if we're talking about the pursuit of excellence at any cost, I just don't agree with it. It's one thing if someone is extremely self-driven. But there are so many ways of encouraging another person and helping to instill healthy habits that can get the same results.
​ When I used to teach, I'd tell my students that every time they go to open their instrument case, they should cultivate the feeling that they'd ideally like to have when they play - peaceful, aware, loving, disciplined, etc. This way, the act of even approaching your instrument becomes a kind of practice in itself.
​ I'd hate to have a fear of failure each time I held the violin.
​ Maia here: that’s a great comparison. I think there are TONS of congruences between fine cuisine and classical music performance. You create something of ephemeral beauty that is experienced in real time, and consumed by others; that creates a pleasurable experience that can be enjoyed alone or with company; and each person receives it according to their taste! (We actually have a whole sub series called “Sounds Delicious” where we pair music and food during a dinner concert... it’s super fun! Lately we’ve done themed ones around Game of Thrones and Harry Potter)
​ I’ve actually not seen Whiplash. But I have seen movies like “The Red Violin” and “A Late Quartet.” Your description certainly squares in those cases... comically mannered depictions with some truths peppered in.
the below is a reply to the above ​
Very interesting! A good friend of mine was first chair cello in the NY philharmonic many moons ago, but was forced to quit due to arthritis. His current passion (among a great many of notable things) is cooking. There’s definitely something about instantaneous consumable art, and the ability to perform worse than when you just friggin nailed it. Paint stays on a canvas, writing lives on the page.. cooking and playing music are congruent in the way that you’re painting the same thing multiple times per night/ week. Ephemeral is the perfect way to describe it though. It’s art that can exist only in this exact moment. It’s a beauty that hinges on its impermanence. Well said! So many musician colleagues enjoy cooking and eating great food, so there's definitely a connection.
​ Well said!
the below is a reply to the above ​
By the way, “Sounds Delicious” sounds pretty cool. I do work in the private sector for some pretty big names but I keep that on the DL.. NDA and such, but it could be cool to work together. DM me if you’re looking for something new at some point.. jshannon.23 on Instagram. We may have some mutual friends 😉 Thanks! Sounds Delicious turns into a big party - I love it. Looking at your instagram is making me hungry. Those dishes look delicious.
What was it like working with Seth Rogen?? Hi! This is Maia. Thanks for asking :) he was such a good sport — really humble, and really determined to nail it! I wrote the “script” of the story, Ferdinand the Bull, like a Hollywood movie script, complete with verbal descriptions of what he would hear before he had to come in. Like, “the flute will do this long windy thing, and when it’s done, you say ___”
​ Obviously, he has a great sense of humor and is super gracious. We loved that he improvised a little in the performance. It was obvious he got more comfortable in that setting as things went along!
​ Kevin here: It was awesome. We went to his house to rehearse, and he and his wife were lovely. He was extremely chill the whole time ;-)
​ He narrated a musical version of Ferdinand the Bull, and Maia taught him how to play Twinkle on the violin: https://www.youtube.com/watch?v=1qfn0UIzrLo https://www.youtube.com/watch?v=UGnvP4VAP5Q&t=7s
the below is a reply to the above ​
How did you connect with him to begin with? His wife, then girlfriend, was my ex’s co-worker at a film production company called Imagemovers.
Hi!!! What is your favorite thing to do to relax after a long day of working hard as a musician, and what do you do for a fun practice technique to jazz up a boring routine?? Maia here... favorite thing to do to relax: that’s tough since I’m an expert lounger when I get the chance. Knitting, a glass of wine, a bowl of candy cane ice cream with hot fudge leap to mind. Just chatting with my husband in our kitchen nook. Quality time together is at a premium with two toddlers at home! (They’re almost 4 and 2)
​ As far as practice techniques to jazz up a routine... oh, to have a routine anymore lol. When I did, I would definitely challenge myself by leaping into a run through and recording myself without warming up. It could be horrifying and extremely helpful at the same time.
​ Kevin here: Same as Maia, I have little kids so there's not much relaxing time...more like come home and become a human jungle gym. I like working in the yard, catching up with family...I also weirdly find watching combat sports relaxing. Now my older kid likes to play on Switch games, so that's fun!
​ As far as practicing: Improvising on the violin. When we practice, we're often reinforcing muscle memory. But - ideally - when you're playing chamber music, there's expressive spontaneity, so it's good to practice spontaneity as well. It sounds contradictory, but you can definitely practice being flexible
the below is a reply to the above ​
That’s so interesting!!! Wow how different it must be to be a professional rather than a student. Was there a specific time you went into spontaneous practice rather than a routine schedule? Or is that an impossible goal for anyone hahaha. It must be so hard to juggle having a family and spending alone time working on your craft or quiet time to record... has it been fairly difficult to have balance in your life or does that just come with practice? Maia here: yes, it is super different. To illustrate that... when I was 25, I attended an amazing “violin boot camp” called Keshet Eilon in Israel. I was living on my own, out of school, supporting myself financially/working, and had been a member of the Pacific Symphony for 2 years already, so in a way, it was kind of like stepping back into the student experience. The age limit for the festival was 26, and I remember noticing that the European students seemed less “rushed” about starting their careers and financial independence than I had. The festival prepared all our meals and even did our laundry. Even then I felt like, “wow, I have SO MUCH TIME to practice!!” I relished getting four hours in before lunchtime, then lessons, chamber music, masterclasses... I definitely appreciated the rigor and focus in a different way.
​ So yes, balance is hard. But constraints on your time also help your priorities evolve. There will never be enough hours in a day, but at this point, I feel pretty good about how I balance things. I recognize I am also privileged to work from home right now, as does my husband, plus having our nanny here 5 days a week.
​ Maybe it depends on the nature of your career?
​ Personally, if I really want to be in concert shape, I should put a regular amount of time on the fiddle. There are always things to improve, and I can enjoy myself more when I feel physically and musically comfortable with the repertoire. I do think we're like athletes, and we need to maintain healthy habits.
​ I guess it depends on how involved you'd like to be in your kids' lives. I think of myself as a dad first, so my priorities are arranged accordingly. I think a lot of parents feel like they're mildly good at several things, but not super great at one thing. Thanks for the questions!
Another one!- what’s the most overlooked piece of chamber music you’ve played(or studied!) and why should that be added to the list of today’s favorites? Also, what is the most impactful concert you’ve played or been to??? Maia here: I think Rebecca Clarke’s piano trio is a complete masterpiece. We programmed it without saying what it was or advertising the composer in any way, and had the audience guess. (Shocker, nobody guessed it could have been a woman, which was also a super interesting way to make a point about our implicit biases and assumptions without making anyone feel bad about it!) Her viola sonata gets all the love. It’s a great piece, but her trio is amazing too.
​ Most impactful concert I’ve played... oh boy. I loved playing Shostakovich’s Piano Quintet in Salastina’s early days. That piece is just devastating, and we played with such wonderful musicians. It was one of our first experiences playing a “monster piece” on our series, so personally, that stands out as particularly wrenching. I’d also say that playing in the pit quartet for Vid Guerrerio’s adaptation of The Marriage of Figaro, Figaro!90210, was incredibly impactful. I went into it with the snobbery of a purist, but was humbled, amazed, and very entertained by his clever and loving adaptation. That was in 2014; in 2021, Salastina will premiere OC fan tutte, his adaptation of Cosi fan tutte. :)
​ Most impactful concert I’ve been to... also so hard!! Probably when I was a little girl and went to the Dorothy Chandler Pavilion with my dad to see Anne-Sophie Mutter play the complete Brahms violin sonatas in recital. She played piano four hands with Lambert Orkis for her encore. My mind was blown by her fierceness and poise.
​ Oh, there are lots these. So many composers or pieces who've been lost throughout the years for no good reason.
​ I can think of two right now: Rebecca Clarke's Piano Trio Bartok's Piano Quintet
​ We have a concert format where we don't tell the audience anything about the piece. It's called Sounds Mysterious. At the concert, we perform the piece and slowly reveal who it is. Sometimes it's super revealing about some institutional problems in classical music. For example, no one guessed the Rebecca Clarke piece was written by a woman.
​ Bartok's quintet was written when he was young in a hyper-romantic language, which I love. No one plays it because it doesn't sound like the Bartok they know.
​ Most impactful concert...that's a really tough question. I've been lucky enough to perform in a wide variety genres, and sometimes performances are so surprisingly moving. I once played at a video game convention (sorry, can't remember the exact one) playing a video game soundtrack, and the audience was in tears the entire time. Sorry, I can't think of one in particular.
​ Once, when I was maybe 8 years old, I attended a recital by Isaac Stern. At some point, I must have been unconsciously swaying in my seat to the music. A lady in the row behind me smacked me on the back with her rolled up program to get me to stop. I think that was the first time that I started to think about behavior in the concert hall and what it means for the art form. So I guess that was impactful in a different way lol
So do you see parts of movies before anyone else? Or is that not how it works. Maia here: we totally do! Sometimes, for the really big ones (like Star Wars), they’ll only allow the conductor to see the monitor for timing. Even so, some musicians can still see what’s happening. I remember in the case of Star Wars, the harpists were able to see some of the “spoiler” moments!
​ Sometimes, they give the really big movies a code name. It’s usually pretty obvious what the movie in question actually is, so the effort to keep it a “secret” somehow is kind of cute.
​ kevin: Yes! Sometimes you see so much of it that you don't feel like watching it when it comes out. But sometimes the studio is very concerned about footage leaking, so they don't put it up on the sound stage.
​ I think it often helps to see the movie or show, because you have more context for what the composer is going after.
the below is a reply to the above ​
Thanks for doing this fascinating AMA! Can you give an example of a big movie and it’s “secret” code that name that you found amusing? Maia here: for whatever reason, Star Wars was nicknamed “AVCO.” I have no idea why!
Do you ever hear a piece of violin music in an old film that piques your palate, and you must then see if you can play it as good, if not better? Yes. I grew up obsessed with violinists from the early 20th century. Their sound, charm, vibrato, musicality - it was just a language I could understand and speak.
​ If they do something very idiosyncratic, like a swoop between two notes, or have intensely fast vibrato, I do see if I can do it. Not so much as a competition, but because I appreciate it and want to knwo the mechanics behind it.
​ Maia here: first of all, great username :)
​ Haha, I definitely had those kinds of feelings when I was a lot younger: “what an awesome piece, can I make it sound great too?” These days, it’s a question of whether or not I want to play something for its own sake (that is, to share with others), not so much to see if I can meet or best another version
What’s been your favorite film and/or composer to work with? Kevin: Gonna get us in trouble with this one haha! Some composers are personal friends, so you're always happy to see them - and you know what their artistic goals are, so everyone is on the same page. For example, it was great to work on a couple of tracks from Crazy, Rich Asians with Christopher Tin. He's a friend, and we were so happy for his success. Also, Maia and I were in the principal chairs, so we could help in that way.
​ But zooming out a little...the first time Star Wars was recorded in Los Angeles for Force Awakens...sitting there and hearing the Force theme played by the french horns was incredible.
​ There are lots of great people in the industry. Working with Junkie XL (Tom Holkenborg) is always super fun, and he hangs out during the breaks with the musicians
​ Maia here: great question! In the film world, the most memorable scores I’ve played on musically-speaking where the recent Star Wars trilogy (John Williams), Wall-E (Tom Newman), the Help (also Tom Newman), A Million Ways to Die in the West (Joel McNeely), and the Curious Case of Benjamin Button (Alexandre Desplat). I think Ben Wallfisch is incredibly talented, so even though looking up at the screen and seeing the footage thoroughly terrified me, IT and IT 2 were also memorable scores!
​ In the concert world, nothing beats working with composers you love and respect as friends and people in addition to artists. So, I most love working on music by my dear friends Derrick Spiva Jr. and Reena Esmail.
the below is another reply to the original question ​
Who’s the toughest critic? Does that correspond to having the biggest budget?? Great question. No, some composers with big budgets are very respectful towards the session musicians. Those composers tend to be ones who are performers themselves in some way, so they tend to acknowledge that a certain level of imperfection is always going to be there.
​ But then some composers just want to hear the sound that's in their head, and they'll keep asking until they get it. Keep in mind that the directors are often in the booth during the sessions, so there will also be re-writes or adjustments on the spot. There's a lot going on that we don't necessarily know about while sitting on the sound stage.
​ Off the top of my head, Desplat, Williams, Eisler, are pretty particular
Hello Kevin and Maya. Did you have any contact with the actors or actresses? And the second question I always wondered was how important you were to the show i mean did they appreciate u enough or u were a guy for who they easily can find a changer. And if so, were you valued like an actor? .Sorry for the dumb questions because I think people like you are not valued as much as they need to be. Thank you so much for the reply. It is very good to start such an interesting discussion. P.s sorry for the grammar Maia here: hey! Yet another awesome username, lol. Even though the reality is that string players are generally replaceable — meaning, no one would really miss me if I were replaced by, say, Kevin (although in that case, may be they would, hehe) — the composers and film crew always go above and beyond to express their appreciation. Sometimes it almost seems over-the-top! I think because the music is the last thing to be added, it brings the movie to life, so the people involved are super grateful and excited. To me, it sometimes seems like, “whoa, all I did was show up and sight read, but I’m glad you’re so happy and excited!”
​ We’ve definitely encountered actors and actresses over the years. I used to be more shy about approaching famous people to say hello. If someone is genuinely interesting to me and I have something nice to tell them, I won’t hold back.
​ For instance, I made a point to “thank” JJ Abrams for inadvertently introducing my husband and me to each other. We met scoring his show “Revolution.” He’s a big advocate for musicians in LA, and making sure music is recorded here. If not for that, I’m not sure when my husband and I would have had so many chances to flirt with each other!
​ When I went up to JJ to thank him for all of that, he was soooo sweet — he said I’d “made his day.” (!!) I was quite pregnant with our second child — this must have been the last Star Wars movie. He wrote something really sweet for my family — I think it’s on the inside of a Carl Flesch violin technique book I was carrying around at the time. That was definitely the most memorable celebrity/filmmaker appreciation encounter I’ve ever had!
​ Kevin here. Hi bedroomgoblin!
​ Sometimes we have contact with the actors/actresses, but it's only when they come around to watch the session. I've only had positive experiences with them and usually try not to be a bother. One time, Justin Timberlake was at a session and my sister-in-law told me not to talk to her again unless I got his autograph. So I lurked and ambushed him as he made his way to the bathroom. He was super cool about it.
​ Your second question is an interesting one. Generally, I feel valued. The reality is that there are a lot of really talented musicians, and we don't have job security. We're individually hired for individual movies. Not everyone has the temperament to play in sessions, but there are a good number of people who can play the music. I feel like the directors and composers appreciate what we bring to the movie. Having said that, we're really only involved during the last stages of a film, even if our performance is an important part of it.
​ I hate to be mercenary about it, but the best way for studios to show that we're valued is to make sure we receive residual payments.
​ Maia here again. Yep, Kevin is totally right about that. There’s been a gradual shift away from using LA musicians because our union wages and residuals are “too expensive.” So the music either gets recorded “under the table” (meaning, not through the union contract) or somewhere else. This has led to less and less work for LA studio musicians.
​ Before COVID struck, there was actually a big contract negotiation in which the musicians pushed really hard for residuals on streaming content. We lost.
What’s it like showing up to a studio and given a piece of music for an upcoming movie or album? Kevin: We almost never see the music ahead of time, so we're sight-reading. I kind of divide the experience up into three categories.
​ * sometimes you're just there to add to the atmosphere, so you're playing long slow notes and often doubling synths. These can be snoozefests, but we're happy for the work.
​ * sometimes, the composer wants to use the violins/strings to be super active, with tons of moving figures. Since they've got a whole score to think of, it can be awkward and difficult to read and play. It's like the Tendonitis Olympics.
​ * Beautiful melodies that ask us to do what we do best on the instrument
​ In the end, we know that it's not about what we want to do, but how the score serves the picture. And we're pretty friendly with our colleagues, so all in all it's a nice experience.
​ Maia here: totally depends on what’s put in front of you! When it was Star Wars, even I was fangirling just for being part of it, having never even seen the complete original trilogy.
​ When you get lucky and it’s something that’s super tricky, it can be a really fun challenge to frantically scramble for a good fingering. It feels like a sport at that point, and it’s something I really enjoy!
​ Every now and then they’ll send us the music in advance over email so you have a moment to look it over, but that’s definitely not the norm.
​ Sometimes the music the violins have to play is, well, playing a very “supporting” role (meaning: pretty boring), in which case you humbly remind yourself of the role you’re playing, get over it, and just sort of pace yourself.
Favorite piece you’ve performed, or enjoy performing, professionally and non professionally? Btw I love this ama and the work y’all do is 👌👌 kevin here: Hi bookworm02! Thanks so much! Hope you'll check out our free weekly happy hours :)
​ I really like performing Scottish fiddle tunes. I don't have much experience with them and I'm clearly not Scottish, but I've had the opportunity to play some on stage and I've always had a blast. It's down to earth, has great melodies and rhythm, and just feels celebratory.
​ Non-professionally, I find Hindustani classical music incredible. I took some vocal lessons when the earth was still cooling, and fell in love.
​ Favorite piece: Any chamber music by Brahms. And Reena Esmail. And Derrick Spiva. The list goes on.
​ Maia here: thanks so much!!
​ I luuuuurve performing Derrick Spiva Jr.’s American Mirror. In the more strictly classical realm, I love any chance I get to play Shostakovich’s Piano Trio No. 2. Playing late Beethoven quartets, or really any seminal string quartet rep, with my friends always ranks high as well :)
​ When I played more regularly in big symphony orchestras, I used to love playing huge, colorful pieces like Ravel’s Daphnis and Chloe and the Alpine Symphony.
Aren't you just enjoying our glorious weather today? Thanks for this AMA, And enjoy your kids, blink and they'll be gone. I think it's great they are growing up with musical parents! I've recently discovered Samuel Kim as a musical arranger. Can you please give him a shout out to the Hollywood powers that be? I'm crying my eyes out to his interpretation of "Leaves from the Vine" from Avatar the last Airbender. I'll check out your online stuff, sounds great! Hi DynamoBolero, Thanks so much! I often hear my kids humming or singing music that I'm working on. They don't realize they're doing it, but the osmosis is real.
​ I don't know Samuel, but I do know ATLA! Will look into Samuel :)
​ Thank you, and we’ll check out Samuel Kim! :)
submitted by 500scnds to tabled [link] [comments]

2020.09.20 23:02 Motozappas A classical take on Curse of Strahd

My fellow colleagues, I'm currently running a Curse of Strahd campaing, this sub-reddit has been incredibly useful and I wanted to repay you all with some classical music pieces that I personally think fit well with the mood of the campaign.
The pieces proposed here could be divided in two main categories.
  1. Ambience/mood/emotion: those pieces good for travelling, ambience, roleplay and dialogues, etc...
  2. Themes: those pieces that fit some particual encounters, character or lcation. E.g. Dinner with Strahd, Fanes encounters, Yester Hill.
I plan to expan this post with opera music, and themes for each main NPC later on, any addition and suggestion is welcome.
Said this, here's my classical take on Curse of Strahd.
Climax/Battle Music: Mars the bringer of war by Holst,The Miraculos Mandarin by Bela Bartok (this one is especially good for a plot twist),
Sad Music: Satie's Gymnopedies, Beethoven's Moonligh Sonata, Adagio in G minor by Giazott, Symphony of the Sorrowful Songs by Goreki, 2nd movement form Beethoven's 5th piano concerto.
Suspendend Mood/enigmatic Music: pretty good for when your players are confused or when setting up a mistery. Satie's Gnossiennes, Aquarium by Camille Saint-Saens.
Kinda Creepy Music: good for roaming and generic role play, those pieces made to remember your players that htey are in Barovia. Philip Glass played by Kornos Quartet, veeery good. Gaspard de la Nuit Ravel, Danse Macabre Camille Saint-Saens, Inferno by Liszt, Winter by Vivaldi, Devil's Trill Sonata by Tartini, Gnomus by Mussorgsky,
Church Music: good both for Barovia, Vallaki and Berez. Tchaikovsky Hymn of the Cherubin, Bach Mass in B minor or St Matthew Passion are great
Tavern Music: Hungarian and Romanian Dances by Bela Bartok
Yester Hill: The Rite of Spring from Stravinsky simply fits too well
Tsolenka Pass: Night on bald mountain Mussorgsky, Storm Vivaldi, In the hall of the mountain King Grieg,
Amber Temple: The isle of the dead by Rachamaninov, Prometheus by Scriabin
Feast of St Andral: If played as written by u/Mandymod I recommend The Ride of the Valkyries by Wagner. Imagine, just as in Apocalypse now, Strahd descending in Vallaki while riding his helicopter.. erhm flaming unicorn through the sky. You can put helicopter sounds in the background as well.
Dinner with The Devil: The Art of Fugue from Bach is great, otherwise you can go with the Passacaglia and Fuga in C minor, Toccata and Fuga in D minor and Fuga in G minor
Final Battle: Needless to say a Requiem is mandatory for such fight. I find Mozart Requiem overly dramatic and great for the final battle with Strahd. Also Dies Irae and the whole Verdi Requiem could fit well. Some overly epic or sad movements from various symphonies could work well like the 1st movement from Beethoven 9th Symphony, Beethoven 5th Symphony, the 1st and 4th movement form Symphony n° 6 by Tchaikovsky or the 1st movement form the 1st piano concerto by Chopin,
Vistani Theme: Brahms' Ungarian Dances (the n°5 in particular) are good event though I prefer some old school gipsy jazz like Django Reinhardt or flamenco for the Vistani.
Fanes Theme: Prélude à l'après-midi d'un faune is great for depicting communion with nature
Strahd Theme: I think that Shostakovich's Walt n°3 has a beautiful theme that fits very well Strahd even if it might sound too happy for the character. Personally I recommend Dance of the Knights by Prokofiev for Strahd, used beautifully by Puffin Forest in his Cure of Strahd series. Hungarian rhapsody by Liszt is very good as well.
Brides Theme:The Tsar's Bride by Rimsky Korsakov
Mad Mage Theme: Rage over a lost penny by Beethoven
submitted by Motozappas to CurseofStrahd [link] [comments]

2020.03.18 11:36 darkblade_h Pandemic piano learning

Hi friends,
I impulse-bought a (digital) piano a few weeks ago, having wanted to learn the piano for years. It turns out that the current apocalypse might be the perfect time to really figure out how to start learning properly and set myself on a good path moving forward. I got the first volume of Bartok's Mikrokosmos and Alfred's adult all-in-one course, though I prefer Bartok by far. But how does one go about structuring a session? How do I go about practicing/learning a piece? Are there certain exercises I should do? Do I need specific sight reading training? (all the noob questions basically)
My only previous encounter with the piano was ~10 years ago in high school when I took music class, where I taught myself how to play most of comptine d'un ete l'apres midi (but it took me a whole school year and then some...)
submitted by darkblade_h to piano [link] [comments]

2020.01.11 02:53 greatbri List of Viola Concertos (BEGINNER to HARD)

I stumbled on a list created by someone named Patricia McCarty on this website which shows mostly all known viola solos of all kinds, ranked easy to hard. I thought it’d be helpful to share with you guys:
BEGINNING LEVEL
Seitz Student Concerto No. 2
LOWER INTERMEDIATE
Baroque - Telemann
Classical - Dittersdorf, Druschetzky, Gspan, Druschetzky, Pleyel, Rolla Rondo, A. Stamitz Concerto in G
Romantic - d'Indy Lied, Steiner Concerto in D
20th century - Larsson Concertino, Tansman
UPPER INTERMEDIATE:
Baroque style - J.C. Bach/Casadesus, J.S. Bach Concerto in Eb (reconstruction), Handel/Casadesus
Classical - Benda, Brixi, Handoshkin, Hoffstetter, Hummel Fantasie, Rolla Concertino, Divertimento; Joseph Schubert, A.Stamitz Concerto in Bb, Vanhal, Weber Andante & Hungarian Rondo, Variazioni; Zelter
Romantic - Bruch Romanze, Faure Elegy, Forsyth, Sitt Concerto op. 68, Concertpiece op. 46
20th century - Bloch Suite Hebraique, Dello Joio, Alfred Hill, Hindemith Trauermusik, Holst, Hovhaness, Kimber, Partos Yiskor, V.Williams Flos Campi, Suite Group I
LOWER ADVANCED
Classical - Hoffmeister, Hummel Potpourri, Rolla Adagio e Tema con Var., Concerto Eb and F; Karl Stamitz Concerto in D
Romantic - Berlioz Harold in Italy, Ghebart, Hubay Concertpiece
Early 20th century - Britten Lachrymae, Gyula David, Dubois, Jongen, Martinu, Quincy Porter, Serly Rhapsody, Shulman, V.Williams Suite Groups II and III, Shostakovich Viola Sonata, Clarke Sonata
Late 20th century - Hawkins Urizen, Partos Sinfonia Concertante
ADVANCED
Classical - Beethoven Romances, Mozart Clarinet Concerto transcription
Romantic - Paganini Sonata per la Gran' Viola
Early 20th century - Bartok, Bax, Benjamin, Bloch 1919 Suite, Bowen, Francaix, Hindemith Der Schwanendreher, Kammermusik 5, Konzertmusik op. 48; Milhaud Concerto & Concerto No. 2; Piston, Rozsa, Rubbra, Serly, Walton, Reger Suite,
Late 20th century - Bacewicz, Druckman, Penderecki, Schnittke, William Schumann
Feel free to add more or changes, I just thought this was helpful!
submitted by greatbri to Viola [link] [comments]

2019.11.03 04:35 laynebruce About to apply to college need all the help I can get on this piece ASAP. Any advice whether it’s editing or material is appreciated!

https://musescore.com/use20408661/scores/5815863
Please give any comments you have, thanks!
submitted by laynebruce to Composition [link] [comments]

2019.11.03 01:43 laynebruce I’m about to apply to college and need any help I can get on this piece ASAP. Whether it’s editing or material! Thanks!!!

https://musescore.com/use20408661/scores/5815863
About to apply to college so let me know what needs fixing!!!
Thanks, Layne Bruce
submitted by laynebruce to composer [link] [comments]

2019.09.26 05:47 Avendaishar Avendaishar's Guide to Classical Music: Romantic era to present

So...why make this list?

Imagine if someone said to you, "I don't like art." You ask them why not, and they respond, "Well, I saw this painting by Monet, and it was all blobby and weird. The closer I looked, the less I could make of it. So I'm just not a fan of art." Doesn't that sound strange? Everyone knows that disliking all art because of one painter is not logical. A person may not like a certain style (although it helps to make sure one understands it before dismissing it!), but they know there's going to be something out there that they will like.
 
But when people say "I don't like classical" because they've heard Bach or Mozart and found it boring, no one thinks that's strange at all... yet the situation is the same. Eastern and Western classical music traditions span thousands of years and many cultures. People who judge all of classical music based on the works of one or two composers from one small region in Europe over a period of about 150 years are very likely missing out on a style they would love if they only gave it a chance.
 
This is not an all-inclusive list, of course, and I tried to keep things as simple as possible with the time period divisions and descriptions. I’ve often left out the most popular work(s) associated with the composer (e.g. Beethoven’s 5th and 9th) because those don’t need to me to champion them. I preferred to list other pieces, all personal favorites of mine, that provide a rough road map through the classical music world for those who haven’t listened to much beyond Pachelbel’s Canon. (Note: I'm focusing on Western classical music only because that's what I'm familiar with.)
 
Because there’s so many (really, I tried to pare it down!), I’ve italicized those I particularly recommend.
 

Romantic era (around 1830-1900)

As in the other arts at this time, music began to portray a full range of emotions as well as stories and ideas. It was a time for composers to move away from the more formal, structured Classical era and explore emotional and individual expression. Like Caspar David Friedrich’s Wanderer above a sea of fog, Romantic music evoked a sense of exploration, a search for the sublime, and a desire for the unobtainable. (Note: Classical fans will recognize that some of these composers are more of a late Romantic/transition to 20th century than pure Romantic, but I’m just trying to keep things as uncomplicated as possible.)
 
 
Other composers to check out: Hector Berlioz, Anton Bruckner, John Field, Luigi Cherubini, Carl Maria von Weber, Richard Strauss, Cesar Cui, Mily Balakirev, Alexander Scriabin, Frederick Delius, Georges Bizet, Edward MacDowell.
 

20th and 21st centuries

Unlike other musical time periods when there was one overarching style, the 20th century until the present day has had a plethora of musical styles, which have often been paralleled in the other arts. Pretty much anything and everything has occurred! Some music has been tonal (sounds nice/melodic), while some has been very atonal (sounds like cows falling down a steep, rocky slope). I’m not going to go into the different styles and trends, because there’s just too many to cover here: post Romanticism, nationalism, Impressionism, serial music/12 tone music, minimalism, Neoclassicism, film music (the orchestral style for movie soundtracks grew directly from the late Romantic tradition), etc. My best advice for finding music you’ll like: look at art and architecture. If there’s a style you like, you can use that to find composers who have/had the same influences as those artists or architects.
 
 
Other composers to check out: William Walton, Dmitry Kabalevsky, John Adams, Erich Wolfgang Korngold, John Rutter, Jennifer Higdon, Aram Khachaturian, John Tavener, John Corigliano, Mason Bates.
 
Go back to part one: medieval music through the Classical era
 
submitted by Avendaishar to u/Avendaishar [link] [comments]

2019.04.04 15:08 boccia45 Bela Bartok: Divertimento for strings

Bela Bartok: Divertimento for strings submitted by boccia45 to oknotizie [link] [comments]

2018.09.23 14:57 CrimSonS0n MIDI cc values resetting when stopping playback?

Cinematic Studio Strings: When playing a track and the Doublebasses are playing pizzicato - controlled by modwheel. lowest pizz, middle bartok snap, high col legno. The MIDI cc value controlling what patch to play resets. Which means if my cc value is at 0 when playing, stopping resets it to mid value. How can I stop this from happening.
submitted by CrimSonS0n to Reaper [link] [comments]

2018.02.03 06:56 vorpoler Recommended recordings/performances for listed works?

Hello all! I am currently studying a few string orchestra pieces in preparation for a conducting workshop in the summer, and was wondering if you all had recommended recordings/performances for them. Audio/video, for the latter it'd be great if you really recommended a certain conductor's handling and interpretation of the piece. Thanks!
Dvorak: Serenade for Strings
Grieg:Two Elegiac Melodies, Op. 53
Bartok: Rumanian Folk Dances (arr. for string orch by Willner)
Mozart: Divertimento in D Major, K. 136
Holst: A Moorside Suite (arr. for string orch)
submitted by vorpoler to classicalmusic [link] [comments]

2017.05.13 14:13 ImagesOfNetwork Bartok Divertimento/Music for Strings, Percussion & Celesta, Everest Records 1959

Bartok Divertimento/Music for Strings, Percussion & Celesta, Everest Records 1959 submitted by ImagesOfNetwork to ImagesOfThe1950s [link] [comments]

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