Chopin + Jazz MASHUP?!!
Nahre Sol
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Timetable
動画タイムテーブル
動画数：214件
![- The Entertainer. Innocence, Playfulness, Robotic-Mechanical (as in, Player Piano), Wistful (the B section). [Not so extreme as "Joy"] - 10 Composers for 10 Increasingly Complex Emotions](https://img.youtube.com/vi/_qmIoxBPJzI/mqdefault.jpg)
- The Entertainer. Innocence, Playfulness, Robotic-Mechanical (as in, Player Piano), Wistful (the B section). [Not so extreme as "Joy"]
"we all feel" are you sure lol
- Summer III, Presto. Energetic, Focused, Determined, Pressing. [Not at all "Anger"]
- Chopin Noctune C# Minor. Longing, Sadness, Hope (the B section),
holy shit
- Strauss Zarathustra. Anticipation, Mystery, Genesis, Awe, Finality ["Triumph", I don't think so, more like "Conquering" if going in that direction, or even "Destruction"]
- Schubert Erlkönig. Suspense, Galloping, Terror, Nightmare, Deception
- Copland Appalachian Spring. Hope, Wonderment, Surprise, Gentleness, Repose (III), Festiveness Joviality Cantering (IV), Energetic Anticipation Growth (V), Melancholy (VI), Fancy Hope Festive (VII), Amazement (VIII - the melody)
- Bach Chaconne Violin Partita No 2. This piece has no definite mood, it is a technical exercise; that does not make it "more complex" or "more deep", it just is what it is. It could be described as Suspenseful or Questioning or Conflicted (in the sense of Searching for Resolution). I would not say "Agony" or "Pain" at all; this could be the classical world's brainwashing because unresolved phrases are reenforced as being "painful" and "agonizingly needing resolution"; which is not normal.
- Barber Adagio for Strings. Yearning, Longing, Sentimental, Grief, Melancholy ["Devastation", I don't think so, it is not that horrible]
- Satie Gnossienne 1. Mystery, Secrecy. This mood/expression is very consistent and not at all complex. ["Numbness"?? "Disturbing"? No way. What?? This must be the result of more classical music brainwashing: an entrenched perception that scales which differ from the norm are somehow "wrong" or "illegal" ! ]
- Arvo Part Fratres. Agitation (A section). Contemplation (B section). Agitation, Distress (C section), Searching (D section). Like the above pieces, I would not say the mood is complex and also not "Conviction" or "Fragile". The idea that it is "Cold" is a perception of the texture, not of the music.
"Everyone will have a different experience while listening to the same piece of music". I suppose that musicians who are classically trained from a young age have a mostly different perception of emotions than normies, based on years of forced exercises, hours of running scales and hours of running arpeggios, on a strict and limited interpretation of scales. I would not use most of the suggested adjectives to describe these pieces. Unfortunately the classically-trained musicians are the ones in control of both the purse-strings and scheduling concert performances in the music world, both inside and outside academia, even when their taste is significantly skewed from the norm (perception of Jazzers is even worse).It is the job of the composer to express their intent clearly, i.e. accurately depict the mood or moods (if they intended them, and did not simply write music for music's sake). If the "everyone" does not perceive that same intent, then either the composer has failed, or the listener is WRONG. It would be WRONG to experience The Entertainer as "sad", just as perceiving more subtle moods incorrectly is wrong. The listener in the wrong cases should strive to understand the music better. Music Academia continually makes the error to not call out mistakes as incorrect because they don't want to ruffle the fragile feathers of the students or their donors. The result is that modern compositions are mostly aimless trash; composition students are not taught how to express moods; music producers and music editors (i.e. for film/tv) who are tasked with choosing music for the screen are themselves unable to express, in speech, their musical tastes, which has disastrous ramifications for the entire music industry and entertainment audience; music professors and professional performers themselves are then unable to evaluate compositions or develop interpretations. No one in the literate world would be allowed to describe "Red" as "Green" or, more subtly, "Purple" as "Pink", yet musicians with invalid education are magically allowed to do this, and the erroneous art form continues. I'll also bet that my comment here will be one of the very few comments, maybe the only one, which details each piece, and it will be buried under thousands of superficial "wow great video" comments made over the decades.
@moufsecond theme of ravel’s toccat right around or
again it’s so slick but the ravel modality is hard to miss
ah exactly the video I needed
Wow! How did you have the live tempo markings during the play-through @ in?
oh maybe not
minutes on treadmill! 💪😅 Great advice as always, love the point you made around with shifting energy - focusing energy in the direction of a target rather than thinking "oh crap, I have to play a million fast notes in a row." Thanks for sharing!
So this line about getting it once, and then not getting another 7 times, I'm curious if this a just joke or a part of practicing fast passages? My understanding is the best way to learn things is to play at a tempo where you're not making mistakes, that way you aren't practicing mistakes. So can you explain this part? Or If it's just a joke, then I'm sorry, just carry on lok