Відео

I love this, it doesn't limit - it expands.

A method to correctly transpose in under 10 seconds regardless of starting or destination key:: Step 1. Place capo on guitar neck. Step 2. There is no Step 2. It is already done. Reference my future video, likely to be titled, "Reasons Guitar is Not Allowed for Study in Academia Due to Jealousy of the Superior Instrument".

woooow!

If you wanted to transpose something from C major to G major it might be helpful to add a key signature. It will save a lot of problems going forward.

Time stamps: 01:10 Inner ear / motoric skill: the use of transposition for improvisation 01:35 What is transposition? 02:24 1: Just do it 04:20 2: Hand positions 05:14 3: From writing to doing 06:28 4: By interval, vertically 08:06 5: By interval, horizontally 08:58 6: Sighting 10:17 7: Imagine a different clef 11:47 7b: Practise writing and sight-reading in different clefs 12:38 8: Imagine playing a different instrument 13:15 9: Melodic function / solmisation 15:55 10: Actively think note names

"Now mostly LOST" 😢😭

Amazing video thanks!!!!!

Time stamps: 01:38 About the method and writer 02:17 What is ornamentation used for? 03:24 Two types of ornamentation 03:31 How do you know how to add ornamentation? 03:58 Disappointing etude 04:43 Trills, Pralltriller (half trill), Doppelschlag with pralltriller, Schneller

Another idea. Record the vamp and listen to it for a bit. Sing along sporadically as you do the housework or work out or whatever. Record this rambling. Repeat for a few days. LIsten to the recording a few times and decide that which you like and that which does not work. Play by ear on your instrument the bits you really liked that you sang (this is THE most important bit). Play some of these spontaneous ideas from your vocalising on your instrument along with the recording. Notice and try an close the huge gulf between what you really want to play and what your fingers deliver. All the rest is busy work and goes nowhere, it sells books and allows you to grade on paper exercises. It might be fun to dress up as someone from the eighteenth century and to go and take part in courtly dancing. It will however not help you to express yourself in the light of ALL of the music which informs you have loved ear and which is actually creates the real musical you. Unfortunately anyone who thinks that the only dancing worth doing is done in eighteenth century garb is likely to try and use snobbery as a stick to hit you with as they peddle out horrid pastiche with the confidence ot the talentless entitled. A bonus however is this, if you do the above you will master all styles and bring incredible insight into the interpretation of narrowly defined idioms.

Thanks guys, such a relief from the fast talking hucksters youtube is pushing now or the ressussitation of the dead end of partimento as a way of selling busy work without freedom. I'm really looking forward to checking out more of your videos. If you are at all interested there is a fantasia on my channel I recorded a few weeks ago. It very much follows the model you outline at 3 mins :)

Eb

This is original music composed in the style of Bach (and played from memory)?

Link to the autobiography: vmirror.imslp.org/files/imglnks/usimg/4/43/IMSLP570031-PMLP918671-quantz_autobiography_marpurg_Historisch-kritische_Beytr%C3%A4ge_1.3.pdf

Time stamps: 01:14 Why talk about Quantz's autobiography at all? 01:51 Autobiographies in the 18th century 02:49 Quantz's falls in love with music 03:31 Quantz plays a lot of instruments 04:27 Learning from other composers 05:15 More than just the notes 05:51 Learning the true art of the Adagio from Pisendel 06:37 Famous singers and how they sing the adagio (Senesino, Farinelli, Lotti, Cuzzoni & Faustina) 08:50 Finding your own voice

The hero the world needs...

Time stamps: 00:34 Who was Jacques Hotteterre 01:17 Other improvisation-related sources by Hotteterre 02:38 Overview of L'Art de Préluder 03:53 Hotteterre's Preface, Rousseau and composed vs. improvised preludes 06:05 Another typology: measured vs non-measured 09:11 Trait: etude or prototype capriccio 12:01 Examples of Traits 13:18 Prelude caprice / fantaisie 15:20 Chapter 1: Degrees of the scale and how to start and end 17:36 Chapter 2: Basic concepts and variations - Canvas 1 18:29 Chapter 2: Variation 1 21:33 Chapter 2: Variation 2 & 3 22:43 Chapter 2: Variation 4 23:58 Chapter 2: Canvas 2 24:35 A comparison with drawing methods 25:26 Chapter 3-6: Examples of Preludes and Traits 26:41 Course description 27:08 Chapter 7: The leading tone 28:06 Chapter 7: The 6th and 7th degrees in minor 28:41 Chapter 7: An example of modulating in a prelude (5th and 4th degree) 30:48 Chapter 8: The perfect cadence 32:00 Chapter 8: The imperfect cadence 33:45 Chapter 8: Typical modulation patterns 34:17 Chapter 9: How to recognise the key of piece or how to make the key of your prelude abundantly clear 38:18 Chapter 10: Transposition 39:05 Chapter 11: Meter

Looking forward to another challenge 😊

So your 5 minute impro sounds like what would take me probably 5 days 😅

I think that’s the way improv always turns out for me. It’s hard to internalise material well enough for it to emerge in true improvisation. Usually takes me about six months lol

Thanks for documenting your process, very useful. enjoyed the dramatic reconstruction haha.

00:49 What I learned after 5 minutes 01:26 What I sounded like after 5 minutes 03:21 What I thought I sounded like after 5 minutes 04:00 What I learned after 1 hour 05:24 What I sounded like after 1 hour 06:46 What I thought I sounded like after 5 minutes 07:36 What I learned after 10 hours 09:29 What I sounded like after 10 hours 11:15 What I thought I sounded like after 10 hours and final evaluation

D major

Thanks! It's really nice you're sharing this knowledge for everyone :D

😍😍☺️

00:53 Cadenza - disambiguation of the word 02:32 When did the cadenza come into use? 05:58 Where should one add a cadenza? 08:35 Why add a cadenza? 09:22 Relation to the original piece 10:36 How to approach a cadenza (invention, fluency, disorganised and modulation) 12:20 Melodic variation vs coherence 15:00 Different types of Cadenzas (minor, allegro, melancholy, wind/singers vs the rest) 16:46 Which modulations do we use in Cadenzas? (none, subdominant, subdominant and dominant) 18:06 How to modulate 20:00 Sometimes even good musicians don’t improvise good cadenzas

Wow what a privilege to have found somebody you can improvise with so harmoniously

Thank you for this thorough video!

D

Sounds a lot like J.S. Bach's sonatas, pretty amazing stuff!

🎉🎉🎉

Robert! Thx for this 💥🫂🎺

In the variation onscreen at 23:58, I would have thought that Hotteterre looked at the 3rd beat as outlining G, since a trill was almost always begun from above the written note, almost always with an appogiatura length at the start. performing the ornaments in that manner would make beat 3 sound as a melodic G, which matches your outline nicely.

These composer videos are wonderful....

What an interesting, informative and enlightening video!

fantastic video, thank you!

So helpful 💙

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Variações simples mas que causam um bom efeito ao ouvir. Parabéns!! 👏👏👏 🎹🎼🎵🎶🎵🎶

Look at the original Bassano publication:
vmirror.imslp.org/files/imglnks/usimg/d/d6/IMSLP60626-PMLP124175-003bassano.pdf Do our challenge on ornamentation from the same period, but by Banchieri! ua-cam.com/play/PL8Zph-SkKedyd4lp2mdgeE8FMxBiFgHYW.html&si=nraHYfUqPZ-QHfiB Do our challenge with later ornamentation ideas from the famous Tartini:
ua-cam.com/play/PL8Zph-SkKedwBDJ_bXrJwqzIj-ISG2j45.html&si=2DfGFPF1agTwXOub More about ornamentation: ua-cam.com/play/PL8Zph-SkKedy26AMoqVxABn5yNCLgy3wt.html&si=91RZrXaYLhohkFk7

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Amazing!

This is so cursed

WILL YOOU MARRY ME???

Very educational mate.

Hele goede video ik ben zelf een beginner in improvisatie , het is soms wat moeilijk maar nooit opgeven 👍😁

Vean por curiocidad a la pianista y compositora clasica Gabriela Montero

00:13 Who is Pauliina 00:55 Move to America and first recital with improvisation 02:34 Meeting David Dolan 03:32 Improvisation lessons 04:52 What is your function as a cellist in improvisation 07:48 Orchestral musicians improvising 08:17 How do you practice improvisation 10:30 Hurdles in learning, learning about harmony as a melodic player 13:06 First step in learning to become a harmonically aware player 14:36 Benefits and challenges of ensemble improvisation 19:01 Positive physical effects of improvising on the musicians 21:25 Can you play written compositions/passages that are meant to imitate improvisatory playing if you don’t know what that’s like?

The video is a little spooky, haha! But very interesting!

I’m using this excerpt often in talks about romantic performance practice and Rossini/Italian music, I should probably start using this video 😂😂😂