i noticed this on third time hearing this music ; ) But reading . I guess i noticed because this is one of the first thoughts in orchestration that i personally could UNDERSTAND and USE lol Becuase it is the thought process of the organ playing
I'd be lying if I said I could hear it. I'd expect thats the point and if the piccolo were left out, I could tell the difference. Or maybe my phone speaker is just bad...
Fine art here. Mahler looks to be the composer that started to hear the orchestra from a more ACOUSTIC point of view, and this example shows it beautifully. Can you find more? Book the first lesson for only 25$ . www.upwork.com/freelancers/emanuel
Definitely not the first. All composers paid attention to the timbre and overtones of instruments when orchestrating a piece. There were definitely composers who paid a lot of attention to HOW the orchestra sounded even before Mahler like Berlioz, Haydn, even Bach.
@@CalebRenyes but it looks that you missed the point: this sensualistic use of acoustics was not the substance of the musical ideal yet by these composers, and you notice just some rare moments . Mahler is one of the composers that made impressionism possible, where the sound is an intermediary for timbre first, not harmony. I didn’t say other composers did not pay attention to acoustics or how the orchestra sounded, because this is obvious.
These are wild statements. Ravel’s Bolero uses the stacked overtones and timbres of the orchestra to mimick entire other instruments. Impressionism was alive a half century before Mahler
@@LearnCompositionOnline in what way is the piccolo limited in orchestration compared to any other instrument in trying to achieve a certain effect? I've seen it used on many more beautiful ways than this as an overtone. So again, what is the beauty in this example. I'm genuinely asking.
@@qwertyuiopzxcvbnm9890 yes it is if course “linked” , this means, in the harmony. However! the flute comes exactly in the accent of the trumpets phrase highlighting the melody. This is the orchestrational thought. Thanks for the comment
what
Thanks for the thoughtful comment ;)
maybe if youd highlighted it in the score when it happens or something?@@LearnCompositionOnline
never noticed before! really cool
i noticed this on third time hearing this music ; ) But reading . I guess i noticed because this is one of the first thoughts in orchestration that i personally could UNDERSTAND and USE lol Becuase it is the thought process of the organ playing
Nice one thanks for highlighting!
I'd be lying if I said I could hear it. I'd expect thats the point and if the piccolo were left out, I could tell the difference. Or maybe my phone speaker is just bad...
good idea, gonnna bring this into a spectrum analyser. ; ) yes, your phone is bad, try on headphones
Beautiful
PERFECT fifth
Fine art here. Mahler looks to be the composer that started to hear the orchestra from a more ACOUSTIC point of view, and this example shows it beautifully. Can you find more? Book the first lesson for only 25$ . www.upwork.com/freelancers/emanuel
Definitely not the first. All composers paid attention to the timbre and overtones of instruments when orchestrating a piece. There were definitely composers who paid a lot of attention to HOW the orchestra sounded even before Mahler like Berlioz, Haydn, even Bach.
@@CalebRenyes but it looks that you missed the point: this sensualistic use of acoustics was not the substance of the musical ideal yet by these composers, and you notice just some rare moments . Mahler is one of the composers that made impressionism possible, where the sound is an intermediary for timbre first, not harmony.
I didn’t say other composers did not pay attention to acoustics or how the orchestra sounded, because this is obvious.
These are wild statements. Ravel’s Bolero uses the stacked overtones and timbres of the orchestra to mimick entire other instruments. Impressionism was alive a half century before Mahler
@@jasonmp85 hallo?! mahlers 2: 1894 ravels bolero:1928
@@LearnCompositionOnline idk, I've never listened to a Mahler work
Genius
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Fine details you mean?
i mean fine artistical details
@@LearnCompositionOnline you mean musical details?
@@emanuel_soundtrack fine artistical AND musical details.
@@LearnCompositionOnline you mean the sonically perceived ones, or the musical details as a thought thing? So it is the musical detail as whole idea?
@@emanuel_soundtrack yes, whole idea, whole idea...
Mahler 2
Bingo
Interesting. The flute comes exactly when de trumpet plays the punctuated figure. Both times
Out of curiosity. What is the beauty in this?
The beauty of finding a creative solution using this limited instrument to achieve spectral balance in a not conventional way
@@LearnCompositionOnline in what way is the piccolo limited in orchestration compared to any other instrument in trying to achieve a certain effect? I've seen it used on many more beautiful ways than this as an overtone. So again, what is the beauty in this example. I'm genuinely asking.
The piccolo flute is more linked to the flute than the trumpet (and the trombone). Also don't forget the strings
@@qwertyuiopzxcvbnm9890 yes it is if course “linked” , this means, in the harmony. However! the flute comes exactly in the accent of the trumpets phrase highlighting the melody. This is the orchestrational thought. Thanks for the comment
But also very interesting how it highlights Trumpet overtones
Ah now I realise. It really supports the little climaxes in the theme of the trumpet
Resurrection