PEER GYNT: ANITRA'S DANCE Score Reduction and Analysis
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- เผยแพร่เมื่อ 26 ก.ย. 2024
- The music is composed by EDVARD GRIEG and the score reduction and analysis is by Nathaniel Kuhns.
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Is it possible if you could do some Mahler symphonies? Also some Ives would also a cool idea. Also it would be really cool, though a lot of work, if you could do Berio’s sinfonia and highlight all of the quotations.
Any Mahler symphonies in particular?
Great analysis! Can you give me some tips on how you identify the chord quicker and more effectively? I find harmonic analyses valuable and id like some tips to improve the process.
Alright. First off.
Within the voicing, look to see if there are any octaves, perfect 5ths, perfect 4ths, major or minor 3rds.
Secondly.
If you have a keyboard or piano available, arpeggiate the chord voicing. Do any of the chord tones sound like they could be the root?
Thirdly.
How does the chord relate to the other chords around it? How does the harmony lead up to that chord, and where does the harmony go after that?
And fourth.
To avoid confusion with roman numeral chord names, in situations where a chord tone other than the root is in the bass (i.e. a C major triad with a Bb in the bass), depending on the key or mode, I would recommend labeling a chord voicing like that as a "C7", rather than a "C7/Bb", because in roman numerals, if you put "V7/bVII, then that could be misinterpreted as the V7 of the bVII.
I hope these tips are helpful.
@@nmkmusic6396 yes that is really insightful, thanks. But how to you go about identifying the chord itself, across multiple diferent clefs and transposing instruments? Is it that slow to identify one single chord?
Depending on the complexitiy and voicing of the chord in question, chord identification can be an arduous process. Identifying triads, though, can be much more straight forward.
All Basic Triads
Root Position (If the 1 is the Tonic)
Major: 1 3 5
Minor: 1 b3 5
Augmented: 1 3 #5
Sus2: 1 2 5
Sus4: 1 4 5
Diminished: 1 b3 b5
1st Inversion (If the 1 is the Tonic)
Major: 3 5 1
Minor: b3 5 1
Augmented: 3 #5 1
Sus2: 2 5 1
Sus4: 4 5 1
Diminished: b3 b5 1
2nd Inversion (If the 1 is the Tonic)
Major: 5 1 3
Minor: 5 1 b3
Augmented: #5 1 3
Sus2: 5 1 2
Sus4: 5 1 4
Diminished: b5 1 b3
Some common transpositions would be
Bb = down a whole step
A = down a Minor 3rd
Eb = up a Minor 3rd
D = up a Major 2nd
But if the score is non-transposing, then that certainly simplifies things. But there are instruments that sound higher than they're written regardless of whether the score is transposing or not.
Glockenspiel = 2 octaves higher
Celesta = 1 octave higher
Piccolo = 1 octave higher
Contrabassoon = 1 octave lower
Double Bass = 1 octave lower
When it comes to clefs other than Treble Clef and Bass Clef
Alto Clef
Middle C lines up on the middle stave
Tenor Clef
Middle C lines up on the 4th stave up
A few books I would recommend getting:
"Essential Dictionary of Music"
"Essential Dictionary of Music Notation"
"Essential Dictionary of Orchestration"
And
"The Study of Orchestration" 3rd Edition by Samuel Adler
I hope all of this is helpful.
Good morning Nate please forgive me I can’t do without you