{"content":{"sharePage":{"page":0,"digests":[{"id":"83271019","dateCreated":"1520619572","smartDate":"Mar 9, 2018","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/83271019"},"dateDigested":1532644801,"startDate":null,"sharedType":"discussion","title":"Quarter 3 Post 5 (2017\/2018) - Russian Romantic Music and Tchaikovsky","description":"Russian Romantic Music:
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\nhttp:\/\/youtu.be\/H2z-kiiA5wg<\/a>
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\nTchaikovsky:
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\nhttps:\/\/www.youtube.com\/watch?v=0jgRGeMUvFg&feature=youtu.be<\/a>
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\nQuestions about the first video on Russian Romantic Music:
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\nI am interested in your response to the work of the Russian Five, their philosophies, their response to European-style conservatories. Feel free to write your own response and\/or consider answering some of the following questions:
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\n1) In what ways was the work of the Russian Five different than that of European composers?
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\n2) What was the role of nationalism in the work of the Russian Five?
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\n3) What is the role of folk music in nationalist music?
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\n4) Would you rather have been a composer working in Europe or in Russia at this time? Explain your choice.
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\n5) How do you feel about the Russian Five's opinion on European music conservatories?
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\n6) What are your thoughts on Rimsky-Korsakov's decision to teach at a conservatory? What are your thoughts about the rest of the Five's reaction?
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\nQuestions on the second video, on Tchaikovsky:
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\nPlease comment on Tchaikovsky and his music. Specifically, consider answering some of the following questions (but don't limit yourself to these questions):
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\n1) How did Tchaikovsky's musical training and experience differ from that of the Mighty Five?
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\n2) Discuss Tchaikovsky's musical strengths and weaknesses.
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\n3) How did Tchaikovsky's neuroses and anxiety affect his work?
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\n4) If Tchaikovsky felt comfortable to be publicly gay in the time and place in which he lived, how do you think his life and music would have been different?
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\n5) Discuss the role of Nadezdha von Meck in the musical development of Tchaikovsky.
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\n6) If you had a patroness like Nadezdha von Meck who wanted to give you money to concentrate on your passions, what would you devote your time and energy to?
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\n7) How does Serenade for Strings fit into your understanding of Tchaikovsky and Russian music in general?","replyPages":[{"page":0,"digests":[{"id":"97097547","body":"Russian Five:
\n1) Russian composers were different from European composers because it seems there was more of a rejection of tradition while simultaneously an embrace of folk music, and other ideas that the Five saw as the heart of being Russian.There was a lot of innovation going on with all the composers, but their support for each other and happiness at each other's achievements surprised me, as I usually think of European composers as competing for patronage and fame.
\n2+3) The Russian Five showed their nationalist beliefs by infusing their new, politically rebellious musical ideas with old folk music. In this way they embraced Russia's past while rejecting the conformity of the present.
\n4) I would rather have worked in Russia, because I feel there was more public acceptance of new ideas, and the musical community was more supportive of each other. While there was still oppression and turmoil, I feel that Russian composers tended to be more rebellious and were able to use their music as a sign of dissent, spreading nationalistic ideas without getting caught.
\n5) I thought it was amusing that the Russian Five were so disdainful towards conservatories. They sound like the original hipsters, who hate anything accepted to be "mainstream" and in response create their own society with new mainstream ideas and values. Overall I think I agree with them that conservatories were too constricting toward composers and probably were responsible for quenching a lot of brilliant ideas.
\nTchaikovsky:
\n1) Tchaikovsky had legitimate musical training from a young age, unlike most of the Russian Five.
\n2+3) I believe that many of Tchaikovsky's strengths were also his weaknesses. He was highly emotional, which made much of his life miserable but also made him extremely receptive to emotion in music. I think this may have been one of the things that made him so brilliant with creating distinct melodies. He also had a lot of emotions he tried to repress, due to his homosexuality and his aversion to socializing, which meant that the only was he could express himself was through music. Sadly, I think many of the things that made him weak or vulnerable as a person were what made him strong as an artist.
\n4) I think Tchaikovsky would still have been an amazing composer, but his themes would have been vastly different. He clearly was very emotional even without his struggles with being homosexual, and I think these other emotions besides anger, frustration, and sadness would have come through in his music. However, since his own struggles were the main motivation behind his music (as opposed to Russian nationalism, which motivated the Russian Five), he would have perhaps needed a new inspiration.
\n5) Nadezdha gave Tchaikovsky the funds he needed to compose, but she also gave him emotional support that he would probably have had difficult elsewhere. By refusing to meet him in person, she allowed him to be more open and trusting with her, and, as he himself said, she was the basis for much of his faith in humanity. The money certainly helped his music, but I'm sure the trust and reassurance Tchaikovsky felt also gave him the confidence to further develop his music, and probably informed some of the themes in his pieces.
\n6) If someone was willing to pay me to do whatever I wanted, I would probably travel, start one of those Food Network shows where they critique food from around the world, and become an author.
\n7) When I first heard Serenade for Strings, I thought it was very modern because it really didn't fit with any sort of music I had ever heard. Learning more about Tchaikovsky helped me to make more sense of it, particularly hearing that he was a master at creating distinct melodies. There is something so satisfying about listening to this particular piece because it is all melody, but it is still technically interesting as well. The volume and richness of the piece seems very Russian to me, but it doesn't feel as angry or dark as I have come to expect from Russian music. Tchaikovsky is able to convey very complex emotions with very simple melodies.","dateCreated":"1522184513","smartDate":"Mar 27, 2018","userCreated":{"username":"Flamingo11","url":"https:\/\/www.wikispaces.com\/user\/view\/Flamingo11","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1411079030\/Flamingo11-lg.jpg"}},{"id":"97109463","body":" Glinka- I had never heard of him before and I thought it was fascinating that he was the "pre-leader" of the classical music in Russia. It's amazing how he had very little education and he still was able to make such gorgeous work.
\nMighty 5: amazing how the first member became leader at such a young age, 20. Fascinating the diversity of the people in the mighty 5. Tho kinda cool that they are officers or were In some kind of "war" force(except for the illegitimate prince). I find some of Tchaikovsky comments about them quite entertaining. Rimsky as the guy at the top in the end was not what I was expecting.
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\nTchaikovsky: His music is some of the most beautiful I've heard. The way that he structures all the instruments is truly incredible and it's easily some of my favorite orchestral music to listen to by far. If he was more openly gay I feel like his music would have been more flourishing and less like it was. I feel like he would have taken more freedom in it and just let himself go and write what he wanted to write(I'm sure it would have been genius). I now have a much deeper and better understanding of how Tchaikovsky fits into the musical development picture. I feel like now I might be able to connect more with the music and convey the emotions better.","dateCreated":"1522364583","smartDate":"Mar 29, 2018","userCreated":{"username":"owlgirl1234","url":"https:\/\/www.wikispaces.com\/user\/view\/owlgirl1234","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97109581","body":"Video 1: I thought that it was very interesting that this type of music was used for propaganda. Russia seemed to be behind on the music at the time most likely because musicians were not considered artists of the state. folk was used in this music to showcase the voice of the country. this was done by nationalist composers to showcase the history and voices of their people.i found it very interesting that mile balakirev had no prior musical training, that is both crazy and very impressive he must have had a very natural talent. i also thought it was very interesting that antonovich cut was highly regarded even though he lacked some musical talent. it is very interesting that this group of composers plays off each others strengths. Mussorgsky though talented he seemed to be very rough around the edges adding a new element to this group. rimsky-korsakov though was not a very gifted musician had a love for composing and many ideas. borodin, the final member was a chemist who had a love for piano and composing. this group is very interesting and different because they are not very well rounded figures but all together they seem to balance each other out making a good team. they preached truth in music, going against the very strict narrow minded ideas of the european. the 5 really disliked the conservatories because they preached the strict european rules that went against their new russian free ideas. personally at this time i would rather be part of the russian music scene because at this time it seems to be more free thinking and less constructed which may result in more interesting diverse pieces.
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\nvideo 2: tchaikovsky was different from the five because he was a conservatory musician. he had the eurupean training that the 5 disliked, but his works showed unique russian qualities making the 5 respect him even though they differed.his strength was knack for melody. he came up with very beautiful catchy melodies.his musical weaknesses were form and conducting, it made him very nervous and he did not like the public attention. another one of his weaknesses was his anxiety. he was gay in a time where it was very much not accepted and he chose to stay in the closet. this must have been a source of much stress and anxiety. if he was openly out it is very possible people would not give his music a chance due to the severe homophobia at the time. Nadezdha von Meck helped him and payed him for his works. they were penpals in a sense but never meet. von meck cut off connection with him which made him very upset. he then went to america where he was very touched and happy about the social openness of the country. when he came back he made his last great work. it was programmatic but the story was unclear. this is a very interesting and cool idea that he let the listeners fill in the blanks of his story. serenade for strings is a very powerful passionate piece and it is easy to see the russian nationalist influence behind this roaring passion.","dateCreated":"1522366783","smartDate":"Mar 29, 2018","userCreated":{"username":"orchestradude","url":"https:\/\/www.wikispaces.com\/user\/view\/orchestradude","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97109855","body":"Russia started later in developing a native traditional classical music. This was because of proscription by the Orthodox Church that was against certain kinds of music. In the 18th and 19th centuries, there was a focus in Russia on Western music among the aristocracy. This focus was so overwhelming that many people were not even aware of Russian composers. This meant that for many Russian composers they were pushed to writes in the Western style if they wanted their music to be preformed. Some struggled with their success because they lacked the the familiarity with European rules of composition. For the upcoming Russian composers, folk music was a primary source of inspiration. The Russian Five took these national traditions and infused them into classical music.It is interesting to see how much folk music inspired the classical music in Russia, and dos it truly based on Russian history, folk tales and literature. It is also fascinating to learn about their inspirations and effects on the government and politics, and how they used their music as propaganda. It is inspiring that these people were might use music to protest government issues. We could use some of that now.
\nTchaikovsky seemed like a very unstable and unhealthy person. While his music is extraordinary, Tchaikovsky suffered from severe metal health. I believe most of his mental health issues may have stemmed from his insecurity within himself and his inability to fully express himself to the world. As an artist, complete expression of your person is key. To keep this huge portion of his life hidden must have taken a toll on his ability to fully express himself in his music. He must have lived in a constant state of apprehension at the thought of someone else seeing the homosexual side of him. This must have been especially hard when he married women. After the later of his two relationships, he actually faced severe writer\u2019s block which could very likely have come from the interpersonal struggles he faced.","dateCreated":"1522371973","smartDate":"Mar 29, 2018","userCreated":{"username":"cacddancer","url":"https:\/\/www.wikispaces.com\/user\/view\/cacddancer","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97110139","body":"Russian Romantic Music:
\n1) In what ways was the work of the Russian Five different than that of European composers?
\nFor one thing, most had little official training and were not fully composers (they had other jobs). Most of them were also from very rich and aristocratic families.
\n2) What was the role of nationalism in the work of the Russian Five?
\nNationalist music was a form of rebelling against the Russian tradition and fighting for freedom.
\n3) What is the role of folk music in nationalist music?
\nIt was the basis of the nationalist music. The definition of nationalist music was consciously used folk music.
\n4) Would you rather have been a composer working in Europe or in Russia at this time? Explain your choice.
\nI would rather have been a composer working in Europe because one could be more independent. Russian artists (of all kinds) often had to be connected to the state.
\n5) How do you feel about the Russian Five's opinion on European music conservatories?
\nI like their idea about not following traditional rules when it came to composing music. On the other hand, I don\u2019t really understand why they and the conservatories hated each other.
\n6) What are your thoughts on Rimsky-Korsakov's decision to teach at a conservatory? What are your thoughts about the rest of the Five's reaction?
\nI think that him teaching at a conservatory is fine. It brought new music to the conservatory. I do not like how the Five fell apart when some of their members taught at conservatories. I don\u2019t see that as selling out.
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\nTchaikovsky:
\n1) How did Tchaikovsky's musical training and experience differ from that of the Mighty Five?
\nHe was a conservatory musician.
\n2) Discuss Tchaikovsky's musical strengths and weaknesses.
\nHe had a great ability to compose melodies. He was not good at conducting.
\n3) How did Tchaikovsky's neuroses and anxiety affect his work?
\nHe was a hypochondriac and nervous. He also tried to kill himself and had a marriage that fell apart. This probably hindered his abilities for obvious reasons.
\n4) If Tchaikovsky felt comfortable to be publicly gay in the time and place in which he lived, how do you think his life and music would have been different?
\nHis music would probably have been lighter and he probably would have lived a much better life.
\n5) Discuss the role of Nadezdha von Meck in the musical development of Tchaikovsky.
\nShe provided him with financial support which allows him to resign from the conservatory and to buy a country house. It also allowed him to focus on making his music.
\n6) If you had a patroness like Nadezdha von Meck who wanted to give you money to concentrate on your passions, what would you devote your time and energy to?
\nI would probably devote my time and energy to writing, composing, and performing music, reading books of all kinds, studying various histories, and many other interests of mine.
\n7) How does Serenade for Strings fit into your understanding of Tchaikovsky and Russian music in general?
\nIt fits with Tchaikovsky because it is a dark, emotive piece. It fits with Russian music because of this same reason.","dateCreated":"1522379716","smartDate":"Mar 29, 2018","userCreated":{"username":"Violinist214","url":"https:\/\/www.wikispaces.com\/user\/view\/Violinist214","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97110177","body":"I am very interested in the stylistic differences from the Russian 5 versus the more contemporary western music of the time, and how that difference was created. It is crazy to think that 5 men with no substantial training in music helped if not created a complete style of music, whereas a lot of European music had only to build off and change the music from the later years, the russian 5 basically only had their nationalistic ideas and somehow were able to create something new from that. That idea amazes me and really makes me want to learn more about them, cause even if they weren't the most amazing musicians of their times, they still were able to do something that changed an entire countries musical identity. As for tchaikovsky I enjoy his story very much, but find it hard to become attracted to his music because i am so enamored by is private life. something has to be said for taking the artist away from the music, because having listened to the music while also knowing the man, I get something different out of it, versus if I were listening to it without knowing his backstory. In a sense i think the crazyness that makes his backstory so appealing makes it harder for me to listen to the music with an unbiased lense.","dateCreated":"1522381774","smartDate":"Mar 29, 2018","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97110179","body":"I am very interested in the stylistic differences from the Russian 5 versus the more contemporary western music of the time, and how that difference was created. It is crazy to think that 5 men with no substantial training in music helped if not created a complete style of music, whereas a lot of European music had only to build off and change the music from the later years, the russian 5 basically only had their nationalistic ideas and somehow were able to create something new from that. That idea amazes me and really makes me want to learn more about them, cause even if they weren't the most amazing musicians of their times, they still were able to do something that changed an entire countries musical identity. As for tchaikovsky I enjoy his story very much, but find it hard to become attracted to his music because i am so enamored by is private life. something has to be said for taking the artist away from the music, because having listened to the music while also knowing the man, I get something different out of it, versus if I were listening to it without knowing his backstory. In a sense i think the crazyness that makes his backstory so appealing makes it harder for me to listen to the music with an unbiased lense.","dateCreated":"1522381776","smartDate":"Mar 29, 2018","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97112485","body":"Russian Romantic Music: It was interesting to learn about the Russian 5, because I have never herd about them. I think that it is pretty cool that they had other jobs and were still able to focus on music too. From what I have herd, if you were into music and wanted to compose it, that was your job, they didn't have other jobs. Also it is interesting that none if them really had a whole ton of musical background. It was different that they didn't follow what a regular composer back then did, and they started a group and worked on stuff together. I think I would have wanted to have been a composer in Russia at the time, because then maybe I would have had the chance to see the Russian 5.
\nTchaikovsky: I like learning about Tchaikovsky because he has an interesting story and had a lot going on in his life. It is interesting to me, that even though he was gay, he got married to a lady. I think that it is cool that Nadezdha von Meck gave him money and helped to support him, but I thought it was weird that she did not want to meet him. If I was giving money to someone to help them, I would want to meet them. But I guess it worked out for Tchaikovsky because he was not very social and wanted to be alone. I like knowing now all of this background information and being able to play serenade for strings. Its cool that we can know where it is coming from, and the background of it all.","dateCreated":"1522431785","smartDate":"Mar 30, 2018","userCreated":{"username":"chatterbox1234","url":"https:\/\/www.wikispaces.com\/user\/view\/chatterbox1234","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97112973","body":"I think that the difference between nationalistic music and non-nationalist music - the purposeful use of folk music - opens up a really interesting conversation about how music relates to national pride and love for one's country. Before watching the video, I guess I really didn't associate folk music with nationalism; I thought of sweeping orchestras and impressive solo singers, singing songs like The Star-Spangled Banner or America The Beautiful. However, it makes sense that "nationalistic" music would be music like folk music which is spread from person to person, passed down through generations, played all over a country, and is overall more culturally relevant than a song that is written by one person and doesn't necessarily represent that country's musical style.
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\nI'm impressed that the Russian 5 were all dabblers, with footholds in other industries, yet they made such impressive and important music. However, I think that I would have preferred making music in Europe rather than Russia at that time period. Although all five composers were certainly creative and made great music, it feels like their music was locked into a nationalistic trend. Whatever music they made, it had to be in honor and support of Russia. While there was nationalistic music being made in European countries too, their music wasn't necessarily trapped into being a love letter to a country, and European composers were more free to be open and expressive with ideas other than just national pride.
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\nThe conservatories highlighted this divide. This is why I take to Tchaikovsky's music more than the other Russian composers: he was part of the conservatory world, and did not see Russia as higher than or more influential than the rest of the musical world. He wasn't restricted to ideas of Russian nationalism (although he did use folk music and his music was absolutely Russian, but he was influenced by other places as well and was more open to other musical ideas), and his freedom to be more expressive with a range of ideas shows in his music.
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\nI think there were forces in Tchaikovsky's life that encouraged him to be more creative and expressive, but also forces that restricted him and maybe clouded his passion. Nadezdha von Meck funding him allowed him grander scope with his projects. I have so many creative ideas that I'd explore if I had someone funding me like that. Tchaikovsky's expression was also probably hindered by that fact that he was a closeted gay man. If he had been allowed to be open and free, his music may have been more open and free as well. Other social hurdles like nervousness could also have influenced his music.","dateCreated":"1522441528","smartDate":"Mar 30, 2018","userCreated":{"username":"samm3684","url":"https:\/\/www.wikispaces.com\/user\/view\/samm3684","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317251844\/samm3684-lg.jpg"}},{"id":"97113563","body":"The Five were non conformist to the european ideas of composition which lead their music having more diversity. The Five were so influenced by the Russian folk music infused with nationalism.They called their music the \u2018Truth\u2019 of Russia which held a lot of those tunes and the people\u2019s nationalist ideas while also rejecting many traditons and costumes. I think both schools of thought are reasonable and am not exactly sure why there was mutual hatred between the Five and the conservatoryists. I mean if Rimsky-Korsakov didn\u2019t want to stick with the others\u2019 non conformist veiws on conservatory and go teach at one thats fine but its then toatlly reasonable for his friends to feel hurt and betrayed.
\nI would have rather been a russian composer. I am not a creative person and being able to work with the already created musical ideas found in russian folk music sounds a lot less daughting than any attempt to write a wholly origanal work. Both types appear to have been very connected in supportive community which is surprising but nicely so. It also sems that the people are more acepting of newer ideas within the music in Russia which makes the occupation less risky.
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\nTchaikovsky was trained in a conservatory unlike the anti consavatory Mighty Five who had little to no training as composers. Aside from education he also was talented and trained from a young age and started composing at 14. He became a great composer with very defined passionate melodies. His passion is his biggest weakness. He was volitile, he had crippling anxiety that was hightened becasue of his paranoia that people would discover he was homosexual. These fears come out in his works and arguably makes them better as it was the only way Tchaikovsky could express himeself. If he were comfortabe being out he would have been less anxious but I think his music would have suffered for it. His music is dominated by his emotions mostly of fear and anger so I think he proabbly would have been happier so his music would have been different but not necissarily less good.
\nI think knowing he had the support of Nadezdha von Meck Tchaikovsky kept himeself togther. As bad as it sounds I think he proabbly would have destroyed himself long before he did if he didn\u2019t know he had a pattron\u2019s support, especailly one that didn\u2019t require him to be the social creature he wasn\u2019t. If I had someone give me money to do whatever with I would probably spend some time traveling and learning other languages because I think thats very rewarding. Mostly I would sew a lot more than I do though, I might open up a small shop of exquisite fabrics and be a seamstress.","dateCreated":"1522456460","smartDate":"Mar 30, 2018","userCreated":{"username":"happy-hippo","url":"https:\/\/www.wikispaces.com\/user\/view\/happy-hippo","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1383342240\/happy-hippo-lg.jpg"}},{"id":"97113907","body":"Compared to European composers, the Russian Five wanted to embrace culture rather than structure and a more elite form of education. Incorporating folk music into nationalist pieces makes music more accessible and representative of an individual or entire group of people, tapping into certain ideas and struggles that may have otherwise been ignored by someone focused solely on musical form. I feel as though I would rather be a Russian composer at this time, as those like the Five would have encouraged a focus on personal emotion and cultural ties to create truly impactful and meaningful work, no matter the formal education or honed technical skill. Making music in this way, it seems, has potential to hold more weight than simply having a strong grasp on classical structure or music theory, as it represents people\u2019s own truths and voices. It becomes more than just a composition; it becomes expression in its most honest form.
\nTchaikovsky, although extremely troubled, was really a fascinating composer, considering how he was able to create so many iconic pieces of music while, and even because of, struggling with his own personal issues. He actually had a formal education combined with a natural talent for music, which was unlike the Russian Five, who had a more spontaneous dedication to composing and playing music. He was able to integrate both the more nationalist values of the Five with the more structured and classic education of the conservatories, as well as with his own emotions, which really helped him to create extremely powerful and memorable pieces. If Tchaikovsky had been in a less hostile environment and therefore able to be more open with his homosexuality, I think that although he would have felt far freer and comfortable, his music would have suffered to some degree. It would probably hold less weight, as he would no longer have to express his own pain and inner turmoil through his music. Instead of hiding all of his emotion within his music, he could have reached out to people, greatly reducing his anxiety and fear of observance in doing so. Really, it seems that the strength of his music comes from the intense emotions distilled into it, which would most likely have not made it in were he not confined by society at the time.","dateCreated":"1522463007","smartDate":"Mar 30, 2018","userCreated":{"username":"StringBean7625","url":"https:\/\/www.wikispaces.com\/user\/view\/StringBean7625","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97113949","body":"The Russian Five were not trained musicians and rejected the idea of learning music. They composed what they felt was true, not what was accepted by the European musical world. They also composed with the voice of the people. Their music was based off of folk melodies and was used to deliberately stir a feeling of pride in their traditions and ancestry. I largely respect the Russian Five's opinion about European music, in that music should not be strictly learned and should be true to its origins. The Russian Five composed what they believed was true music, which I respect. However, their disdain for European music was a little too extreme. They believed that Rimsky-Korsakov betrayed them by teaching at a conservatory. However, teaching at a conservatory does not intrinsically betray music, as the Five believed, so long as Rimsky-Korsakov did not betray his style or musical beliefs in order to teach at the conservatory. As long as he held onto his roots and his style, teaching at a conservatory is not inauthentic.
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\nTchaikovsky didn't have any formal musical training as a young child, like the Five, but went to conservatory in his 20s, and became connected to western music. Tchaikovsky was very emotional and had musical and melodic ideas inside his head, which is a huge strength as a composer, but a nightmare as a person. While devastating to Tchaikovsky, his horrible emotional state made his work extremely passionate and allowed him to be a very romantic composer in the western sense, while also incorporating Russian musical ideas. Nadezdha von Meck was very important to Tchaikovsky and probably allowed for him to continue composing. Without her, Tchaikovsky may not have written nearly as much as he did. I wish that more people with lots of money would use their money like von Meck. It is very difficult for creative people to focus on their passions without a steady source of income, since their work is intrinsically not steady. Some years, a composer may write many great works, while others, they may not write any. After learning about Tchaikovsky and his influences, it is important for us to pay attention to both the very romantic, emotional melodies and to the classical form.","dateCreated":"1522465275","smartDate":"Mar 30, 2018","userCreated":{"username":"Scienceandcatlover5","url":"https:\/\/www.wikispaces.com\/user\/view\/Scienceandcatlover5","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}}],"more":7}]},{"id":"83271001","dateCreated":"1520619166","smartDate":"Mar 9, 2018","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/83271001"},"dateDigested":1532644802,"startDate":null,"sharedType":"discussion","title":"Quarter 3 Post 4 (2017\/2018) - Romantic Music Overview and Hector Berlioz","description":"Hi Everyone! I'm trying to make sure that you have a broad understanding of how the music we are playing fits into the context of Romanticism, and how the Romantic period fits into the history of music in general.
\n
\nAfter listening to both of these videos (total about 30 minutes - I've tried to make it as entertaining as possible), please make
\n some comments. You may write about any element you choose, but consider the following as possible starter topics:
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\nWho sounds like a Romantic composer you would like to learn more about? What have you learned that is new to you? What surprised you? Is this a useful method for learning history, rather than using classroom time? How does information about the Romantic period affect how we play it in class? How is Romantic music and thought different than Classical or Modern thought? How does Hector Berlioz represent the Romantic period? Imagine yourself as a composer in the Romantic period. What you be your super power? What would be your weakness?
\n
\nDon't limit yourself to these ideas. Comment on anything you think warrants comment. Ask questions that come to mind.
\n
\nVideo 1 (Romantic Music):
\nhttp:\/\/www.youtube.com\/watch?v=RI44_rbsszc&feature=youtu.be<\/a>
\n
\nVideo 2 (Berlioz):
\nhttp:\/\/www.youtube.com\/watch?v=1JIPsTPtKyY&feature=youtu.be<\/a>","replyPages":[{"page":0,"digests":[{"id":"97060259","body":"Video 1: I find it very interesting that instruments became better and more complex during this time period. I've never really thought about how all instruments must have been much simpler than they are today. Niccolo Paganini also really interests me because of the fact that he spread a rumor about himself and because he performed hand stretches no one else had attempted before. It's also fascinating that during this period, conductors weren't necessarily needed for a piece, therefor making all pieces somewhat like chamber music. One would think you'd need a conductor, especially for all of the advanced and complicated music being produced at the time. It is really cool the way all of these different people somewhat interacted and how they influenced one another, like how many were so in awe over Beethoven
\nVideo 2: So far, Berlioz seems very dramatic but is so because of his passion surrounding music. I wonder how he criticized the other composers we learned about, his friend's, works. It's almost unbelievable how Paganini thought Berlioz's music was some of the best he's ever heard. It's very odd to me how he ended up marrying Harriet Smithson when he was literally just her creepy stalker..I guess that's why it didn't end up working out.","dateCreated":"1521678486","smartDate":"Mar 21, 2018","userCreated":{"username":"pisces15","url":"https:\/\/www.wikispaces.com\/user\/view\/pisces15","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97061031","body":"Learning about this music history at this particular time period helps immensely-- I now have a context about when this music was written, and particularly what was going on in these composers' minds. The Romantic period was a time of advancement. Composers were pushing boundaries, making their music much more complex and really using the technological advancements of instruments to their advantage. When I play music, I often envision a story full of emotions, which is what the writers were intending. However, I now have a deeper understanding of what was happening behind the scenes of the creation of this music.
\n
\nI really was interested in not only the musical advancements, but the social advancements as well. Composers and musicians were now being appreciated as artists and were becoming prominent in society. Music was being used to make a profit and was, in some ways, in its early evolvement of becoming an industry. For example, Paganini was a very prominent social figure and musician, but became that way by marketing himself to his audience and telling them that he sold his soul to the devil. In result, he became a very famous and appreciated musician\/composer because of the way he marketed himself and displayed his prodigious skills.
\n
\nI really liked learning about this music history, and I thought this was a great medium to do just that. I feel like as a class, we can use this knowledge now to our advantage and really try to embody the stories that these composers were trying to tell to the audience. Every note has its purpose, and because we have context of their minds, we can successfully honor and play their music how they intended (while putting our own sound to it, of course).","dateCreated":"1521689896","smartDate":"Mar 21, 2018","userCreated":{"username":"allypal","url":"https:\/\/www.wikispaces.com\/user\/view\/allypal","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97061033","body":"Learning about this music history at this particular time period helps immensely-- I now have a context about when this music was written, and particularly what was going on in these composers' minds. The Romantic period was a time of advancement. Composers were pushing boundaries, making their music much more complex and really using the technological advancements of instruments to their advantage. When I play music, I often envision a story full of emotions, which is what the writers were intending. However, I now have a deeper understanding of what was happening behind the scenes of the creation of this music.
\n
\nI really was interested in not only the musical advancements, but the social advancements as well. Composers and musicians were now being appreciated as artists and were becoming prominent in society. Music was being used to make a profit and was, in some ways, in its early evolvement of becoming an industry. For example, Paganini was a very prominent social figure and musician, but became that way by marketing himself to his audience and telling them that he sold his soul to the devil. In result, he became a very famous and appreciated musician\/composer because of the way he marketed himself and displayed his prodigious skills.
\n
\nI really liked learning about this music history, and I thought this was a great medium to do just that. I feel like as a class, we can use this knowledge now to our advantage and really try to embody the stories that these composers were trying to tell to the audience. Every note has its purpose, and because we have context of their minds, we can successfully honor and play their music how they intended (while putting our own sound to it, of course).","dateCreated":"1521689897","smartDate":"Mar 21, 2018","userCreated":{"username":"allypal","url":"https:\/\/www.wikispaces.com\/user\/view\/allypal","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97078077","body":"When playing music, learning about the time period where it came from is very helpful. That is helpful because if you know what was going on historically then you can get a better understanding of what was going through the composers head when they wrote the piece. One thing about the Romantic period is that there were a lot of advancements involving, technological advancements in instruments and the composers pushing boundaries which actually made their music better. Not only were there advancements in music, there were also social advancements. That meant that the composers were being accepted more in society and their music was actually making a profit. I believe that we have to use learning about the history of the romantic period to our advantage when playing music from that period and play it justice.","dateCreated":"1521900380","smartDate":"Mar 24, 2018","userCreated":{"username":"gorilla377","url":"https:\/\/www.wikispaces.com\/user\/view\/gorilla377","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97078955","body":"Learning about this time in music history is really helpful. It was really interesting to learn about Hector Berlioz. He was a good composer during the romantic period. i think that this is a helpful way for use to learn more about the romantic period and its composers. For class the information we learned about can help us play like they did the bowing, the tone, and the was the sound was when they played it. This is helpful because we are learning romantic period music this year. Romantic music is different then classical music because romantic is slower and has more tone than classical music does. Its also has more meaning to the songs then classical music has. Hector Berlioz represents the romantic period because he was one of the main composers during those times and wrote a lot of song during this time. If i was a romantic composer my super power would be super speed so i could get the tempo of music really fast with the movement of my hands my weakness would be laser's because they would mess up the movement of my hands and the tempo of the piece.","dateCreated":"1521914675","smartDate":"Mar 24, 2018","userCreated":{"username":"Moneymaker202","url":"https:\/\/www.wikispaces.com\/user\/view\/Moneymaker202","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97083079","body":"I think it is very interesting the dynamic between all the composers and how they were all kind of in a group with each other, working off each other, helping one another when they saw greatness or potential in another, it is an interesting dynamic that i would love to learn more about, because i think also if we can characterize these people as the interesting characters that they were we can find a greater love for their music. Also i cannot wait for when Hollywood decides to make an "entourage" style show out of the lives of these romantic artists. Another topic i am very much interested in is the rise out of the classical period, and how that changed maybe church music, because most of the classical period was very religious it would be interesting to see what happens to religious music in a period of time where these new ideas are shifting away from the church ideals.","dateCreated":"1522004877","smartDate":"Mar 25, 2018","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97083081","body":"I think it is very interesting the dynamic between all the composers and how they were all kind of in a group with each other, working off each other, helping one another when they saw greatness or potential in another, it is an interesting dynamic that i would love to learn more about, because i think also if we can characterize these people as the interesting characters that they were we can find a greater love for their music. Also i cannot wait for when Hollywood decides to make an "entourage" style show out of the lives of these romantic artists. Another topic i am very much interested in is the rise out of the classical period, and how that changed maybe church music, because most of the classical period was very religious it would be interesting to see what happens to religious music in a period of time where these new ideas are shifting away from the church ideals.","dateCreated":"1522004880","smartDate":"Mar 25, 2018","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97104143","body":"I think interesting that the composers all new each other and that they would work together. also its funny that brahms was scared of baytoven becouse brahms was a good composer. peginey sold his sold to the devil for his violin skils.","dateCreated":"1522276561","smartDate":"Mar 28, 2018","userCreated":{"username":"goat56","url":"https:\/\/www.wikispaces.com\/user\/view\/goat56","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97108903","body":"I would love to learn more about Beethoven. I know he is popular, but he is for a reason and i would love to dive deeper into some of his music. Schumann would also be great to learn more about. I actually really enjoyed theses videos, i was thinking i was going to get bored after a while but it was actually great. I will certainly now have a deeper and better understanding for this. If i was a composer i think my weakness would be writers block. I would start off with such ideals and ideas but would get stumped once i would have to come up with something more. Or i would judge myself a lot about what i wrote. In short i would make it about half way then it would be poof, over because i wouldn't think it would be good enough.","dateCreated":"1522355169","smartDate":"Mar 29, 2018","userCreated":{"username":"owlgirl1234","url":"https:\/\/www.wikispaces.com\/user\/view\/owlgirl1234","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97108905","body":"I would love to learn more about Beethoven. I know he is popular, but he is for a reason and i would love to dive deeper into some of his music. Schumann would also be great to learn more about. I actually really enjoyed theses videos, i was thinking i was going to get bored after a while but it was actually great. I will certainly now have a deeper and better understanding for this. If i was a composer i think my weakness would be writers block. I would start off with such ideals and ideas but would get stumped once i would have to come up with something more. Or i would judge myself a lot about what i wrote. In short i would make it about half way then it would be poof, over because i wouldn't think it would be good enough.","dateCreated":"1522355171","smartDate":"Mar 29, 2018","userCreated":{"username":"owlgirl1234","url":"https:\/\/www.wikispaces.com\/user\/view\/owlgirl1234","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97113075","body":" I like the format of this a lot, it is interesting and allows us to stop and look something up we don\u2019t understand or google it if we want to learn more about without holding everyone up. I also like how many superhero refferances you through in there.
\n A lot of these little snapshots into the composers are surprising. For example, Brahams was intimated by Beethoven which makes sense but I never realized he avoided writing symphonies until the end of his carreer. Also, The idea that they didn\u2019t very have conductors is mind blowing at first but the fact that Beethoven is really the first composer to write such lyrically diverse lines in multitude justifys that after him is when the preformers realy need someone in control to lead them. Franz Liszt, I know nothing save his name but it's nice to hear that he was like Michael Jackson in fame and invented the recital. I always associated that with Handle. In addition, I had no idea Schumann ran a journal and critiqued everyone. I don\u2019t usually associate writing as a skill among composers but Schumunn aprrently wanted to be writer before he wanted to be a pianist which explains his journal a bit more. He went insane and ended up in a padded cell which is intriguing but more so is the fact that committed himeself. I think hearing more about Schumann would be very interesting as he is by far the most surpriing and captivating composer you mentioaned of handedly.
\n Hector Berlioz seems rather crazed due to his passion and emotive expressions. The programatic idea is interesting becasue now that is almost the norm. The Fantastic Smyphony of him stalking Hariet Smithson is faguely creepy but we all need to give him points though becasue they do get married but also think of how many musical motifs and variations of theme we have in music now that are similar to this. Pagannini\u2019s support of Berlioz is really interesting, it illustrates how all these people knew eachotehr and were friends. Its wonderful, they would have the most beuatifully disfunctional dinner parties.","dateCreated":"1522444435","smartDate":"Mar 30, 2018","userCreated":{"username":"happy-hippo","url":"https:\/\/www.wikispaces.com\/user\/view\/happy-hippo","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1383342240\/happy-hippo-lg.jpg"}},{"id":"97113077","body":" I like the format of this a lot, it is interesting and allows us to stop and look something up we don\u2019t understand or google it if we want to learn more about without holding everyone up. I also like how many superhero refferances you through in there.
\n A lot of these little snapshots into the composers are surprising. For example, Brahams was intimated by Beethoven which makes sense but I never realized he avoided writing symphonies until the end of his carreer. Also, The idea that they didn\u2019t very have conductors is mind blowing at first but the fact that Beethoven is really the first composer to write such lyrically diverse lines in multitude justifys that after him is when the preformers realy need someone in control to lead them. Franz Liszt, I know nothing save his name but it's nice to hear that he was like Michael Jackson in fame and invented the recital. I always associated that with Handle. In addition, I had no idea Schumann ran a journal and critiqued everyone. I don\u2019t usually associate writing as a skill among composers but Schumunn aprrently wanted to be writer before he wanted to be a pianist which explains his journal a bit more. He went insane and ended up in a padded cell which is intriguing but more so is the fact that committed himeself. I think hearing more about Schumann would be very interesting as he is by far the most surpriing and captivating composer you mentioaned of handedly.
\n Hector Berlioz seems rather crazed due to his passion and emotive expressions. The programatic idea is interesting becasue now that is almost the norm. The Fantastic Smyphony of him stalking Hariet Smithson is faguely creepy but we all need to give him points though becasue they do get married but also think of how many musical motifs and variations of theme we have in music now that are similar to this. Pagannini\u2019s support of Berlioz is really interesting, it illustrates how all these people knew eachotehr and were friends. Its wonderful, they would have the most beuatifully disfunctional dinner parties.","dateCreated":"1522444437","smartDate":"Mar 30, 2018","userCreated":{"username":"happy-hippo","url":"https:\/\/www.wikispaces.com\/user\/view\/happy-hippo","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1383342240\/happy-hippo-lg.jpg"}}],"more":17}]},{"id":"83152879","dateCreated":"1518533622","smartDate":"Feb 13, 2018","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/83152879"},"dateDigested":1532644802,"startDate":null,"sharedType":"discussion","title":"Quarter 3 Post 3 (2017\/2018) - Mendelssohn Violin Concerto","description":"Hi Everyone,
\n
\nThis post isn't due until the first day back from February break, but please be listening to these two recordings as a model for our work on the Mendelssohn. The first recording is Anne Sophie-Mutter. She is the player that Clara has been modeling her work on, so she is a good source for all of us to listen to. We are only doing the first movement, so please listen up to the 12:30 mark:
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\nhttps:\/\/www.youtube.com\/watch?v=K67o86CS5uo&t=476s<\/a>
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\nThe second recording is Clara at a recent violin recital. This gives great examples of Clara's exact tempo changes, etc. In this recording, the accompanist makes a cut around B, which shortens the performance and eliminates the orchestral feature there. We are still planning on doing that section.
\n
\nhttps:\/\/soundcloud.com\/gnaipte\/mendelssohn-clara-recording<\/a>
\n
\nYour main job is to listen to these recordings and internalize this concerto so that we play as musically as possible. It's up to all the players to understand the different moods in each section and to play this as much like chamber music as possible, responding to the soloist's phrasing and changing tempi. Using both of these recordings, please make a list of observations that you think are useful to our ensemble for practice purposes. They can be rehearsal strategies, or just observations about moments in the piece, or more broad observations about the music, about Mendelssohn, etc.","replyPages":[{"page":0,"digests":[{"id":"96905955","body":"The opening of the piece feels very much like this passionate, intense moment for the soloist, while the orchestra provides brief moments of texture underneath. Like other people have been saying, we should be careful not to overpower Clara in volume, but we should also make sure that we're musically supporting Clara's part, and fitting in with her solo in an appropriate way. After the opening, there's a more frenzied section, and playing rhythmically together and with tight intonation will go a long way toward making that section sound good. Throughout the piece, especially in the accompanying orchestra part, it feels like there are lots of moments where we build from soft to a quick explosion of sound, and then immediately lower back down. Working on dynamics in these areas would be helpful. If the orchestra knows exactly where to spike in intensity\/volume and knows exactly where to play extremely quietly, it will help highlight Clara's solo and make her sound that much better. In general, there are lots of changes in tone and in intensity throughout the piece, and those changes often come quickly. If we're prepared for them, we'll be able to change our sound at the correct times and get a feel for the overall story\/progression that the piece takes on.
\n
\nIt's really important that, as an orchestra, we follow Clara and really listen to her changes in tempo, changes in dynamic, etc. It's our job to play off of her energy, so it's helpful to have the recording of her to hear her individual style within the piece. We should try to match that style so our playing as an orchestra fits nicely with her solo.","dateCreated":"1519792987","smartDate":"Feb 27, 2018","userCreated":{"username":"samm3684","url":"https:\/\/www.wikispaces.com\/user\/view\/samm3684","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317251844\/samm3684-lg.jpg"}},{"id":"96906035","body":"In this piece, it's important to stay under the solo, so that it's not overpowered. In addition, the dynamics are extremely important; though it is an energetic piece, with many changes in mood, we still need to make sure the dynamics are played so that, again, the orchestra doesn't take away from the soloist. If executing the dynamics and intonation well, we should be able to capture the energy and mood shifts led by Clara properly.","dateCreated":"1519794317","smartDate":"Feb 27, 2018","userCreated":{"username":"StringBean7625","url":"https:\/\/www.wikispaces.com\/user\/view\/StringBean7625","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96931675","body":"I think something that is very important to stay under the solo and not to not be overpowering. in a piece where there is a solo it is important to really listen to the soloist when it comes to dynamics. this piece is very intense and i think that really makes it. it will be important for us to keep up this intensity so it does not fall flat. i think following clara in timing, dynamics and emotion is the key to keeping this piece tight and powerful. Also clara's solo is outstanding good job clara!!","dateCreated":"1520110226","smartDate":"Mar 3, 2018","userCreated":{"username":"orchestradude","url":"https:\/\/www.wikispaces.com\/user\/view\/orchestradude","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96931677","body":"I think something that is very important to stay under the solo and not to not be overpowering. in a piece where there is a solo it is important to really listen to the soloist when it comes to dynamics. this piece is very intense and i think that really makes it. it will be important for us to keep up this intensity so it does not fall flat. i think following clara in timing, dynamics and emotion is the key to keeping this piece tight and powerful. Also clara's solo is outstanding good job clara!!","dateCreated":"1520110228","smartDate":"Mar 3, 2018","userCreated":{"username":"orchestradude","url":"https:\/\/www.wikispaces.com\/user\/view\/orchestradude","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96937039","body":"I think the most important thing to keep in mind as the orchestra is to be under clara but to still support her and be loud enough. The solo needs to stand out but the orchestra needs to be clear and concise, just slightly under the solo. We also need to make sure we are doing a good job of listening to clara because she often changes tempos and feeling. We cant play the same exact tempo and style throughout the whole piece but instead need to each be tuned into clara so we can listen a mimic her way of playing each section. I think we can definitely pull this piece off. I was nervous before vacation about the orchestra being able to play this and specifically myself but coming back from vacation I felt as though myself and the whole orchestra played it much better after a bit of a break from playing together and for some of us a break from practicing. We really just need to listen and I think we should be good.","dateCreated":"1520199716","smartDate":"Mar 4, 2018","userCreated":{"username":"violagirl","url":"https:\/\/www.wikispaces.com\/user\/view\/violagirl","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1370562215\/violagirl-lg.jpg"}},{"id":"96946615","body":"I guess what I will say is that everyone needs to look up at Mr. Covelli because he is watching me so it is very important that you do so ESPECIALLY in the moments in which there are trills because once you start the trill you know what you are trilling so then you can just watch him for the cut off so everyone cuts off together.","dateCreated":"1520290538","smartDate":"Mar 5, 2018","userCreated":{"username":"luverofmusic","url":"https:\/\/www.wikispaces.com\/user\/view\/luverofmusic","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97003667","body":"
\nWe need to know Clara\u2019s part as well as Clara knows it to properly follow her and slip in and out throughout the movement. The orchestra in the first video does a great job accentuating the soloist with their performance but not losing the energy that flows through this piece. This means as per usual know our parts is super important so we can follow all the nuanced tempo and dynamic changes Clara makes. We definitely need to learn the different dynamic ranges between being textural under a soloist and the tutti sections. I think having Clara play the solo in class will help us to better understand these differences and address how to make the movement more cohesive.","dateCreated":"1520968666","smartDate":"Mar 13, 2018","userCreated":{"username":"happy-hippo","url":"https:\/\/www.wikispaces.com\/user\/view\/happy-hippo","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1383342240\/happy-hippo-lg.jpg"}},{"id":"97019883","body":"
\nThis piece is very intense and passionate, especially near the beginning when it\u2019s an intense moment for Clara. While we should go off the energy Clara is providing us and follow along to her tempo and textures, we must not overpower Clara in any volumes or in any spot in the entire piece. As a group, we must work on balancing being super intense while also being very quiet and vice versa. Clara\u2019s solo is insane and we should all use her as inspiration to practice and follow along to the piece as tight tone wise and as powerful as we can!","dateCreated":"1521167664","smartDate":"Mar 15, 2018","userCreated":{"username":"roscoboy1964","url":"https:\/\/www.wikispaces.com\/user\/view\/roscoboy1964","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1386198048\/roscoboy1964-lg.jpg"}},{"id":"97078107","body":"The song is very intense and passionate during a lot of it. When we are playing this song, Clara often plays very intense and the rest of us often do not. At the very intense parts of the piece we have to up our intensity but not play too loud so we don't drain out Clara.","dateCreated":"1521901008","smartDate":"Mar 24, 2018","userCreated":{"username":"gorilla377","url":"https:\/\/www.wikispaces.com\/user\/view\/gorilla377","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97078967","body":"This piece was very intense in a lot of ways like by the tempo. The song was very passionate the way they both played this piece. Clara often plays very intense every song she plays. They both played this piece great. The rest of the orchestra should play under her a little bit more so we can really hear her solo.","dateCreated":"1521914915","smartDate":"Mar 24, 2018","userCreated":{"username":"Moneymaker202","url":"https:\/\/www.wikispaces.com\/user\/view\/Moneymaker202","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97078969","body":"This piece was very intense in a lot of ways like by the tempo. The song was very passionate the way they both played this piece. Clara often plays very intense every song she plays. They both played this piece great. The rest of the orchestra should play under her a little bit more so we can really hear her solo.","dateCreated":"1521914916","smartDate":"Mar 24, 2018","userCreated":{"username":"Moneymaker202","url":"https:\/\/www.wikispaces.com\/user\/view\/Moneymaker202","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97104057","body":"we need to try to enhance claras solo while playing the orchesta part well we also have to keep the intense parts intense and not leave clara to do it on her own","dateCreated":"1522275039","smartDate":"Mar 28, 2018","userCreated":{"username":"goat56","url":"https:\/\/www.wikispaces.com\/user\/view\/goat56","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}}],"more":20}]},{"id":"83101019","dateCreated":"1517857958","smartDate":"Feb 5, 2018","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/83101019"},"dateDigested":1532644802,"startDate":null,"sharedType":"discussion","title":"Quarter 3 Post 2 (2017\/2018) - Bruce Molsky Residency","description":"Below are four recordings to be listening to in preparation for Bruce Molsky's residency with us next week. The first two share a melody but are totally different tunes. One is called "Rainbow Sign" and is a devotional song. The other is called "Peg and Awl" and is a historical piece about the shoe industry. The next two songs are instrumental tunes. The first is called "Glory to His Name" and the second "Breaking Up Christmas." We are going to learn all four of these by ear to perform on Friday Feb 16 for the student body.
\n
\nYour most important task is to listen to these tunes, to play along with them, and to try to learn them. Not all of the keys are going to make sense, but you can still get the tunes in your ears. For this assignment, please respond with your impressions of the different songs and what specifically you are finding challenging\/exciting\/easy\/interesting\/etc about learning them.
\n
\nPeg and Awl:
\n
\nhttps:\/\/www.youtube.com\/watch?v=whkgt6qnH3U<\/a>
\n
\nRainbow Sign:
\n
\nhttps:\/\/www.youtube.com\/watch?v=ARgI9-9qdIM<\/a>
\n
\nGlory Be His Name:
\n
\nhttps:\/\/soundcloud.com\/gnaipte\/glory-to-his-name<\/a>
\n
\nBreaking Up Christmas:
\n
\nhttps:\/\/www.youtube.com\/watch?v=qKWRhJ6navk<\/a>","replyPages":[{"page":0,"digests":[{"id":"96791515","body":"Peg and Awl -I really dig how celtic and pretty this song is. Even though it has a slower tempo, you can still feel a great deal of energy flowing almost like painting a picture. This song seems relativiley easy to learn partly because is so full of emotion that can be easy to pour our musicality into. However in order to present this emotion the Orchestra, and especially the basses and cellos listen and play in tune to one another. His voice is very cool too!
\n
\nRainbow Sign - This song reminds me of a lot of the music from Fantastic Mr.Fox. Its very laid back and kind of somber, but it\u2019s not sad or too laid back, its very honest music that has a lot of rhythm in it. Playing this tune we shouldn\u2019t worry about tempo or think as musically as we normally do, because this is an honest song and while we should still practice so we know the rhythms and melodies well, we should present this tune to be as honest as it is.
\n
\nGlory Be His Name -
\nFor this tune we should communicate to one another and especially focus on the people who know the tune better than others. It seems like a very fun song but we should make sure our dynamics are good and we are never playing over other sections.
\n
\nBreaking Up Christmas -This song seems very to create new ideas with, after learning the basic form and melodies that is. This song should be very fun once we have a solid rhythm down to have someone taking a solo or even singing their ow","dateCreated":"1518491636","smartDate":"Feb 12, 2018","userCreated":{"username":"roscoboy1964","url":"https:\/\/www.wikispaces.com\/user\/view\/roscoboy1964","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1386198048\/roscoboy1964-lg.jpg"}},{"id":"96791603","body":"Peg and Awl: This song seems to be the easiest of the four, and the most important thing to focus on for it seems to be intonation, especially in the drones, so that they support the piece, rather than alter its simple yet emotional quality.
\n
\nRainbow Sign: As this song has more of an upbeat sound than Peg and Awl, it will be important to keep its energy, as well as achieve its scratchy quality.
\n
\nGlory Be His Name: This has a similar rough quality to Rainbow Sign, which will be important to properly produce, and since the melody is rather simple and repetitive, it will be fairly easy to learn.
\n
\nBreaking Up Christmas: As the most complex of these songs, it will be important to keep up its rhythm, and maintain its sense of constant movement.","dateCreated":"1518492404","smartDate":"Feb 12, 2018","userCreated":{"username":"StringBean7625","url":"https:\/\/www.wikispaces.com\/user\/view\/StringBean7625","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96794483","body":"Update: Bruce Molsky may cut Glory Be His Name and Breaking Up Christmas and swap those two tunes for alternates when he comes. We will be following his lead with an open mind. Peg and Awl and Rainbow Sign are still in.","dateCreated":"1518533693","smartDate":"Feb 13, 2018","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"}},{"id":"96808397","body":"This is also in your email, but here is the link to hear Breaking Up Christmas slowed down:
\n
\nhttps:\/\/soundcloud.com\/gnaipte\/breaking-up-christmas-slow<\/a>
\n
\nLooking forward to hearing it learned for tomorrow!","dateCreated":"1518639864","smartDate":"Feb 14, 2018","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"}},{"id":"96878115","body":"Peg and Awl: This song holds a lot of repetition, which means memorization will be easier for it. The most important aspect of this piece should be focusing on intonation, and getting it fast, so that we can later work on getting in the double stops.
\nRainbow Sign: This piece is faster and a little more upbeat, but it shouldn't be too difficult as it is a very similar melody as Peg and Awl. There are some rhythmic aspects to focus on, as well as the bow technique to achieve the scratchiness.
\nGlory Be His Name: The melody of this piece is also repetitive, so that shouldn't be too difficult. It also has a scratchy quality to it.
\nBreaking Up Christmas: This song is definitely the most composite, so the main focus should be on this piece. It is much faster, so intonation and togetherness should be the main focus.","dateCreated":"1519433898","smartDate":"Feb 23, 2018","userCreated":{"username":"pisces15","url":"https:\/\/www.wikispaces.com\/user\/view\/pisces15","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96884199","body":"Peg and Awl: i really like this piece. the balance between the singing and the instruments .This will probably be easy to learn, but since it is slow, we will need to make sure we know the notes and rhythm.
\nRainbow Sign: This one has the same melody as Peg and Awl but when i listen to it it has a very different "texture". I am really excited to see how Bruce Molsky plays this one because the recording is not him. We need to make this one very different from Peg and Awl in order to play the song to its full potentional
\nGlory Be His Name: the tone and style are a mix between Peg and Awl and Rainbow Sign. i really liked this one. i could hear the repetition in this song.
\nBreaking up Christmas: this piece is very fast and the rhythm is very important.","dateCreated":"1519577086","smartDate":"Feb 25, 2018","userCreated":{"username":"eenn121314","url":"https:\/\/www.wikispaces.com\/user\/view\/eenn121314","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96901275","body":"peg and awl: this piece is what i think of when i think of like a sea shanti, that being said, that idea may be misplaced. The actual song is very solemn and it reflects this the simplistic parts. like a man on the streets with a single string howling his heart out.
\nRainbow sign: very close chord structure and melody to peg and awl, but it is very different in the tone of the piece, this showing how dynamics and speed can change a piece almost completely
\nglory be his name: a bit more rigid in my opinion, in the sound quality, showing a more basic formatted piece.
\nbreaking up christmas: its fairly complex, for a song of its type, and allows for more intense rhythms and dynamics","dateCreated":"1519751524","smartDate":"Feb 27, 2018","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96920033","body":"Peg and Awl: seem very easy to me because I would most likely be playing a drone because I am part of the lower strings.
\n
\nRainbow Sign: This one is fairly similar sounding to Peg and Awl, which should make it pretty easy to learn. It's sort of scratchy, so the bow technique will be different from the classical pieces that we are playing. There's also a bunch of funky rhythms especially with the background music and the melody.
\n
\nGlory Be His Name: seems easy to learn because the melody of this piece is also repetitive, so that shouldn't be too difficult. It also has a scratchy quality to it.
\n
\nBreaking up Christmas: This is the hardest song out of all of them because of how fast it is but once again as a bassist, I\u2019m probably going to just play a drone","dateCreated":"1519930320","smartDate":"Mar 1, 2018","userCreated":{"username":"Purple_Panda222","url":"https:\/\/www.wikispaces.com\/user\/view\/Purple_Panda222","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97078175","body":"Peg and Awl: Melody seems pretty easy to learn and should overall be pretty easy to put together.
\nRainbow Sign: Similar to Peg and Awl which means it should also be easy to put together with the only major difference being that it's more scratchy.
\nGlory Be His Name: Pretty repetitive melody which should make it easy to put together once we get the melody down.
\nBreaking Up Christmas: Definitely the hardest of the four but mainly because it's fast so if we start slow and work our way up then it shouldn't be too difficult.","dateCreated":"1521901804","smartDate":"Mar 24, 2018","userCreated":{"username":"gorilla377","url":"https:\/\/www.wikispaces.com\/user\/view\/gorilla377","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97079001","body":"Peg and Awl: I really like this piece because we can really play out and i think i will be easy to learn
\nRainbow Sign: This song sound kind of similar to peg and awl the only difference is that it is a little bit scratchy
\nGlory by His Name: Seem pretty easy to learn because it sounds like the melody repeats itself for most of the song
\nBreaking up Christmas; Definitely sounds like one of the hardest songs out of the four because of the way it start and by the way it sounds like it ends","dateCreated":"1521915257","smartDate":"Mar 24, 2018","userCreated":{"username":"Moneymaker202","url":"https:\/\/www.wikispaces.com\/user\/view\/Moneymaker202","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97079003","body":"Peg and Awl: I really like this piece because we can really play out and i think i will be easy to learn
\nRainbow Sign: This song sound kind of similar to peg and awl the only difference is that it is a little bit scratchy
\nGlory by His Name: Seem pretty easy to learn because it sounds like the melody repeats itself for most of the song
\nBreaking up Christmas; Definitely sounds like one of the hardest songs out of the four because of the way it start and by the way it sounds like it ends","dateCreated":"1521915258","smartDate":"Mar 24, 2018","userCreated":{"username":"Moneymaker202","url":"https:\/\/www.wikispaces.com\/user\/view\/Moneymaker202","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"97104035","body":"peg and awl i liked it becouse it was fun to play and i could sing while playing it
\nrainbow sign this one was similar to peg and awl it was more scratchy on the recoding
\nglory by his name it is a repetitive melody which would help us to learn it better
\nbreaking up christmas was relay fast and difficult to play","dateCreated":"1522274764","smartDate":"Mar 28, 2018","userCreated":{"username":"goat56","url":"https:\/\/www.wikispaces.com\/user\/view\/goat56","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}}],"more":29}]},{"id":"83004163","dateCreated":"1516655628","smartDate":"Jan 22, 2018","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/83004163"},"dateDigested":1532644802,"startDate":null,"sharedType":"discussion","title":"Quarter 3 Post 1 (2017\/2018) - Tchaikovsky Serenade for Strings","description":"https:\/\/www.youtube.com\/watch?v=hYsCqwnoDCE<\/a>
\n
\nFrom the venerable Wikipedia: Tchaikovsky intended the first movement to be an imitation of Mozart's style, and it was based on the form of the classical sonatina, with a slow introduction.[2] The stirring 36-bar Andante introduction is marked "sempre marcatissimo" and littered with double-stopping in the violins and violas, forming towering chordal structures. This introduction is restated at the end of the movement, and then reappears, transformed, in the coda of the fourth movement, tying the entire work together.
\n
\nOn the second page of the score, Tchaikovsky wrote, "The larger number of players in the string orchestra, the more this shall be in accordance with the author's wishes."[1]
\n
\nRight now we are planning on cutting from A to H when we perform this. In this recording that means jumping from the 2:00 mark to 5:15. I don't mind if you do that when you listen, but really do pay close attention to the video as you listen.
\n
\nSpecifically, comment on:
\n
\n1) The composer's use of texture, harmony, and dynamics and how they vary from section to section. Specifically listen to the way that the main melody is paired with the 16th note soli sections between H and K (and\/or A and D).
\n
\n2) The performers use of bow (amount, weight, placement, etc) and the way in which they communicate.
\n
\n3) What specific challenges do we face in this piece and what can you do to address those challenges in your practice starting today?","replyPages":[{"page":0,"digests":[{"id":"96646543","body":"1.) the textures are really interesting because they seem to bubble up to the surface like a geyser, and as the melody of the piece becomes more prevalent, so too does the textures becoming more audible and adding greatly to the dynamic shifts in the piece. Not to mention that their dynamics are outstanding and that's something we really need to emphasize as they have.
\n
\n2.) when the mood of the piece is happier and more "skippy" they use much less bow and they keep light and simple with staccato and accents and textures of the piece. When the mood is more powerful and conveys emotions that are less lucid and explainable, the bowing is long and drawn out as much as possible.
\n
\n3.) The most difficult part of this piece is going to be playing it all together with the same amount of power and emotion as this orchestra has. Their dynamics work so well and the fact that it all sounds like one big beautiful sound really brings the whole piece together and if we can't come together in at least a similar way then I think it may not sound so great.","dateCreated":"1517366766","smartDate":"Jan 30, 2018","userCreated":{"username":"username978","url":"https:\/\/www.wikispaces.com\/user\/view\/username978","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96651123","body":"1. At H, the 16th note soli sections begin as transitions between phrases. They hide under the rest of the orchestra, and emerge in brief moments but never fully blossom. As the section pushes toward K, the 16th notes become a wave that gets passed around the orchestra from instrument to instrument. They're still not completely the center of attention of the piece, but they're growing in intensity and becoming more interwoven with the rest of the music. Finally, at K, the 16th notes take over as the full melody. Across the entire H-K section, the 16th notes transition from texture to melody.
\n
\n2. The entire orchestra is using super liberal amounts of bow. Even on quarter notes, they're taking advantage of the full length of the bow. They put lots of weight on their bow, but that doesn't interfere with how much bow they're able to use or the quality of their sound. Every member of the orchestra is communicating with other players throughout the song. They're always looking all over the place, at different people in different sections. They also communicate really effectively through their body language. They're able to convey emotion and tone, and control the flow of the piece by moving with the music. It helps that everyone is standing, and that they don't have music, but we can still use some body movement in our own playing to try to communicate with one another.
\n
\n3. Once notes and rhythms are locked in, I think the biggest challenge is cohesiveness. We want to be cohesive as an orchestra, meaning we want each section to be communicating with every other section and playing off of each other's energy. We also want the music to be cohesive. Each section in the music should connect with adjacent sections, and the whole song should have a flow and a story that unfolds as we play. We can specifically practice transitions and phrasing to improve the general cohesiveness of the piece.","dateCreated":"1517404226","smartDate":"Jan 31, 2018","userCreated":{"username":"samm3684","url":"https:\/\/www.wikispaces.com\/user\/view\/samm3684","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317251844\/samm3684-lg.jpg"}},{"id":"96659165","body":"1. At H when the cellos are playing the 16th notes it helps to give the section more of a dramatic and pushing feeling because if it was just the long notes it wouldn't be as dramatic. Then he plays with echoing the 16th notes in the different instruments at I and then they become the full melody.
\n2. Every player is playing in a very soloist style even the ones in the back, but even more the ones in the front because they are giving the cues with their bows and movements. Everyone is using the whole bow with all the hair to get a rich sound. When they have a down bow they let the phrase become quieter when appropriate.
\n3. There is a big intonation problem and it is very important its in tune because many of the harmonies are very exposed when not in tune. Also the tempo and not speeding up and slowing down when things get hard or easy. The phrasing is also a big component. The dynamics have to be spot on for the phrasing to come out. In practicing you should play slow and still play the dynamic written so that when you play it up to tempo the dynamics are still there. For note accuracy, playing slowly and anticipating the note (hear it in your head) before you play it helps a lot to get notes right on as well as playing the shifts when you're playing slowly so that you know where to drop the finger so that when you play it fast the finger you shift with is dropped in the right spot before you drop the finger you're supposed to play with.","dateCreated":"1517440275","smartDate":"Jan 31, 2018","userCreated":{"username":"luverofmusic","url":"https:\/\/www.wikispaces.com\/user\/view\/luverofmusic","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96670885","body":"1)The beginning it is more emotional, the piece sounds very flowing and smooth. The orchestra is in unison and you can really hear the harmonies. The piece has a dramatic tone. As they approach A you can hear the crescendo without it being too obvious, i really liked that about how they played, it seemed natural and not forced.
\n2) You can tell how the musicians are paying close attention to each other while they play. The whole time they are very synchronized and this makes the bowing use even more incredible. I recognize how they use less bow in fast parts and more bow in slower parts and plan to think about that more when i am playing.
\n3)While playing this piece i sometimes get distracted by the notes and stop paying attention to my bowing. Because i feel that the bowing in a big part of any piece but especially this one i will practice focusing on my bowing. I will be able to do this by first making sure all my fingering is correct. The fast parts are also sometimes a struggle for me, so i will practice those parts extra.","dateCreated":"1517522191","smartDate":"Feb 1, 2018","userCreated":{"username":"eenn121314","url":"https:\/\/www.wikispaces.com\/user\/view\/eenn121314","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96689207","body":"The Composer had a very loud, fairly slow majestic start in the beginning of the introduction. Then while keeping the pace and richness, he softened the dynamics. At A, they speed up and increase dynamics. At D (though not in counting pace), they speed up even more. At around E the first violin part goes crazy and stays crazy until H, where everything is more or less repeated.
\nThe players communicate the beat (which is even more necessary because they do not have a conductor) through their body movements. Their use of bow mostly stays around the middle. Their amount of bow use varies from large amounts when they are getting the long and loud sounds and less amounts of bow when the notes are faster paced. I think they use a fair amount of weight.
\nI see there being no significant difficulties through the intro part C. Before D, there are counting difficulties in the beginning and the both counting and note playing difficulties. When it gets to D, it is easier than before D. At E however, everything gets much more complicated note playing wise and possibly counting wise until H, where everything more or less repeats.","dateCreated":"1517630907","smartDate":"Feb 2, 2018","userCreated":{"username":"Violinist214","url":"https:\/\/www.wikispaces.com\/user\/view\/Violinist214","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96780737","body":"1.The start of it is more demonstrative of feelings, the piece Abounding and suave in its behavior. The orchestra is in agreement and you can hear the harmonies without a doubt. It has a breathtakingly emotional attitude. As they come nearer to section A you can detect the crescendo without it being too apparent, i absolutely liked that about how they performed, it seemed organic and not Strained
\n2. Each performer is playing in an awfully soloist-esque manner, even those in the back, but even more those in the front because they are cueing with their bows and motions. Everyone is utilizing the entire bow with all of the hair to get the fullest sound. possible.
\n3. Once notes and rhythms are good, I believe the greatest obstacle is unitedness (is that a word?). We want to be united as an orchestra, meaning we need each part to be corresponding with every other section and playing off of each other's spirit and vigor. We also need the music to be united. Each section in the music should attach with contiguous sections, and the full song should have a stream flows as we play. We can particularly practice conversions and diction to make the common unitedness of the piece better.","dateCreated":"1518405727","smartDate":"Feb 11, 2018","userCreated":{"username":"mistermickeyman","url":"https:\/\/www.wikispaces.com\/user\/view\/mistermickeyman","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96891461","body":"1. In the beginning of the piece the harmony is dominant played over by the melody to the point where the harmony is barely heard but despite that the piece still blends together well. The dynamics are put together well as you move from section to section.
\n2. The performers use of weight in there bows is very evident when they use a lot of weight to play louder and using less weight to play softer.
\n3. One big challenge is the section when the first and seconds are going back and forth playing the 16th note slurs. To practice that we can play it slow and build up speed the better we get at it","dateCreated":"1519664257","smartDate":"Feb 26, 2018","userCreated":{"username":"gorilla377","url":"https:\/\/www.wikispaces.com\/user\/view\/gorilla377","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96891463","body":"1. In the beginning of the piece the harmony is dominant played over by the melody to the point where the harmony is barely heard but despite that the piece still blends together well. The dynamics are put together well as you move from section to section.
\n2. The performers use of weight in there bows is very evident when they use a lot of weight to play louder and using less weight to play softer.
\n3. One big challenge is the section when the first and seconds are going back and forth playing the 16th note slurs. To practice that we can play it slow and build up speed the better we get at it","dateCreated":"1519664258","smartDate":"Feb 26, 2018","userCreated":{"username":"gorilla377","url":"https:\/\/www.wikispaces.com\/user\/view\/gorilla377","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96901223","body":"1. the parts blend together very well, creating a flowing texture. It makes me think of wind and weather, also in the way that it can go from very light, almost inaudible, to extremely strong and loud, a big part of this piece is the dynamic range between sections.
\n2. the performers are using all of their bodies to perform the bowing and therefore i believe can control their sound better, in the sense that if your thinking of something big and boisterous, you will use more body which will make more sound and vice versa.
\n3. the biggest issue for the entire orchestra i think will be intonation, that is because there will be long sweeping sounds that need to be played perfectly. for the bass section it is purely rhythms","dateCreated":"1519750970","smartDate":"Feb 27, 2018","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96919997","body":"1)The beginning the piece sounds very flowing and smooth and so was the body motions. The orchestra is in time with each other and you can really hear the harmonies incredibly clearly. You can clearly hear the dynamic change.
\n
\n
\n2) The whole time they are very synchronized which is very impressive. They used a lot less bow then we do for the faster notes and they use long fast bows for long notes.
\n
\n3) as a bassist playing this piece is very fun to play. I have a lot of trouble playing some of the jumps from low notes to high notes because it is such a major leap for a lot of the large jumps. which is something I can work on at home.","dateCreated":"1519930010","smartDate":"Mar 1, 2018","userCreated":{"username":"Purple_Panda222","url":"https:\/\/www.wikispaces.com\/user\/view\/Purple_Panda222","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96919999","body":"1)The beginning the piece sounds very flowing and smooth and so was the body motions. The orchestra is in time with each other and you can really hear the harmonies incredibly clearly. You can clearly hear the dynamic change.
\n
\n
\n2) The whole time they are very synchronized which is very impressive. They used a lot less bow then we do for the faster notes and they use long fast bows for long notes.
\n
\n3) as a bassist playing this piece is very fun to play. I have a lot of trouble playing some of the jumps from low notes to high notes because it is such a major leap for a lot of the large jumps. which is something I can work on at home.","dateCreated":"1519930011","smartDate":"Mar 1, 2018","userCreated":{"username":"Purple_Panda222","url":"https:\/\/www.wikispaces.com\/user\/view\/Purple_Panda222","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"96920001","body":"1)The beginning the piece sounds very flowing and smooth and so was the body motions. The orchestra is in time with each other and you can really hear the harmonies incredibly clearly. You can clearly hear the dynamic change.
\n
\n
\n2) The whole time they are very synchronized which is very impressive. They used a lot less bow then we do for the faster notes and they use long fast bows for long notes.
\n
\n3) as a bassist playing this piece is very fun to play. I have a lot of trouble playing some of the jumps from low notes to high notes because it is such a major leap for a lot of the large jumps. which is something I can work on at home.","dateCreated":"1519930012","smartDate":"Mar 1, 2018","userCreated":{"username":"Purple_Panda222","url":"https:\/\/www.wikispaces.com\/user\/view\/Purple_Panda222","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}}],"more":20}]},{"id":"82374265","dateCreated":"1508869822","smartDate":"Oct 24, 2017","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/82374265"},"dateDigested":1532644803,"startDate":null,"sharedType":"discussion","title":"Quarter 1 Post 2 (2017\/2018) - Bohemian Quartet Performance Review","description":"Please watch the video from our performance with the Bohemian Quartet. We will still be performing these pieces at various events throughout the year so we still have time to tighten them. For each of the four pieces in the video, please comment on at least two things you saw\/heard that went well, and at least two things that you feel we can improve. If possible, give some concrete suggestions for how we can achieve those improvements.
\n
\nhttps:\/\/www.youtube.com\/watch?v=BfOh0G9TECs<\/a>","replyPages":[{"page":0,"digests":[{"id":"95725287","body":"Sirba: We did a great job of staying together and keeping up with the tempo. Also, the articulation was really strong. However, our intonation was a little bit off at some points, and there were really no dynamics to be heard. Overall, though, this piece went well.
\nBriul: This one was one of the better ones that we played. The violins stayed together fairly well, and the intonation was way better than I expected to hear (hahaha). Also considering how fast this piece was, as an orchestra, we did do a great job staying together for the most part. On the other hand, the violins could definitely practice the tricky high notes that we jump to. We could also hear a little bit more from the bass section.
\nGeamparele: I would say that this one was the one that we need to work on the most because of the intonation, which was the thing that stood out to me the most. The notes from the violins were iffy and we could definitely use some practice, even with both the Violin 1's and 2's together. We could also do a better job of staying together.. However, we did do a great job keeping up with the speedy tempo and articulating.
\nTribal Dance: This piece was the strongest out of all of them. We did a great job of staying together, having the best intonation out of all of them, and playing out dynamics. The one thing that we could work on with this is having the violins playing out a bit more in the beginning. I really have no other critiques about this piece because I think it sounded awesome and it was my favorite.","dateCreated":"1509588464","smartDate":"Nov 1, 2017","userCreated":{"username":"allypal","url":"https:\/\/www.wikispaces.com\/user\/view\/allypal","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95732219","body":"Sirba: We sounded very good on this one. With the tempo, we sounded very together and not really behind. I think that because it was the first piece we learned we felt comfortable with it. we also all knew the notes and it was necessarily a stretch for us to play. If we could maybe balance out the different sections to really heard each part I believe it would improve.
\nBriul: This is the one although it was very fast, we held it together. when it got the second section, we sounded very together and locked into the beat. I was surprised by this one. I do not like this one that much because of how fast it goes but I would say that hearing it I was surprised at how well we held it together.
\nGeamparele: This one needs the most work. after working on it in class this week I believe we have worked out the trouble spots. if we all stay in line with each other and remember not to speed on the chords we should be able to pull it off. if we listen to our separate section and then, in turn, listen to the rest of the ensemble we can stay together really nicely.
\nTribal Dances: This was the best hands down. I think it was because we all enjoyed playing it that it sounded so good. when we were playing it as well, we all felt really confident in our parts and where they fit with the rest of the ensemble. I remember Stan said that we should have fun with this one and even the stomp stomp at the end was something that we were not used to. so to be able to play something out of our normal zone and to have fun with it was really what brought these pieces together.","dateCreated":"1509631099","smartDate":"Nov 2, 2017","userCreated":{"username":"twizlers24","url":"https:\/\/www.wikispaces.com\/user\/view\/twizlers24","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95739705","body":"
\nSirba:
\nThink the balance between the melody and the accompaniment was good on this one. The chopping was in time, and Overall the intonation was good.
\nIn the slower part, the intonation should be worked on particularly in the melody. We should also work on staying together, and making it cleaner. (sometimes the parts started to run together.)
\n
\nBriul:
\nThe intonation was good in the first part. And we did a nice job staying together in the first part.
\nDuring the second part, we need to work on staying together as a whole. We should also work on playing the whole second half of briul more in tune.
\n
\nGeamparele:
\nIn Geamparele we well with the rhythm of the chords before the melody came in, and stayed together. Though some things were off, we never went completely off the rails. Overall this was the piece that needs the most work on intonation. We should focus specifically on the intonation of the double stops in the beginning, and melody overall. It also seemed like we were not together after everyone came in, and some were slightly behind or ahead.
\n
\nTribal Dances:
\nWe did a good job staying together throughout the whole thing. This was the one that seemed overall the most in tune.
\nWe could work on on the part where we speed up on still staying together.","dateCreated":"1509652619","smartDate":"Nov 2, 2017","userCreated":{"username":"YellowSunflower","url":"https:\/\/www.wikispaces.com\/user\/view\/YellowSunflower","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95739707","body":"
\nSirba:
\nThink the balance between the melody and the accompaniment was good on this one. The chopping was in time, and Overall the intonation was good.
\nIn the slower part, the intonation should be worked on particularly in the melody. We should also work on staying together, and making it cleaner. (sometimes the parts started to run together.)
\n
\nBriul:
\nThe intonation was good in the first part. And we did a nice job staying together in the first part.
\nDuring the second part, we need to work on staying together as a whole. We should also work on playing the whole second half of briul more in tune.
\n
\nGeamparele:
\nIn Geamparele we well with the rhythm of the chords before the melody came in, and stayed together. Though some things were off, we never went completely off the rails. Overall this was the piece that needs the most work on intonation. We should focus specifically on the intonation of the double stops in the beginning, and melody overall. It also seemed like we were not together after everyone came in, and some were slightly behind or ahead.
\n
\nTribal Dances:
\nWe did a good job staying together throughout the whole thing. This was the one that seemed overall the most in tune.
\nWe could work on on the part where we speed up on still staying together.","dateCreated":"1509652622","smartDate":"Nov 2, 2017","userCreated":{"username":"YellowSunflower","url":"https:\/\/www.wikispaces.com\/user\/view\/YellowSunflower","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95744079","body":"Sirba- I think we could improve the contrast section to section the overall vibe doesn't change at all throughout. This is probably due to the same dynamics being played. Aside from that the Sirba is quite good especially in regards to staying together.
\nBriul- The melody was surprisingly tight at the beginning but by the end the speeding up and new section wrecked that strong togetherness. It also seemed like by that point many of us were no longer playing. We should try to fix this by taking the tempo slower and working up to a faster speed so when we play it at tempo it feels comfortable. All in all though this one sounded quite good in comparison to the others.
\nGeamparele- This went quite well until the high section. The intonation needs some tweaking in the upper strings during that portion other than that we sounded great. We also did a good job not slowing down and staying together.
\nTribal Dance- This was fantastic it sounds in tune, together and we did a great job accentuating the different sections. I think it really shows through in this one especially that we were having fun.","dateCreated":"1509669064","smartDate":"Nov 2, 2017","userCreated":{"username":"happy-hippo","url":"https:\/\/www.wikispaces.com\/user\/view\/happy-hippo","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1383342240\/happy-hippo-lg.jpg"}},{"id":"95744145","body":"Sirba: The dynamics between the melody and accompaniment seemed well leveled to one another, balanced. Once to the slower part of the piece the melody became a little off. The intonation was a bit rough. We should work on locking into the rhythm together so that we don't go flying off the radar.
\nBriul: The second half was a bit out of tune and there was a difference in rhythm, but we can work on that. The first part was pretty together and in tune. Overall it sounded good.
\nGeamparele: This one i think is the one we need to work on the most. The melody and accompaniment kinda ran away from each other at some point and the intonation was off in the melody. You could definitely hear the different sections when they had their little solos and that was good. Though things weren't together it didn't fall completely apart.
\nTribal Dances: This one was the best and i really liked the energy that it brought. We stayed together and we were pretty in tune. We should work on the part when we as a group seed up and work on staying together. I feel like we did run away from each other but then ended catching up.","dateCreated":"1509669371","smartDate":"Nov 2, 2017","userCreated":{"username":"owlgirl1234","url":"https:\/\/www.wikispaces.com\/user\/view\/owlgirl1234","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95744783","body":"Sirba: The rhythms where very together for the most part and our notes were short and long in the right spots. Our intonation got a little of towards the end and we got a little off from each other. To fix this we just need to make sure each note is in tune and breath on each entrance to make sure we stay together
\nBriul: Surprisingly the rhythm at the beginning sounded pretty good. Also, the second part of the song sounded rhythmically together and very clean. While the beginning rhythm was pretty good I feel like a lot of us were skipping a lot of notes in between the downbeats which isn't a huge problem but working on them would make the piece sound even better. Also, we don't have much\/any dynamic contrast it all just sounds forte so that is another thing that we should look at.
\nGeamparele: We did a good lob of doing a fast bow on the first beat of each measure during that certain rhythm. Also, we did a pretty good job of staying in tempo even when it shifted up. This one did sound kind of like it was falling apart the whole time. The melody and harmony didn't quite line up right. Again, we didn't have much dynamic contrast in this one.
\nTribal Dances: Within each section the parts were very together and each part fit in nicely with the others. In the parts where we were unison it also worked very well and we stayed together. We stayed very rhythmic where it was supposed to be which created a nice effect. Our transitions could be a little cleaner. It sounded a bit like we kind of paused and had to reset in between each section. Also, part way down the second page we needed to do more of the fast bows on the down beats.","dateCreated":"1509672818","smartDate":"Nov 2, 2017","userCreated":{"username":"violagirl","url":"https:\/\/www.wikispaces.com\/user\/view\/violagirl","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1370562215\/violagirl-lg.jpg"}},{"id":"95745341","body":"we did an alright job staying together, but the intonation was atrocious (especially in the first song) and it really didn't sound great with all of those incorrect notes. In addition, I feel like we can improve on the fluctuation of the amount of sound. It sounded a lot like there was a single volume the entire time and there wasn't much change in that which can really give depth to music. Working on the volume of the piece would be helpful, secondary only to the intonation. The volume of Tribal Dances at the end wasn't quite that bad in terms of volume. and even though there wasn't much change in the volume, we had no trouble staying loud and projecting really well, which seems to be a problem, especially with softer pieces.","dateCreated":"1509677917","smartDate":"Nov 2, 2017","userCreated":{"username":"username978","url":"https:\/\/www.wikispaces.com\/user\/view\/username978","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95759905","body":"sirba; this piece sounded really good overall. majority of the notes sounded in tune , with the exception of a few very high notes, we also stayed together rhythmically. One thing to improve is articulation.
\nbriul when listening to this piece i could hear the articulation and how together we where. i think that The worst part of the piece was the last section. the pace sounded put together.
\nGeamparele: sounded pretty good as well. But something was alit off. The melody and harmony didn't quite line up and in some places the rhythm was not on beat perfectly. I believe that we did a good job keeping up with the tempo.
\ntribal dance; this one was the strongest and most together. on this piece i could hear the dynamics","dateCreated":"1509747637","smartDate":"Nov 3, 2017","userCreated":{"username":"eenn121314","url":"https:\/\/www.wikispaces.com\/user\/view\/eenn121314","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95759907","body":"sirba; this piece sounded really good overall. majority of the notes sounded in tune , with the exception of a few very high notes, we also stayed together rhythmically. One thing to improve is articulation.
\nbriul when listening to this piece i could hear the articulation and how together we where. i think that The worst part of the piece was the last section. the pace sounded put together.
\nGeamparele: sounded pretty good as well. But something was alit off. The melody and harmony didn't quite line up and in some places the rhythm was not on beat perfectly. I believe that we did a good job keeping up with the tempo.
\ntribal dance; this one was the strongest and most together. on this piece i could hear the dynamics","dateCreated":"1509747639","smartDate":"Nov 3, 2017","userCreated":{"username":"eenn121314","url":"https:\/\/www.wikispaces.com\/user\/view\/eenn121314","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95775403","body":"We had some issues with intonation and also staying together. I found that Tribal dance was easily our best piece. We were completely on time and it sounded very good overall. Briul was also very good considering the amount of problems we had with timing and togetherness. Sirba, being our best sounding piece in class (my opinion) wasn't as good as I had expected it to be. Geamparele ... I don't even know....","dateCreated":"1509843858","smartDate":"Nov 4, 2017","userCreated":{"username":"_DOGE_","url":"https:\/\/www.wikispaces.com\/user\/view\/_DOGE_","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1477424647\/_DOGE_-lg.jpg"}},{"id":"95782345","body":"Serbia: Overall the contrast of all the different parts was balanced well, but it was a little heavy on the violins. The intention was mostly good. One thing I did notice, was there was not too much contrast in dynamic. I think to improve this piece, we could work on making the notes a little cleaner, and more precise. Briul: The intonation was mostly good in the first half, but could be improved in the second. When we started playing faster near the end of the piece it stared to fall a part a little bit. It seemed like only a couple of people were actually playing all the notes. this made it muddy. Working on hitting all the notes would bring the piece together. This piece also did not have to change in dynamic. Geamparele: This piece sounded pretty good. Intonation in this piece could definitely be worked on. We stayed together for most of the piece, but there were some places where the different sections didn't line up exactly. There seemed to be couple different speeds at one point. This is probably the hardest one, but also the most interesting, and it would sound awesome if we polished it a little more. Tribal Dance: This was the most together and most enthusiastic. Our intention was fairly good, and we had dynamics. The only thing that stood out to me was the part where we speed up. It got a little sloppy.","dateCreated":"1509893964","smartDate":"Nov 5, 2017","userCreated":{"username":"cacddancer","url":"https:\/\/www.wikispaces.com\/user\/view\/cacddancer","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}}],"more":20}]},{"id":"82033679","dateCreated":"1505405856","smartDate":"Sep 14, 2017","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/82033679"},"dateDigested":1532644803,"startDate":null,"sharedType":"discussion","title":"Quarter 1 Post 1 (2017\/2018) - Tribal Dance by Bohemian Quartet","description":"
\nOur workshop with the Bohemian Quartet is very soon! They will be with us on Oct 10 and 11 and we are performing Tribal Dance, Sirba, Briul, and Geamparele with them on the 11th at the Shalin Liu Center. It's time to hunker down and learn those parts. Here is a recording of Tribal Dance (does the setting look familiar?):
\n
\nhttps:\/\/www.youtube.com\/watch?v=XW57Z6vxhvo<\/a>
\n
\nAnd here is a recording of the Sirba (sarba), Briul, and Geamparele:
\n
\nhttps:\/\/www.youtube.com\/watch?v=9nCAgcehC1I<\/a>
\n
\nPlease listen and follow in your parts. Get a sense for the textures, the lengths of notes, the arcs of the melodies, the balance between melody and harmony, etc.
\n
\nWhat do you hear that will be particularly challenging for you? How can you overcome those challenges? Did you hear anything in these recordings that surprised you?","replyPages":[{"page":0,"digests":[{"id":"95220839","body":"for both of these pieces the most difficult part for me is counting. Because the cellos as a section are playing alot of the same note i can get distracted and lose my place and then be off when we have to change notes. i will work on making sure that i am counting where i am and counting the rhythm at the same time. in these recordings i really liked how together everyone was within their section, i think that really helped everyone stay together as a whole group especially in a piece with different things all happening at once.","dateCreated":"1506564809","smartDate":"Sep 27, 2017","userCreated":{"username":"eenn121314","url":"https:\/\/www.wikispaces.com\/user\/view\/eenn121314","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95235729","body":"As a whole ensemble, part of the challenge of these pieces will be staying together both in our sections and as a whole orchestra and counting correctly. We will also have to focus on correct intonation.
\nOne challenging aspect in these pieces for me will be Making sure the double stops are in tune. I will practice this by slowly practicing them and making sure they are in tune and then speeding them up with a metronome. I will also play close attention to the transitions and shifting from one to another. Another challenge will be switching tempos and time signatures. To help with this I will listen to the pieces a lot so I know them really well. That way, I will know the sounds in other parts as well as my own, and even If I get lost following the music, I can find my place again. I will also practice counting correctly with a metronome, especially in the parts with seven eight.
\nI found it not necessarily surprising, but interesting how in the recordings of the string quartet there were many different details and ways each part was personalized in ways that were not written in the music. It will be fun to personalize these pieces ourselves.","dateCreated":"1506638632","smartDate":"Sep 28, 2017","userCreated":{"username":"YellowSunflower","url":"https:\/\/www.wikispaces.com\/user\/view\/YellowSunflower","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95249735","body":"The most challenging thing in these pieces for me will be to keep up with the tempo and time signature, especially when the tempo gets faster with each repeat at the end of the piece. Getting the trills timed perfectly will be a challenge as well. For the orchestra, staying together will be a general challenge, but with practice and listening to the pieces, that will not be an issue.
\n
\nReally overall I was surprised of how fast the pieces go, and it will need a lot of practice to be able to keep up with the challenging counting of other parts. However, I think that we will be successful by always being aware and listening to each other no matter what- these pieces are a lot of fun, and I think we can do awesome things with them!!","dateCreated":"1506711291","smartDate":"Sep 29, 2017","userCreated":{"username":"allypal","url":"https:\/\/www.wikispaces.com\/user\/view\/allypal","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95264851","body":"as a group we need to work on staying together and understanding and follow the tempo. all three pieces can be tricky in that respect. i think listening to the parts and understanding the rhythms and tempos will help. the third challenge is to understand the way these pieces are meant to be played. this can be done by listening and understanding the music of this culture.","dateCreated":"1506896672","smartDate":"Oct 1, 2017","userCreated":{"username":"orchestradude","url":"https:\/\/www.wikispaces.com\/user\/view\/orchestradude","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95388015","body":"I think the most troubling part for the orchestra will be dealing with the strange time sig. and the way the songs tend to speed up. The bass lines are all fairly easy and all the bass section really needs to do is keep in time and make sure everyone else sticks to the same pattern. There is also a disconnect between how the piece should sound versus how it does sound, there is a dynamic we are missing","dateCreated":"1507602578","smartDate":"Oct 9, 2017","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95388017","body":"I think the most troubling part for the orchestra will be dealing with the strange time sig. and the way the songs tend to speed up. The bass lines are all fairly easy and all the bass section really needs to do is keep in time and make sure everyone else sticks to the same pattern. There is also a disconnect between how the piece should sound versus how it does sound, there is a dynamic we are missing","dateCreated":"1507602586","smartDate":"Oct 9, 2017","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95388019","body":"I think the most troubling part for the orchestra will be dealing with the strange time sig. and the way the songs tend to speed up. The bass lines are all fairly easy and all the bass section really needs to do is keep in time and make sure everyone else sticks to the same pattern. There is also a disconnect between how the piece should sound versus how it does sound, there is a dynamic we are missing","dateCreated":"1507602587","smartDate":"Oct 9, 2017","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95403949","body":"I think the most challenging part for me will be going fast (specifically Bruil) since stan wants us doing it at a fast speed. To over come this obstacle I can practice the songs slow and gradually work my way up to a faster speed. The most surprising thing to me in the recordings was hoe fast they played Bruil.","dateCreated":"1507674943","smartDate":"Oct 10, 2017","userCreated":{"username":"gorilla377","url":"https:\/\/www.wikispaces.com\/user\/view\/gorilla377","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95510233","body":"one of the challenging parts for me was the really fast part of at the end of briul and learning how to play it fast and accurately. sirba went well for me after a good amount of practicing i learned the highest notes and how to play them a curtly at speed. geamparele went really well again the high and fast notes were changeling but doible. treble dances were playable but it got hard after it started to speed up more.","dateCreated":"1508340269","smartDate":"Oct 18, 2017","userCreated":{"username":"goat56","url":"https:\/\/www.wikispaces.com\/user\/view\/goat56","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95510235","body":"one of the challenging parts for me was the really fast part of at the end of briul and learning how to play it fast and accurately. sirba went well for me after a good amount of practicing i learned the highest notes and how to play them a curtly at speed. geamparele went really well again the high and fast notes were changeling but doible. treble dances were playable but it got hard after it started to speed up more.","dateCreated":"1508340271","smartDate":"Oct 18, 2017","userCreated":{"username":"goat56","url":"https:\/\/www.wikispaces.com\/user\/view\/goat56","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95724581","body":"the challenging parts for me will be all of briul just because of how fast it is, the beginning part of sirba because of how fast it is and the end part of geamparelle because I'm real bad at anything other than 1st position if i have to shift quickly. in tribal dance e the hard part will be some of the rhythms in the middle","dateCreated":"1509584910","smartDate":"Nov 1, 2017","userCreated":{"username":"mistermickeyman","url":"https:\/\/www.wikispaces.com\/user\/view\/mistermickeyman","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"95725387","body":"I believe that the bass section should work on having their notes being more pizzicato (separated). Another think that I think could have been improved upon is the intonation of the first violins, especially during Sirba and Tribal Dances. They didn't seem to all have the same note which sounded slightly off. It got very complicated during Tribal Dances because it seemed to go on forever.","dateCreated":"1509588969","smartDate":"Nov 1, 2017","userCreated":{"username":"Purple_Panda222","url":"https:\/\/www.wikispaces.com\/user\/view\/Purple_Panda222","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}}],"more":25}]},{"id":"81539773","dateCreated":"1496342466","smartDate":"Jun 1, 2017","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/81539773"},"dateDigested":1532644803,"startDate":null,"sharedType":"discussion","title":"Quarter 4 Post 2 (2016\/2017) - Repertoire for next year","description":"Please listen to each of these pieces while looking at the score (links for each included). Respond with some of your feedback (specific things you like or don't like about different pieces, or reasons you think one piece or another is a good choice for our ensemble or a poor choice). And then click on the survey link at the bottom and rank the pieces in order of preference.
\n
\nTchaikovsky Serenade for Strings - Mvt I (9:30):
\nRecording-
\nhttps:\/\/www.youtube.com\/watch?v=hYsCqwnoDCE<\/a>
\nScore-
\nhttp:\/\/ks.imslp.info\/files\/imglnks\/usimg\/6\/64\/IMSLP380582-PMLP04623-SerenadeOp48jur.pdf<\/a>
\n
\n"Aase's Death" from Peer Gynt Suite by Edvard Grieg (4 min):
\nRecording -
\nhttps:\/\/www.youtube.com\/watch?v=ATBwxG20Umc<\/a>
\nScore -
\nhttp:\/\/ks.imslp.info\/files\/imglnks\/usimg\/5\/5c\/IMSLP02015-Grieg_-_Peer_Gynt_Suite_No.1-2<\/a>Op.46-2<\/u>Full_Score_.pdf
\n
\n"Anitra's Dance" from Peer Gynt Suite (3:30):
\nRecording-
\nhttps:\/\/www.youtube.com\/watch?v=gcEnSITNaGM<\/a>
\nScore -
\nhttp:\/\/ks.imslp.info\/files\/imglnks\/usimg\/e\/e2\/IMSLP02016-Grieg_-_Peer_Gynt_Suite_No.1-3<\/a>Op.46-3<\/u>Full_Score_.pdf
\n
\nMendelssohn String Symphony No. 12 (23 min):
\nRecording -
\nhttps:\/\/www.youtube.com\/watch?v=LdPcIF0nZt0&t=682s<\/a>
\nScore -
\nhttp:\/\/ks.imslp.info\/files\/imglnks\/usimg\/d\/d3\/IMSLP101483-PMLP208063-Mendelssohn<\/a>Felix_-_Sinfonia_for_String_no._12_in_G_minor_MWV_N_12.pdf
\n
\nMendelssohn String Symphony No 10 (13 min):
\nRecording -
\nhttps:\/\/www.youtube.com\/watch?v=UkfhBVAUTWo<\/a>
\nScore -
\nhttp:\/\/ks.imslp.info\/files\/imglnks\/usimg\/e\/ec\/IMSLP101480-PMLP208055-Mendelssohn<\/a><\/u>Felix_-_Sinfonia_for_String_no._10_in_B_minor_MWV_N_10.pdf
\n
\nMendelssohn String Symphony No 3 (8 min):
\nRecording -
\nhttps:\/\/www.youtube.com\/watch?v=9JS9A34HQLA<\/a>
\nScore -
\nhttp:\/\/ks.imslp.info\/files\/imglnks\/usimg\/4\/43\/IMSLP101020-PMLP207273-Mendelssohn<\/a>__Felix_-_Sinfonia_for_String_no._03_in_E_minor_MWV_N_3.pdf
\n
\nSerenade for Strings by Josef Suk (24 min):
\nRecording with Score embedded:
\nhttps:\/\/www.youtube.com\/watch?v=WtEQsOSVkbM<\/a>
\n
\nOther suggestions?
\n
\nSurvey Link:
\n
\nhttps:\/\/www.surveymonkey.com\/r\/3BKVG5W<\/a>","replyPages":[{"page":0,"digests":[{"id":"94529691","body":"I really like seranade for strings a lot. It will be challenging at first, but once we put in the effort and time, we can do it. I think that if we play it, we can make it sound very beautiful and keep up the recognition we have as an ensamble.
\n
\nAases Death is also a very beautifully composed piece. I like how it sounds, and we could make it sound very lovely. It is on the easier side, and we could do it at our winter concert along with Anitra's Dance.
\n
\nI think next year will be really awesome if we all put in the time and effort to make sure we all know our parts. I am looking forward to next year!!","dateCreated":"1497287444","smartDate":"Jun 12, 2017","userCreated":{"username":"allypal","url":"https:\/\/www.wikispaces.com\/user\/view\/allypal","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94531787","body":"I love the Peer Gynt suit and I think we could do a wonderful rendition of Aase's Death as ell as juxtapose it with Anitra's Dance. Aase's Death is very soft and moving and my favorite by far. I think its pairing with Anitra's Death would be a good set because though both pieces by Edvard Grieg are from the same suit they would showcase very different skills and capabilities of our orchestra.","dateCreated":"1497302234","smartDate":"Jun 12, 2017","userCreated":{"username":"happy-hippo","url":"https:\/\/www.wikispaces.com\/user\/view\/happy-hippo","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1383342240\/happy-hippo-lg.jpg"}},{"id":"94531789","body":"I love the Peer Gynt suit and I think we could do a wonderful rendition of Aase's Death as ell as juxtapose it with Anitra's Dance. Aase's Death is very soft and moving and my favorite by far. I think its pairing with Anitra's Death would be a good set because though both pieces by Edvard Grieg are from the same suit they would showcase very different skills and capabilities of our orchestra.","dateCreated":"1497302235","smartDate":"Jun 12, 2017","userCreated":{"username":"happy-hippo","url":"https:\/\/www.wikispaces.com\/user\/view\/happy-hippo","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1383342240\/happy-hippo-lg.jpg"}},{"id":"94536019","body":"One of my top favorites was definitely ases death. I get chills when I listen to it. It's powerful but not in a davorjak style way. It sounds like a very fun piece to play. But with fun comes challenge. I also think it would be a challenging piece. Although, that makes it fun.","dateCreated":"1497348363","smartDate":"Jun 13, 2017","userCreated":{"username":"peachybubbles200","url":"https:\/\/www.wikispaces.com\/user\/view\/peachybubbles200","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94540257","body":"My favorite was Aase's Death from Peer Gynt Suit. It's a very beautiful piece and I think it is a very good one for all of us to play. My second choice would be Anitra's Dance.","dateCreated":"1497375590","smartDate":"Jun 13, 2017","userCreated":{"username":"_DOGE_","url":"https:\/\/www.wikispaces.com\/user\/view\/_DOGE_","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1477424647\/_DOGE_-lg.jpg"}},{"id":"94540259","body":"My favorite was Aase's Death from Peer Gynt Suit. It's a very beautiful piece and I think it is a very good one for all of us to play. My second choice would be Anitra's Dance.","dateCreated":"1497375593","smartDate":"Jun 13, 2017","userCreated":{"username":"_DOGE_","url":"https:\/\/www.wikispaces.com\/user\/view\/_DOGE_","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1477424647\/_DOGE_-lg.jpg"}},{"id":"94541663","body":"My personal favorite was the Tchaikovsky. This is because, if we are able to play as powerfully as the people in that orchestra do, we will be able to create something magical. The piece itself was absolutely mind-blowing in the respect that each of the parts connect and come together as a gorgeous series of sounds that are beautiful and absolutely alluring to both mind and soul. This movement is the true definition of music with its overflowing passion and intricate sections and parts. This is why this is my favorite piece out of the selections given.
\n
\n(P.S. I apologize this is late. I was not aware of the date this was due, as it was not written on the board nor mentioned in class as far as I am aware.)","dateCreated":"1497384590","smartDate":"Jun 13, 2017","userCreated":{"username":"WhiteNinja1","url":"https:\/\/www.wikispaces.com\/user\/view\/WhiteNinja1","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1443979164\/WhiteNinja1-lg.jpg"}},{"id":"94542157","body":"My favorite piece was the Tchaikovsky, as it possesses quite a bit of power and complexity, and though it would be more of a challenge, I think it would be worth it to push the orchestra to perform such a multilayered piece . My second choice would be Anitra's dance, since it would not be quite as challenging, but still very enjoyable to play.","dateCreated":"1497388767","smartDate":"Jun 13, 2017","userCreated":{"username":"StringBean7625","url":"https:\/\/www.wikispaces.com\/user\/view\/StringBean7625","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94542245","body":"My favorites are Anitra's dance because it was light and happy and sounded like a fun piece to play in general, I also liked the Josef Suk Piece because it was very slow beautiful and I think it would be a very good piece because I think our orchestra would pla it well.","dateCreated":"1497389959","smartDate":"Jun 13, 2017","userCreated":{"username":"Redsox1227","url":"https:\/\/www.wikispaces.com\/user\/view\/Redsox1227","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94542845","body":"my favorite is Tchaikovsky Serenade because it is very relaxing second would be Serenade for Strings by Josef Suk because I like how it sounds and I think it would be fun to play I also like Anitra's Dance because I gust like the recurring line","dateCreated":"1497395709","smartDate":"Jun 13, 2017","userCreated":{"username":"goat56","url":"https:\/\/www.wikispaces.com\/user\/view\/goat56","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94547691","body":"I really like serenade for strings by Suk because it had many different moods within one piece. I also like Anitra's dance and Aase's death. They so different from each other but would work wonderfully together. Finally, I like the peer Gynt suite because its just so beautiful and I would love to do two movements just orchestra and the other two with the band.","dateCreated":"1497453614","smartDate":"Jun 14, 2017","userCreated":{"username":"violagirl","url":"https:\/\/www.wikispaces.com\/user\/view\/violagirl","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1370562215\/violagirl-lg.jpg"}},{"id":"94558083","body":"My favorite has to be Anita's Dance because it is very happy and seems very uplifting to play. Plus a guaranteed bonus is that it's mainly quarter notes and pits for us bass's, which is, even more fun to play on bass! However, I really enjoy the Tchaikovsky, as it carries a lot of complex sections and seems like a piece that would challenge us to listen to others a lot more and increase that skill. Another piece we should check out is Hungarian Rhapsody No.2 (But it would have to be symphony band)","dateCreated":"1497553003","smartDate":"Jun 15, 2017","userCreated":{"username":"roscoboy1964","url":"https:\/\/www.wikispaces.com\/user\/view\/roscoboy1964","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1386198048\/roscoboy1964-lg.jpg"}}],"more":22}]},{"id":"81381585","dateCreated":"1494543807","smartDate":"May 11, 2017","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/81381585"},"dateDigested":1532644803,"startDate":null,"sharedType":"discussion","title":"Quarter 4 Post 1 (2016\/2017) - Dvorak Mvts 1, 2, 4","description":"Hello Everyone,
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\nThe more you can listen to the Dvorak New World Symphony between now and the 23rd, the better. Put it in your playlists, stream it, get it on vinyl, find the 8-track tapes, hum it, youtube it, sleep with it on, study it, absorb it, practice it.
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\nHere are links to each of the three movements we are playing. Between now and Monday May 15 (when we are doing a full runthrough), make sure to listen to each movement all the way through while following along in your own parts. Do this with a pencil and make (non-distracting) notes in your music about other things that you hear in the orchestra, or the mood of the music in different places, or other notes that you think will help you to play accurately. Please respond to this post and mention at least three things from each movement that you felt worthwhile to add to your own parts.
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\nWe need to do this work, in particular, with the 2nd movement. The string parts are so sparse and slow throughout much of this that it can be hard to know how your parts fit in with the rest of the orchestra. The recording below is pretty sublime, and the conductor is in a state of controlled bliss for most of it. I hope you enjoy it.
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\nMovement I:
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\nhttps:\/\/www.youtube.com\/watch?v=hWrFVjKKo-U<\/a>
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\nMovement II (up until 5:20):
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\nhttps:\/\/www.youtube.com\/watch?v=0PlQvUATFuY<\/a>
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\nMovement IV:
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\nhttps:\/\/www.youtube.com\/watch?v=vHqtJH2f1Yk<\/a>","replyPages":[{"page":0,"digests":[{"id":"94350725","body":"Movement 1: Watch for sfortsandos, flutes play melody at 5, and sax solo at start
\nMovement 2: Very soft, keep eyes on conductor, and don't get too loud on crescendos
\nMovement 4: slow down at 4, cellos have melody at tempo change 13 after 9","dateCreated":"1495656152","smartDate":"May 24, 2017","userCreated":{"username":"gorilla377","url":"https:\/\/www.wikispaces.com\/user\/view\/gorilla377","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94353223","body":"Movement 1: The beginning is so delicate and fragile, we must work to stay in tune as well as keep the dynamic without sacrificing tone quality. The melody gets passed between the strings and the winds. When the strings com back in it is such a contrast to the very start of the piece we need to emphasize the change in tone. Cello's back up melody being passed between the sections at the bottom of the first page, then take the melody. a little after 7 the theme gets mixed with another idea and gets distorted more overtime it is played. At 11 the cellos give the melody an easier time with keeping up with rhythms by playing 8th notes.
\nMovement 2: Open with a mysterious pulsating solo from horns. Wind instrument plays melody after and sting back up with long tones. Strings get melody that repeats ending phrase out. Strings then highlight points of the melody when they begin to accompany it again.
\nMovement 4: Open with a strong unison declaration. That goes into a rhythmically clashing run into the first instance of melody. wind gets melody and cellos and comments. comments then become part of new melody. Backup sets up melody for next section which is passed around quickly between sections. Later an idea from the first movement gets brought back, with ornaments from strings, that turn into hammering reminders that this is from before. Backup the cellos had comes back after as melody which fades into a background again. Near the end it focuses and expands on the main idea from the first movement and finishes strong with a triumphant reiteration.","dateCreated":"1495672133","smartDate":"May 24, 2017","userCreated":{"username":"mellowcello","url":"https:\/\/www.wikispaces.com\/user\/view\/mellowcello","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94354125","body":"Movement 1: At the start of the piece, it is important to note where the horn, and later flutes, come in. When the strings come back in at measure 9, we have to be very forceful to create the desired level of intensity. Another important dynamic to pay attention to is at the end of rehearsal 5, going into the second ending in 6. This crescendo must be kept energetic, and once we reach the sforzando, we have to create that emphasis, as well as pay attention to the other sforzandi of this movement. Overall, we need to create the both soft and aggressive nature of this movement to bring it to life.
\nMovement 2: As this is a slower movement, it is extremely important to count, as well as watch mr. covelli to make sure we are following properly. It's also important to remain quiet throughout the movement, in order to let the other instruments shine. There was also an issue of being in tune, and considering we are the faint background of this movement, we have to make sure we compliment the other instruments properly by doing so.
\nMovement 4: This movement is pretty much all about intensity, and so when needed, we must make sure to watch the conductor to ensure our playing remains on time and articulate when needed. Towards the end, we need to bring a sense of dramatic finality, starting with the final iteration of the main theme and building up to the final 5 measures, making sure to stay one unit for these final notes.","dateCreated":"1495679494","smartDate":"May 24, 2017","userCreated":{"username":"StringBean7625","url":"https:\/\/www.wikispaces.com\/user\/view\/StringBean7625","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94365355","body":"In movement 1 the the strings first come in it is really important to come in with intent and all together. This makes it powerful and strong. The contrast between the horns and the strings should be sharp. throughout most of the first half when the strings come in they are loud and controlling this should to be carried out through out. In movement 2 the strings role in this movement is very different from movement 1 and we should be more understated especially when we first enter. i marked in my part to pay attention to the dynamics in section number 2 and 3 because they are tricky but important. In movement 4 unlike the other movements this one is started out by the strings. this moment is strong and power from the very beginning. i marked in my part to be strong and play with intent. if we play this movement together and are strong and confident in our parts it will be very powerful. as this movement goes on it gets lighter and power playing needs to match the mood. there are times where there are very quick mood changes and i marked that there had to be large differences.","dateCreated":"1495744604","smartDate":"May 25, 2017","userCreated":{"username":"celloman4","url":"https:\/\/www.wikispaces.com\/user\/view\/celloman4","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1290132184\/celloman4-lg.jpg"}},{"id":"94430475","body":"Movement 1: It is important to maintain good intonation, especially at the very beginning, because that sets the stage for the rest of the piece in the audience's eyes. It also needs to be strong so that we can keep the right intensity that is intended. Dynamics is another important factor to pay close attention to in this section.
\nMovement 2: Dynamics are also a key factor in this movement as well. Even the slightest differences from p to ppp make a big difference to the mood. Counting is HUGE in this piece because it is much slower than we are accustomed to as opposed to the other movements. To help with counting, watching the conductor (especially when you have the same note for a few measures) would do much good. Though the intense energy is gone in this movement, we should focus on a different, more hopeful energy.
\nMovement 4: Like movement 1, must be played very intensely and with confidence. The chromatic scale (in the violin part) is one of the hardest parts of the whole piece so that is an essential practice point. The main theme comes back towards the end, and that should be one of the strongest focal points. confidence is key in this movement!!!","dateCreated":"1496369751","smartDate":"Jun 1, 2017","userCreated":{"username":"pisces15","url":"https:\/\/www.wikispaces.com\/user\/view\/pisces15","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94431873","body":"Movement 1: In the first moments of the first movement, both sections of the band and orchestra need to be aware of their dynamics and intonation to really set the stage to lead into the next moments of the piece and really emphasize the sudden entrance of the orchestra. Also, the relationship between the band and orchestral parts needs to be perfected to make them seem as together and one as possible. Energy is key to really bring the piece alive; however, when solo parts come in, the band and orchestra need to play as quietly as they can to bring them out. Overall, dynamics and energy are the most important aspects of this movement.
\nMovement 2: At the entrance of the orchestra, it needs to be made sure that it is as piano as it can possibly be and the intonation is as close to perfect as it can be because we are painting the background for the soloist. Also, considering this movement was in cut time, both the band and the orchestra need to be sharp on counting each note and being aware of each entrance. The tone of this movement greatly contrasts the tone of the first movement, so it is necessary that that is really enunciated for the audience.
\nMovement 4: Again, this movement is an EXTREMELY different tone than the second movement, so the beginning of this movement needs to really highlight that change by having the orchestra coming in very strong, along with the band as well. This movement also has a very fast tempo at times, and at others we slow down significantly, so we also need to make sure that we follow the conductor to capture that as well. Finally, capturing the dynamic differences between parts should be vital to playing this piece, so being aware of those markings and listening to other members of the section will help a lot .","dateCreated":"1496376141","smartDate":"Jun 1, 2017","userCreated":{"username":"allypal","url":"https:\/\/www.wikispaces.com\/user\/view\/allypal","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94478017","body":"Movement 1: When we played it we had too really know how the horns and the drum pieced into our individual parts. If we didn't listen to the music before we wouldn't have known when to play because counting it was harder then just listening and knowing when we get in.
\nMovement 2: Counting is the most important part to this movement because it is very simple. Counting will tell us when we come back in during our rests and also helps us figuring out where the ending comes up.
\nMovement 4: We all had to start together because if we didn't that's one of the most powerful parts and the most meaningful part other then the ending. We all need to listen to each other and count so we can play quietly while we don't have the main section in the piece.","dateCreated":"1496841284","smartDate":"Jun 7, 2017","userCreated":{"username":"skier25","url":"https:\/\/www.wikispaces.com\/user\/view\/skier25","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1447644985\/skier25-lg.jpg"}},{"id":"94484587","body":"Movement 1: I wrote in where the flutes came in at the very beginning after the horn solo. It would have ruined the mood if we came in too early during that part. The beginning, while relatively simple in comparison to the rest of the movement, really relied on good timing. I made a note on measure 23, because it was still in 8 and felt very slow in comparison to the next part of the piece. I also made a few notes at J and a few measure before and after. We had to be extremely quiet there, as the 2nd violins had a quite lovely melody and had to be heard over everybody. We also had to listen for the cellos and bass section, because they kept the beat and we had a tendency to rush the whole notes around there.
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\nMovement II: Writing in where the flutes and band had their forte moments was very helpful. Movement II was difficult in a difficult way from the rest of the piece. There was quite a lot of counting, and making sure that we came in at the right time. It was slow and marking 'landmarks' where the band had interesting stuff really helped keep us together.
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\nMovement IV: We had to start off strong in the beginning of this movement, so I made sure to make a note of that. It's such an intense piece, and the silence added to the intensity. The dynamics were especially important towards the end, where the violins had scales going up while a melody was happening. Hitting those high notes at the right time was very important. I also marked the temp change towards the very end, since that caught us off guard a lot and would have made things very bad if we kept going at the speed we were at before.","dateCreated":"1496874557","smartDate":"Jun 7, 2017","userCreated":{"username":"purplepuppy17","url":"https:\/\/www.wikispaces.com\/user\/view\/purplepuppy17","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1323995021\/purplepuppy17-lg.jpg"}},{"id":"94493081","body":"Mvt. 1: we really need to watch for intonation at the very beginning because we need to start off strong and that part of the movement is what brings us into the new world, and if this sounds horrible then it does a couple of things, it gives us a false sense of incoordination for the rest of piece by starting off poorly and it diminishes the rest of the movement by putting false expectations in the heads of the listeners. Also the dynamics around the adagios? are really important. I'm not sure what they are called but the climbing and falling of the notes that ostinato in the first movement. the dynamics around those really help add to the feeling and power of the piece and almost need to be exaggerated. and in a specific part in the movement; around rehearsal five, that whole section needs to be really quite and aired, like a cloud. that part of the piece is somewhat of a resting point from the powerful emotion of most of the movement and this should really be a part of the piece that we don't rush and have be very soft and light.
\n
\nMvt. 2: the mood of the piece right off the bat is unbelievably light and very elegant and that feeling needs to be emphasized, and I'm more talking to the band when i say that because they have a tendency during most of our pieces to play way louder than is written drowning out most of the other instruments. And as least for the cello part and i believe most of the strings, a lot of the problems that we will encounter with this piece is simply counting wrong because this is such a slow and drawn out movement. so i would say to make sure that cues are marked in the parts and that counting correctly is emphasized. the key signature is the last thing that needs to be payed close attention to. there are five flats and the one of the worst sounds is when everyone is playing beautifully and then someone plays a note half a step up or down. so i made sure to mark all the flats that i thought i wasn't going to be able to remember while i was playing.
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\nMvt. 4: the opening should not sound like jaws, it needs to be faster with more power because otherwise it just sounds like Dvorak was mocking a horror movie. But the emotion of this piece is an abrupt and strong one where i think a lot of marcato belongs and i marked in my part that a of those notes need to swift and powerful. And for the cello section, the portion of the movement right after rehearsal three, i wrote in fingerings for those bursts of notes and i wrote in that i should set up the fingering before it comes and be ready for it beforehand because that is a part where the cello gets to be heard and this is a really difficult part of the piece for the cellos so practice is necessary. and plenty of practice should be applied to the section preceding rehearsal 6 because this is another difficult part of the piece and while the cellos are not heard very much over the rest of the orchestra, this is still a very beautiful part of the piece and should be rehearsed and practiced.","dateCreated":"1496935836","smartDate":"Jun 8, 2017","userCreated":{"username":"username978","url":"https:\/\/www.wikispaces.com\/user\/view\/username978","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94522179","body":"Mvt 1. we could've worked on the crescendo's and decrescendo's of the piece, because the ones in the video are obviously more dynamic and intense, which only creates a more full feeling to the orchestra and the piece.
\nMvt. 2. we definitely needed to work on the intonation of the piece. Because of the long sweeping notes and the wave like motion of everything, when one person messed up the intonation it made the whole orchestra sound worse.
\nMvt 4. in general a professional orchestra will always be more intense and we could've gotten to a higher level of intensity by just using fuller bows. I noticed how different the video showed the musicians using these crazy sweeping bows, that we never really did. we just didnt have enough confidence behind what we were playing.","dateCreated":"1497237171","smartDate":"Jun 11, 2017","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94542963","body":"in the beginning we should do our best to get nots right and in tune and in movement 2 we play it peacefully and let the slows ring out movement 3 make the changes in volume more pronounced","dateCreated":"1497397209","smartDate":"Jun 13, 2017","userCreated":{"username":"goat56","url":"https:\/\/www.wikispaces.com\/user\/view\/goat56","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"94542965","body":"in the beginning we should do our best to get nots right and in tune and in movement 2 we play it peacefully and let the slows ring out movement 3 make the changes in volume more pronounced","dateCreated":"1497397210","smartDate":"Jun 13, 2017","userCreated":{"username":"goat56","url":"https:\/\/www.wikispaces.com\/user\/view\/goat56","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}}],"more":28}]},{"id":"80626089","dateCreated":"1486401138","smartDate":"Feb 6, 2017","userCreated":{"username":"Mr_Cohen","url":"https:\/\/www.wikispaces.com\/user\/view\/Mr_Cohen","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317133206\/Mr_Cohen-lg.jpg"},"monitored":false,"locked":true,"links":{"self":"https:\/\/rockport-public-schools-music.wikispaces.com\/share\/view\/80626089"},"dateDigested":1532644803,"startDate":null,"sharedType":"discussion","title":"Quarter 3 Post 3 (2016\/2017) Dvorak Mvt 2 and Mvt 4 (m 227-End)","description":"This week we are going to start working on the 4th movement (from the E Major section after rehearsal 9 to the end) and the 2nd movement. Please listen to mvt 2 up to 4:54:
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\nhttps:\/\/www.youtube.com\/watch?v=J3QZd4KDNoU<\/a>
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\nWe will most likely stop mvt 2 at this point and jump right to mvt 4.
\n
\nThen listen to mvt 4 from 7:28-End:
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\nhttps:\/\/www.youtube.com\/watch?v=vHqtJH2f1Yk<\/a>
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\nFor the purposes of this assignment, simply write some words that come to mind as you listen. Also feel free to share practice suggestions, concerns, strategies, other thoughts, etc. Happy practicing! If you need extra help practicing, please let me know. I would be delighted!","replyPages":[{"page":0,"digests":[{"id":"93421517","body":"The second movement is beautiful, graceful, gentle, and a bit strong, all while being slow. The airiness brings out a lot of the pretty melodies that are being played, and we need to make sure we capture that by counting and using light weight on our bows. Some good ways to practice this are by using a metronome and practicing how much bow to use.
\nThe fourth movement, however, is very, very loud, aggressive, climactic, fast, and busy. It's a significant change from the second movement, and I think it'll benefit us if we can successfully adjust to the different moods and really emphasize that to the audience. We just really need to bring out the dynamics and play with good intonation to really bring the piece all together as a whole and make it a successful performance.","dateCreated":"1489954176","smartDate":"Mar 19, 2017","userCreated":{"username":"allypal","url":"https:\/\/www.wikispaces.com\/user\/view\/allypal","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"93504715","body":"The opening feels extremely peacefully and calming. It has a very fluid feel. As it progresses, it begins to swell and build in energy then drop off. The fourth movement is much different. In contrast, it is very high energy and high volume at times. It does however keep a similar feel of positivity and then becomes very intense with a feeling of distress. I believe that to elevate our playing we need to focus on our dynamics so that we can achieve these different emotions and textures","dateCreated":"1490375797","smartDate":"Mar 24, 2017","userCreated":{"username":"quicksilva","url":"https:\/\/www.wikispaces.com\/user\/view\/quicksilva","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1327697008\/quicksilva-lg.jpg"}},{"id":"93541785","body":"2nd Mvt. : Very calm, mellow, and gentle. The volume increases at some points but returns to its original quiet pitch.
\n4th Mvt. : Intense but in a light way. Over time, the intensity of the movement increases tenfold. Near the end, it seems like it would fade away into nothing but the same jarring intensity returns at the very end.","dateCreated":"1490646401","smartDate":"Mar 27, 2017","userCreated":{"username":"_DOGE_","url":"https:\/\/www.wikispaces.com\/user\/view\/_DOGE_","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1477424647\/_DOGE_-lg.jpg"}},{"id":"93618927","body":"the second movement is a lot more beautiful and smooth than the other movements rigid dynamics and tone. the fourth has much of the same intensity as the other movements and fluctuates heavily.","dateCreated":"1491162047","smartDate":"Apr 2, 2017","userCreated":{"username":"Randomhuman28","url":"https:\/\/www.wikispaces.com\/user\/view\/Randomhuman28","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"93621277","body":"Words I would use to describe the Second Movement are, slow, drifting, graceful, and poetic. Everything appears to "just fit". None of the notes seemed out of place and it sounds like the notes are meant to be where they are.
\nWords I would use to describe the Fourth Movement are, aggressive, passionate, dark, and explosive. In this movement, although the notes are a little bit less "predictable", once again they appear to "just fit". Very few of the notes seem out of place, other than the jabbing and jerking sounds as the intensity rises at the end.","dateCreated":"1491179365","smartDate":"Apr 2, 2017","userCreated":{"username":"celloman4","url":"https:\/\/www.wikispaces.com\/user\/view\/celloman4","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1290132184\/celloman4-lg.jpg"}},{"id":"93639135","body":"the beginning of the second movement is very soft and somewhat mournful and remorseful. it sounds sad but in a forgiving way that is very calm and collected with bursts of good energy that give the opening a rather peaceful, momentary, and scattered resolve. other words that come to mind are elegant, flowing, and sensual.
\nand again, my lack of musical intuition and the immense power this movement offers leaves me with a lack of words. however, i really think that for practicing, we really should focus of the dynamics of the piece because, at least for this piece, i found that the amount of sound is equally important as the sound itself and we should really highlight those during this movement.","dateCreated":"1491269524","smartDate":"Apr 3, 2017","userCreated":{"username":"username978","url":"https:\/\/www.wikispaces.com\/user\/view\/username978","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"93665229","body":"In the second movement it is especially important to watch the conductor so that when there is chords, the chord comes in together and in tune. Also, so that you don't try to push the tempo since its a very slow movement. It is also very important to listen to the soloists and make sure that you are playing under them so that they are heard clearly. In the fourth movement it's important to make sure to keep the intensity even when it's piano and when the tempo is slightly slower and when the tempo picks up to have the same intensity through the whole thing so that there is no loss of energy through out the piece.","dateCreated":"1491406122","smartDate":"Apr 5, 2017","userCreated":{"username":"luverofmusic","url":"https:\/\/www.wikispaces.com\/user\/view\/luverofmusic","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"93690411","body":"To me, The second movement is somber. Its slow but remorseful, it displays a sad undertone, while keeping a soft pace. Its peaceful in its own right. Like petting a cat, its only as soft as its allowed. If we don't capture the full potential of dynamics and use everything in our music abilities to make it magical, we will lose that special almost goose bump feeling of aw. The 4th movement is quite literally a complete contrast to the 2nd. Its hard, fast, intense. It involves much more invoked effort and has a lot more to offer as far as the scale of musicality. One could argue either way that the 2nd could have more than the 4th regardless of the amount of notes. However, I feel its also important to see that the 4th movement is suppose to be much more energy filled than the 2nd. Complete articulation is key in the 4th, for without it, the piece will sound sloppy and almost watery. The energy exerted respective to our dynamics should not change. Meaning it should still feel like a live wire even at pp.","dateCreated":"1491537567","smartDate":"Apr 6, 2017","userCreated":{"username":"violinmaster123","url":"https:\/\/www.wikispaces.com\/user\/view\/violinmaster123","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1365027334\/violinmaster123-lg.jpg"}},{"id":"93693545","body":"Very contrasting
\nIt starts out. Very calm. Somewhat soothing but it feels like I'm on the verge of a storm but by the end of the peice Deep and dark. Almost mysterious.","dateCreated":"1491566108","smartDate":"Apr 7, 2017","userCreated":{"username":"peachybubbles200","url":"https:\/\/www.wikispaces.com\/user\/view\/peachybubbles200","imageUrl":"https:\/\/www.wikispaces.com\/i\/user_none_lg.jpg"}},{"id":"93699153","body":"I feel a deep dark passionate feeling that sometimes she's away but is always there. It's calming but has a sense of alarm and uncertainty.","dateCreated":"1491590467","smartDate":"Apr 7, 2017","userCreated":{"username":"skier25","url":"https:\/\/www.wikispaces.com\/user\/view\/skier25","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1447644985\/skier25-lg.jpg"}},{"id":"93727267","body":"the beginning of the second movement reminds me of the shire form lord of the rings, calm relaxing soothing, but also kind of longing,like how Bilbo loves his life in the shire, but he always is longing to go on an adventure. sure its beautiful, but there is a scene of melancholy almost.","dateCreated":"1491837690","smartDate":"Apr 10, 2017","userCreated":{"username":"velociraptorviolinest","url":"https:\/\/www.wikispaces.com\/user\/view\/velociraptorviolinest","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317077947\/velociraptorviolinest-lg.jpg"}},{"id":"93727305","body":"oops, anyways the forth movement is kind of traditional in the way that its a dramatic build up to the end. i feel like Bradshaw did a good job of explaining how this entire section works. the difference in volume with the dynamics really makes this part. the quiets are relatively very quite so it creates a lot of suspense. it feels very touching.","dateCreated":"1491837833","smartDate":"Apr 10, 2017","userCreated":{"username":"velociraptorviolinest","url":"https:\/\/www.wikispaces.com\/user\/view\/velociraptorviolinest","imageUrl":"https:\/\/www.wikispaces.com\/user\/pic\/1317077947\/velociraptorviolinest-lg.jpg"}}],"more":27}]}],"more":true},"comments":[]},"http":{"code":200,"status":"OK"},"redirectUrl":null,"javascript":null,"notices":{"warning":[],"error":[],"info":[],"success":[]}}