Week 2 Thread: The Era of Haydn and Mozart!
Welcome to the Main Thread for the third week of "Mozart & Haydn - Music from the 18th Century" challenge!
- Make sure you've read the guidelines before replying (<- click)
- Watch the kickoff livestream! (<- click)
This week, we will talk about the different ways composers were trained during the 18th century and how they could achieve such high productivity through schemas and patterns
Look at a different piece by the same composer you are studying and try to compare the music to the new piece you are practicing now.
If you are ready, post a short clip of the patterns you found in your music! One of the ways we grow is through feedback and self-reflection.
Pick a piece from the suggested repertoire according to your level or share any piece written during the 18th century that you have been working on!
If you want to describe your process, feel free to use the following template.
- Piece(s) you have been working on:
- Things you found easy:
- Things you found difficult:
Happy sharing
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Here is the pdf of one of the exercises I presented: this is about the rule of the octave according to Furno
https://partimenti.org/partimenti/collections/furno/the_method_1817.pdf
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And this is a pdf from the book "Music in the Galant Style" that dr. Gjerdingen has on partimenti.org.
If you would like to try some schemas, I would suggest you just try to use one schema at a time and for quite a while, until you have memorized it well. And then start adding another one. https://partimenti.org/schemas/collections/galant/schema_prototypes.pdf
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and this is a pdf of the musical game :)
https://s9.imslp.org/files/imglnks/usimg/b/bc/IMSLP20432-PMLP47543-mozart_-_dice_waltz.pdf
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And for those interested in seeing how such training would work today, watch this... https://www.youtube.com/watch?v=yiCI6JVVVk0
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Antonella Di Giulio said:
I would have two main suggestions for this: I think it would sound a bit more fluent if you would think in longer sentences. Maybe you might remember what I suggested to Roy in last week's thread.I actually had a little of an Aha! moment while working on this suggestion.
I listened again (quite a few times actually :)) and tried to analyze what I don't like, and I guess it might seem obvious to you, but I realized that I think it is that there is no direction (dynamically and expressionally) outlining longer phrases (could be more than the 4 you suggested).
This would tell a larger "story" and make the piece, as a whole (opposed to listening to a single measure/phrase), more interesting (yeah, I know it's only 16 bars, and with many repeats :D, but I work with what I have).
This realization was not the Aha! moment though, it was that staccato and leggero (not sure how it's spelled, my piano teacher used it a lot when I was a kid to imply very light legato) have very little "direction" in them compared to legato. At least in the physical sense, it is much easier to create when playing legato. I turned to playing exaggerated legato to create and explore different phrasing (that I couldn't create earlier because of the technical difficulty without the legato) and then practice adding lighter leggero or even staccato like gradually where needed later, within my limitations of course.
Sorry if this is trivial, but I thought you might have some more insight regarding this process.
Thanks again :)
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Practiced through the first movement of the Galuppi sonata. Have not been able to play the last 2 pages through without some mistakes (lots of trills!) hence the pieced together video. My IMSLP score indicates some pedaling on the quarter notes…trying to figure out how much is appropriate. Also need smoother trills (with some shape maybe?) as some are quite long.