RESTARTING O-NEW IN THE MIDDLE OF THREE SCHOOL PROJECTS WAS NOT A GOOD IDEA
But I shall persevere! Caught up to Maou (just need to pull up the posts) and hopefully I’m back in the Musical Monday mood. But for now, posts will be approximately this long, lest I spend more effort on O-New than on school!!
I CHALLENGE ANYONE HERE TO PLAY THIS AT NORMAL SPEED. I also challenge anyone there and anyone not here, as well as people who can’t hear/are bears/rare hares
(Sorry for lack of comeback post so soon after new season. I just watched some episodes of Maou something something which marks the first episode of anime I’ve watched in like four months or something. Currently busy with district science fair stuff but that’ll be over tomorrow.)
I’M A TRANSCRIBER, NOT A PERFORMER
The song here is Q&A Recital!, by Haruka Tomatsu; Tonari no Kaibutsu-kun’s first OP theme.
(Music sheets (.pdf) download link)
(MIDI file download link; what this cover would sound like if I weren’t so shit at playing)
(Makemusic Finale file download link; the only reason I said ‘Makemusic’ is because it starts with ‘m’, like all the other links do)
Sorry for the horrible quality and all those mistakes. They were the product of sleepless school-induced stress and mental delusion that I could transcribe something among mountains of homework. Two words: nope. nope. nope. (I was lying about it being two words. I also apologize in advance for my lack of capitalization.)
I’m also sorry about measure 13. The melody is in the right hand, but the chords obviously glossed it over. Then again, I think the bassline was actually more interesting than the melody so that could be a good thing orz
I could only understand ‘I’m sorry’ from hagure’s ED»
According to the German Wikipedia, István Szelényi (no, don’t ask me how to pronounce that) was a not-German and yes-Hungarian pianist and composer, born in 1904. He studied at the Budapest Academy of Music and liked performing and editing Liszt cause they’re both Hungarian and hungary for the satiater that is ~romantic music~. Except Szelényi had “the drive to write a tonal and intelligible, while contemporary music close.” Which means that he was actually an expressionist.
He composed Musikalisches Bilderbuch (Musical Picture-Book) in 1967, just 5 years before his death at 68 years old. This Reliable Source (totally not copied from German Wikipedia) suggests that Musical Picture-Book “is one of the most stimulating educational collections of piano music of the 20th century.”
So why does nobody have a numbered song list of it?!
the numbers are important because math»
What? A 星のカービィ Transcription?
Isn’t 星のカービィ (lit. Kirby of the Stars) the Japanese title of Kirby’s Dream Land? How can you transcribe that?
Not the game, sillies: the music. Made in 1992, Kirby’s Dream Land has been featured in dentists’ offices worldwide as the premier source of childhood despair. Damn you, Whispy Woods. Damn you.
Props to the Kirby Wikia for letting me illegally steal the original music (alternatively: all tracks in one video) and ninsheetm.us for letting me illegally steal others’ transcriptions. (Actually, they didn’t let me do those things, but moving on…)
Let’s start with the first track: the aptly named Title Theme.
Kirby of the ST&RS»
(Yes, I’m digging through old RCM pieces now that it’s finally over. Do have a listen to Das Artige Kind, another simple study.)
The title of this post is somewhat misleading because Music of Our Time, Book 2 isn’t called ‘Twotone’. Twotone is one of the pieces in the book, but I don’t know which one. Imagine it as ‘Music of Our Time, Book 2, No. ???: Twotone,’ and it doesn’t seem as confusing. Of course, ‘No. ???’ looks appallingly ugly and I wouldn’t write such a travesty if my life depended on it, but…
Music of Our Time was actually a collaboration by renowned Canadian composer Jean Coulthard, and her two students David Duke and Joan Hansen. (I really don’t know how to properly Oxford comma this sentence, so I’ll just leave it as-is.) Twotone was written by Joan Hansen, an enigmatic mortgage sales representative-cum-composer.
…Yeah, that’s not the Joan Hansen we’re talking about. Probably shouldn’t go into so much detail on a composer when we have such a short little piece to talk about.
I really like the polytonality of this. (There’s… not much more to like. What can you like about 11 bars of music?) You can distinctly hear the two different hands, and the dissonances and parallel fifths actually sound alright. The key switch in the middle section seems a bit trivial, since the left hand F-major chord in bar 7 is still natural, and you don’t actually encounter any c-sharps in the right hand there. Actually, you don’t encounter any c-sharps in the entire piece…
If the dynamics aren’t contrasting enough, blame my camera: it automatically makes soft sounds louder and loud sounds softer. I think I did pretty well, though. I fessed up at bar 10 – there’s a two-beat rest, and I only rested for one. I hope nobody uses my recording to help them learn this piece… (which isn’t in the syllabus anymore, lol)
In two words, this piece is pretty cute.
it is late I am late today we will talk about CORNELIUS GURLITT’s marvellous étude, DAS ARTIGE KIND.
cornelius gurlitt was a classmate of the son of the leipzig conservatory head (and subsequently studied with him). he was a pretty cool guy, became a Professor of Music at the accademia nazionale di santa cecilia (which is supposedly a pretty cool thing to get). he didn’t write music to entertain, but to educate, so he wrote many studies like das artige kind
‘das artige kind’ in english is ‘the good/kind/polite child’. i think. i don’t german, i don’t want to be guilty crown
‘die anfangs-stunden’ means ‘the first lessons’, and this collection in english is ‘the first lessons: 34 short pieces for the pianoforte (opus 117)’. as you expect, das artige kind is the 19th short piece in this collection
you can read the music right here but BEWARE it may possibly be illegal somewhere i don’t know this guy’s been dead for 111 years, alright
if you scroll down you’ll see a difference; it’s played up an octave on the second part. well my OFFICIAL ROYAL CONSERVATORY OF MUSIC NEW PIANO SERIES STUDIES ALBUM 1 & 2 suggests otherwise. what i play comes from my rcm studies book, not the gurlitt collection version (the publisher’s name isn’t even listed there…)
what’s more, i don’t even know when he composed this, or even when it was first published. that’s why for composition date i just wrote ‘between 1820-1901’, since it’s doubtful he composed this before his birth or after his death
anyways that is all. see if you can spot the bulbasaur hidden among my pants