戸松遥 – Q&A リサイタル! (TV Size) Transcription
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
Musikalisches Bilderbuch, No. 5 Weisse Und Schwarze Tasten II
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?!
Music of Our Time, Book 2, Twotone
(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.
Die Anfangs-Stunden, Op. 117, No. 19 Das Artige Kind
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
Oh hey, another Musical Monday!
Remember last Musical Monday, when I posted about Stephen Chatman’s Ginger Snaps? Neither do I! Here’s another composition that features parallel fifths like there’s no tomorrow. What’s it called?
Preludes for Piano, Book 3, No. 3 Ginger Snaps
Welcome to another (late) Musical Monday! Today’s piece of music is titled… wait, I’ll let you guys guess…
..that’s right! It’s titled
Friday, featuring the beloved Rebecca Black Ginger Snaps, written by Stephen Chatman in his music collection, Preludes for Piano, Book 3 between 1999 and 2001. Yep, it’s a recent (21st-century!) composition, and as you’d expect from recent compositions, it defies conventions a little bit.
パラダイム (TV Size) Transcription
Is that what you guys see there! A KOKORO CONNECT OP piano transcription? With sheet music?!
BY MADOKA, IT IS!! Wow!!! Amazing!!!! I should really start watching the anime I’m going to blog this season now instead of transcribing random OPs! …really
Le Pianiste Virtuose en 60 Exercices, Nos. 21 – 43
It’s time for the long-awaited sequel to Charles-Louis Hanon’s Le Pianiste Virtuose en 60 Exercices!! Well, not really, because Le Pianiste Virtuose en 60 Exercices (The Virtuoso Pianist in 60 Exercises) doesn’t have a sequel. No, this is the sequel to my first post about the Virtuoso Pianist, and in this part, we’ll cover pianos, fingers, and not much else. If you’re reading this series for the first time, do read the first post’s introduction first. Really. Seriously. Honestly. Lie. Wait, no, it’s not a lie, it’s a -ly
We’ve moved past the Preparatory Exercises, so now, it’s time for harder exercises. In fact, you could even say they’re ‘Transcendent Exercises For Preparing The Fingers For The Virtuoso Exercises’. That’s what Hanon says. I mean, said, because he’s dead (hey, that rhymes), which means… woohoo, we’re still doing preparatory exercises…
Le Pianiste Virtuose en 60 Exercices, Nos. 1 – 20
It’s Musical Monday, and perhaps just playing Czerny all the time has gotten a little boring for you guys. But don’t sweat, because I’ve got something much more exciting prepared, just for you: Hanon exercises, instead!
Charles-Louis Hanon’s Le Pianiste Virtuose en 60 Exercices (The Virtuoso Pianist in 60 Exercise) is an (in)famous collection of (you guessed it) 60 piano exercises, meant for developing finger and wrist strength, agility, endurance, flexbility, suppleness, you name it. Ask any piano teacher or pianist what the most useful book of exercises are for the piano, and half will probably name Hanon’s. Ask the ones that don’t what the most harmful book of exercises are for the piano, and chances are, they’ll probably all name Hanon’s.
But: you must have at least a year of keyboarding experience before starting Hanon practice. Starting it too early will a) dumb down your musical sense b) force you into amateurish hand postures and c) be impossible to play. If you’re here and want to learn how to play piano, Lypur’s ‘Learn How to Play Piano’ playlist is the perfect tutorial for you! Well, maybe it’s not perfect, and maybe it’s not for you, but do give it a shot. (Look, he’s even made a video about the Virtuoso Pianist and Erster Wiener Lehrmeister im Pianofortespiel!)
Like it or hate it, every pianist has encountered Hanon’s exercises sometime in their lifetime. Thus, in this series of posts, I’ll be venturing to play them all. Like a Pokémon master but without the Poké, without the mon, without the mast, and without the er.
Erster Wiener Lehrmeister im Pianofortespiel, Op. 599, Nos. 41 – 60
Two posts ago, I began my quest. My quest to play all 100 exercises in Carl Czerny’s book of beginner piano études, Erster Wiener Lehrmeister im Pianofortespiel. What is a piano étude? Well, my previous post explains this and much less (that is to say, it does not explain much more than this), and I strongly suggest you start from the very beginning if you are trying to learn piano.
Actually, if you are trying to learn piano, I strongly suggest you do not try Czerny’s piano exercises at all. The learning curve is too steep, and without a proper piano teacher, your form and posture will be all incorrect. I do not count as a proper piano teacher because my form and posture is already incorrect and its incorrectness is already incorrigible.
This post, we’ll talk about posture, technique, and another guy, Hanon, ‘s exercises. That’s improper grammar and punctuation, but I want to pronounce ‘Hanon’ with pauses at each end, and ‘s exercises together as one word, because English is stupid and French liaisons sound really, really good. Unlike my performances of the following exercises.
Erster Wiener Lehrmeister im Pianofortespiel, Op. 599, Nos. 21 – 40
Last post, I announced my great expedition to record all 100 exercises from Carl Czerny’s book of études, Erster Wiener Lehrmeister im Pianofortespiel (no, don’t ask me how to pronounce that).
This Musical Monday, you will learn about accidentals and key signatures, the qualities of an étude, and of the history behind this collection.
But without further ado, let us begin with post two (hey, that was a rhyming couplet!).
شيء من شيء ~ Paradigm Shift
Something can’t be made from nothing. So what’s it from?
Something’s from something.
Sheet music, replete with broken Unicode Arabic;
Mspaint image, replete with broken pixellated Arabic;
Finale file, replete with broken Unicode Arabic.
Erster Wiener Lehrmeister im Pianofortespiel, Op. 599, Nos. 1 – 20
Alright, guys, it’s time for a new piano project!
That sentence was misleading, because it somewhat implies that I have completed older piano projects, whereas in fact, I have not completed any piano projects! Nor started any, for that matter… until now.
What is the project? The project is to play all 100 pieces in Carl Czerny’s Erster Wiener Lehrmeister im Pianofortespiel (lit. “First Viennese Masters in Piano Playing” (courtesy of Google Translate), or ‘Practical Exercises for Beginners on the Pianoforte’), Opus 599.
I TOLD YOU GUYS I WOULD GIVE YOU MUSIC VIDEOS
SO HERE YOU GO
VIDEOS OF MUSIC. THREE OF THEM. SCROLL DOWN.
Königliche März ~ And Then the Sun Came Out
I was going to put this into yesterday’s post since it happened yesterday, but Horizon did not fit the mood. This piece does, somewhat, because it sounds hopeful, which is better than sounding silly. See, my grandma is dying, and my dad has flown back to be with her until she dies, which will be in less than a month. Königliche März means ‘Royal March’ – while it’s not a funeral march, if I were to die, I’d rather die with this music than with morbid, requiem-esque sounds.
“’twas a downcast day
our troops’ morale was suff’ring
then, behold! yonder,
the sun came out, and our path
Études-Tableaux, Op. 33, No. 8
Oh man, this is HST Week but I’ve done nothing but HSRs; I swear, I’ve got all the musical stuff planned, but school stuff and parental stuff are seriously hampering my efforts to do something. At least I’ve got that Level E 7 post done (for next next day).
Pace ~ Walk On
Hope is the fear that keeps us moving.
Just walk on.
Akvareller, Op. 19, No. 2 Scherzo
Well, whaddya know.
I have a new camera.
I’m too scared to use it right now, so I’ll keep on recording with my old one until it breaks – it’s only about 30% broken right now. It can record just fine.
Petite suite en Quinze images, No. 7 La Promenade en Traîneau
For some reason, I seem to really like the number 7.
Firstly, there seems to be some time/video delay – as some of you may know, my camera sorta died on me a while ago, so now the only thing it can do is record videos, which it obviously is doing with quite a lot of bugs.
C’mon guys, this is /music/, some time/video discrepancies shouldn’t irk you much if you’re not looking at the video :P
For that matter, the lighting sucked, so the only thing worth looking at at the video was Bulbasaur.
As with most influential composers of, well, since the Renaissance, Jacques François Antoine Ibert was born in Paris. The 1890s were the start of quite an… emotionally compelling era, with German expressionism and French impressionism marking their lasting (pardon the pun) impressions on the musical industry.
Conceived in this turmoil of musical clashes, you’d expect Ibert to pick a style and stick with it; on the contrary, he was quite unattached to any style themes, preferring instead to dabble in the mishmash of genres prevalent in Parisian (and indeed, worldwide) society at the time.
This did not mean he was a bad composer at all, for he won one of the most coveted prize in musical composition – the Prix de Rome, waarded only to such geniuses as Hector Berlioz, Georges Bizet, and Claude Debussy.
After decades of productive musical establishment, the Axis-aligned Vichy Regime (of France) banned his music, and Ibert voluntarily moved to Switzerland to continue his career.
He died in 1962, when he was 71.
In 1943, after the outbreak of war, he composed ‘Petite suite en quinze images’ – Small suite, in 15 images (I BET YA DIDN’T KNOW THAT HUH). A completely solo piano work, he delicately paints many idyllic scenes of a peaceful time. Strangely, it seems (I just can’t find good recordings for all of them) that none of them are very loud. A perfectly natural thought for one wanting to escape the war.
The 7th piece in the collection, ‘La Promenade en Traîneau’, actually means ‘the Sleigh Ride’, rather than what I thought it was; ‘the Train Station’. Because of this, I tried to evoke visualizations of a quiet train station, with the suddenness and swiftness of a train arriving and leaving in the middle of the night. It seemed so much more… obvious. Before I searched up the real translation, I just couldn’t get why everyone else was basically slamming the notes to make it stand out against the seemingly unimportant bass. Really, it was quite… disgusting. Horrifying.
But what am I, to criticise others’ perceptions? What difference what that be to brutally sabotaging others’ inner mentality? When not even I, am properly expressing the dynamical nuances, the whole… calmness of the scene.
Yet, a train station would make much more sense. The quiet left-hand Alberti footsteps motioning the train to come faster, quicker, so that they could fially go home after a long day’s work. The sudden plunge into organized noise as the vehicle slowly slides into the platform. Quick pit-pats of shoe on ground, growing faster, louder, as swarms of people flood onto the train.
And then it’s gone.
Happy November~! (NaNoWriMo month, but I don’t have time for that anymore ;~;)
Yeah, I wanted to compose some two pieces a month (to Saw a Tree was composed, like, a long time ago), but because of my computer crashing, well… couldn’t.
So, here are two pieces; both rushed, both experimental, and both very, very, sketchy.
Both scores/mp3s also aren’t complete, and there are slight differences between the score and mp3 because of last-minute adjustments. Don’t worry, I’ll perfect them later.
شيء من شيء ~ Paradigm Shift
This was created starting with an eight-measure, almost-completely-random-but-somewhat-edited-to-seem-at-least-somewhat-decent-sounding-though-the-edits-were-only-about-three-altered-naturals progression, and then altering that progression to produce a new one, and altering the new progression to produce a new one, and al(ry… and altering the new progression by combining it with the first, random progression – producing a melody incased in randomness.
You start with randomness.
Then, it gets ordered.
You get something, but not from nothing, for at the beginning, there was randomness.
You get something from something.
A paradigm shift.
And yes, I realize that such a F cannot exist on a piano. And all those notes at the end you can’t see? Well, here in Canada, we call that magic.
朝草画花 ~ Gorgeous Sweet Clover
.wav (couldn’t export to .mp3 for some reason on this one)
Somewhat like the top one, the alto flute part is copied to the trumpet next, so the trumpet can do nothing but echo the flute, which is drowned out by the trumpet – a battle between time and power.
It’s just grass.
However you look at it, it’s just grass.
However, you look at it; it’s not grass,
It’s a flower.
A gorgeous, sweet flower.
It’s a flower, and you draw it.
But at the end,
It’s just grass.
Alright, I use D major /way/ too much. Would’ve used B, but dunno how flutes and trumpets turn… Also, I admit; I had to check the sheet music for that last Meiji 17; but I didn’t for the SWR title! Why I added those was merely to up the number of bars to 77.
Ten Pieces for Piano, Op. 12, No. 7 Prelude ‘Harp’
…That’s a mouthful.
Anyways, for, like, two weeks, I thought Bleach was going to end, so I was about to make a post about it ending…
…but it didn’t. DAMMIT KUBO MOTHERFUCKING AIZEN IS MOTHERFUCKING IN PRISON FOR TWENTY FIVE MOTHERFUCKING THOUSAND YEARS ALREADY, AND ICHIGO’S LOST ALL OF HIS MOTHERFUCKING SHINIGAMI POWERS. NOW WILL YOU STOP STOP STOOOOOOOOOOOOOOOOOOOOP THE MADNESS?!
Next up, I recorded another recording of something, but THE CAMERA DIDN’T CATCH MY DYNAMICS, which was the ENTIRE POINT OF THE PIECE. Oh well, I guess I can re-record it again…
Finally, a day after I recorded the dynamic-fail piece, I recorded this; on October 23rd, to be precise. My computer was still dead then, so what else to do with my time?
There are numerous mistakes here as well, but my camera (yet again, I place the blame on something else) is set on one side of the piano, so the place where I wanted less volume to be actually got increased more in volume.
I probably rushed this as well; it’s supposed to have much more of a ‘harp’ sound, as it’s actually written for either piano or harp. You can play this on a harp. Yeah.
Sergei Sergeyevich Prokofiev was born in 1891 in Russia. Not SOVIET RUSSIA because that wouldn’t exist until Prokofiev became 26.
Anyways, from a young age, Prokofiev began demonstrating his ability to be superior over everyone else. When he was nine, he wrote an EPIC OPERA, first performed in NINETEEN OH ONE by SOME PEOPLE for an audience of SIX.
He obviously entered a prodigious musical academy while being considerably younger than the other students, and demonstrated a extreme passion for mus(ry
…His first major work was for the famous impresario Diaghilev, the very same who commissioned Stravinsky’s three Ballet Russes Ballets (Petrushka (F# MAJOR GO GO), L’Oiseau de Feu (the Firebird), and Le Sacre du Printemps (the Rite of Spring)), the Chout ballet.
Eventually, SOVIET RUSSIA began to appear and socialize much of Russia’s art forms; his experimental, modern tones had to move to San Francisco.
After the first world war was over, he returned to Russia to much more favourable conditions. However, Prokofiev died on March the 5th, 1953 – the same day as Joseph Stalin.
As an aside, because everyone was SAD about Stalin’s death, they couldn’t carry Prokofiev’s body out for the funeral until the 8th.
His Opus Twelve is a collection of 10 works for either piano or harp, each one being completely different from the others (e.g. Number 5 is ‘Caprice: Allegretto capricciosamente’). It was composed between 1906 and 1913, and had its premiere in 1914. Number Seven (this one) is the ‘easiest’ to play…
Anywho, Prokofiev was an awesome man. I mean, anyone who composes anything that has a title like ‘The Love for Three Oranges’ has to be awesome.