/classical/

youtu.be/lSCQ2xOOK6s?t=684

Simple as.

why is bach considered still great? he's shit.

filtered

Attached: bachad.png (480x591, 190.91K)

youtu.be/I-8SK5uOJ_s?t=405

So true.

Why?

Can anyone here covince me that Grosse Fuge doesn't suck ass? Here's the problems I've identified.

>lack of musical gesture and phrasing
>the melodic dimension is at odds with the harmonic dimension
>lack of identifiable process
>the counterpoint isn't only extremely discordant, at times, even crucial moments in a fugue setting its really quite thin; many of the voices move in similar or even parallel motion making them less distinguishable from one another. If the goal was to generate really discordant counterpoint then why wouldn't he do this with all 4 parts, instead of thickening up certain parts with others? Not to mention, Bach could easily get an 8 voice counterpoint out of this same ensemble while Beethoven never exceeds a 4 voice counterpoint in the entire work.

I'm just convinced Beets bit off more than he could chew with the fugue.

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>>lack of musical gesture and phrasing
>>the melodic dimension is at odds with the harmonic dimension
>>lack of identifiable process
These strings of words carry absolutely zero meaning.

Can anyone here covince me that Fugue for Mechanical Clock doesn't suck ass? Here's the problems I've identified.

>lack of musical gesture and phrasing
>the melodic dimension is at odds with the harmonic dimension
>lack of identifiable process
>the counterpoint isn't only extremely discordant, at times, even crucial moments in a fugue setting its really quite thin; many of the voices move in similar or even parallel motion making them less distinguishable from one another. If the goal was to generate really discordant counterpoint then why wouldn't he do this with all 4 parts, instead of thickening up certain parts with others? Not to mention, Petzold could easily get an 8 voice counterpoint out of this same ensemble while Haydn never exceeds a 4 voice counterpoint in the entire work.

I'm just convinced Haydn bit off more than he could chew with the fugue.

>>lack of musical gesture and phrasing
>>the melodic dimension is at odds with the harmonic dimension
>>lack of identifiable process
These strings of words carry absolutely zero meaning.

Bach

youtube.com/watch?v=9AdR2DR0stc

Petzold

youtube.com/watch?v=-hSoVLQ3SBc

Vs Thad Wagner :

-Revolutionized every aspect of music- techniques still in practice today

-sexy cap and sideburns

-wrote his own libretto, composed the music and set it in scene

-hates jews, nobody cares

-haha funny Vietnam song

Vs Lad Stockhausen:

-wtf Lad

-no you cannot just put noise in there and call it music

-my ears are bleeding

Vs Gad Beethoven:

-didn’t care about lifestyle at all

-was literally an asshole to everyone

-can’t hear still writes one of the best symphony’s of all time

-political views change every two seconds

-wrote an epic march for the Prussian army

aye nigga, you forgot about the time when wager roasted the shit out of nietzsche's piece.

lol what a fucking retard

Astor piazzola >>> your fav composer

sounds like a dark souls boss

it's Piazzolla

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meant for

hello world
vocaroo.com/1dsxfh5etxAJ

Boulez on other composers:
>He accused Schoenberg, after his death, of the “most ostentatious and obsolete romanticism.”
>Webern was “too simple.”
>Berg suffered from “bad taste”
>Ravel suffered from “affectation.”
>Twelve-tone music in its extant form was overrun by “number-fanatics” who engaged in “frenetic arithmetic masturbation.”
>Boulez’s teacher, Olivier Messiaen, produced “brothel music.”
>John Cage, who was at one time an ally of Boulez, became a “performing monkey”
>Karlheinz Stockhausen became a “hippie.”
>The American minimalists displayed a “supermarket aesthetic”
>the American serialists had a “cashier’s point of view.”
>Brahms was a “bore”
>Tchaikovsky was “abominable”
>Verdi was “stupid, stupid, stupid!”
>"Well, Shostakovich plays with clichés most of the time, I find. It's like olive oil, when you have a second and even third pressing, and I think of Shostakovich as the second, or even third, pressing of Mahler."

it's pizzaiola

me (genius&chad) on boulez:
>poolez lol

>>Verdi was “stupid, stupid, stupid!”
Why would Boulez say this?

he's was a contrarian
a child

autism, many such cases, sad!

open.spotify.com/artist/0ulKqNZLNE7dg6eqG60Lzj
damn petzold looked like THAT?????????

Boulez was just trolling

Schumann

youtube.com/watch?v=nhgUbiAi5ho

how the fuck do I learn about classical music such a massive topic idk where to start bros halp :( my fav is scriabin

start with putting a bullet through the back of your head.

btw im trans.

Wagner, music by a beta neckbeard for beta neckbeards.
Mahler, if I wanted to listen to unresolved garbage, I would listen to Lil Pump.
Bruckner, some old German fart.

whats a good way to improve sightreading? ive gotten much much better just sightreading away but i feel like im hitting diminishing returns and still dont have a proper skill.

how will this help me learn classical musics user?

Find a teacher who will slap your fingers with a ruler when you make mistakes

Liszt travels to Wagner's castle, where he observes a secret ritual portraying a devilish Jew raping several blonde-haired Germanic nymphs. Wagner then appears with Cosima, dressed in Superman outfits, and sings how "the flowering youth of Germany was raped by 'the beast'" and that a "new messiah" will soon arrive to drive out the beast. At the conclusion of the song, Cosima marches the audience, composed entirely of children, out with a Nazi salute as they chant that they "will be the master race".

Liszt confronts Wagner, who is unaware of what Liszt has seen, and inquires about his ambitions. Wagner confesses that he has been building a mechanical Viking Siegfried to rid the country of Jews. When Wagner awakens Siegfried with his music, the creature turns out to be crass and slow-witted. Liszt sneaks holy water into Wagner's drink, but the water has no effect. Wagner then reveals himself to Liszt as a vampire and threatens to steal his music so that Wagner's Viking can live. Liszt rushes to the piano and plays music, exorcising Wagner and bringing him to near death. Cosima, witnessing Wagner's moribund state, imprisons Liszt and then resurrects Wagner in a Nazi ceremony as a Frankenstein-Hitler wielding a machine-gun guitar. Trapped, Liszt observes as Cosima leads the Wagner-Hitler to gun down the town's Jews, after which she kills Liszt by stabbing a needle through the heart of a voodoo doll made in his likeness.

In heaven, Liszt is reunited with the women he has romanced in his life and Cosima, but it never is explained how she got there after killing Liszt, who regret their behaviour toward him and each other and finally live in harmony. In the final episode, Liszt and the women decide to fly to Earth in a spaceship to destroy Wagner-Hitler who has now ravaged Berlin in a fiery machine-gun frenzy. Once Wagner-Hitler is destroyed, Liszt sings that he has found "peace at last".

Attached: Liszt-kaulbach.jpg (640x792, 70.71K)

why is modern music fake and gay?

The best way is to set a metronome and to never stop. I can't stress this enough, use a metronome and NEVER stop. If you make a mistake, keep going, if you stop, keep going in your head and catch up when you can. This is very important because wrong notes aren't as important as musical discourse when sight reading.
Of course, the metronome should be set at a speed in which you assume you'll make almost no mistakes.

Practice every day and you'll see serious improvement, even if your method is shitty. Eventually, you'll be able to start reading ahead (one or two bars at first, four to five later) and that's when your sightreading can be considered good.

Michael Haydn cum

youtube.com/watch?v=Px6OYlc_1_M

modernism is a brain disorder

>Pierre Boulez would later poke fun at Satie’s lack of craft, while composer Jean Barraqué – another proponent of 12-tone music – would deride Satie as “an accomplished musical illiterate … who found that his friendship with Debussy was an unhoped-for opportunity to loiter in the corridors of history”

Soulless youtube.com/watch?v=0OE7UmKmix0

youtube.com/watch?v=jMkYUEJqzfA SOUVL

Schumann's symphonies far surpass Brahms' symphonies, which contain all too much filler and, with the exception of the 4th, end in a whimper. Brahms was never able to write a truly triumphant finale, instead concluding in a placid continuation of the present mood (the 1st attempts to contrive tragedy in a minor key introduction, only to return to the major tonality of the previous movements). Just compare the lackluster finale of his 3rd symphony, coming after the intense 3rd movement, with the cathartic finales of Schumann's 2nd symphony and 1st piano trio. Brahms' slow movements in the first three symphonies are also more tedious than memorable or moving.

who cares about satie

all im reading hear is that brahms 4 is better than every schumann symphony (because it is)

what's the difference between counterpoint, harmony and fugue?

that's 2 completely different concepts and a musical form. you may as well have asked for the difference between hot, cold and fire.

>lackluster finale of his 3rd symphony
It's a great ending, just because it isn't a Beethoven bombastic ending doesn't mean it sucks

Petzold's minuets far surpass Bach's minuets, which contain all too much filler and, with the exception of the 4th, end in a whimper. Bach was never able to write a truly triumphant cadence, instead concluding in a placid continuation of the present mood (the 1st attempts to contrive tragedy in a minor key introduction, only to return to the major tonality of the previous movements). Just compare the lackluster finale of his 3rd minuet, coming after the intense 3rd sarabande, with the cathartic minuets of Petzold's suites in G major and B-flat major. Bach's slow movements in the first three suites are also more tedious than memorable or moving.

His comments about the Second Viennese School and most of his contemporaries are perceptive and desu pretty spot on. The remarks about 19th century composers and Shostakovich are moronic because Boulez was less in aesthetic sympathy with them.

shostakovich sucks cock.

You ever heard Verdi?

Uh what is this

>harmony
The consonance of two different notes played at the same time
>counterpoint
The interplay of independent melodic lines
>fugue
A specific type of contrapuntal composition with a bunch of rules (too lazy to explain)

the plot summary of some insane movie about franz liszt. same guy also made a less batshit movie about mahler.