My name is Carl. If you want to learn something about classical music, you're in the right place. My whole life, I've dedicated myself to becoming the best musician I can be. So now, I want to give back and teach you how to do the same. If that sounds good, consider subscribing.🙌🏻 For private music lessons: business.cfw@gmail.com
They already invented an application in which all the artists recorded their voice and if their voice appears in a new song they will receive a permission notice and you will have to pay the artist if you want to use their voice
Hi! What does this mean? I'm a professional symphonic Principal clarinetist in a happy 30+ year relationship with a professional symphonic Assistant Principal 2nd violinist. Thanks!
HI there! Professional symphonic clarinetist here. Loved the Eb clarinet question. Also studied composition, so the theory ones were easy for me. I put the alto clef A on the space above the top line, thinking the tuning note. Glad I get credit for that one! I love the Lully story; should happen to conductors more often (!!) Had NO CLUE about the opera written in 1597. Got all the rest, though! Fun stuff. Thanks!
Hey does anyone know the exact recording of Puccini Musettas Waltz? This part here sounds so lovely but I can't find a recording that sounds this satisfying tonme
I was a music composition major, love music history, and worked in a major New York City conservatory for 13 years, so I did pretty well. 1. Contrabassoon, yes, the curve is a giveaway 2. WRONG - I guessed Eb and (as a composer) turned my head in shame. 3. Celesta, have you ever played one? Kind of a neat little instrument. 4. It's the two stringed violin. What, only 2 pegs? You say it's the viola, and you know, it's hard to say without a sense of scale. I did think it might be a trick question...so I give myself half credit. 5. "Small clarinet?" Haven't heard of that. I've heard of a clarinet in Eb, but again, hard to say from the picture and it's sense of scale. Another half credit for me. Tuba/trumpet/trombone, yeah, I agree with your comment. But you know, I've heard "horn" tossed around as any generic instrument you blow into, even by professional musicians. Ugh! 6. Correct, although I had to wonder if you were trying to trick us again. Alto clef, tenor clef...which one is which? But in the end I got it right. 7. I answered "F# full diminished 7th chord." I'll give myself credit for that, but not extra credit. 8. Based on the meter, I answered 16, but I also know that (for example) 6/8 rarely has 6 beats in it, more likely played "in two" giving it two beats. Same with 4/4, often having two "beats" per measure, but also just as likely having 4 beats per measure. In other words, I don't think we have enough information to answer this one correctly. Something that is in 5/4 can have two beats (3+2) or can have 5 beats (4+1 or 5 even quarter notes) and so... I can "sort" of conepetualize something having 4 beats and one 16th note, but musically it doesn't sound very plausible. I'll give myself a half credit for this one, but I think the question has to be disqualified. 9. B. Although you are very clever to offer the alternative answers! My mind didn't go there. 10. Diminished 4th. A great "trick" question that's not really a trick question. 11. I said symphony and sonata, but also wondered if you meant "sonata-allegro" or if you meant "tertiary form." "Compositional structure" is kind of a vague term, and I wasn't sure if you meant "form." Coming from my background as a composer, I don't think of sonata or symphony as a "form," really. "Theme and variations" is a form, but "an adagio" is not. This is a tricky question as you've phrased it. I agree with your answer, for the most part, but not the question's wording. Also, I might throw in "opera" as an answer, too. 12. With fire. 13. Fast, but not too much. 14. Ritardando, slow down 15. Interesting question! There really isn't much of a difference, but as you point out, the hairpins indicate the duration of the crescendo, as in "from here to here, get louder." As a composer, I tend to use hairpins for this very reason, because it gives an illustration in the score just how long the cresc. should go on. I only ever use "cresc." if my score is very busy and needs less distraction. 16. Haydn. "The father of the symphony" is well known to me, but I kind of forgot he was the father of the string quartet. His symphonies are still programmed from time to time, but I can't remember ever seeing a string quartet of his programmed anywhere. 17. WRONG. Although again this is something of an unfair question. If the Peri opera in question has no existing score, how can we study it and ensure its operatic bona fides? Yes, I know one can point to contemporary writings about the opera and so on, but still. Anyway, I'd never even heard of this so I've definitely got this one wrong. (Yes, I'd heard of the Monteverdi example, and I think that generally IS taught as the first opera, no?) 18. Impressionism, although I've never heard Ravel described this way. Debussy? Yes, all the time. I think they were alive at the same time, but that is an accident of their historical birth, not a reflection of their musical style. 19. WRONG. I've simply never heard this story, although I've certainly heard of Lully. 20. WRONG, but it's arguable that it's the most famous concert hall in the entire world. Carnegie Hall? Concertgebouw? Royal Albert Hall? La Scala? 21. Hilary Hahn, and extra credit to you for spelling her first name with only one "L!" Not only is she talented, she's a really decent human being. 22. Mozart. I've been to Salzburg, but not to that museum. 23. Bayreuth, which again makes me question if your #20 answer is "the most famous concert hall." 24. Berlioz FINAL SCORE, including adding up the half scores: 18.5. I'd dispute a few of your questions/answers, so I'll round myself up to 19.
Next, why does Elgar sound so British, why does Rachmaninoff sound so Russian?, and why does Dvorak sound so Czech? (Your mileage may vary on that last one - some might say Smetana, some might say Janacek).
1:35 Classic Tchaikovsky fans that will never admit the superiority of the real god of orchestration 🤣 (2:26 also the one about Tchaikovsky, when you understand the meaning, is actually terribile AHAH)
Bro why do you share pieces you find boring ? There is enough amazing female composer pieces to pick from. Maybe not just in the classical but more globally.
I also noticed with the second one (classical period), the AI one was super vague. The classical period is usually very clear, and also very metric. I couldn’t make heads or tails of the tempo in the AI one.
This is the most awful and horrible video I,ve ever seen. You should be banned from RU-vid and life. Go and try to understand the music. Unfortunately this world is full of this kind of idiots.
Your damn right depression isn't real. Why bother thinking about the doubt or uncertainty of what one is to wonder what happens when Clara Schuman and Brahms when Robert isn't around. In fact, Robert Schuman was jealous of his wife's capabilities as a pianist, so he wrote pieces that would require long hands so she couldn't play them. But then he couldn't play some things he wrote either, and he hurt his fingers while trying to stretch them with a weird finger-stretching device. Back in those days, there were ads like "Do you want a bigger hand and longer fingers? Click here! " Sadly, Robert Schumann clicked on them, which redirected him to a page with videos of pianists with big fingering chords. Robert got jealous again and purchased the whole hand enlargement set. I mean, I'm not sure if any of this is true or not. I heard it from Brahms.
I got 9/10, but I find anyway some AI pieces quite interesting. Consider AI is a new technology. I'm pretty sure in 100 years we won't be able to distinguish AI from human productions. I'd like to know what AI software was used to compose these pieces. I tested AIVA and AI Music Writer, but they honestly don't even come close to the results we heard in your video.
Yeah, the pop one was the only one I got wrong. Maybe because in pop it's so simple minded even AI can fake it. In all the other styles it reminded me of music written by a student or someone who never did any voice- leading or counterpoint exercises- the voice-leading and harmonies and counterpoint often made no sense.
I'm a classical musician and found this pretty easy. Most of them were really obvious. I did get the three last ones wrong; film music 2 and pop (not so surprising), but also the opera fragment which is really shocking. I found the second fragment sounded like a jibberish language but still the voice sounded so human that I went with number 2. I would have thought that singing was the last thing AI would realistically imitate, but this is seriously impressive!
I got 9/10. Missed pop one. Everything else was rather obvious. For the baroque, film, opera, classical and romantic pieces, the AI generated ones were either musically anachronistic, did not sound real (too perfect and no real auditory information of a setting, like a chamber or stage where it was recorded) or generally devoid of soul, or in a language that's unknown to me. While they did not sound bad, the phrasing were generally repetition-based and the structure either simplistic or too randomized, it didn't sound like composers having something to say and there were barely any crescendos or changes in tempo. While the human pieces all sounded like someone telling you an emotional story.
