What should march music sound like

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Follow the text and translation here. Chamber music sometimes gets a bad rap. It doesn't have the sheer power of orchestral music, nor the narrative aid of lyrics, nor is there a conductor with star appeal to give it a personality. Some people say it's boring. It's not.

Like their jazz-playing cousins, chamber musicians need to be totally attuned to each other, and there's no safety net. Each player is vital to the success of the performance. That energy is transmitted to the audience. Brahms's chamber music — especially the works with piano — have great tunes and momentum that get you out of your seat. The fourth movement of his first piano quartet is a tour de force.

Beethoven: String Quartet in F major, Op. Experts agree, Chopin was the poet of the piano. Janina Fialkowska, one of the world's leading Chopin pianists, says, "There is no composer who wrote better for the instrument. If you have ever fallen in love, paddled a canoe on a lake by moonlight, gotten up early to watch the sunrise, eaten an oyster pulled fresh from the sea, cried during a film or had a baby wrap its fingers around your pinky, then you need to pay attention to Chopin.

He understands you. Chopin: Scherzo No. Opera is not everyone's cup of tea. Dressed up, hanging out with fabulous people, drinking champagne. If it weren't for the damned music, it would be a perfect evening! Jokes aside, everyone should know at least one opera, and there's none crammed with greater arias, duets and ensembles than Bizet's Carmen.

The music is brilliant and it's a great piece of theatre too. Can you imagine what music would sound like for a lion? What about a tiger, or a bear? Today we will hear a few examples of music for those animals and make our own lion, tiger, and bear music. Notice, about 15 seconds in, that the piano starts super low, plays into its high register, then goes back down to the low notes. When you hear this, imagine a lion's giant jaws opening up to roar.

What words would you use to describe a tiger? The new style was also encouraged by changes in the economic order and social structure. As the eighteenth century progressed, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred comic opera.

This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the continuo —the rhythmic and harmonic ground of a piece of music, typically played by a keyboard harpsichord or organ and potentially by several other instruments.

One way to trace the decline of the continuo and its figured chords is to examine the disappearance of the term obbligato , meaning a mandatory instrumental part in a work of chamber music. By , it was practically extinct. Economic changes also had the effect of altering the balance of availability and quality of musicians. While in the late baroque a major composer would have the entire musical resources of a town to draw on, the forces available at a hunting lodge were smaller and more fixed in their level of ability.

This was a spur to having primarily simple parts to play, and in the case of a resident virtuoso group, a spur to writing spectacular, idiomatic parts for certain instruments, as in the case of the Mannheim orchestra. In addition, the appetite for a continual supply of new music, carried over from the baroque, meant that works had to be performable with, at best, one rehearsal.

Since polyphonic texture was no longer the main focus of music excluding the development section but rather a single melodic line with accompaniment, there was greater emphasis on notating that line for dynamics and phrasing.