Monday, May 31, 2010

50 Tips to Become a Better Classical Musician

 

 

  1. Subscribe to blogs and news about your instrument.
  2. Know who are the top players of your instrument (dead and alive).
  3. Know all the major concertos.
  4. Perform a solo recital at least every 2 months ( Gigs don’t count )
  5. Learn about other musical genres ( Jazz, Blues, Rock, Country,etc.) and try to understand their musical forms, chord progressions, and after that try to arrange something for your instrument.
  6. Learn improvisation .
  7. Try to compose your own cadenzas.
  8. Go to Music festivals.
  9. Make friends with Concertmasters, Conductors, Composers,Arrangers, Manager of salsa groups, jazz musicians and any other music group around you.
  10. Schedule an audition as a substitute at the nearest orchestra or popular group.
  11. Always be on time.
  12. Bring all your equipment: stands, music, extensions, plugs ,etc.
  13. Dress accordingly to the occasion, if in doubt dress nice.
  14. Try a different path in the music business other than performing: compose, arrange, conduct, work as a luthier, manage a symphony, etc.
  15. Teach as much as you can: it would not only bring money but it will also remind you of the basics in your instrument, things you will need for the rest of your life as a performer.
  16. Play every gig available no matter how much they pay, especially early in your career, you would be surprised how many contacts you will do: this will lead to future gigs!!
  17. Always be making friends and tell them what you do: they will spread the word for you.
  18. Have a facebook account and make groups and fan sites.
  19. Same with twitter and other social networks.
  20. Build your own website.
  21. Participate in music forums.
  22. Practice sight reading, is easier to do this with friends, read quartets, duos and trios often.
  23. Practice you excerpts!: Wake up at 3am and play Don Juan or another difficult excerpt and play it without warming up or anything! Its an awesome feeling.
  24. Play an audition to friends and teachers before the real thing .
  25. Become a member of music societies, clubs and unions like the American Federation of Musicians.
  26. Subscribe to Music Magazines.
  27. Attend as many concert as you can, it will help you with your music interpretation, style, etc.
  28. Know the score of the pieces you are playing: solo, chamber, orchestra,etc.
  29. Try to build your own sheet music library.
  30. Try to build a music library with cd’s and dvd’s.
  31. Listen to the pieces you are working on (chamber,solo, orchestral, etc) at least once a day.
  32. Know the composers of the pieces you are working on (style, period in time,life,etc.)
  33. Practice at least 4 hours a day, 6 or more for competitions.
  34. Learn Sibelius or Finale.
  35. In moments of frustration call a friend and tell them how much you love music and how much you don't want to quit, explain to them how hard is the business of music and how hard you are willing to work.
  36. You might want to learn german or italian.
  37. Sharpen your skills of transposition.
  38. Learn the basics of piano.
  39. Study music and physics, the simple stuff
  40. Listen to other music genres you are not interested and learn from them. Find something good about it.
  41. Know the major works of Beethoven, Mozart, Bach, Brahms, Tchaikovsky and all the great masters.
  42. Learn orchestration .
  43. Classical Music for Dummies- Its a great source, I learned a lot of things i didn't know, cool book!
  44. Practice your scales every day; this is key.
  45. Don't waste your time in music theory class, learn all about harmony, counterpoint, instrumentation, etc. This helps understand the music better, it will be reflected in your playing of course!
  46. Help organizing someone's recital or music event, one day you will need them and you will also have the experience as well.
  47. Join your church music group.
  48. Prepare your self for competitions (international or local)
  49. Blog about classical music .
  50. Wake up early for practice marathons with your friends.

Thursday, May 27, 2010

Understanding Classical Music

Understanding classical music is something most people think is far too lofty a goal, one best left for music scholars and academics in their ivory towers. It's the epitome of stuffiness; black ties and diamond earrings must be worn at all times.
This is not at all the case!
Classical music should be heard and appreciated by all people. Composers were and are real people who struggle with the same problems we all do, including paying bills, satisfying their clients, and just existing from one day to the next.
It's not necessary to understand composition techniques, orchestration principles, and the intricacies of arranging music to be awed by its beauty. Just let it wash over you and absorb the feelings!
The genius of Bach, the magnificence of Beethoven, the sheer beauty of Chopin, and the power of Prokofiev are all waiting to be discovered by you, no matter how much you know or don't know about music theory and history.
Do you turn away from a rainbow, bemoaning that you don't understand light refraction and color prism?
Of course not!
If you drive a car, do you understand fuel injection, and rack and pinion steering?
I think I've made my point.
However, some knowledge of Western art music helps understanding classical music even more. Why did Beethoven write his symphonies, why did Bach love the fugue, did Mozart really hate the flute?
But if you don't have time to pursue a Doctorate of Musical Arts in Music History, what can you do?
An easy and fun way to learn about anything is via an audio book.
Audio books are the educational tool for the 21st century.
  1. You can listen anywhere you want to--in the car, in the doctor's waiting room, at a soccer game, lounging in bed--you name it. No more boring classrooms.
  2. You can use odd bits of time that would otherwise be wasted.
  3. You can listen to any part over again without having to raise your hand and ask a question in class.
  4. Audio books are portable--no 10-ton text book to lug around, just a little MP3 player or Ipod.
  5. Audio books are less expensive than a printed text. No trees have to die.
  6. Audio books are private--just pop in an ear plug.
  7. Audio books are entertaining. They come alive with fascinating narration, great music, and tantalizing sound effects.

Tuesday, May 25, 2010

Is scales practice really important?

YES!

Love them or loathe them there's no getting away from them. Scales practice is important... but not only for the reasons you may think! Practicing scales helps us think in a certain key. When we are sight reading or just starting to learn a new piece it is much easier to focus on the notes (and get them correct) if we know the piece is in Ab major and everything that entails, instead of trying to remember Bb, Eb, Ab, Db, Bb, Eb, Ab, Db and either forgetting some of them or constantly repeating the flats or sharps in our heads - which is rather distracting! Scales practice also help us hear tonalities, that is hearing what key a piece of music is in. This helps internalize music later on and also helps with memorization. It is much easier to memorize a piece when we are aware of which key each section is in and where it is likely to move next. All scales are related in one way or another.

Scale practice does not directly make playing pieces better. Scales practice makes your scales better. Practicing pieces makes those pieces better. Having said that scales practice does improves playing and therefore it does help your pieces in the long run. And practicing scales can be fun - in a challenging kind of way.

Scales help the fluency of your playing, your sight reading, improvisation, composition and aural (listening abilities) as well as being useful for practicing techniques on your instrument. Scale practice helps you hear different keys and tonalities and identify patterns within music. Scales you know well also give you the opportunity to practice techniques without having to think about notes. E.g. Playing a scale you know very well staccato means you can work on your staccato technique without worrying about the notes or fingerings. You focus on your staccato. Playing a scale pianissimo enables you to concentrate on making every note sound evenly when playing very soft. Scales practice can be used for much more than just practicing scales!

Sunday, May 23, 2010

How to Keep the Conductor in Line

A Player's Guide for Keeping Conductors in Line

If there were a basic training manual for orchestra players, it might include ways to practice not only music, but one-upmanship. It seems as if many young players take pride in getting the conductor's goat. The following rules are intended as a guide to the development of habits that will irritate the conductor. (Variations and additional methods depend upon the imagination and skill of the player.)


  1. Never be satisfied with the tuning note. Fussing about the pitch takes attention away from the podium and puts it on you, where it belongs.
  2. When raising the music stand, be sure the top comes off and spills the music on the floor.
  3. Complain about the temperature of the rehearsal room, the lighting, crowded space, or a draft. It's best to do this when the conductor is under pressure.
  4. Look the other way just before cues.
  5. Never have the proper mute, a spare set of strings, or extra reeds. Percussion players must never have all their equipment.
  6. Ask for a re-audition or seating change. Ask often. Give the impression you're about to quit. Let the conductor know you're there as a personal favor.
  7. Pluck the strings as if you are checking tuning at every opportunity, especially when the conductor is giving instructions. Brass players: drop mutes. Percussionists have a wide variety of dropable items, but cymbals are unquestionably the best because they roll around for several seconds.
  8. Loudly blow water from the keys during pauses (Horn, oboe and clarinet players are trained to do this from birth).
  9. Long after a passage has gone by, ask the conductor if your C# was in tune. This is especially effective if you had no C# or were not playing at the time. (If he catches you, pretend to be correcting a note in your part.)
  10. At dramatic moments in the music (while the conductor is emoting) be busy marking your music so that the climaxes will sound empty and disappointing.
  11. Wait until well into a rehearsal before letting the conductor know you don't have the music.
  12. Look at your watch frequently. Shake it in disbelief occasionally.
  13. Tell the conductor, "I can't find the beat." Conductors are always sensitive about their "stick technique", so challenge it frequently.
  14. As the conductor if he has listened to the Bernstein recording of the piece. Imply that he could learn a thing or two from it. Also good: ask "Is this the first time you've conducted this piece?"
  15. When rehearsing a difficult passage, screw up your face and shake your head indicating that you'll never be able to play it. Don't say anything: make him wonder.
  16. If your articulation differs from that of others playing the same phrase, stick to your guns. Do not ask the conductor which is correct until backstage just before the concert.
  17. Find an excuse to leave rehearsal about 15 minutes early so that others will become restless and start to pack up and fidget.
  18. During applause, smile weakly or show no expression at all. Better yet, nonchalantly put away your instrument. Make the conductor feel he is keeping you from doing something really important.
It is time that players reminded their conductors of the facts of life: just who do conductors think they are, anyway?
Donn Laurence Mills is the NSOA contributing editor. He holds music degrees from Northwestern University and Eastman School of Music. A conductor and music educator, he is also the American educational director for the Yamaha Foundation of Tokyo.

Thursday, May 20, 2010

10 Famous Violinists (Alive) in the Classical Music World

Itzhak  Perlman
Israeli violin virtuoso, conductor, and master-instructor. He is widely considered as one of the preeminent violin virtuosi of the 20th century.

Perlman was born in Tel Aviv, in what was soon to be Israel, where he first became interested in the violin after hearing a classical music performance on the radio. He studied at the Academy of Music in Tel Aviv before moving to the United States to study at the Juilliard School with the great violin pedagogue, Ivan Galamian, and his assistant Dorothy DeLay.
Perlman contracted polio at the age of four. He made a good recovery, learning to walk with the use of crutches. Today, he generally uses crutches or an Amigo POV/Scooter for mobility and plays the violin while seated.



Joshua Bell
is an American Grammy Award-winning violinist.


Selected Discography
  • Angels & Demons Original Motion Picture Soundtrack, 2009


    Joshua Bell, featured violinist
    Music composed by Hans Zimmer





  • Antonio Vivaldi: The Four Seasons, Sony BMG Masterworks, 2008





  • Defiance OST, 2008





  • The Red Violin Concerto, Sony BMG Masterworks, 2007






Hilary Hahn 
Hahn began playing the violin one month before her fourth birthday in the Suzuki Program of Baltimore's Peabody Conservatory She participated in a Suzuki class for a year. Between 1984 and 1989 Hahn studied in Baltimore under Klara Berkovich. In 1990, at ten, Hahn was admitted to the Curtis Institute of Music in Philadelphia where she became a student of Jascha Brodsky. Hahn studied with Brodsky for seven years and learned the études of Kreutzer, Ševčík, Gaviniès, Rode, and the Paganini Caprices. She learned twenty-eight violin concertos, recital programs, and several other short pieces.








Janine Jansen
 is a classical violinist born in January 7, 1978 in Soest in the Netherlands.
She has eschewed tradition by recording with only 5 solo strings rather than an orchestra, including her brother as cellist and father playing continuo. In live concerts, she has received standing ovations from enthusiastic audiences, such as in the Berlin Philharmonic Orchestra 2006 concert in Berlin's Waldbühne Amphitheater, with a full attendance of 25,000, and in Los Angeles at the Walt Disney Concert Hall with the Los Angeles Philharmonic Orchestra in 2008 to a sold out audience.







Sarah Chang

Chang has performed with the Los Angeles Philharmonic, the NHK Symphony Orchestra of Tokyo, the Hong Kong Philharmonic Orchestra, the Bayerische Rundfunk Orchestra, the Washington National Symphony Orchestra, the Oslo Philharmonic, the Pittsburgh Symphony Orchestra, the Melbourne Symphony, Orchestre de la Suisse Romande, Orchestre Philharmonique de Luxembourg, the San Francisco Symphony Orchestra, the Orchestre National de France, the Honolulu Symphony, and the Netherlands Radio Philharmonic Orchestra amongst others.






Viktoria Mullova

is a Russian violinist. She is best known for her performances and recordings of a number of violin concerti, compositions by J.S. Bach, and her innovative interpretations of popular and jazz compositions by Miles Davis, Duke Ellington, The Beatles, and others.









Maxim Vengerov

Born on 20 August 1974 in Novosibirsk, Russia, to a family with musical tradition. At the age of 5, he began studying the violin with Galina Tourkhaninova, and two years later – with Zakhar Bron. 1984 saw the 10-year-old Maxim go abroad for the first time; in Lublin, Poland, he won the 1st prize at International Karol Lipiński and Henryk Wieniawski Young Violin Player Competition (years later, he recalled, "I thought Poland was somewhere at the end of the world. One does not forget such trips; no wonder I always remember Poland very fondly…").




Julia Fischer

born in Munich, Germany.
Fischer began her studies before her fourth birthday, when she received her first violin lesson from Helge Thelen; a few months later she started studying the piano with her mother, Viera Fischer. Fischer said, "my mother's a pianist and I wanted to play the piano as well, but as my elder brother also played the piano, she thought it would be nice to have another instrument in the family. I agreed to try out the violin and stayed with it." She began her formal violin education at the Leopold Mozart Conservatory in Augsburg, under the tutelage of Lydia Dubrowskaya. At the age of nine Julia Fischer was admitted to the Munich Academy of Music, where she continues to work with Ana Chumachenco.



Anne Sophie Mutter

Mutter was born in Rheinfelden, Germany. She began playing the piano at age five, and shortly afterwards the violin, studying with Erna Honigberger, a pupil of Carl Flesch. Upon Honigberger's death, she continued her studies with Aida Stucki, at the Winterthur Conservatory.
After winning several prizes, she was exempted from school to dedicate herself to her art. When she was 13, conductor Herbert von Karajan invited her to play with the Berlin Philharmonic. In 1977, she made her debut at the Salzburg Festival and with the English Chamber Orchestra under Daniel Barenboim. At 15, Mutter made her first recording of the Mozart Third and Fifth violin concerti with von Karajan and the Berlin Philharmonic.


Midori Goto


is a Japanese American violinist. She made her debut at the age of 11 in a last minute change of programming during a concert by the New York Philharmonic under Zubin Mehta highlighting young performers. When she was 21, she formed the philanthropic group Midori and Friends to help bring music to children in New York City. She is internationally renowned as a performer. In 2007, she was selected as a UN Messenger of Peace.

Tuesday, May 18, 2010

Conductor's Role in Classical Music

What is a conductor?:

A conductor is someone who leads and guides an orchestra or a group of singers in order to perform a piece to the best of their abilities. Conductors work in theater or stage plays, film or TV scores, lead orchestras and choirs that are either amateurs or pros.




What does a conductor do?:

The conductor makes sure that the music piece is interpreted properly by acting as the guide to the musicians or singers. He chooses and studies the music score, may make certain adjustments to it and relay his ideas to the performers so that when the music is played, there is unity and harmony. He schedules rehearsals, plans the orchestra's repertoire and attends to other matters concerning the group he leads.


 Basics of conducting








                          Conducting Patterns











James Horner (film composer) conducting music for the Avatar movie.





                                                                                  
John Williams (Film Composer) 
   
                                                            














Further Reading:


Music review: Three 'conductors' save the day for Los Angeles Chamber Orchestra

 

What Music Conductors and Directors do!


Strong Female Conductors




Friday, May 14, 2010

Perfect Pitch: Can we develop it?

 Perfect Pitch is the ability to hear a music note and identify it right away. It is also someone that can hear harmonies, clusters and any given sound and be able to write it down for multiple purposes. The majority of the musicians are Relative Pitch, this is when someone can recognize a given note for example "A" and find his or her way around the other notes using intervals.


-Musicians who are used to "playing by ear" are masters of the Relative Pitch.

- Many arrangers, orchestrators and composers have Perfect Pitch, they can hear the score in their heads, this will help them organize their ideas without any problem, they know how it would sound like.



We know that we can develop Relative Pitch with some training, but the question is:


Can we develop Perfect Pitch?  
 
Some people say you have to be born with this gift......
Other say that you either have it, or not......
I have never heard you can develop it other than the courses they sell online,


but will they work? Have anyone tried it?






Post your answers!!




Perfect Pitch vs. Relative Pitch


This are some common abilities of a PERFECT PITCH person.
  • Identify by name individual pitches (e.g. A, B, C♯) played on various instruments
  • Name the key of a given piece of tonal music just by listening (without reference to an external tone)
  • Identify and name all the tones of a given chord or other tonal mass
  • Sing a given pitch without an external reference
  • Name the pitches of common everyday noises such as car horns
  • Identify the numerical value in hertz of a given note.


 On the other hand this are some common abilities of a  RELATIVE PITCH person.

  • the distance of a musical note from a set point of reference, e.g. "three octaves above middle C"
  • a musician's ability to identify the intervals between given tones, regardless of their relation to concert pitch (A = 440 Hz)
  • the skill used by singers to correctly sing a melody, following musical notation, by pitching each note in the melody according to its distance from the previous note. Alternatively, the same skill which allows someone to hear a melody for the first time and name the notes relative to some known starting pitch.
  • developed through intense training, practicing hearing differences between major, minor, diminished, and augmented intervals


Check if you have Perfect Pitch:

http://perfectpitchtest.com/

Wednesday, May 12, 2010

Join us ! Classical Music Series

Classical Music Series

I made this Series to provide articles, news, reviews and cool stuff related to classical music. I will write an article every day or every other day.


Follow the Series!!! Press the Follow button or subscribe to the reader!

http://classicalmusicseries.blogspot.com/

Tuesday, May 11, 2010

Orchestration

What is Orchestration?


     Orchestration is the study or practice of writing music for an orchestra or for any musical ensemble. An orchestrator have the entire orchestra in his head. He knows every single instrument, their ranges, how they blend with each other, and especially how to combine the instruments wisely so that they have the perfect balance in volume. Often, composers write a piano version or a small instrumentation of what is later going to be a full orchestra piece. They focus in the music, the art of creating it and the inspiration. Composers don't want do be thinking what blends well or if the orchestra is to loud. After the writing process is done, they start orchestrating the music. In film music they have orchestrators waiting for the composer to hand the original ideas. Studios often have several orchestrators so that the process can be fast. We have to keep in mind that in this business everything is about time.




Ennio Morricone (film composer) was asked at a seminar why he doesn't hire an orchestrator, his response was, "Did Beethoven need an orchestrator? Did Bach?"







Orchestration is a form of compositional art. One can orchestrate a piece a million different ways. Which is the right way???






    Great Orchestration Books

  • Michael Praetorius (1619): Syntagma musicum volume two, De Organographia.
  • Valentin Roeser (1764): Essai de l'instruction à l'usage de ceux, qui composent pour la clarinette et le cor.
  • Hector Berlioz (1844): Grand traité d’instrumentation et d’orchestration modernes (Treatise on Instrumentation).
  • François-Auguste Gevaert (1863): Traité general d’instrumentation.
  • Charles-Marie Widor (1904) : Technique de l’orchestre moderne (Manual of Practical Instrumentation).
  • Nikolay Rimsky-Korsakov (1912): Основы оркестровки (Principles of Orchestration).
  • Cecil Forsyth (1914): Orchestration.
  • Alfredo Casella: (1950) La Tecnica dell'Orchestra Contemporanea.
  • Charles Koechlin (1954–9): Traité de l'Orchestration (4 vols).
  • Walter Piston (1955): Orchestration.
  • Samuel Adler (1982, 1989, 2002): The Study of Orchestration
  • Alfred Blatter (1997) : Instrumentation and Orchestration (Second edition).


Monday, May 10, 2010

Classical Music vs. Film Music


Is Film Music the New Classical Music?


                    




                                  
VS.




         
          Some people know what a symphony orchestra is because they went to the movies and watched Star Wars or Lord of the Rings or some other major movie, and after the movie they googled how this amazing music was made. Then, they find out that it was recorded by a symphony orchestra! In our minds we make the connection (symphony orchestra-classical music) unconsciously, because we've seen so many ads and promotional signs were they are announcing a classical music concert with the picture of a symphony orchestra. General people (non-musicians) are more likely to hear a symphony sound in the theater than in a concert halls. This is why professional orchestras are taking the initiative to have pop concerts and program some film music in their season. They will reach more audiences and at the same time promote the classical concerts.



Valery Gergiev, Russian Conductor


I believe that film music is an art, like classical music. It is just a different process of thinking the music. A film composer writes his music with the picture in mind trying to serve the moving images, while the classical composer can work more with inspiration and doesn't have any "limitations". They use the same compositional techniques, they have to know all about orchestration, harmony, counterpoint, music forms, and other significant details to achieve the same goal. The creation of music.

 





"The job of a composer, whether in film or the classical genre, is to create music which fulfills its function....these functions can be and have been synonymous and interchangeable." 

                                                                                     -Anonymous






"If Richard Wagner had lived in this century, he would have been the number one film composer."

                                                                                    - Max Steiner





Links:

Film Music Magazine article no.1
Film Music Magazine article no. 2
Analyzing Classical Music and Film Music with Examples


www.scoringsessions.com

Friday, May 7, 2010

The World's Greatest Symphony Orchestras

We will take a look at the World's top 20 Symphony Orchestras.

The panel, which was formed by music critics [Gramophone Magazine, the New Yorker, Los Angeles Times, Die Presse(Austria), Le Monde (France), Die Welt (Germany), and other major news companies] have considered the question from all angles:

               - judging concert performances as well as recording outputs, contributions to local and national communities and the ability to mantain iconic status in an increasingly competitive contemporary climate.

                                                                     - The Gramophone Magazine


Gramophone: World's Best Symphony Orchestra

A click on the orchestra label will redirect to their websites.



20  Czech Philharmonic


19 Saito Kinen Orchestra


18 Metropolitan Opera


17 Leipzig Gewandhaus


16 St. Petersburg Philharmonic


15 Russian National Orchestra


14 Mariinsky Theatre Orchestra


13 San Francisco Symphony


12 New York Philharmonic


11 Boston Symphony Orchestra


10 Dresden Staatskapelle


9 Budapest Festival Orchestra


8 Los Angeles Philharmonic


7 Cleveland Orchestra


6 Bavarian Radio Orchestra


5 Chicago Symphony Orchestra


4 London Symphony Orchestra


3 Vienna Philharmonic


2 Berlin Philharmonic


1 Royal Concertgebouw (Orchestra) 








 Luviu Prunaru
Concertmaster Royal Concertgebouw Orchestra







Royal Concertgebouw Orchestra







(Cesar) The question it self is very controversial but I think this a very accurate list. I would move a few orchestras down and some up, but the top 2 orchestras should definitely be Royal Concertgebouw and Berlin Phil. I am surprised that Chicago Symphony got number 5 (the first American Orchestra)of the list, the Cleveland Orchestra was my first guess for the first American Orchestra.




Is your favorite orchestra in the top 20 ????

Sunday, May 2, 2010

Is "Classical Music" the Appropiate Term for the Genre?

 

What is Classical Music?

When asked the question, “what is classical music?”, elevator music comes to the minds of many people. Although it is grossly inaccurate to say that classical music is elevator music, the two terms are similar in one way. They are both a generic term applied to a type of music.

  • Classical music encompasses many styles of music spanning over 700 years. The term is used colloquially to describe a variety of western musical styles from the ninth century to the present.





  • But, should we use "classical music" referring to the music of  Ludwing van Beethoven or Pyotr Ilyich Tchaikovsky ?

 


*For me, classical music is just a period in time, when music evolved in certain ways from what it was in the baroque period. Some people call it concert music. I think that is a great term, maybe it could be instrumental music as well. But that will remind us the genres of new age and jazz. What do you think?

 

 

 

Periods of European art music

 
Early
Medieval       (500–1400)
Renaissance     (1400–1600)
Baroque     (1600–1760)
Common practice
Baroque     (1600–1760)

Classical     (1730–1820)
Romantic     (1815–1910)
Modern and contemporary
20th-century     (1900–2000)
Contemporary     (1975–present)
21st-century     (2000–present)

 

 

 

Main characteristics of the classical period 

1 Classical music has a lighter, clearer texture than Baroque music

2 Less complex. It is mainly homophonic- melody above chordal accompaniment 

3 Variety and contrast within a piece became more pronounced than before

4 The orchestra increased in size and range

5 The main kinds were sonata, trio,string quartet,symphony,concerto ,serenade and divertimento.

6 Melodies tended to be shorter than those of Baroque music, with clear-cut phrases and clearly marked cadences

 

 

 

 


Do you think the term "classical music" is appropriate for the genre?



























Recommended:


Top 10 Symphonies You Should Own

http://classicalmusic.about.com/od/classicalmusic101/tp/symphonylist.htm