nindiwb:

Saint-Saëns - Le carnaval des animaux (The Carnival of the Animals) (1886)

aaaaaw orch-gasm !!!!

themaninthegreenshirt:

"I’m not supposed to be playing, the music is supposed to be playing me. I’m just supposed to be standing there with the horn, moving my fingers. The music is supposed to be coming through me; that’s when it’s really happening." Sonny Rollins

themaninthegreenshirt:

"I’m not supposed to be playing, the music is supposed to be playing me. I’m just supposed to be standing there with the horn, moving my fingers. The music is supposed to be coming through me; that’s when it’s really happening." Sonny Rollins

(via csharp-melodicminor)

Whenever I listen to Shostakovich I always say to myself “oh that’s a great part! I should go on imslp to try and play it!” Then I slowly remember the sad truth.

TRYING TO SIGHTREAD IN AN ORCHESTRA REHEARSAL

TRYING TO SIGHTREAD IN AN ORCHESTRA REHEARSAL

the-ravelian:

dilettante-perpetuel:

the-ravelian:

sometimes-music:

the-ravelian:

wizardmichael:

the-ravelian:

majerinvahorgin:

the-ravelian:

NO STUDENT OF MINE IS GONNA PLAY AN UNRESOLVED SEVENTH OF A DOMINANT SEVENTH NOOOOOOOOO NEVAHHHHHH

Cool it, gramps. We ditched that rule after theory 3.

NO.

YOU DON’T DITCH THE VOICE LEADING RULE.

THE VOICE LEADING RULE DITCHES YOU.

ALSO THIS IS NOT AN ISSUE OF PARALLEL FIFTHS, YOU DO ALL YOUR DISGRACEFUL PARALLELISM IN THEORY 4 ALL YOU WANT AND I WOULDN’T GIVE A RATS ASS BUT THIS IS A PROBLEM OF UNRESOLVED SEVENTHS AND DIM5 RESOLVING UP TO P5 AND IT IS NEVER FORGIVEN IN COMMON PRACTICE WHICH THIS PIECE OF SHIT MUSIC IS IN.

YOU DO WHAT YOU WANT BUT MY STUDENTS ARE NOT GOING TO BE A DISGRACE.

I think you’ll find there is nothing wrong here, the chord at the end has to have the F5 in the bottom because the top already has an A in it. If you were to put an A into the bottom you’d get a very unhealthy sounding number of thirds in the chord and judging from the musical context that isn’t what they were going for. I’m not sure who taught you theory but you’re wrong. Also, the voice leading is fine, the seventh always raises anyway? Very confused by your argument here?

I have one thing to tell you:

In a tonic triad in root position following a V7 in root position, the fifth is often omitted in the tonic triad.

In the bottom we have a C, E, and Bb in the V7, where the Bb MUST resolve down by step to A, the E (leading-note) must resolve up. This is the correct resolution.

For the top part, it could as well be 2 F’s and it would be perfectly correct.

Your argument is invalid.

I am still correct.

Times like this I miss my old URL.

As a professor of mine once posted on Facebook: “seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up. seventh down, leading tone up.”

My Schenker professor’s mantra:

Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om… Seventh of the Dominant 7th always resolves down by step… Om…

things are getting heated in the voice-leading fandom

We will defend our sevenths til the end of time.

(via conductingbassclarinet)