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the (un)Official Ukulele

@theofficial-ukulele

small but cute. this is mainly an orchestra/band blog but with ukulele posts too!
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Pro Tip

Every week, take one day out of your practice to have a “slow day”. On this day, play all of your scales and rep at no more than ¾ performance tempo. Take this chance to completely solidify and deliberate on all of the technical and musical advancements you’ve made that week, and bring out your sound’s full potential. This will give your playing direction, consistency, and a sense of thoughtful ease. This works especilly well in place of a day when you’d normally not play at all.

Happy practicing.

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me: *plays a piece that I didn’t practice*
my teacher: good job. that was much better than last week.
me: how? I refuse to believe it was. it was just as awful as before and you know it. do you always lie to me like this? can I trust anything you tell me? are you even who you say you are? can I believe anything?
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i have greensleeves stuck in my head but, like, the horrible otamatone version

just in case anyones forgotten this absolute masterpiece

What I love most about this is that you start it and you go “eh, it’s not THAT funny, they just sound like crumhorns really.”

AND THEN THE THIRD ONE COMES IN.

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bae-ssoon

musician quirks

flute: either super late or super early to everything, loves tea

oboe: always looks good, has to buy button up shirts a size too big so they can play in them

clarinet: outfits are always planned a week in advance, loves pastels, own seven boxes of reeds but will only play on that one good reed

bassoon: can not drive at all, that little bop they do when they play staccato

trumpet: usually a gym junkie, will own 4 trumpets and still have to transpose

french horn: loves adventures but has to practise 3 hours a day, once offered to pay for a practise room

trombone: always up for a dinner date, never has a pencil

tuba: give good hugs, love anime, dread the monthly tuba baths

violin: they need a hug and three coffees, trend setter, will fight you for a practise room

viola: love travelling, have been everywhere, tired of viola jokes

cello: vegetarian, has a pet dog and can hear the bach cello suites when they close their eyes

double bass: instagram famous, always look great despite lagging around a big instrument

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mikrokosmos

Mahler - Symphony no. 4 in G Major

After the transcendence of the second, and the cosmic proportions of the third, audiences didn’t expect a quieter, relatively shorter work. What had happened was that Mahler had written one final song to end his third symphony with, but decided to cut it out because he felt the loving and powerful orchestral movement was a good enough ending, and also because the work was already bordering on 2 hours which is crazy long for a symphony. Instead, he took this song and wrote an entire new symphony around it, with each movement alluding to the song. The third and fourth share melodies, but even so the fourth is easily an independent work. Mozartian in its writing, and the large orchestra is still the smallest forces called for any of his symphonies, and it is toned down a bit with the typical focus on chamber like solos, duos, trios…the work opens with childlike wonder, imagination and playtime outside, adventurous and pastoral. The next movement is a scherzo in which a solo violin plays in a “gypsy” manner. The third is a large and gradual, subtle set of variations that build up to a grand climax before dying off. The finale is a song for soprano and orchestra, a child’s idea of what heaven is like. Despite the peaceful moments, the entire work is a paradox. On the one hand it involves youthful innocence and naivety about the world, and on the other it is very aware of death and danger. Even the opening sleigh bells, which you’d associate with Christmas and fun in the snow, is paired with jarring chords as the soprano sings about Saints slaughtering animals without any sympathy. Even after death there is death.

Movements:

1. Bedächtig, nicht eilen

2. In gemächlicher Bewegung, ohne Hast

3. Ruhevoll, poco adagio 

4. Sehr behaglich, “Das himmlischen Leben”

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a summary of the main periods of music

renaissance: MODES MODES MoDEs and lets make everything blend and ooOHH lots of chords yes yes many chords buT WE OVER-COMPLICATE EVERYTHING
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baroque: one melodic idea aND THEN WE TEAR IT APART WITH OUR FUGUES AND CONTRAPUNTAl and ornaments. homophonic? try poly. jumpscare dyNAMics and we have no pauses you keep playing till you die
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classical: e v e n s i m p l er! one melody and all the lesser important parts below it. and wE SLOWLY FAde intO DYNAMICs. piano! orchestra!??!!! PIANO!!!!!!! OMFG ITS A PIaNO!!!! ew harpsichord whoa moZART
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romantic: acccceelerando nO WAIt i want ritardandoooOO jokes. so free! so emotional! the tears and the feels uGH. REVOLUTIONS AS WELL. why's this orchestra so pathetic lETS ADD 784 NEW INSTRUMENTS!! and i want it to be so hard no one can play it
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20th century: a boop bap dap and a dippity do lookie do its jazz! and yes that accidental is meant to be there. also ignore the septuplets just play with it. also i wonder what happens if we hit different instruments. ok that soup bowl is now a percussion instrument. anD EVERYTHING IS SO COMPLEX HAHA PEASANTS SUFFeR!!
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neoclassical 'new-age': bo oop bOp bIP BIEEEEEEEEP dInK!!!!(\(!!(!!$(($ DINK DINK DINK Dndfy *cats meowing harshly* *car crashes into house* NYEEEAAAAAAAAHHJHhhHHH
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flutejesus

since the last poll went so well, i want to ask y'all: how did you come to play your base instrument and why?

was it chance? did you put a lot of thought into it? were you forced? did you inherit something? any regrets? favorite parts? please reblog/reply with your story!

also anyone who just likes or reblogs without saying anyhting is2g is getting a frowny face in their inbox seriously guys wtf is with that

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dennisbrain

omg i saw the movie Pirates of the Caribbean when I was in 4th grade, a couple months before I had to choose my instrument. i immediately noticed the soundtrack, and finally when the Medallion Calls theme came on with all the horn stuff I turned to my dad and was like WHAT INSTRUMENT IS THAT????? and he told me it was a weird circular curly thing called the horn. and after that i knew what i wanted to play. and POTC is still my favorite movie and my goal is to do movie soundtracks someday 

(on choosing the horn) I moved to Texas from a school in Georgia that was not at all known for band, so when going into sixth grade and asked if I wanted to be in band, I said no! Because band is so uncool! But my mom made me choose it because "music is different in Texas than Georgia" (no hate on Georgia). We went in late for the instrument test and I ended up getting to choose between horn and clarinet... I chose clarinet. Later my mom called the school back and had them change it to French horn because she didn't want to pay for a clarinet (horns were provided by the school)

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four-flats

A Four Flats Masterpost (some great pieces in what I find to be the most expressive key signature):

(This was 100% inspired by @you-had-me-at-e-flat-major)

warning: there is gonna be a lot of chopin pieces because he’s my fave and this the key containing the highest amount of his pieces and I love everything he did so scerw you.

And yes, I have made Spotify playlists so you guys can listen to these great pieces, just click on the key. Also feel free to tell me some other good ones if there are any I missed.

This list was a long time coming, so enjoy. <3

- Polonaise Fantasie by F. Chopin - Impromptu No. 4 in A♭ Major by F. Schubert (it technically starts in A♭ minor though but oh well) - Sonata Pathétique Mvt 2 by L. van Beethoven - String Quartet No. 10 in A♭ Major by D. Shostakovich - Maple Leaf Rag by Scott Joplin (yeah yeah cliche but it’s undeniably great) - Polonaise Héroïque by F. Chopin - Concerto for Two Pianos in A♭ major by F. Mendelssohn - Waltz in A♭ Major Op. 39 No. 15 by J. Brahms - Symphony No. 1 in A♭ Major by E. Elgar - String Quartet No. 14 in A♭ Major Op. 105 by A. Dvořák - Intermezzo in A♭ Major by F. Poulenc - Étude Op. 25, No. 1 (Aeolian Harp) by F. Chopin - Finlandia Op. 26 by J. Sibelius - Sonata No. 31 in A♭ Major Op. 110 by L. van Beethoven - Bruyères by C. Debussy - Lillies by S. Rachmaninoff (so calming) - Liebestraum No. 3 by F. Liszt (if I didn’t include this piece, I would feel like a bad person)

- Piano Sonata No. 23 (Appassionata) by L. van Beethoven - Violin Concerto L'inverno by A. Vivaldi (the Winter Concerto of the Four Seasons) - Symphony No. 1 in F minor by D. Shostakovich - Piano Concerto No. 2 in F minor by F. Chopin (just……… all of it. so good.) - Fantasia in F minor for Piano, Four Hands by F. Schubert - Das Jahr: November by F. Hensel-Mendelssohn - Piano Sonata No. 1 in F minor Op. 2 No. 1 by L. van Beethoven (despite my suffering in trying to play this, it really is a fantastic piece) - Valse Romantique by C. Debussy - Sonata No. 3 in F minor by R. Schumann - Symphony No. 4 in F minor by P. I. Tchaikovsky (one of my favourite symphonies) - Prelude And Fugue in F minor BWV 881 by J. S. Bach (currently working on this one and now am essentially forced to include it. The fugue is especially good.) - Piano Quintet in F minor by J. Brahms - Ballade No. 4 in F minor by F. Chopin (probably my favourite piano work of all time)

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dennisbrain

for f minor i’d like to add Romance in F minor for Violin and Orchestra by Antonin Dvorak!!! it’s one of my favorite pieces and definitely worth a listen

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are you fucking kidding me

Heh, I play the cello, I’ll bet this is an interesting article.

tru

Jesus fucking christ dont get me started on moving the damn thing

Pretty much…

They cause die

Yeah thats

Me. Thats me.

Motherfucker you wanna play

(x)

Oh hey, a Buzzfeed article relevent to my interests!

I

why this

(x)

this post was a trip

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studyvari

tips on how to rehearse your instrument

okay, so, after ages of procrastination, here it is. My rehearsal tips for classical music. Mostly for piano, but also other instruments, especially woodwinds, since i’m also playing the flute! If you have anything to add to the list, just don’t hesitate :)

1. Prepare yourself. Yep. Even in music, this is an important step. Turn off your electronic devices, they’ll only distract you and you won’t need them - at least not for classical piano rehearsal. Get all of your sheet music together! You can also get yourself a glass or a bottle of water (Especially for wind instruments!), but make sure that the instrument won’t get any damage!

2. Warming up. This is so important and it’ll help you to improve your tone (winds) and your style. I recommend doing scales and arpeggios in different versions - you’ll always need them. Also, try out different breathing techniques if you’re playing a wind instrument, such as circular breathing. However, try to mix it up. Don’t do the same stuff every day because you’ll eventually loose interest in what you’re doing. Be creative! Don’t forget that music is art!

3. Don’t try to play all of your pieces in one day. What I wanna say is: If you have 3 pieces to practise - for example a Bach, a Beethoven sonata and another piece, don’t do all of them in the same day. Practice two of them the 1st day after your rehearsal, then two the next day and the day after that another two. This way, it’ll be a nice circle and you still practiced everything in the end. It’s the same with studying, really. Try to make a rehearsal plan. Also, if you only have to practise one piece, don’t just play it from the beginning ‘till the end. Do the same. Play 3 lines the first day, maybe 4 the next and maybe 2 the day after that. Divide the work in small chunks. It’ll be much easier to keep track of what you’re doing. 

4. Analysis. Most people don’t believe me this, but analysing your piece of music can be really helpful. Especially if your teacher just gave you a new piece to practise and you think it is way too difficult. It is not! Try to find out where the melody is. Is it in the left hand or the right hand? What is the form of the piece? Where would you play forte, where piano? Where do the notes come from, where do they go? Where are the important parts, the climax of the piece? All of these are important information that, if done right, transform the notes on the sheet into actual music. However, you may check the details of this with your teacher. They often know a lot more about music - and asking questions won’t be wrong. 

5. It is very important to practice the nuances and the intonation from the first moment on. In every instrument. Don’t try to make excuses as to why you would add that crescendo later. Do it now! To memorize the nuances easier, you can sit down for 5 to 10 minutes before your practice and just look at the notes, trying to memorize the small details that you added. 

6. Start slowly. You don’t need to be able to play a piece of music in the original tempo in one week. Getting to know your piece, feeling the music, takes time. It often takes a semester to remember 3 or 4 pieces by heart - depending on their seize as well - but that was at least the case for me. And most of the time, i was just too lazy and i could’ve needed two or three more additional weeks ‘till the actual exam. I had to memorize like 20-30 pages by heart for my last two or three exams and it really takes a good amount of work and practice!

7. So now to the actual rehearsing. Again, it is important to chunk down the piece into a lot of small pieces. Start with the right hand first, then do the left hand on its own. Or start with the melody first. Go slowly - it is better if you can play without any mistake, than playing 15 wrong notes in just one line. Also, especially for piano (and violin?) - write down the fingerings. This may take some time, but it’s so important to play everything the same way. Try to find a fingering that suits you, if they’re not included already!

8. If the piece has a lot of chords, you should play the chords first. (I’m talking about Rachmaninoff here, that little bitch!) Try to get the connection between two chords right, then add a third one, and so on. Before you notice it, you can play the whole passage already - congrats! Again, prefer going slowly and with the right notes to going fast with a lot of wrong notes. In classical music, precision is really important. And precision starts the second we start learning a new piece of music. 

9. Memorize the parts you played wrong, mark them, so you can go back later. For the very start, just try to get into the feeling of the piece. Then, take one section and play that 10-15 times. So slow, that you don’t play any wrong notes. Just 10-15 times, then go on to the next passage. At the beginning, you may repeat them more often, but as you’re already into the piece, don’t repeat the passage more than 15 times. Let it rest, go on to the next one - and only repeat it again the next day. This is also a great method for rehearsing if you don’t have a lot of time. It’s better to play just 10 minutes a day and just a passage than to not play at all! 

10. Get a metronome. Seriously. Metronomes are so important because it is literally so so so annoying when a musician can’t keep it’s tempo. And you need to be able to do so - even in difficult passages. Also, for pianists and basically every other instrumentalist (except for drummers maybe!) DO NOT, I REPEAT, DO NOT TAP YOUR FEET TO THE BEAT OF THE PIECE. DON’T DO IT. IT’S THE WORST THING EVER TO DO ON STAGE. Also, in orchestra, it’ll most likely annoy a lot of musicians around you. Just get a metronome. 

11. Don’t skip difficult passages. Don’t do it. Practice them excessively - with the method that i described in step 9. 

12. Listen to yourself. Record yourself if you need to. Criticise yourself. Don’t say “Yeah, I know i played that wrong.” Stop playing. Repeat the passage 5-10 times until you won’t get it wrong anymore. Then move on.

13. Enjoy yourself. Music comes from the heart. Try to talk to your teacher if you don’t like your piece or if you find it too difficult to practice and concentrate. I’m sure they can give you different exercises that are perfect to help you improve as an individual. 

14. If you have an exam coming up, listen to different youtube versions of the song. Get inspired - but don’t freak out. It’s okay if you don’t play Chopin as fast as Yuja Wang or Lang Lang or whoever is THE GOD in your instrument. Judges know and mostly respect that you’re a student. You’re still learning, and you’re nervous. They’re humans too and they know this. I also recommend to play the songs in front of people, for example your friends or family - often, music schools offer mini concerts for students so that they can play in front of other students who’ll take the same exam - before your actual exam. It helps to get used to the situation and it’ll be really helpful because you know what passages you have to practice more so that they won’t go wrong in the exam. 

15. Try to find out which way to play your pieces. One may requires more strength than the other, or a lot more concentration. Do you play your best piece at the end or do you choose the order by music eras and music styles? If you are not sure which way to play your pieces, ask your teacher for advice! 

16. During the exam. Don’t stop if you played a wrong note there. Please don’t try to correct yourself, that only disturbs the music’s flow. And the judges will notice the wrong note more likely if you stop playing. Mostly, they won’t even hear a wrong note. Just continue playing as if nothing happened.

17. Last but not least, if you have to audition for an university, it is important to know why you choose that certain song. Be prepared to explain what the song means to you or why you thought it would be good to play it in this setting. Also, be prepared to do an improvisation. Don’t freak out if they ask you to do something differently - they often just want to check if you’re able to change things up immediately, if you’re open to new things. Also, it is often required to play songs from different eras. Do it! And be sure to be in the required time limit as well! Mostly, they send you a list of things you have to be aware of when you register for the audition. 

18. As for the practicing times, it’s up to you. However, I recommend not playing a full hour at once - especially for piano. It’s easier to squeeze in a quick 10-20 minute practice between your study sessions. If you do that 2-3 times a day and practice the right way, you’ll be surprised on how your productivity will evaluate! Also, this method will make it easier to concentrate on your studying afterwards again, because music frees the mind from stress, relaxes your body and is good for your soul! 

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litterbot
Scientists discover most relaxing tune ever
Sound therapists and Manchester band Marconi Union compiled the song. Scientists played it to 40 women and found it to be more effective at helping them relax than songs by Enya, Mozart and Coldplay. Weightless works by using specific rhythms, tones, frequencies and intervals to relax the listener. A continuous rhythm of 60 BPM causes the brainwaves and heart rate to synchronise with the rhythm: a process known as ‘entrainment’. Low underlying bass tones relax the listener and a low whooshing sound with a trance-like quality takes the listener into an even deeper state of calm.

JESUS CHRIST

This really works.

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mikrokosmos

Mozart - Clarinet Quintet in A Major, K.581

One of my favorite series on youtube is Inside Chamber Music with Bruce Adolphe where Bruce dissects major chamber works in detailed lectures. This morning I was listening to the episode on this quintet and I was again taken aback by just how complex Mozart’s music is. To me, his music has always been deceptive. The melodies seem so simple and have such a natural flow, that we don’t notice when and how those melodies are tightly knit together. For example, in the first movement of this quartet, upon closer listening, you may notice that all of the main melodies are built out of snippets from the opening, like Haydn’s writing but not as obvious. In the lecture, Bruce brings up how Mozart was a freemason, and that this quintet was written for his friend, a clarinet player Anton Stadler, who was also a mason. With that background, it’s fun to think of the first movement as a dialogue between Mozart and the other masons at the lodge. The strings are the masons, sharing ideas with each other, while the clarinet is Mozart coming in with fresh new ideas that the rest of the group either comments on or tries to resist. The second movement is slow and also in sonata form, the highlight of the movement comes near the end when there is more emphasis on chromatics. The minuet uniquely has two trio sections and has a nice contrast between leisurely cheer in the major, and a more “concerned” tone that comes with the shifts into minor keys. The final movement is a set of variations on a bouncy theme that sounds almost like a divertimento movement, with the clarinet switching between supporting role and main star.

Movements:

1. Allegro

2. Larghetto

3. Menuetto - Trio I - Trio II

4. Allegretto con Variazione

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Underappreciated German Words

Today: Vorführeffekt, der (n.)

That moment when something that always works suddenly goes wrong the moment you want to show it to someone.

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