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It's interesting how certain composers have a recognizable sound, I started listening to this and right away I thought of "Peter and the Wolf" also by Prokofiev. Once I was listening to a piece that I had never heard before and didn't know who wrote it or what it was titled, and thought "That sounds like Sondheim", and when I checked it out, it turned out to be written by Sondheim.
It's interesting how certain composers have a recognizable sound, I started listening to this and right away I thought of "Peter and the Wolf" also by Prokofiev. Once I was listening to a piece that I had never heard before and didn't know who wrote it or what it was titled, and thought "That sounds like Sondheim", and when I checked it out, it turned out to be written by Sondheim.
There's something about how Beethoven makes use of timpani, and horns that is distinctive too.
Wouldn't say that is bad music, given that it follows a successful commercial formula. But that's the problem: it sounds just exactly as the rest, it's easy predictable and the initial effect has faded.
It's comprised of a collection of licks, some technically challenging and interesting on their own, but not linked in a coherent structure. Beethoven said that music is the art of transitions. Compare the one above with this one from Akira (lead guitar for Loudness, one of the most underrated metal bands):
thedoc wrote:
It's interesting how certain composers have a recognizable sound, I started listening to this and right away I thought of "Peter and the Wolf" also by Prokofiev. Once I was listening to a piece that I had never heard before and didn't know who wrote it or what it was titled, and thought "That sounds like Sondheim", and when I checked it out, it turned out to be written by Sondheim.
Music touch feelings and comes from feelings, I've always thought it's related with comunication, a lot (maybe too much, I can't do music because I'm never satisfied with my creation), sometimes I've thought "I need music to explain this". Oh... and... I love Prokofiev too much. I feel so understood when I listen him XD. https://www.youtube.com/watch?v=JkahJ92iTOI
It's said that Intepretations of this song in four hands can be done only with the loved one, because that's the only way to get such compenetrarion. Danse Macabre. Beautifull... I'm sure you know it. (to put something different)
Last edited by TSBU on Sat Sep 17, 2016 9:04 pm, edited 1 time in total.
Hobbes' Choice wrote:
There's something about how Beethoven makes use of timpani, and horns that is distinctive too.
When I was in HS I told someone that the drums could be tuned to a particular note especially the timpani, He called me a liar and said he would never believe anything I said again. If you listen to Bolero you can clearly hear the timpani playing different tones to the music, or the opening section of "Also Sprach Zarathustra" that was used in the movie.
Wouldn't say that is bad music, given that it follows a successful commercial formula. But that's the problem: it sounds just exactly as the rest, it's easy predictable and the initial effect has faded.
I think he was trying to be 'hip' with his comment.
thedoc wrote:
It's interesting how certain composers have a recognizable sound, I started listening to this and right away I thought of "Peter and the Wolf" also by Prokofiev. Once I was listening to a piece that I had never heard before and didn't know who wrote it or what it was titled, and thought "That sounds like Sondheim", and when I checked it out, it turned out to be written by Sondheim.
That's because the greats compose from their 'soul'. Their essence is in their music. It's the same with great artists. Van Gogh is instantly recognisable.
I've loved Peter and the Wolf since I was a child, but I worried about the poor duck quacking inside the wolf at the end.
Hobbes' Choice wrote:
There's something about how Beethoven makes use of timpani, and horns that is distinctive too.
When I was in HS I told someone that the drums could be tuned to a particular note especially the timpani, He called me a liar and said he would never believe anything I said again. If you listen to Bolero you can clearly hear the timpani playing different tones to the music, or the opening section of "Also Sprach Zarathustra" that was used in the movie.
Speaking as a drummer. I can confirm that each skin has an amazing amount of colour to it, and plays differently from the edge to the centre, varying with both the speed and the force of the hit, and the qualities of the stick. Additionally the tone can be altered by the placing of the hand to change the sustain, or by delaying the removal of the stick from the head.
The variations are for more than you could ever score to control.
Wouldn't say that is bad music, given that it follows a successful commercial formula
I mean bad in how it sounds, not in how much money it makes.
I would say that having a successful commercial formula predicted high for low quality music, so far from it being a "given" of good music, it's more of a given that commercial music was bad.
