Music Books Galore!

It's truly astounding, the sheer variety of music books on the market today. They are music books covering every historical and modern composer, both musically and biographically. Whole genres are described in 500 pages or more, musical movements detailed to their very core. Individual popular artists with authorized and unauthorized biographies; musicology; lyrical analysis; how to start a band, join a band, manage a band, destroy a band -- it's all covered in the pages of thousands and thousands of music books. And that doesn't even crack the crème brulee of music books filled with sheet music and theory and various lessons. College bookstores are stacked to the walls with these kinds of music books and elementary schools all over the country rely on the basic forms to teach children the basics of music


Those instructional music books are by far the most common type, though they're usually found in educational bookstores as opposed to your local bookseller's shop (or even one of the virtual book mega-malls). The basis of the lessons in music books vary greatly; that, of course, is beauty of them. Some music books will be filled with solely sheet music; though you'll most frequently see these type of music books for piano, they come intended for nearly every instrument imaginable. Music books of this sort are usually divided into volumes based on skill level and frequently used for individual instrument lessons.

Other types of instructional music books, usually those used in required music classes, will contain a combination of sheet music and other lessons, such as theory and history. For instance, music books used in elementary schools will sometimes have a section based on a particular musical genre, such as American spirituals or rock & roll; this section in the music books will contain a brief history of the genre, the rhythmic or thematic elements of the genre and a short excerpt of sheet music (usually vocal) to be played by the students. These music books function as an early primer for young students, teaching them a wide array of various genres and forms.

For piano books online a good source is Top Piano Books

What is an "orchestra"? Is it the same as a band?

The orchestra is perhaps the most recognizable figure within the classical music genre; it's an instrumental ensemble that plays classical music and its many off-shoots. A counterpart of the orchestra, the symphony orchestra, is a variation of the ensemble that plays only symphonies -- although in more modern times, the term symphony orchestra refers to any large orchestra, even one that isn't exclusively symphonic. At any rate, the orchestra is an integral part of any local music community, one that provides endless entertainment (and even employment) for those most interested in the form.

The basic difference between an orchestra and a band is the instrumentation - a band almost never has stringed instruments such as violins, violas, and cellos. It often, however, has either an upright bass or an electric bass. And a band typically plays music that is "less classical" than an orchestra. Many bands play mostly marches, while other bands play pop and jazz oriented music.

An orchestra is comprised of four instrument groups: strings, which feature violins and cellos; brass, which features French horns, trumpets and trombones; woodwinds, which features flutes, clarinets and bassoons; and percussion, which features any number of drums (including snare, bass and timpani) in addition to the piano or sometimes harpsichord. The number of individual musicians within an orchestra depends largely on the orchestra in question, its location and its type. An orchestra in a large city will often require a large number of employed musicians (the orchestra is, after all, a full-time job) of which only a fraction will play at any given performance; an orchestra as such will sometimes have 80 or 90 musicians on the payroll with only 40 or so seats for performance. It's not uncommon for an orchestra to keep several musicians on hand that aren't necessarily regular members of the orchestra; sometimes a special instrument not found within the roster will be required for a piece, in which case the orchestra will call on one of their in-the-wings musicians. Additionally, some larger cities will feel the need to include more than one orchestra in the area, all with different names; it is here that a symphony orchestra and an orchestra will utilize the name difference without any real style switch.

What possible good are piano recitals?

When I was taking piano lessons as a small child, I used to dread piano recitals at the end of each school year. And I imagine most kids feel about the same. But there is some long-range benefits to participating in recitals as well which really won't be fully appreciated until one is an adult and has some perspective.

I remember one particular recital when I was about in the 4th or 5th grade. I played something very simple like "Swans on the Lake" or some such, and another boy of the same age I didn't know at the time played "Kitten on the Keys" -- a uptempo, jazzy piece with lots of notes -- much more advanced than my little piece. It wasn't his fault, of course, but I felt absolutely humiliated and wanted to quit piano lessons immediately.


I'm sure glad that wiser heads prevailed (my Mom and Dad), because in high school this kid and I became best friends and played in the same combo -- he on tenor sax and me on piano. By then I could play circles around him (on piano, not sax!) simply because I had learned chords and also learned how to improvise. And our friendship has lasted up to this present time.

A piano recital is just another name for a piano performance; the term is typically associated with amateurs or non-professionals, but that is not always the case. But regardless of skill level, whether the pianist is a professional or an amateur, a piano recital can be a harrowing, nerve-wracking experience. It requires months of practice and a certain level of confidence to showcase your abilities in front of an audience, and that pressure has a way of wearing on even the most seasoned piano recital performers. With proper preparation and plenty of time, however, those pre-piano recital jitters can be kicked right out of the room; it just takes a little dedication.

Having a helpful teacher is definitely beneficial to piano recital preparations. But if you don't have access to large amounts of help, a few important steps can get you through the piano recital preparations on your own. The first step, obviously, is to pick the music for the piano recital. It's best to pick a piece that hasn't been done to death, something that will surprise and enlighten the audience. That being said, it's also important to choose a piece within your skill level; the goal here is to put on a great piano recital, not to struggle with an overly advanced piece.

After you've chosen your piano recital music, locate a recording of the composition or several different performances if you can find them. Listen to how other musicians play the piece, tune in the subtleties, the texture. But don't use this as a tool for copying; one you're well into practices for the piano recital, put the recordings away.

The next (and most important) step in the piano recital preparations is to begin practicing as early as possible. Know the piece like the back of your hand, don't let any surprises come up the night of the piano recital. In the early stages of practice, get in the habit of memorizing the material and taping what you've worked on for the day. You can later use those tapes to give you an objective view of your piano recital, to hear if you're making any critical mistakes.

What is a "Musical Tritone"?

The prefix "tri" refers of course to a group of three, as in trinity, tricyle, triathelon and so forth. A musical tritone is an interval of three whole tones (whole steps) or six half tones (half steps). Simply put, a tritone is an augmented fourth or diminished fifth, depending on the key. A tritone is typically created by adding an accidental, but it's found naturally on the fourth and seventh degrees of any scale. In a C major scale, for instance, the tritone would be found by playing the F and B simultaneously.
Tritones are significant because of their ability to create a heavy, uncomfortable dissonance. It's so uncomfortable, in fact, that it has been referred to as the devil's interval and was strongly discouraged during the Baroque period -- a time when the pleasing sound of perfect fifths ruled the day. But despite its rather nasty stigma, the tritone has the power to be pleasing and even somewhat consonant when used correctly. Because it's one of the most moody and easily personified intervals, the tritone is frequently used to foreshadow a heavy resolution.
Additionally, the tritone is helpful to jazz musicians who employ a technique called "tritone substitution." This substitution is possible by playing a dominant seventh chord that uses a root a tritone away from the original dominant seventh. Because the interval pitches are the same, the chords become interchangeable, thus giving the musician a bit more freedom to explore possibly melodies and harmonies during an improvisation.
Jazz isn't the only type of modern music to use the tritone, however. Though it was frowned upon in the early ages of western music, dissonance is far more acceptable today; in some cases, it's even what draws an audience to a certain piece of music. The tritone can be found in nearly every area of modern rock and pop, but it's exploited most often in heavy metal music that prides itself on sounding eerie or evil. Metallica and Black Sabbath have used the tritone to wondrous effect, and one of Jimi Hendrix's most famous songs, "Purple Haze," is based almost entirely around the dissonant chord. The well-known 17-minute song "Inna Gadda Di Vida," by psychedelic rockers Iron Butterfly, also used the tritone during an extended keyboard solo as a way to break the glory of a series of perfect fifths. It's a good thing they weren't around during the Baroque period.

What is a "Waltz"?

 

The waltz is a genre of music primarily intended for the purpose of dancing the waltz, a graceful, intimate ballroom dance, and later of course, listening to the artistry of the composer and performers of the waltz. Waltz music is always in 3/4 time with a strong emphasis on the measure's first beat -- think TRA-la-la, TRA-la-la. Each measure generally contains only one chord, and that chord is preceded by a bass note played on the first downbeat; the TRA represents the bass, and the la represents the chord. Waltz is a gentle, flowing style of music, a style so elegant that it is often associated with the upper class and aristocratic finery.


But the ties between the waltz and the rich haven't always been so solid. In fact, an overwhelming majority of the upper class shunned waltz music until Austrian composer Johann Strauss Sr. began toying with the style. Prior to Strauss Sr., the waltz was typically thought of as too common, too entwined with the peasant culture. But Strauss Sr., in conjunction with another Austrian composer, Josef Lanner, brought a new sort of grace to the waltz, an elegance and gentleness that was very easily embraced by the upper class. Strauss Sr. and Lanner made waltz music listenable for its own sake; before them, waltz music was rarely heard outside of the dance.

While Strauss Sr. and Lanner popularized the waltz worldwide (or at least throughout Europe), it wasn't until Johann Strauss Jr. that the waltz became massively popular in Vienna. Strauss Jr., taking a cue from his incredibly influential father, began composing a form of the waltz much faster and energetic than those written by Strauss Sr. and Lanner. This type of waltz music spawned a new, faster form of the dance, the Vienna Waltz, which is still danced today. It was Strauss Jr. that created the type of waltz we now hear so frequently, and his contribution to the form gave him the title "Waltz King." "The Blue Danube," perhaps the most famous waltz in history, was composed by Johann Strauss Jr.

What is a digital piano?

A digital piano is an electronic, keyboard-based instrument similar to a synthesizer but made to function more like a piano than any synthesizer does. A digital piano actually falls in category somewhere between synthesizers, which are made to produce extremely artificial sounds, and electronic pianos, which are made to be portable versions of pianos. A digital piano typically contains many piano-like features, such as full 88 key keyboards (though some are much smaller), a variety of different functioning pedals and weighted keys. But the sounds found on a digital piano vary from that of both an acoustic piano and a synthesizer. While a digital piano always includes a normal grand piano sound of some sort, it may also contain the sounds of other piano types, such as honky-tonk or upright. Additionally, a digital piano will often include sounds complementary to a piano, such as strings, brass and percussion.

What makes a digital piano sometimes more desirable than an acoustic piano (when it comes to popular music, at least) is the sheer number of features that enhance the experience of playing. For instance, one push of a button can transpose the entire keyboard on a digital piano to any key desired and middle C can be placed anywhere on the keyboard. Additionally, the keys on a digital piano can be adjusted to have as much or as little touch sensitivity as the pianist desires. A digital piano can also control a variety of audio functions, including sustain and delay, and be used as more of a synthesizer than a piano. And what's more, a digital piano can be programmed to play more than one sound when kitting a key or the keyboard can be split to put the bottom half at one sound and the top half at another. It's an extremely versatile instrument; a digital piano can be made by its user to sound exactly like a real piano or anything but.

What does "Musical Form" mean?

 

Musical form is one of the most important concepts in music theory: it is the way of piece of music is structured or organized -- like a blueprint for a song or composition. Just as a secretary has a system for organizing his or her filing cabinets, a musician has a system for organizing his or her song. Musical form is what moves a piece of music forward and pushes it back again. It creates dynamics and suspense and is often responsible for making a piece of music so memorable.

Musical form is most often based on the idea of statement and restatement -- introducing one or more themes and repeating them throughout the song, sometimes exactly the same, sometimes changed. Pop music, for instance, relies heavily on this idea. A pop song's chorus (frequently the catchiest part) will be repeated several times throughout, but it will sometimes be slightly altered to incorporate a solo or different vocal melody. Similarly, a pop song's verse could be in complete contrast to the chorus, but it will almost always complement it. This technique of statement and restatement, contrast and complement, is the very base of a song's musical form.

Musical form comes in many varieties and with countless labels, but the most widely recognized are sectional, developmental and variational musical form:

Sectional musical form consists of smaller sections or parts combined in various ways to create a piece of music. Binary musical form (ABAB) is a sectional musical form using repetition, with A and B representing two different parts; pop music tends to rely heavily on binary musical form.

Developmental musical form is created by introducing one or more themes (as opposed to individual parts) and presenting or combining them in different ways throughout the piece; the most common developmental musical form is the symphonic sonata-allegro musical form.

Variational musical form combines traits of both the sectional and developmental musical forms. Like sectional, it relies on smaller sections or parts combined to create a whole. Variational musical form, however, gives a different treatment to each section before repeating it; where developmental musical form changes the presentation of the material, variational musical form changes the material. This can be done by altering melody, harmony or even instrumentation. Jazz improvisation is the most well-known example of variational musical form.

What is an "opera"?

Opera is the earliest form a musical theater; it is, simply, a play in which every piece of dialogue is sung, not spoken -- where a play has a script, an opera has a libretto. The form is very distinctive, known mostly for a very particular style of singing that requires an incredible range. But while many opera singers feel they have an inherent ability simply on the basis of their high notes, the form is much more complicated than that. Opera requires a vocalist to not only sing complicated parts flawlessly but dance and act flawlessly as well; it's an extremely extensive type of performance.


The vocal parts in an opera are classified in the same manner as a choral arrangement, but there are several subdivisions to each category. For instance, opera requires more than five different types of soprano, most of which don't have that classic opera tone; some act as something of a higher range alto, filling in harmonies and integrating the chorus. It's the lead soprano, or dramatic soprano, that has the distinctive opera tone; because of that, dramatic sopranos are always the female leading roles in an opera.

The actual vocal compositions in an opera are of two different forms: aria and recitative. An opera aria is a wholly composed and developed song, one that tends to stop the plot dead in its tracks and focus on the feeling of one specific moment. While opera arias have recently come to refer to a solo piece, they can be sung by any number of individuals. A recitative piece in an opera, on the other hand, is the actual dialogue of the opera, the talking back and forth. It's a composed song, obviously, but tends to not be as structure or developed as an opera aria; the melodies are loose, the focus more on the content than the form. While opera arias are usually given the golden limelight by audiences and critics, its the recitative pieces that truly move the opera forward. Without them, the opera would simply not be an opera.

What is "sonata form"?

Sonata form is a very rigid method of musical composition; it can refer to either an entire piece of music or the first movement of a symphony. Though sonata form is an integral part of a symphony, sonata form as an entire piece of music tends to be a bit more complicated as more attention and time is given to each individual part within the intricate composition.

Sonata form is generally divided into five parts: introduction, exposition, development, recapitulation and coda. The introduction within sonata form is generally the shortest part of the piece, at times omitted completely if it isn't completely necessary. A sonata form introduction is often dynamic-building, a slower part that increases with weight as it moves forward, pushing the song toward the exposition -- the most important part.

The sonata form exposition is the meat of the song, the area in which the major thematic subjects are introduced. The exposition itself is divded into a series of subject groups. The first subject group in sonata form introduces a theme, followed by a brief transition used to switch keys. The second subject group brings altered melodies into the sonata form in a different key than the first group; it is primarily used to change the piece's mood. It is followed by the sonata form codetta, which revisits various themes within the exposition and signals the end of the part.

Sonata form development is exactly that: development of the subject found in the exposition. In order to make the sonata form development work effectively, however, the subjects have to be very altered, sometimes introducing one or two elements completely new to the song. It is followed by the sonata form recapitulation, which revisits the exposition. It is divided into the same groupings as the original exposition with the parts unchanged -- except for the transitional key change, which is usually abandoned.

The final part of the sonata form is the coda, a part that essentially repeats the end of the song. The sonata form coda can, of course, be altered, but it is rarely so altered as to become unrecognizable.

What in the world is "polytonality"?

Polytonality is the act of using more than two keys (or tonalities) at the same time, in the same piece of music. Bitonality, though often considered to be a part of polytonality, is the act of using only two keys at the same time. Both of these techniques create tension and ambiguity. A fully harmonized polytonality will sometimes add a sense of discomfort (though it doesn't necessarily have to). In fact, a polytonal song often ends with the dominant key in order to keep the song from feeling restless or unresolved.



Polytonality rose to popularity in early 20th century classical music. Though it had been used before in pieces such as Beethoven's Eroica Symphony, it wasn't until the early 20th century that composers began to really explore its possibilities. In some ways, polytonality hit its stride with Arnold Schoenberg, even though he didn't directly experiment with the form. After years of composing and pushing tonality to its limits, he decided to abandon the concept altogether. This created a concept called atonality. At the same time, Igor Stravinsky (who was also frustrated with the constraints of tonality) began experimenting with polytonality as a way to break through the tonal walls. These two concepts, polytonality and atonality, eventually unofficially banded together to form a musical movement based on the era's increasing irritation with strict musical rules. This movement brought polytonality to the fore and led many musicians to experiment with the idea.



The most well-known examples of polytonality are found in Stravinsky's ballet Petroushka (which is actually bitonality) and his piece The Rite of Spring. And while Stravinsky eventually went on to experiment with serialism, many other 20th century composers took his cue and used polytonality in their pieces. Charles Ives, for example, was one of the first to use fully harmonized bitonality in classical music; Darius Milhaud also used it frequently. Other notable composers involved with polytonality include Gustav Mahler and Phillip Glass.