Hi, I am writing a cello sonata of my own and in the second theme, I have the cello playing the melody first. At the same time, the right hand of the piano is playing chords and the left hand is playing a melodic bass line. The piano part is staccato there while the cello is playing legato. This then changes the second time around with the cello melody moving to the right hand of the piano and the melodic bass line moving to the cello. I have the cello play this bass line pizzicato, not just because the piano was staccato before, but also to add contrast to the previous phrasing by the cello which has been mostly legato with some bowed staccato. I was told by a cellist that in my second theme, the cello being in between and close to the 2 hands of the piano could cause some muddling, even though the cello is in the tenor register and that if I want to keep the cello in its tenor register, that I should spread out the harmonies played on the piano, possibly raising the right hand up an octave. On the plus side, I don't have any overlaps in this more cello prominent theme. Should I do that, spreading out the harmonies played by the piano so that the cello isn't so close to the piano in pitch in this second theme while keeping the cello in its tenor register as I originally wrote it?
Thomas. Thank you! Couple of years ago I got interested in classical music and especially all the symphonic/orchestral stuff. Quartets and trios etc always felt boring for me for their small amount of instruments and lack of versatile sounds. But this video opened my eyes to see how interesting a piano trio can be. Also I really enjoyed your examples! What an exciting musical evolution. Brahms showed us how to go epic with only few instruments. I guess I'll spend the rest of my sick leave by watching some more lessons :)
Very inspiring video as always Thomas. Just to let you know, I recommend these videos not only to aspiring composers/orchestrators, but to musicians and avid listeners as well. For me they function also as a way to rediscover works I already heard, but might hear in a different way after this video. Cheers!
Hi! I'm a violist and I'm 17 years old I have been playing the viola since I was 8 years old. Since some months ago I have been curious about composition I would like to learn about composing. Unfortunately, my Conservatorium doesn't offer any composition class, so I would like to learn by myself, reading books, articles on the internet, RUclips channels, websites etc. The problem is that I don't where to start off. I saw that you recommend several orchestrating books (the Piston's one, your own book etc.), so I thought that you may recommend me some books related to composition, harmony, counterpoint etc. to start by myself, without teacher. Please if you can do it I'll be very happy. Sorry about my english, but it isn't my main language. Thanks you in advance and keep up the good work.
Hi there! go to orchestrationonline dot com for a lot of advice on books to read about all these topics. Also links to courses and other free stuff. :) I love the viola, and I hope you enjoy the next video on viola scoring.
Am I the only person who likes Debussy's Piano Trio? I get that it's so stylistically different (arguably underdeveloped) from his later works, but at least as a listener I really enjoy it, especially the Scherzo. I'm just kind of surprised that it didn't even get a mention.
I have seen sforzando used for a few different things. Here are the different definitions I have seen for sforzando: As loud as forte(which can imply a creschendo if the piece is at piano) Accented(not necessarily forte but definitely louder than the notes before) Usually I hear both of these but in different contexts. If a creschendo is already happening such as in Beethoven's 5th towards the first repeat, I just hear accents in an otherwise smooth creschendo. But if there is no creschendo and the piece is quiet, I hear a creschendo to forte that isn't written in the music. If the piece is already loud and there is no creschendo, again, I just hear an accent. With 1 exception I know of, the Pathetique sonata, this holds true. As for the Pathetique sonata, I usually hear a sudden forte where sforzando is written. Why does this 1 term meaning forced have 2 definitions, a forte dynamic, and an accent?
Hi Rachel! That's a great question. The works that I mention in the video are a great place to start: trios by Clara Schumann, Fanny Mendelssohn, Cecile Chaminade (especially the 2nd trio), and Lili Boulanger. Amy Beach also has a great piano trio.
May I ask which piece was played at the very beginning? It caught my attention right away. Thank you so much for providing these awesome courses. Very helpful!
Someday, Zac. First I have to launch this year's MOOOC on String Orchestra Scoring. Next year I hope to teach not one but two MOOOCs on Wind Instrument Scoring, which will include wind trio and quintet lessons. Then small orchestra scoring. Good to hear you're keeping busy!
Hi, I am writing a cello sonata of my own and in the second theme, I have the cello playing the melody first. At the same time, the right hand of the piano is playing chords and the left hand is playing a melodic bass line. The piano part is staccato there while the cello is playing legato.
This then changes the second time around with the cello melody moving to the right hand of the piano and the melodic bass line moving to the cello. I have the cello play this bass line pizzicato, not just because the piano was staccato before, but also to add contrast to the previous phrasing by the cello which has been mostly legato with some bowed staccato.
I was told by a cellist that in my second theme, the cello being in between and close to the 2 hands of the piano could cause some muddling, even though the cello is in the tenor register and that if I want to keep the cello in its tenor register, that I should spread out the harmonies played on the piano, possibly raising the right hand up an octave. On the plus side, I don't have any overlaps in this more cello prominent theme.
Should I do that, spreading out the harmonies played by the piano so that the cello isn't so close to the piano in pitch in this second theme while keeping the cello in its tenor register as I originally wrote it?
Thomas. Thank you! Couple of years ago I got interested in classical music and especially all the symphonic/orchestral stuff. Quartets and trios etc always felt boring for me for their small amount of instruments and lack of versatile sounds. But this video opened my eyes to see how interesting a piano trio can be. Also I really enjoyed your examples! What an exciting musical evolution. Brahms showed us how to go epic with only few instruments. I guess I'll spend the rest of my sick leave by watching some more lessons :)
Very inspiring video as always Thomas. Just to let you know, I recommend these videos not only to aspiring composers/orchestrators, but to musicians and avid listeners as well. For me they function also as a way to rediscover works I already heard, but might hear in a different way after this video. Cheers!
Hi!
I'm a violist and I'm 17 years old
I have been playing the viola since I was 8 years old.
Since some months ago I have been curious about composition I would like to learn about composing.
Unfortunately, my Conservatorium doesn't offer any composition class, so I would like to learn by myself, reading books, articles on the internet, RUclips channels, websites etc.
The problem is that I don't where to start off.
I saw that you recommend several orchestrating books (the Piston's one, your own book etc.), so I thought that you may recommend me some books related to composition, harmony, counterpoint etc. to start by myself, without teacher.
Please if you can do it I'll be very happy.
Sorry about my english, but it isn't my main language.
Thanks you in advance and keep up the good work.
Hi there! go to orchestrationonline dot com for a lot of advice on books to read about all these topics. Also links to courses and other free stuff. :) I love the viola, and I hope you enjoy the next video on viola scoring.
Wonderful lesson! Thank you so much!
Cheers, Gretchen!
Am I the only person who likes Debussy's Piano Trio? I get that it's so stylistically different (arguably underdeveloped) from his later works, but at least as a listener I really enjoy it, especially the Scherzo. I'm just kind of surprised that it didn't even get a mention.
I think the graphic at 2:13 is one of the best to date. Great video as always, I just had to point this out.
Haha, cheers Kyle!
Beautiful Piece and Beautiful lesson
I have seen sforzando used for a few different things. Here are the different definitions I have seen for sforzando:
As loud as forte(which can imply a creschendo if the piece is at piano)
Accented(not necessarily forte but definitely louder than the notes before)
Usually I hear both of these but in different contexts. If a creschendo is already happening such as in Beethoven's 5th towards the first repeat, I just hear accents in an otherwise smooth creschendo. But if there is no creschendo and the piece is quiet, I hear a creschendo to forte that isn't written in the music. If the piece is already loud and there is no creschendo, again, I just hear an accent.
With 1 exception I know of, the Pathetique sonata, this holds true. As for the Pathetique sonata, I usually hear a sudden forte where sforzando is written.
Why does this 1 term meaning forced have 2 definitions, a forte dynamic, and an accent?
Thank you so much for this!
I love these videos! Will some of the assigned compositions of the coursetakers be uploaded on youtube as well?
Thinking about making a reel of best bits, but getting permissions is a chore.
Thank you very much.
Hello -- do you have any recommendations for piano trio works by female composers?
Hi Rachel! That's a great question. The works that I mention in the video are a great place to start: trios by Clara Schumann, Fanny Mendelssohn, Cecile Chaminade (especially the 2nd trio), and Lili Boulanger. Amy Beach also has a great piano trio.
Oh, thanks! Nice
May I ask which piece was played at the very beginning? It caught my attention right away. Thank you so much for providing these awesome courses. Very helpful!
I might be wrong, but I think it is the final movement from Ravel's A minor Piano Trio
@@dacoconutnut9503 thank you so much, you were right! Off to learning a new piece then! :)
@@rachelpeham4800 good luck!!!! What instrument do you play btw
@@dacoconutnut9503 thanks! I play the piano
@@rachelpeham4800 that's fantastic!!!!!!!!!!! And so is Ravel :)
Where's Shosty?
his music is copyrighted
What's the first piece that plays?
sounds like ravel
20:38 The ghost of Beethoven resides in Mahler
10:22 Your pronunciation of the word "Trio" is rather amusing. ;)
Everyone's a critic haha - but fair enough! Thanks for catching the error, but where were you when I was editing? ;)
I believe I spent most of July working on a piece (and, at the time, wishing a MOOC video would appear for wind quintet).
Someday, Zac. First I have to launch this year's MOOOC on String Orchestra Scoring. Next year I hope to teach not one but two MOOOCs on Wind Instrument Scoring, which will include wind trio and quintet lessons. Then small orchestra scoring. Good to hear you're keeping busy!
I await these future MOOOC lessons with eager and gratitude!
Thank you so very much! :)
but mozart died in 1791