By Rob Kapilow
Rob Kapilow has been assisting audiences pay attention extra in nice track for nearly 20 years along with his What Makes It nice? sequence on NPR, at Lincoln middle, and in live performance halls during the US and Canada. during this e-book, he provides a collection of instruments you should use while hearing any piece of tune so as to listen its “plot”—its tale instructed in notes.
The musical examples can be found loose for obtain that can assist you pay attention the tips awarded. no matter if you're an skilled concertgoer or a newcomer to classical track, the listening rules Kapilow stocks might help you "get" tune in a thrilling, clean new way.
"Kapilow will get audiences in track with classical track at a deeper and extra speedy point than a lot of them inspiration possible."
—Los Angeles Times
"Rob Kapilow is extraordinarily strong at what he does. we'd like him."
—The Boston Globe
"A extraordinary man who brings track alive!"
"Rob Kapilow leaps into the void dividing track research from appreciation and fills it with exhilarating information and sensations."
—The manhattan Times
"You may perhaps essentially see the sunshine bulbs occurring above people's heads. . . . The viewers may perhaps decipher the track in a brand new, deeper manner. It was once the full contrary of passive listening."
—The Philadelphia Inquirer
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Additional info for All You Have to Do is Listen: Music from the Inside Out
This last leap of a fifth is very frequently altered as the invention progresses. The motif appears literally with the second quarter of the third beat in the lower voice. 16 *m as a counterpoint. 17 iM m 23 TWO-PART INVENTION 24 with the leap of a fifth to the last note, D. In the same measure the lower voice is approached by a leap from the last note of the previous measure, to the fifth belonging to the motif, followed by another note an octave lower, in counterpoint. With the second sixteenth note of the third quarter note beat, the motif in the lower voice begins also on G, with the difference that the leap to the fifth has been changed into a leap to the fourth.
In the beginning of the second measure the relation of the volume of sound of the different parts is the same as in the first measure. The notes, from the middle of the second measure, should slightly increase in volume to the melody F in the third measure, which latter must be brought into prominence. The melody C, at the second half of the first beat of 38 the third measure, should have less of power, and the finger should be lifted off the key slightly before the usual length of the note. The same holds good for the second and third beats, with a decrease of sound at the end.
And now we will consider briefly the second movement. The second movement begins with an incomplete measure on middle C, which should be played more softly than the first A of the next measure. In the incomplete measure the sixteenth note must receive its full value but must be played slightly softer than the preceding note. The melody tone, A, at the beginning of the first full measure, should be well emphasized. The musical term, "p," is in force throughout the whole part. The turn should be played with absolute evenness as regards the value of the notes, softer than the melody tone, A, has been, and this with relaxed fingers.