#very similar to moderato

[beevean]

Ace Attorney Investigations 2

Confrontation ~ Allegro 2011

[cleabellanov]

Music in the Loki series (3)

Lokius

Yes, it's in the title. We've known that for a long time now, but let me make some connections.

First, Mobius is ultimately part of Loki's glorious purpose, the burden he chose to bear, as the famous lines reflect: "Most purpose is more burden than glory" (Mobius) and "For you. For all of us." (Loki)

I brought them up because in the score Glorious Purpose, from season 1, there is a small similarity that I just couldn't get over. If you listen to Lokius from minute 2:22 then go to Glorious purpose at 0:48, the notes are quite similar, with the difference of the instruments - violins for Lokius and cello/viola for Glorious purpose (as I'm guessing). And the latter only uses 4 notes, when the first ascends to a 5th before coming back to the low one. It's just an observation, but it integrates perfectly: Loki's person having a small spot in the Glorious Purpose score of his life.

As for the structure of this track, it starts very slowly, with vibrato / trembling notes at the beginning because, just like the relationship between the characters, it’s not yet stable, it doesn’t have anything to fall back on *yet*.

At 0:33, the singular instruments from the beginning (I like to see them as Loki and Mobius, but separated) start to be accompanied by a harmonic background. Like the 2 of them working together and starting to know more about each other.

From 0:50, the music starts to build up, going from the singular violins to being played by more instruments - like and actual orchestra. And the tempo goes from a Lento to a Moderato (so it’s faster in the middle of the track, it goes back to the initial speed at the end). The sound from the beginning integrates again at 1:13, but this time with background, harmonizing beautifully with it. (it sounds exactly like falling in love with someone you can’t prove me wrong).

Half-steps are also used: notes that are right next to each other and don’t offer a complete, resolving sound, but a more mysterious and maybe dissonant one; that’s why it’s called a half step. A good example that is easy to hear are the descending notes on the violins from 0:53 to 0:56. And it’s a very good choice for this track: it’s for two character that create great chromaticism after all! (think of the white and black keys on a piano: they create half steps too; I like to think about Mobius as the white keys and Loki as the black ones).

And the end (from 2:22), is similar in structure with the beginning - but it’s a few octaves higher (I think) and almost happier, like the relationship between characters once trust is founded (and love too). The last note is held for a few seconds, showing stability, and slowly fades out, leaving the track with a calm, serene ending.

Now some scenes this score plays:

in season 1, episode 4, as Mobius is interrogating Loki about the other variant (Sylvie), visibly not only doing this as an analyst, but for himself too, out of jelaousy. I think it's significant that they chose to play Lokius in that moment, in synchronicity with a display of Mobius's reprised affection and burst out of jelousy

At the freaking McDonalds scene. In season 2, episode 2, 33 minutes and 19 seconds in. Yes, I'm being specific, because it's just soooo ironiccc that the first meeting Loki and Sylvie have in the season has LOKIUS PLAYING IN THE BACKGROUND - the producers couldn't be more straightforward than this; or perhaps biforward, since it's Loki we're talking about

I'm entirely sure about this, but when Loki timeslips back to Kang at the citadel of time too

One last thing is that, even if i searched for it, I couldn't find a major relative to this track - written in G minor. It could be just a coincidence...but what if it's left like that especially because they are separated, and the major theme will play when they reunite? ( it makes perfect sense in my head, but idk about marvel)

2. Purpose is Glorious

I talked about Ascension in the previous part. And it continues here: the soft, pianissimo notes at the end of Ascension finding their stability in this track's intro. Purpose is Glorious is Ascension's relative key: being written in F major as a contrast to D minor. So there's the first sign that although this throne at the end of time is a heavy burden - its also a purpose. And purpose is glorious.

It repeats the same notes over and over again (A - B flat - C - D I think? ) very slowly: Instruments come in the background, but those notes remain the same - it's like, amongst all those timelines, Loki is still looking over the ones that matter the most. Or it could be his heart beat, still longing, still not wanting to be alone, even as the Multiverse plays out at his fingertips.

Halfway through, those 4 notes get quieter and quieter, giving way to the synthezisers ( and other instruments I can't quite name, sorry), until, at last, the notes don't repeat anymore. The ascend, then, finally, change - at 2:13. This is also the part that plays on screen while, between the intertwined timelines of sparkling greens, we see Loki's face as voices echo to him ("Let time pass"). This part is like the outburst, the bittersweet ending of the tragedy: the world lives, but the hero can't live with it.

And the end of this track also feels like a cliffhanger, like there could be more. The flicker of sound at the very end, barely audible, feels like magic that waits to be discovered. I guess we'll see whether that's true.

Aaand thanks for reading! This is what happens when two interests collide

If you have any additions feel free to share or kindly correct me if I'm wrong with anything.

Kindly, your friendly neighborhood marvel stan and music enthusiast ;)

[symphonybracket]

YouTube Links: Rachmaninoff 2, Kalinnikov 2

Submitter's Comments:

Rachmaninoff 2 (2 submissions)

Makes me feel like I'm in the movie Nemo (<- very good thing)

Kalinnikov 2 (1 submission)

Was introduced to it by a friend who said that Kalinnikov is super underrated considering his music is similar to Rachmaninoff and Tchaikovsky with its Russian Romanticism that everyone likes. The second movement lives permanently inside my heart.

[doyoueverstopandthink]

umbrella academy characters as music on my playlist of my favorite classical pieces

luther: Symphony No. 6 in F Major, Op. 68 “Pastoral”: II. Szene am Bach: (Andante molto mosso) - Ludwig Van Beethoven (performed by Orchestre Révolutionnaire et Romantique with John Eliot Gardiner as the conductor) 

fits season three luther the best

this is the lightest movement of the symphony, which i think fits in with him falling in love with sloane and working on growing through his childhood trauma

the last phrase of the piece is viewed as two birds taking flight. that’s literally him and sloane. 

diego: Träumerei (Kinderderszenen, Op. 15) - Gemafrei - Robert Schumann (performed by Ronny Matthes)

also fits season three diego best

this is from a collection of schumann writing pieces that highlight his life (this one is from his dreaming during childhood)

he now has a child (in stan and in his and lila’s biological child) and is essentially dreaming of all the ways he’s going to do better at raising his kid than his dad did for him

allison: Piano Sonata No. 3 in A Minor, Op. 28 - Sergei Prokofiev (performed by Matti Raekallio)

this is a piano sonata that doesn’t have actual movements separating it into chunks, just a vibe difference throughout different parts of it

the most technically demanding of prokofiev piano sonatas and he said it was “pretty, interesting, and practical” (which fits allison pretty well) 

klaus: Otello, Act 4: “Ave Maria” (Desdemona) - Guiseppe Verdi (performed by Cristina Gallardo-Domas, Maurizio Barbacini, and Das Münchner Rundfunkorchester)

desdemona’s last moments on stage before getting murdered by her husband, and she’s essentially saying “i love this man with my whole heart and i need to prove that to him before something drastic happens” 

klaus is very much so the same due to his whole “i love dave with my whole heart and i need to prove that to him before he dies in a war that uselessly killed a shit ton of people” 

they’re also both characters that are unapologetically in love

five: String Quartet No. 8 in C Minor, Op. 110: 1. Largo - Dmitri Shostakovich (performed by the Borodin Quartet)

if the second movement is five in seasons one and two, the first movement is five in season three

he’s pissed off with the world around him, yet he’s stuck with this bone deep tiredness that he can’t get rid of

he just wants all the difficulties in his life to fade away so he can go back to living as close to a normal life as he can

ben: Act 3: LII. Juliet’s Death - Sergei Prokofiev (performed by the Oslo Philharmonic Orchestra with Vasily Petrenko as the conductor)

ben is dead in season one and two, but the audience knows that he’s still capable of interacting with others due to klaus’s powers, and the audience knows juliet isn’t actually dead, but romeo thinks she is

this movement is one of the most heart-wrenching in all of classical music 

the movement that follows is juliet’s actual death, ending on an even sadder note that this movement began with (similar to ben fucking dying again)

viktor: Symphony No. 4 in F Minor, Op. 36: I. Andante sostenuto - Moderato con anima - Pyotr Ilyich Tchaikovsky (performed by San Francisco Orchestra with Michael Tilson Thomas as the conductor)

it’s believed that tchaikovsky composed this when he was pissed off at the world for his inability to be openly queer and he just ended up being tired of everything

follows viktor’s storyline of coming into your true identity and trying to find a sense of confidence with it

lila: Piano Trio in G Major, L. 5: III. Andante espressivo - Claude Debussy (performed by Bertrand Chamayou)

very little is known about the history of the piece (which fits lila)

there’s a lot of emotion present with a lot of vibrato present in the stringed instruments, giving an additional sense of longing

the climax of the piece is very accented, giving it a sense of almost sadness and keeping that longing present

[lazydreamer19]

🎼🎹 Beth March: Send me a scenario and I will give a classical song to go with that scenario or to imagine that scenario with.

Dancing with Draco Malfoy in a ball

I chose this one to go with this scenario as I felt that this sounded very similar to the Yule Ball waltz music by Patrick Doyle. Forgive me, I couldn't really come up with an imagine for this one, other than :

them looking into each other's eyes, completely mersmerized with the other person and them doing the Yule Ball Waltz.

[creativenicocorner]

Slides a ⭐ for a star person :p

Holy shit it took over a year and I barely remember which fanfic ask this is about...I think it's like a director's cut one? REGARDLESS! I do remember the star was to like talk about whatever - and while looking for a WIP I came across an attempt to answer this WITHIN a wip? Past Nico what were you thinking?!

I do know this was written sometime before Ch15 of Terpsichore came out, because there were a few references? But I rephrased the wording a bit.

Forgive me for using this as an excuse to just babble on about how I choose the music titles for chapter sections in Terpsichore, but also, I'm not entirely sorry haha Without further Ado! Here’s hoping this rambling makes sense haha!!

⭐ AN ANSWER!（♥￫ｏ￩♥）

So it’s taken me a long time to figure out how I wanted to answer this. For a while I was going to ramble about M*A*S*H how it was a rather formative show for me growing up, especially in its anti-war message as well as how it feels like a comedy played in a minor key. There was even going to be a link to a video essay on the show, and then I was going to hint at a want to write a series following the changelings in a pre-show context in the sort of vibe M*A*S*H gave.

But it got lost, and weighty…and…idk, I can’t seem to stick to a lot of things these days? I don’t know.

But there’s always been in me the want to attempt to explain why I choose the music pieces I choose to title the sections in each chapter. Cause despite the little message at the bottom of the first chapter and the last chapter talking about motifs leitmotifs…writing prose is nothing like composing music.

And not only that I’m sure less than half of the people reading the fic will listen along with the playlist. Which is 100000% fine! I anticipate it even!

Because at best, those sectional pieces serve less as soundtrack more like a silent movie’s musical medley.

Because it’s the written word, and I’m not Andrew Hussie ldgj though the day I find out how to put a little ‘play button’ to listen to music during a fic, I might do that. But at this point in time Hell No haha.

Despite this, there is a process behind my music selections.

There is a difference between what I consider ‘corpse de ballet’/ ‘ensemble’ sections, and ‘leads’ / ‘duet’ sections.

Or what my poor readers go through as ‘a shit ton of prospective shifts’ and two prospectives at best, at the same time. I don’t know why I’m such a fan of bouncing between perspectives so much that you probably feel seasick. I always consider it a miracle anyone understands what the heck is going on dfjglk The answer is probably because I like third person omniscient writing, and am a sucker for situational/character irony. But I’m also a grammar school drop out haha and don’t actually know the rules of writing by heart? I’m just a fool with a bunch of vibes and a dictionary doing their best lol.

[ stressed coffee sip ] Fake it til you make it baby

But yeah! Enough borderline weird self deprecating! Let’s talk music!!

So! Usually when writing a section I try and think about who are the central characters in the section, and or what is the theme/emotion I’m trying to call on. Is there a motif, or a reference I can play on musically? An idea or concept I can echo or even enhance? Will it be a specific genera of music tied to a character because that character embodies and or is known for a specific genera (example: Nomura and Opera- more on that at during ACTII )

Once I answer those questions, I’m able to narrow down my music choices. Which, again, acts more like a book of suggested musical medley orchestras and musicians would purchase during the silent movie era as like a cheat sheet of what they could play during a specific scene.

So…for instance, for a character like Barbara Lake I wouldn’t use video game music -or maybe I could…but it would only be in terms of perhaps referencing her son.- who I would have a higher chance at choosing to select a video game music piece for (hang on to your butts ACT II Zelda soundtrack).

In the fic I’ve built the idea that in order to explain Barbara’s ability to paint, that she not only took classes but was part of the production team in putting on a play, mainly in set design painting props. Which opens me to a world of musical options when it comes to Barbara’s character. Especially when certain musicals hold songs that can be really fitting to her character later on. An example of this can be seen in ch3 “Aquarius”, and ch14 “Julia”.

Ch3 is Barbara’s big planned picnic date. The first date she and Walter go on after she ingested the binding spell. The two of them coming together, but also the magic of which awakening something magical inside.

And Ch14 in which the binding spell is broken, but also whatever was holding Barbara’s potential to reaching towards that magical something inside her is also broken. And in a sort of my own attempt at written diegesis between the narrative and the song selections in the sections, the lyrics to Aquarius is written out as Barbara depends into the water. In which it is no longer the dawning of Aquarius, Aquarius is starting to take center stage. Their cue is played.

That would be my example on a very character driven musical choice.

Not only that, but it is at Ch3 where Walter is influenced more and more to Barbara’s appreciation to musicals, so much so that it begins to influence his own array of music pieces. His dreams no longer dialogue from movies he fell asleep to, but sometimes full on reproductions of staged musicals and plays. An example of this can be seen in Ch11 On the Right Track from Pippin the Musical - which oof I could go into a full dissertation on in regards to changelings/Pippin and The Pale Lady/Leading Player.

Not only that, but due to influence from Barbara’s love we get the moment of Walter’s ‘I want’ section piece in the form of Ch9 “Corner of the Sky” (aka Pippin’s I want song as well). The moment before this happened there was the interaction with Angor AND Otto AND the repercussions of Angor attacking the school. It is clear to these characters that Strickler is not giving his all in killing Jim, and perhaps never tried to give his all. Something that Otto proclaims as Strickler making excuses, and Strickler insists is tact.

Then there is the situational character driven choice.

I’m going to continue to use Barbara as an example here, and say that THIS can be seen in Ch2 “No. 9 – Finale Andante” and ch12 “Le Lac Des Cygnes Introduction: Moderato Assai”

Both of these music pieces come from Swan Lake. The reasoning behind the choice is probably asinine in thought process (Barbara Lake, Swan Lake), but also thought out in the sense of the following:

In Season3 of Trollhunters Morgana, in order to attempt to reacquire her shadow staff from Strickler (“The Exorcism of Clair Nuñez), transforms herself to take Barbara Lake’s physical form.

IN THE BALLET SWAN LAKE The wizard Von Rothbart, in order to obtain what they want, transforms (granted someone else) Odile to look like the hero Odette in order to trick the prince into proclaiming this imposter Odile as their one true love. In which Odile is the mirror to Odette, and while looking similar (in fact typically the ballerina who performs as Oddette would also perform as Odile) are opposites in spirit.

And, at least in Terpsichore, what near primordial eldritch force can rival that of the Eldritch Queen that we know from cannon will inevitably impersonate Barbara Lake?

But wait, there’s more.

In chapter 2 the piece used in section 2 is the end of ACTI from Swan Lake. The music hints not only the arrival of Odette, but also her inevitable tragedy. What is written in this section, briefly at that cause we watched how the scene plays out in the show, you don’t need me writing that back at you, but I digress- What is WRITTEN in this section is Barbara sipping the enchanted tea that binds herself to Waltolomew Strickler. Something that you, the viewer and fan will know ends in tragedy, as do I the writer and also fan knows will end in tragedy. The only people out of the loop here are the poor poor characters.

And then the revolving door of bad situations that is ch12 happens, and we return to Swan Lake with “Le Lac Des Cygnes Introduction” In which Barbara is introduced to Jim Lake’s Trollhunting world, finally. But wait! There’s EVEN more.

Because not only is Barbara introduced to Jim’s Trollhunting world, Barbara begins to allow herself an introduction to that weird magical more that’s inside her via dream. And YOU/WE the reader/writer/audience, are introduced to the strange figure Giselle is talking to on the beach of Lake Superior…who…well, you’ve probably already have an idea as to who that figure is ;)c

There are also moments when I just select a song piece because I think it fits Thematially well - ch11’s “Powerhouse” section. Aka the music that plays in Looney Tunes whenever an assembly line montage occurs - to which in that section Jim Draal and Walter are putting together the booby-traps to thwart Angor Rot (as well as try to reassemble some sort of emotional connection between them). Or it could be a reference to a meme I really enjoyed, example Ch12’s “Roundabout” aka the music piece known vernacularly as “The Jojo Meme” but also like…meme aside it’s really good and fits and just lkfgjkgsdj I have a lot of feels about Roundabout and I won’t apologize for it haha

And yet, something I pride myself in, is that you don’t need to know all of this to enjoy the story. It isn’t necessary to listen to the Swan Lake pieces or even the Musicals, or even the Jojo Meme. Because, if I did my job right, those echoes ought to be in the writing. The pieces to the section have always been optional. Just little markings in a booklet to be given to you the reader/composer as a suggestion and you can choose to play those pieces along to the silent film, or boot up a ragtime. And that’s the power you have. And that’s equally as wonderful!

[rapturerecords]

Song: Modern Jazz (Blues) (aka Jazz Blues)

Composer: Gerhard Trede Record Label: The CBS Records EZ Cue Library CBS EZQ 172 Released: ca. 1968

Location: Gomorrah casino, Mysterious broadcast

This is one of the longer pieces in Fallout with the instrumental coming in at 5 minutes. Like its cooler cousin, this library music song known as “Jazz Blues” can be heard playing in the lobby of the Gomorrah casino or later on the Mysterious broadcast.

While the record is almost entirely covered with fairly lengthy Gerhard Trede compositions, one side dwarfs them all with a massive groove for a 14 minute track by Messrs. Kuhn and Kuhn and their “Transfiguration (Free Jazz)”.

Unfortunately, unlike Fallout 3′s end credits, Fallout: New Vegas’ end credits features the licensed music from the standard record labels, but omits all of the radio tunes from APM including the instrumentals save for a brief mention of  “Additional Music Courtesy of APM Music”.

As is the case with library music, finding artist and recording information is extremely difficult as these songs were never meant to be sold to the public, instead being exclusively used for the film and TV industry. What follows is an attempt to extricate this information.

Note: Library music is typically identified by composer or emotion. Very little can be confirmed about the musicians who performed on the recording.

Here’s the full track list.

Side 1

Jazz

1. Transfiguration (Free Jazz) (Rolf Kuhn/Joachim Kuhn)

2. Back ‘N’ Forth (Gerhard Trede)

Side 2

Jazz

1. Modern Jazz (Blues) (Gerhard Trede)

2. Modern Jazz (City-Sound) (Gerhard Trede)

3. Modern Jazz (Moderato No. 1) (Gerhard Trede)

4. Modern Jazz (Fast) (Gerhard Trede)

5. Modern Jazz (Moderato No. 2) (Gerhard Trede)

About the composer

A publicity blurb from the May 2018 newsletter from Sonoton, the current license holder for the work of Gerhard Trede.

A color portrait of Trede from Hamburger Flimmern, 2006 Issue 13

Gerhard Trede is the most prominent musician on the Fallout series radio soundtrack with nine tracks total (2 from Fallout 3 and 7 from Fallout: New Vegas), eclipsing even the Ink Spots’ six songs.

A mainstay of the APM lineup, his work appears in everything from Spongebob Squarepants and Ren & Stimpy to period works and TV shows like The Marvelous Mrs. Maisel to Conan to numerous documentaries.

Despite this, very few biographies exist of him in English detailing his prolific composing career aside from official publicity blurbs mentioning his early life in Hamburg, Germany and his extraordinary musical output of over 100 compositions a year to playing over 50 instruments. Several articles in German report on his music scoring work in the newsreel series for Neuen Deutschen Wochenschau.

An essay details how the old Deutschen Wochenschau archive was bombed in Berlin throughout 1943 and 1944 to a point where the film reels and their music preserved on optical soundtracks were badly degraded from moisture, cold, and improper storage. The Neue Deutsche Wochenschau (NDW) would incorporate some rescued music cues. Gerhard Trede was hired in 1953 to fill in the substantial gaps in the music inventory. By 1955, he was composing for the newsreel every week, recording in an inn in Wellingsbüttel to be delivered to NDW. However, his compositions were owned by NDW and income derived solely through GEMA, Germany’s music rights organization.

Moviegoers quickly found the “Tredes Melodien“ from the newsreels so “eingängig” (catchy), that they demanded “Schallplatten“ or records to be made available, only to be continually rebuffed:

Brief von NDW Redaktion (A. Strehlke) an Werner Belgerin, Braunschweig vom 16.12.1961, Korrespondenz ab 1958, Archiv DW. Antwort auf eine Frage zu einer Schallplattenaufnahme der Musik, die in einem Bericht über die Europameisterschaften im Eiskunstlauf (NDW Nr. 575) zu hören war. Eine Schallplattenaufnahme zu erhalten war nicht möglich, da die Musik Eigentum der NDW war. Heute wird die Musik von G. Trede von der Fa. Sonoton als ‚typische‘ Musik der 1950er Jahre vertrieben – zu den Kunden zählen z.B. Fernsehsender und Filmproduzenten.

Letter from NDW Redaktion (A. Strehlke) to Werner Belgerin, Braunschweig, December 16, 1961, correspondence from 1958, DW Archive. Answer to a question about a recording of the music that was heard in a newsreel report on the European Figure Skating Championships (NDW Film No. 575). Obtaining a record was not possible because the music was owned by the NDW. Today, Gerhard Trede's music is sold by Sonoton as 'typical' music from the 1950s. Clients include television broadcasters and film producers.

By the 1970s, newsreels were dropping off in favor of television as Trede quickly shifted gears for the new format. He reacquired the rights to his massive collection of music and continually added new tracks to suit the electronic and experimental fashions of the time.The rights to his work vary from Selected Sound to EMI and finally to Sonoton.

Regrettable, few contemporary photographs of Trede have surfaced. There is purportedly a very young picture of him as a soldier in WWII. Aside from scoring for newreels and television programs from 1952 to 1982, Trede would compose “Nie wieder Krieg” or “War No More” in 1993 to reconcile his experiences as a WWII soldier. Trede would die 3 years later also in Hamburg.

About the recording

For those with an interest with reel-to-reel magnetic tape, CBS evidently issued their EZ Cue library on reels as well, The LP EZQ 172 is equivalent to Reel EXT 572. See the reels spinning here.

As a German composer, Gerhard Trede maintained his own private library music label in Germany and any recording information appears to be landlocked there. Rights appear to still remain in Germany under Selected Sound and Sonoton, as well as under his pseudonym, Victor Cavani. However, he did license music for use in the UK and US market under Mozart Edition and CBS Records EZ Cue Library in the 1960s.

As for partially dating when this track was recorded or released, it’s proving nearly as byzantine as for “Joe Cool”.

Naturally as a division of Columbia Records, Columbia Special Products, and the famed “Tiffany Network”, the Columbia Broadcasting System, CBS needed a service to provide musical scoring for its television shows. Evidence of this comes from when CBS donated its archive to UCLA which has been meticulously poured over by researchers unraveling the cue sheets.The CBS EZ Cue Library was intended as a replacement of an older Reel system used by CBS which numbered as high as #75 with subsections A/B/C/D.

An early CBS EZ Cue catalog lists LPs EZQ 101-175 and Tape EZT 501-575. Several cues are named for CBS shows like The Twilight Zone and Perry Mason, the latter aired its final episode on CBS in 1966.

Advertisements for the CBS Records EZ Cue Library appear as early as 1970 in the Darnell Corporation’s Sales Management. Above is a print ad for CBS EZ Cue in the Radio Section of the 1971 Broadcasting Yearbook, published January 15, 1971. The 1971 advertisement uses the serif version of the CBS logo while the 1972 edition of the yearbook features CBS advertisements using a new sans-serif logo.

So far, this gives us a date that the CBS EZ Cue Library was offered for sale and distribution around 1967-1971.

Like “Joe Cool” and “Stars and Teardrops”, the secret lies in the matrix numbers, in this case XTV 134329 and XTV 134330 for the sides that have the track known as “Modern Jazz (Blues)”.

The Library of Congress holds the Columbia Records Paperwork Collection for the years 1923-1964. It details that XTV stands for a 12 inch mono LP while XSV stands for a 12 inch stereo LP. While the archive shows XTV numbers from 11000-94000 sequentially spanning the years from 1949-1964, the XTV numbers are still 5 digits and have not reached the 6 digit XTV number present on the CBS EZ Cue LP as the archive does not go beyond 1964.

Fortunately, Columbia Special Products pressed other records with similar 6 digit XTV numbers with known pressing dates.

Like RCA Custom, Columbia Custom XTV and XSV codes can be tied to a pressing date though Columbia’s is less precise. Judging by the 6 digit XTV and XSV matrix codes above for work by Columbia Custom for labels like Vanguard, Silver Burdett, Reader’s Digest, and even Columbia’s own CBS Special Products the XTV/XSV numbers can be roughly dated as:

XTV 120000 - 1967

XTV 130000 - 1968

XTV 140000 - 1969

Note that XSV stereo matrix numbers may be pressed at slightly different times than XTV mono releases. The 1968 TV movie for Kiss Me Kate was produced by Armstrong Circle Theatre which ran all the Big Three networks, NBC (1950-1957), CBS (1957-1963), and ABC (1966-1968). CBS evidently kept a close association with Armstrong TV productions by 1968. CBS also produced The Incredible Year 1968 with a higher XSV number of 144898; due to its content as an anthology of CBS News broadcasts from the year, it must have been produced towards the end of 1968 or early 1969.

Therefore, if the record with “Modern Jazz (Blues)” has Columbia matrix numbers of XTV 134329 and XTV 134330, it’s consistent with XTV 130000 releases in 1968. It is likely the first run of LPs for EZQ 101-175 with mono XTV numbers were all pressed around 1968 and later stereo XSV 1400000 content released as needed. As shown above, it appears the serif CBS logo was used to advertise this set until 1971 before the transition to sans-serif.

As for why “Modern Jazz (Blues)” became “Jazz Blues”, it’s likely because the original record had too many “Modern Jazz” descriptors. The record was partially reissued in 1990 on the Gerhard Trede Collection CD under Selected Sound and EMI for Jazz Time 1. 

Namely, the CD retitled several of the CBS tracks as:

CD                                      CBS

1. Jazz Blues               <=> Modern Jazz (Blues)

2. City Sound               <=> Modern Jazz (City-Sound)

4. Jazz im Bach Stil     <=> Bach ‘N’ Forth

Note the retention of the Johann Sebastian Bach pun.

The liner notes booklet is regrettably short on details, as expected for a library music CD. Trede would have been in his 70s when this CD was made of his CBS work from the 1960s. Though the CD notes it was made in West Germany when the country reunified the same year in 1990.

“Jazz Blues” is officially described as:

Sax gest. Trompete. Piano, sentimental schön.

Sax, muted trumpet, piano, sentimental nice.

The rest of the liner notes indicate the Gerhard Trede library was still transitioning from Selected Sound to EMI in 1990.

Another note is as follows:

Alle Musiken wurden von Gerhard Trede komponiert, instrumentiert und produziert.

Die Kompositionen, die mit einem (+) gezeichnet sind, wurden vom Komponisten auf allen Instrumenten selbst gespielt im eigenen Studio.

All music was composed, orchestrated and produced by Gerhard Trede.

The compositions marked with a (+) were played by the composer himself on all instruments in his own studio.

Though Trede was a talented multi-instrumentalist, “Jazz Blues” doesn’t have a plus so it doesn’t appear he solely performed on the track.

Other library music records used in Fallout:

Jazzy Interlude/Jazz Interlude - Billy Munn - CBL 37

Swing Doors - Allan Gray - CBL 37

Rhythm for You - Eddy Christiani & Frans Poptie - CBL 40

I’m Tickled Pink - Jack Shaindlin - CMR 406

Joe Cool/Stars and Teardrops - Nino Nardini - SF 1007

Roundhouse Rock - Bert Weedon - 6007 012

[lingling40hrs]

Types of Comments on Classical Music YT

1. a n g e l

“1 - Allegro Moderato 0:04

2 - Canzonetta: Andante 19:50

3 - Finale: Allegro Vivacissimo 26:53”

need i say more

2. Twosetter

- “Who’s here from twoset”

- “He practices 40 hours a day”

- “Lmao the violist in the background at 4:20 kinda looks like Brett”

- “She can play 15 notes a second”

- Literally knows nothing of the piece/composer, but knows very much about memes

- Likely to be found on Ray Chen, Hilary Hahn, or Janine Jansen vids (or the one vid of Sumina Studer playing Pag Caprice 5)

3. Theory Nerd

- “The shift to the relative minor followed by the picardy third at 6:96 is genius and very well done”

- no comment on the performance or the piece or anything, just theory terms

- crams as many big words into one sentence as possible

- only has like 3 likes and probably no friends

4. Wholesome

- Really respectful

- Types out like three paragraphs

- Includes the history of the entire piece and composer

- One of the top comments

- Thanks the person who uploaded it and is really excited to be able to easily access the recording

- No profile pic and has their real name as their username

- Most common

5. Salty violinists

- Most likely found on child prodigy videos

- Complains about not practicing instead of just practicing

- Self esteem has hit rock bottom

- Has made it part of their daily routine to cry in the corner over how they’ll never achieve anything in life because it seems that they’re always behind everyone and no matter how hard they try they’ll never be good enough. not that i would know anything about that, moving on

6. Memer

- “OMG bach i’m ur biggest fan pls come to toronto”

- “Only 1700’s kids will remember this”

- Has an actual sense of humor outside of ‘interesting’ and ‘sacriligious’

- Also one of the top comments

7. omg such a nerd uwu

- “Is it weird that I’m 14 and I like this?? 😂😂 lmao I’m sorry I’m such a nerd”

- Has ended up on r/im14andthisisdeep and r/notliketheothergirls

- only found on the most mainstream pieces

8. Normie

- “Lmao I’m just here cause I heard it on a commercial”

- “Hey its that one cello song”

- Calls it a song

- Most commonly found on Tchaik’s Romeo & Juliet Overture saying they found it through spongebob

- Travels in groups

9. Weeb

- Similar to normie (travels in groups)

- Probably here from Your Lie in April

- Annoys everyone else in the comments

- Only found on the pieces played in YLIA

- The rest of the comments that aren’t them are comments complaining about them

10. Flexer

- Responds to everyone’s compliments to the performer with “haha yeah it was great i was there”

- “I met Hilary Hahn 60 years ago yeah she was pretty cool”

[mikrokosmos]

Chopin - Cello Sonata in g minor (1846)

Early on in his career, Chopin had written music for piano and orchestra, or chamber works. It seems that he did so mostly out of convention and expectation; you couldn’t establish yourself as a ‘great composer’ without writing large scale music in the tradition. But soon after he abandoned those and stuck with solo piano music, and works that were in more free-form structures. However, late in his life, he wrote this cello sonata; a large scale chamber work that followed conventional structure. It was kind of a gift to his close friend, the cellist Auguste Franchomme. It also seemed to be a personal work for him. In letters to his sister, Chopin talked about how much difficulty he had with the work, saying ‘I write a little and cross out a lot’, and ‘Sometimes I am pleased with it, sometimes not. I throw it into a corner and then pick it up again.’ The work is very concentrated, the first movement mostly built out of small motivic like fragments, very far removed from the lyrical Chopin we know and love. This sonata isn’t very popular and I think it is because of how “un-Chopin” it seems at times. The first movement starts out with a sad, march-like theme, some have commented it is similar to a motif in the opening song of Schubert’s Winterreise, Gute Nacht. This similarity makes us wonder if Chopin was inspired by the work, or if he was trying to convey the same sense of depression and separation, if his sickness made him know he was going to die soon, and unsure of how to cope. That could be too “Romantic” of an idea, but it is something to consider. The cello pours in, and unlike Chopin’s earlier chamber works, here the instruments are more integrated with each other. The cello plays the march-like melody, and soon the two plummet into a stormy section where the notes are hard to hang onto, like being tossed in waves. It is an expansive movement, out of the small motifs we get a long drama, again I can’t help but think of waves crashing and subsiding. The next melody is thinner and song-like, at times there are three ideas playing at once in counterpoint. It flows seamlessly through the repeats and modulations. In the coda, the tempo deteriorates a bit, and we get a sense of winding down and a curtain fall. The scherzo is like a baroque gigue almost, a jaunty tune over the rocking rhythm. The middle section has the cello shining with the melody over a fluid piano accompaniment. The slow movement is like any of his nocturnes; a gorgeous aria melody playing over soft orchestral colors. If the first two movements were ships in the middle of a sea storm, this is after the storm, the clouds have parted and over the rippling water is a sky full of stars. The last movement takes us back into the drama of the opening. A lot of chromatics take over and create a rich palette. Through all of the intensity, we modulate into the major, and the coda is bright. The depression that took over so much of the work somehow becomes optimistic.

Movements:

1. Allegro moderato

2. Scherzo. Allegro con brio

3. Largo

4. Finale. Allegro

Cellist: Truls Mørk Pianist: Kathryn Stott

[your-dietician]

Orchestra BioMed™ Announces Peer-Reviewed Publication of

New Post has been published on https://depression-md.com/orchestra-biomed-announces-peer-reviewed-publication-of/

Orchestra BioMed™ Announces Peer-Reviewed Publication of

Double-blind, randomized trial data show a clinically meaningful and statistically significant net reduction of 8.1 mmHg in 24-hour ambulatory systolic blood pressure at 6 months in treated vs. control patients

Very high (85%) response rate to therapy despite 81% of treated patients having isolated systolic hypertension (ISH), a more dangerous and difficult to treat form of hypertension

Primary safety endpoint achieved with no difference in major adverse cardiac events or other cardiac parameters between the treated and control groups at 6 months

NEW HOPE, Pa., Aug. 17, 2021 (GLOBE NEWSWIRE) — Orchestra BioMed™, Inc., (“Orchestra BioMed” or the “Company”), a biomedical innovation company focused on developing transformative therapeutic products for large unmet clinical needs in procedure-based medicine, today announced the publication of data from the double-blind, randomized MODERATO II study in the Journal of the American Heart Association (JAHA). The data demonstrated that BackBeat Cardiac Neuromodulation Therapy™ (CNT™), a programmable and adjustable bioelectronic therapy delivered via an active implantable cardiac pulse generator, significantly reduced 24-hour ambulatory systolic blood pressure (aSBP) in patients with persistent hypertension and a clinical indication for a pacemaker. The average age of the study population was 74 years, which is significantly older than patients generally enrolled in hypertension studies. There was also a higher prevalence of comorbid conditions in the study population and 81% of enrolled patients had isolated systolic hypertension (ISH), a more dangerous and difficult to treat form of hypertension that is predominant in older patients.

“We were very encouraged by the results of this double-blind, randomized study demonstrating meaningful and sustained reduction in aSBP out to six months in a very challenging hypertensive patient population,” said Karl-Heinz Kuck, M.D., Ph.D., director of cardiology at the Lans Medicum, Hamburg, Germany, and study principal investigator. “BackBeat CNT has a favorable risk benefit profile as the device is already required for rhythm management and MODERATO II data offers compelling preliminary evidence that this therapy may provide a safe and effective means to help patients with persistent hypertension and an indication for a pacemaker achieve target blood pressure levels and thereby reduce cardiovascular risk.”

MODERATO II was a European prospective, multi-center, double-blind study investigating the efficacy of BackBeat CNT™ in patients with persistent hypertension (aSBP ≥130 mmHg and office systolic blood pressure (oSBP) ≥140 mmHg) despite one or more anti-hypertensive medications and an indication for implantation or replacement of a dual-chamber pacemaker. Following a 30-day run-in period during which patients received only standard pacing along with anti-hypertensive medications, 47 patients who met follow-up screening criteria for daytime aSBP were randomized to BackBeat CNT (n=26) or control (n=21) groups. Prior to randomization, the mean aSBP for both groups was 136.3 mmHg and patients had been treated with, on average, over three prescribed anti-hypertensive drugs. Key MODERATO II data from the JAHA publication include:

After six months, mean aSBP was reduced by 11.1 mmHg (p<0.001) in the BackBeat CNT group as compared to a reduction of 3.1 mmHg in the control group (p=0.17), for a net treatment effect of 8.1 mmHg (p=0.012).

The treatment group saw a very high (85%) overall response rate, with approximately 54% of the BackBeat CNT-treated patients experiencing a >10 mmHg aSBP reduction at six months, which is associated with a clinically meaningful reduction in risk of heart attack and stroke.

The BackBeat CNT group experienced a significantly greater reduction in oSBP compared to the control group, with a net treatment effect of 12.3 mmHg (p=0.02).

There were no major adverse cardiac events (MACE) in the BackBeat CNT group, and three events in two patients in the control group.

There were no significant differences in cardiac echo parameters between the BackBeat CNT and control groups.

Diastolic blood pressure and heart rate did not change between the BackBeat CNT and control groups during the study period, a notable finding given the high rate of ISH in the study population and the challenge to reduce systolic blood pressure without reduction of diastolic blood pressure in these patients.

An editorial by two renowned physicians in the field of device-based hypertension treatment, Lucas Lauder, M.D. and Felix Mahfoud, M.D., was published along with the data. The editorial commended the study authors for conducting a randomized, sham-controlled, device-based hypertension trial and noted that “…although the baseline blood pressure was lower, the relative change in aSBP in the treatment group was larger than in other sham-controlled trials in device-based hypertension treatment.” The editorial further affirmed that MODERATO II data support BackBeat CNT as feasible and acceptably safe in the short term and noted that “…its efficacy in patients with isolated systolic hypertension, are to be highlighted.” The editorial can be accessed here.

Over 1.1 million pacemakers are implanted annually worldwide.1 Patients indicated for a pacemaker have a particularly high rate of elevated blood pressure with more than 70% of these patients suffering from hypertension.2 Based on data from the National Health and Nutrition Examination Survey (NHANES) III, it is estimated that the majority of hypertensive pacemaker patients suffer from ISH3, a particularly challenging form of hypertension to treat with no specific pharmaceutical therapy currently approved. Longer-term follow up results from the MODERATO II study presented at the American College of Cardiology conference in May 2021, but not included in JAHA publication, showed that BackBeat CNT reduced oSBP in treated ISH patients by an average of 16.4 mmHg after 18 months of treatment.

About BackBeat CNT™

BackBeat CNT, a flagship therapy of Orchestra BioMed, is a bioelectronic treatment designed to immediately, substantially, and persistently lower blood pressure (BP) while simultaneously modulating the Autonomic Nervous System (ANS). Orchestra BioMed’s CE Mark-approved Moderato® implantable pulse generator system delivers BackBeat CNT while also providing standard pacemaker functions. BackBeat CNT is designed to mimic the effects of multi-drug hypertension therapy by targeting preload, afterload and sympathetic tone. The initial target treatment population for BackBeat CNT is patients with uncontrolled hypertension who are also indicated for a pacemaker. BackBeat CNT has the potential to be integrated into any dual-chamber pacemaker system, making this therapy highly suitable for Orchestra BioMed’s risk-reward sharing strategy of pursuing commercialization through a strategic partnership.

About Orchestra BioMed™

Orchestra BioMed is a biomedical innovation company focused on developing transformative therapeutic products for large unmet needs in procedure-based medicine. The Company is led by a highly accomplished, multidisciplinary management team and board of directors with extensive experience in all phases of medical device development. Orchestra BioMed’s partnership-enabled business model focuses on forging strategic collaborations with leading medical device companies to drive successful global commercialization of products it develops. Orchestra BioMed was formed in 2018 by assembling a pipeline of multiple late-stage clinical product candidates originally developed by the Company’s founding team. The Company’s flagship product candidates are Virtue® Sirolimus AngioInfusion™ Balloon (SAB) for the treatment of artery disease, the leading cause of mortality, and BackBeat Cardiac Neuromodulation Therapy™ for the treatment of hypertension, the leading risk factor for death worldwide. Orchestra BioMed has a global strategic partnership with Terumo Corporation, one of the world’s largest medical device companies, for development and commercialization of Virtue SAB. Together, the companies plan to initiate a U.S. pivotal trial for the use of Virtue SAB in the treatment of coronary in-stent restenosis in 2021 which will be the first in a series of pivotal trials aimed at achieving regulatory approvals in multiple indications worldwide. The Company has additional product candidates in its pipeline and plans to thoughtfully expand its product pipeline in the future through acquisitions, strategic collaborations, licensing, and organic development.

Forward-Looking Statements

Some of the statements made herein constitute forward-looking statements. These statements relate to future financial and other performance or anticipated plans and are identified by words such as “may,” “will,” “should,” “expect,” “could,” “scheduled,” “plan,” “intend,” “anticipate,” “believe,” “estimate,” “potential,” “propose” and “continue” or negative variants of such terms. These and similar forward-looking statements discuss the Company’s future expectations and plans. The Company operates in a very competitive and rapidly changing environment. New risks emerge from time to time. Given these risks and uncertainties, the Company cautions against placing undue reliance on these forward-looking statements. These statements are only estimates of future performance. Actual performance or events may not meet such expectations or estimates and may, in fact, differ materially.

Although the Company believes that the expectations reflected in the forward-looking statements made herein are reasonable, the Company cannot and does not guarantee future results, levels of activity, performance, or achievements. Moreover, the Company does not assume any responsibility for the accuracy and completeness of such forward-looking statements in the future. The Company does not plan and, subject to applicable law, undertakes no obligation to update any of the forward-looking statements made herein.

Investor Contact: Bob Yedid LifeSci Advisors 646-597-6989 Bob@lifesciadvisors.com

Media Contact: Gloria Gasaatura LifeSci Communications 646-970-4688 ggasaatura@lifescicomms.com

1 BIS Research, 2017, Global Pacemaker and Implantable Cardioverter Defibrillators (ICDs) Market

2 Guha A, Xiang X, Haddad D, et al. Eleven-year trends of inpatient pacemaker implantation in patients diagnosed with sick sinus syndrome. J Cardiovasc Electrophysiol. 2017;28(8):933–943. doi:10.1111/jce.13248

3 SS Franklin et all. Hypertension. 2001 Mar;37(3):869-74

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[saidthewizard]

Start The Week With Music ...

... and another wind quintet. Last Monday, I posted one by Paul Hindemith; and at the risk of coming across as not being very original, I'm returning to the genre, this time for a work by the Danish composer Carl Nielsen.

Like Hindemith's Kleine Kammermusik, Nielsen's Wind Quintet op. 43 was completed in 1922. And like the Hindemith, it contains elements of wit and folksy, occasionally bawdy humor. There, however, the glaring similarities end. Hindemith's Kleine Kammermusik is the work of a Teutonic pragmatist inspired occasionally by people like Stravinsky and Bartok; Nielsen's quintet that of a Nordic dreamer taking most of his his cues from the myths, moods and landscapes of Scandinavia.

- Carl Nielsen's childhood home at Nørre Lyndelse near Sortelung -

The pastoral opening allegro of the quintet op 43 is a joyfully lyrical portrait of nature, complete with sunshine, summer breezes and bird songs. In the minuet, we're invited to a Danish folk dance. It's followed by a brief, surprisingly stark adagio with Impressionist undertones; this leads up to the concluding set of variations on one of Nielsen's hymn tunes, Min Jesus, lad mit Hjerte faa - My Jesus, let my heart go.

While there are certain differences in how these two composers approach music, there's one thing they have shared for a long time: undeserved neglect. Fortunately, both are being re-discovered by artists and audiences, receiving at least some of the appreciation they so richly deserve. On the strength of this wonderful quintet alone, Carl Nielsen, like Paul Hindemith, ought to be recognized as one of the 20th century's great composers.

- Carl Nielsen 1884 -

Carl Nielsen's Wind Quintet, op. 43 has four movements:

1    Allegro ben moderato 2    Menuet 3    Prelude. Adagio 4    Theme and variations. Un poco andantino

The work is played here by the Danish woodwind quintet CARION. Their musically fabulous and visually intriguing performance was recorded in Copenhagen's Carlsberg Museum in 2015 to mark the composer's 150th birthday.

[garymacoy33-blog]

Maturing Healthy: Tricks To Building A Great Organic Garden

If you are looking at starting your unique garden, you need to do several research first. You may want to realize which fruits, vegetables, blooms and natural herbs can be developed in the environment in which you live. Selected styles of soil are demanded by some plants but are limited in distinct locations. Incorporating different choices of vegetation in a good garden area holds the interest and enhances the pleasure of the viewer. Assimilate contrasting plants to create interesting combos. Add big leaf plants with good leaf plants and merge them with plants distinct within consistency and coloration to generate the many eye catching and fascinating landscape garden. If you need for you to create an eye-catching drop garden with a good large amount of height and contrasting hues, try planting spiky crops like the New Zealand flax, the yucca or large ornamental grasses. Add more drama with texture and shade by simply adding cottage plants like the Golden Spirit fumes bush or perhaps the Competition Sight sumac. To contrast this chartreuse color, plant magenta plant life alongside the cottage flowers like the Black Lace elderberry as well as Loropetalum. Be realistic about the types regarding plants you can grow throughout your garden. If some sort of particular plant has unsuccessful you in the prior, don't check it out yet again. Anyone need to right form of environment, soil, together with sun/shade percentage for selected plants. If you avoid have this, no volume of effort can make individuals plants some sort of good results. Choosing realistically will increase the yield whilst decreasing your energy. If you want to help grow roses, you should search into the different variety. For anyone who is the beginner, pick a sort of rose that will does not require a new great deal of maintenance. You can easily also get into challenges with extremely delicate carnations. Make sure you decide on roses which might be adapted to be able to your skills plus expertise. If your green browse starts to wilt through individuals long winter a few months when your backyard is definitely buried beneath the foot of snow, understand how to grow microgreens to deliver yourself with fresh, healthy and balanced salads, sandwich toppings plus garnishes all year round. Microgreens call for very very little sunlight and are simple to develop indoors. Some frequent microgreens include kale, dill, basil, spinach, and chard. fertilizer numbers for vegetables Recycle for cash your coffee reasons and use them for you to acidify typically the soil for all of your acid loving plants. Plants the fact that like an acidic soil include roses, tomatoes, cyclamen, violets, gardenias, begonias and hibiscus. Apply the coffee grounds roughly one quarter inch thick to get the best results. If you don't care for espresso, leftover herbal tea will develop the same outcomes. To rid your own flowers of red index moderato, use old coffee argument. Take the grounds and blend them with water throughout a squirt bottle. Brain over to your flowers and spray all this contaminated locations. The caffeinated drinks inside the grounds will aid your plant life fight down the spider mite, plus contrary to many other caffeinated refreshment, there's nothing throughout coffees grounds that can harm your plants.

Begin some sort of diary for your own personal garden. This is an outstanding way to retain track of the advance you are making like some sort of gardener. Write along which seeds were prosperous and what solutions anyone used to encourage expansion. You can also take pictures of your plants to include in your e book. Think about berry-producing trees which have been green calendar year round for the garden. They will certainly provide the splash involving color in the boring and dreary winter several weeks as soon as a lot involving other vegetation have missing their colors. These kinds of plants come in several diverse types, like the Winterberry, Us Holly, Cranberrybush, in addition to Commonplace Snowberry. When growing fruit and vegetables try to develop vegetables which can be companions to help each other. This will be practical in fending away unwanted pests. Certain vegetables whenever planted together can produce a new scent that is undesirable to infestations. Any time you grow companion plants together you will acquire healthy success without the use of pesticides. Use your own seeds for growing plants in later seasons. Allowing you ensure that the plants will be organic through start to finish. Consider an earlier season regarding crops and permit them to head over to seed before you remove them. Which means that not only are the vegetation growing without pesticides or herbicides as well as chemical fertilizers, often the seed products were grown with no them either. Use associate plants. Accomplice planting is usually the pairing regarding crops within your vegetable garden, such as planting diet plans with tomatoes. Companion growing grapes-the right way assists reduce the complications with bugs, as that attracts natural pest-controlling wildlife. Companion planting is yet a better use of the living space in the garden, since anyone basically have got two crops in the similar plot. You need to keep in mind absolutely love plenty of liquid while you are growing plants. Many people forget about to be able to keep up with his or her water intake because these people do not believe that that they are carrying out a challenging exercise. Gardening may not always be physically demanding nonetheless extended exposure towards the sunlight can lead to dehydration together with drinking plenty connected with water is one method to prevent that. Whenever growing plants in your own home that is important to produce sure that the pots and pans have good drainage gaps. If the pots do certainly not drain it may possibly cause your current plants to block when you find yourself watering these people. It is possible to get pots with good drainage holes for reasonably priced prices if you take the time period to do some assessment shopping in late summer. Choose carefully often the plants an individual want to grow. A few plants are simply not necessarily built to grow indoors. When you want to grow vegetables, you can effortlessly develop brokkoli or Brussels sprouts in your own home. Alyssums and even zinnias are great flowers to help grow indoors. You can even experiment with different kinds of plants, although keep around mind that it may not really work. A good tip any time beginning the organic gardening is to increase lime to your seed-starter mix. This is carried out to slow up the acidity involving your peat. An excessive amount of acidity can damage it. You must aim to add around a quarter spoon of lime green inside any single gallon within your seed-starter mix. Comply with the instructions and a person are sure to do well in a new hobby. Over-watering is a difficulty many people don't consider, it is therefore important to research often the needs of your particular vegetation. The idea can be very rewarding for you to cultivate a new garden via nothing but garden soil, seed products and water. It can a great way to enjoy what you sow.

[seoulofakwonjiyong]

I was tagged by @yuxtabts​, thank you for the tag! 

If you get this it would be cool to post 10 cool facts about yourself and then pass it along to 10 followers

♥ I am South Korean, but I don’t speak ANY Korean. I am 100% white-washed/Americanized.

♥ I have galaxy hair! You can see it here.

♥ I did gymnastics for 15 years, but I wasn’t THAT good.

♥ I have inhale and exhale tattooed in a similar font to GD’s Vita Dolce Moderato on my forearms.

♥ I am a cat mom, and I want more cats. MORE.

♥ I love doing nail art, it’s very relaxing for me.

♥ I really love all the mutuals I’ve made through this blog.

♥ I have a smiley face ring that reminds me of GD’s smiley face tattoo.

♥ I tend to do kpop dances in my car... WHILE I’m driving.

♥ I also tend to do kpop dances when I’m drunk. it’s a great cardio workout.

You don’t have to do this, but I shall tag:

@thegdragonsdungeon, @xxprincessjewelsxx, @divinaxcommedia, @helvonasche, @mycomplex, @gdislovegdislife, @vivere-militare-est-1991

[whyhatewhenucanskate]

Songs Yuzu Should Skate To

this is all just what I personally think yuzu would skate well to. also please excuse vague classical description stuff, as a classical musician its like… hard to explain the things?????? im kind of new to this, pls excuse anything if u think its bs

1. Piano Concerto No. 2, Op. 8, 1. Moderato -Rachmaninoff

This is a really powerful piece, especially when performed by a symphony or soloist that just is the music, rather than channeling it. This particular link, I believe is one of those performances. In general, I think this is good to skate to because this specific movement starts slow, but changes the mood and feeling several times. Yuzu has skated to songs like this that have lifts that create perfect entrances for jumps, spins, or hydroblading. Also, he did say that he wants to become a more artistic skater, and this would help improve upon that perfection.

2. Paris Quartet No. 6 in E Minor 1. Prelude (to 4:50) Honestly, I just love baroque music a lot. All of the Paris Quartets are absolutely lovely, but this movement is very soft, and another good way for Yuzu to improve on his artistry. This song doesn’t have as many “turns” as the Concerto does, but as a short program, it doesn’t need to be as… engaging as a long program does?

3. Symphony No. 9 in E Minor, Op. 95 “From the New World” 1. Adagio -Dvořák (to 11:48) This is one of the harsher pieces that I’ve heard. That said, it definitely has its slow sections, and those parts are sweet and lovely. This is no quiet moonlight sonata, though. It has plenty of harsh entrances that make this piece a bit quirkier than others I’ve heard, which is what makes me really like this. Honestly, because of that, I’d probably put this on a list for Shoma, too. But I don’t really remember Yuzu ever trying anything like this, which I would really like to see. This is going to be the Olympic season, and even though Yuzu focuses on himself for competitions, I think he’s going to bring what he has to the table to win everyone over, and he can’t do that by doing similar songs. This, with its harsh bangs from the timpanis (excuse my phrasing) and calls from the horns, can exaggerate his quads and other incredible elements in a way songs like he’s been doing previously cannot. This wouldn’t be anything as expressive as Hope and Legacy was, this kind of program would be playing a character, which has worked for him in the past (Seimei).

4. The Lark -Balakirev This is a heck of a piece, and it carries itself well for a solo. It’s slow throughout, but that doesn’t stop it from having its own turns. This is another one for Yuzu to practice his artistry. I don’t really have much to say, I think the piece speaks for itself.

in summary, i think i would die if yuzu skated to any of these. that’s all i need in life. i’ll prolly end up adding to this list. if u care enough to have read this far and have your own opinions, pls let me know!! im a huge music and skating enthusiast, if u cant tell lol

[merriammusicinc]

10 Famous Piano Songs You Should Learn To Play On The Piano

Piano music has the unique capability of expressing a myriad of emotions, feelings, and songs: from loud and intense epics to soft and delicate melodies.

There are some songs that are instantly recognizable as famous piano songs. With just the first few notes, a listener will be able to identify the song. Obscure classics are great, but wouldn’t it be cool to be able to play something that everyone knows?

If that sounds good to you, keep reading to learn about 10 famous piano songs that you can learn to play.

1. Beethoven’s “Moonlight Sonata”

When we’re talking about famous piano songs, we have to talk about Beethoven. Often considered one of the best musical composers of all time, Beethoven’s music is known for its emotionally expressive nature.

Despite his deafness, he managed to compose some of the most well-known piano songs in history, including “Moonlight Sonata.”

This song is made up of three movements, the first of which the most recognizable and popular. It is played pianissimo, which means very quietly, with a smooth moving triplet rhythm.

Many describe this first movement as melancholy, ghostly, and indeed reminiscent of a moonlit landscape.

2. Beethoven’s “Fur Elise”

Bagatelle No. 25 in A minor, more well known as Fur Elise, is another one of Beethoven’s most popular songs.

Interestingly, this song wasn’t published until decades after Beethoven’s death, and the “Elise” referenced still hasn’t been positively identified. It’s known for its smooth melody as well as for its popularity with beginner pianists.

The song begins with its iconic Poco moto, known as “little movement”, which gives a nice smooth flow.

3. Grieg’s “Piano Concerto in A Minor”

Pianists describe this difficult piece as adventurous, troubled, grand, and triumphant. With a little bit of everything in this piece, it has become one of the most recognizable and famous piano songs in history.

It consists of three movements: Allegro molto moderato, Adagio, and Allegro moderato molto e marcato – Quasi presto – Andante maestoso.

The first movement is known primarily for the dramatic beginning timpani roll with a grand ending that is similar to the beginning. The third movement is interesting in that it switches from A minor to F major back to A minor and finally to A major.

This song is known to be challenging, but don’t let that get you down while you’re learning. A challenge is a great way to learn, especially when the outcome is knowing how to play a popular, well-known song.

4. Journey’s “Don’t Stop Believin'”

Not everyone knows or likes the classics, so it can’t hurt to learn a song that almost everyone has heard nowadays. Peaking at number 9 on the Billboard charts, this Journey song has been described as having one of the best keyboard riffs in all of rock music, according to Allmusic.com.

The song is played in E major with an 8 chord progression throughout. It is known for its instrumental parts, specifically the beginning riff. This is definitely one of those songs that only requires the first couple notes before people instantly recognize it.

5. The Beatles’ “Let It Be”

This is another insanely popular song by probably the most well-known band of all time, but it is also a great song for beginner pianists to learn to play. Paul McCartney wrote this song, saying that he thought of it after a dream he had about his mother who had passed away when he was a teenager.

The song is known for its introduction in which the right hand playing a series of chords while the left plays single notes.

6. Korsakov’s “Flight of the Bumblebee”

As the name suggests, this song attempts to mimic the flight and actions of bumblebees with music. It was actually written as part of an opera, and it wasn’t even a huge part of that opera. However, the song lives on as one of the most recognizable pieces of piano music in history.

Like Grieg’s Piano Concerto, this song is known to be quite difficult. It is very fast paced with complicated fingering. The best way to learn this song is to practice it very slowly at first before attempting to play it at the proper speed.

Another problem people run into while learning this song is that they can’t reach the proper keys because their hands are too small. This just takes a lot of practice, and some suggest just rolling the chords quickly.

7. Liszt’s “Hungarian Rhapsody”

Let’s continue with another difficult song. This should probably be learned when you are very experienced with the piano, or else you would be in for a frustratingly difficult, almost impossible, task.

This song is technically difficult and demanding, but it is also physically so. You’ll be all over the place: you need stamina, a great understanding of keyboard geography, strength, the ability to play extremely quickly and nimbly, as well as an intense dedication to the song.

Even the best pianists struggle with this one; understand exactly what you are getting into with this iconic song, and prepare to practice for months!

8. Billy Joel’s “Piano Man”

Billy Joel’s “Piano Man” earns a spot on this list for its obviously recognizable name and for its simplicity that beginners will be thankful for after looking over Liszt’s “Hungarian Rhapsody.” A song about being a piano player definitely has to make this list of famous piano songs: it’s too perfect!

The song is in C major. It is most famous for the piano intro that features the harmonica.

9. David Foster’s “Love Theme From St. Elmo’s Fire”

Sometimes, movie soundtracks become the most recognizable songs out there (think Star Wars or Indiana Jones Theme). This song comes from the film St. Elmo’s Fire, but the song itself became a stand-alone hit.

It is known for being somewhat jazzy and melancholy while giving off a feeling of longing and happiness. This is another recognizable song that isn’t too difficult to play, so it would be a great song to learn as a beginner/intermediate player.

10. Chariots of Fire Theme

Lastly, we have another song from a film that has the same name: Chariots of Fire. The movie itself is about two Olympic athletes from 1924.

This song actually appeared on the Billboard Hot 100 chart, staying at the top of many country’s charts for months at a time. There was a controversy over plagiarism, but the courts ruled in favor of the composer saying that the disputed F-G-A-G sequence is common in many compositions, and thus doesn’t constitute as plagiarism.

This popular soundtrack song would be another great one to learn, especially if you are already familiar with it.

You Can Learn Famous Piano Songs

Famous piano songs range in difficulty, but they are well known and well liked so that your listeners will be happy and intrigued when you start to play them. While some may take longer to learn, they are rewarding and fun to play.

If you need any help or would like some guidance from a teacher, contact us. We can help you whether you’re just getting started or if you just need help on a particularly difficult song.

[propheticgeneration]

Nordwestdeutsche Philharmonie  Martin Panteleev Director Orchestra Anna Fedorova, Ukrainian pianist-The Concierto for piano and orchestra  nº 2, op. 18 in  minor by Sergei Rachmaninov- The   Concierto nº 2, op. 18 in the minor, is a composite piece for piano and orchestra by Sergei Rachmaninov between the autumn of 1900 and April of 1901.1 The second and third movements were interpreted for the first time with the composer like soloist 2 of December of 1900.2 The complete work Was released, also with the composer like soloist, 27 of October of 1901,2 with its cousin Aleksandr Ziloti directing. This work is one of his most remembered pieces, and was a solid recognition and fame as a concert composer.

This piece is structured in three motions:

I. Moderato The initial movement begins with a series of chords on the piano as if bell tones are treated that create tension, finally reaching a climax in the introduction of the first theme. In this first section, the orchestra plays a melody of Russian character while the piano performs an accompaniment consisting of arpeggios. After the first great subject, a rapid transition follows until the second theme is presented in E flat major, much more lyrical.

The agitated and unstable development takes motifs of both themes by changing tonalities very often and passes to various instruments as a new musical idea slowly develops. The music reaches a great climax as if the work were to repeat the first measures of the work, but the recapitulation is going to be quite different

While the orchestra repeats the first theme again, the piano, which again played an accompanying role, now plays a style theme similar to that of a march that had already been half-featured in development, thus creating a Considerable readjustment in the reexposure, as in the main theme, played by the orchestra that has become accompaniment. The rest of the recapitulation is quite literal.

II. Adagio sostenuto The second movement begins with a series of slow chords with the strings modulating from the minor d of the previous movement to my major. The piano comes in by playing a simple arpeggiated figure. The theme is introduced by the flute and then passes between the piano and other soloists, before the music accelerates to a short climax centered on the piano. The original motif is repeated, and the music seems to be extinguished, ending with only the soloist.

III. Allegro scherzando The last movement begins with a small orchestral introduction that modulates from the major to the lesser, before the piano only leads to the first troubled subject. The excitement dies and the oboe and the violas introduce a theme of great lyricism. The second theme is based on the second theme of the first movement. After a long period of development the tension grows considerably. Near the end, Rachmaninov regains the second theme in a great and powerful orchestration. Finally, a quick coda leads the concert to an end.