Should I Take Myself on a Date to See a String Quartet?

Should I take myself on a date to see a string quartet?

Should I Take Myself on a Date to See a String Quartet? 1

This String Quartet is one of Mozart's masterpieces, a truly extraordinary piece of music. I think that the odds are very good that you will enjoy it. Hopefully there also will be some additional pieces of high quality on the program.

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What do you think of my string quartet version of Lady Gaga's "Bad Romance?"?

You. Are. Psychic. I was just listening to the VSQ's Lady Gaga pieces today! In answer to your question, I like the use of pizzicato in the beginning but perhaps you should use more of the cello - would probably give a deeper, richer sound. But that's just me being picky, it's fine!

Should I Take Myself on a Date to See a String Quartet? 2

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Tyburn String Quartet

The Tyburn String Quartet are a string quartet based in London, England. They are based at the Royal Academy of Music. In 2009 they were awarded the Royal Academy of Music's John Baker award. The quartet was formed in 2008 and has given recitals throughout the UK including the Royal Opera House, Windsor Parish Church, Guy's Hospital, St. Thomas Hospital, and the Brooks club. The quartet have taken masterclasses with the Vanbrugh Quartet, the Skampa Quartet and Sylvia Rosenberg.

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What is the best way to approach score reading a string quartet at sight?

Well firstly, you will usually find that the first violin will be playing the melody. This is not always the case though. Secondly, look for imitation between parts. Look at what the accompanying 3 parts are doing. Look for pedals. Are they tonic? Dominant? Inverted? Also, are there key changes? Has the piece modulated to a relative key (dominant or relative minor, something that makes sense) or is the new key completely unrelated. For example if the piece was in C major, and then modulated to F#minor. That does not really make sense. Furthermore, are there any themes that reoccur? That is a very waffley description of what I would do. But just think SMARTT (Structure, Melody, Acoompaniment, Rhythm, Texture, Tonality)

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String Quartet No. 14 (Dvořák)

The String Quartet No. 14 in A major, Op. 105, B. 193, was the last string quartet completed by Antonn Dvok, even though it was published before his String Quartet No. 13 (which appeared with the higher opus number Op. 106). Dvok finished his Fourteenth Quartet in 1895, when he had returned to Bohemia after his visit to America. The gestation of the Quartet had actually begun in America and lasted six months, which was rather protracted for the composer. This Quartet marked an important point in Dvok's development because he would devote himself almost exclusively to writing explicit program music, namely symphonic poems and operas, afterwards. The Quartet premiered on October 20, 1896.

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What do classically trained people think of this string quartet? (Inspired by Y!A)?

It sounds like video game music. like something that would be on the game Castlevania

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What is the difference between a classical symphony and a string quartet?

The symphony uses more than 4 people. Edit: Bachi, a standard string quartet is two violins with a viola and cello. NO bass.

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Cadence in Haydn's String Quartet in G, Op. 54, No 1, i, 1-13

What you describe as I(64) is really a dominant V with a suspension 6-5 and 4-3. This is a cadential six four, which is an idiomatic way to prepare a cadence. This is not a tonic. In this example, the voices get exchanged before they get resolved. The idea of embellishing the dominant through some sort of suspension is extremely common in the common practice period. Here are some examples (you should listen to a little bit before the linked excerpts as well to get an idea of the tonality):Eventually you wear learn to recognise these quickly, both aurally and visually. The tonic-sounding chord but with a 5 in the bass is often a signifier of a cadence coming up. The two predominants IV and ii are often combined to form a predominant expansion. This is sometimes called the IV-ii complex. In terms of voice leading, the only thing you need to do is move scale degree 1 (G in this piece) to scale degree 2 (A). If the ii moves directly to a dominant V (without cadential six four), the A can be viewed as an anticipation of the A in the V harmony. This can help avoid parallel fifths, which is probably how the IV-ii complex originally came about.I could probably find good examples from different periods of the IV-ii complex as well, but it's not nearly as important to know about as the cadential embellishments linked to above.

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