(Demonstration) all the piano and then there will be lots of forte, and then there will be forte.
So, they have sudden various sudden changes, one bar would sound completely different from the next, and the whole bar would sound the same. You do not want to do a lot of swelling and coming into these big crescendos and changing your tempo. It is more robotic because the entire tempo is very (Demonstration). They did not change their tempo and go (Demonstration). It is very straightforward, very rhythmic. Same with the dancers, they are rhythmic.
Now, moving on to Classical, that would be Beethoven. There are also many other composers but it would take too much time to talk about all of them, so I am just naming the ones that I know more about and I think are quite popular. The only I was able to know more about them is because they are more popular than the most.
Bach influenced Beethoven in his later sonatas, but I will not go into that. Beethoven introduced crescendos and a little bit or regatta. Regatta is a change in the tempo at the liberty of the person performing. For example, you are going at (Demonstration) and you are going along at little set speed, and then you get to this one part and you want to bring it up, so you are going to slow down a little bit.
Let us say you are taking your dog for a walk. You are the tempo and you are walking along. (Demonstration) and the dog is walking beside you. You both leave the house at the same time, but during the course of the walk, he might go ahead of you a bit or he might trail behind and sniff something that he likes. It would be like, “Oh, you like that note?” You are going to stay for that note and sniff the little flowers in the bushes, other business he is going to do. He will go and catch up with his master and then go ahead, and then come back. So, the rhythm is keeping you going, but you are going back and forward with it. That is regatta.
When you get back to the house, which is the end of the piece, you will finish at the same time. I do not know if that is a good explanation or not, but yes. I have to give credit to my teacher, Lorie Elder for giving me that example. That is how she gave the concept of rhythm to me, that regatta.
With Beethoven, there are crescendos, regatta, he uses a lot more chords. He holds them longer. Now, with Beethoven, you want to be in more contrast, and you do not want to be very loud. He liked to do big contrasts between super loud and soft. (Demonstration)
With Beethoven, you want to be very emotional but at the same time, you want to be in control because it is still more Baroque, so you do not have as much liberty to get free with the rhythm.
You want to be loud, contrasting, and you do want to have an angry, fierce tone to it, or you want it to be sad, depressed and soft, very tender. So, it is either tender or fierce and fiery. Those are the two contrast of Beethoven which mix together pretty nicely.
Beethoven’s stuff is actually hard. He has many structures. He went deaf in his later years, as all of you know, but he had good modes of harmony, so it did not really matter too much to him, although it did make him angry. His pieces are actually reflecting some of his anger, in some of his later stuff. You can hear how annoyed and depressed he was with losing his hearing.
List C, this is the Romantic Period. With the Classical Period and the Baroque, they added in a bit of dynamics, they free up the rhythm a bit. Now, this takes it even further.
You will use a lot more pedal now. There are a lot more pedals and they got better pianos, closer to what we have now. They can have beautiful dynamics and they would flow and go up. This was all about telling a story and invoking emotions when you heard it. They used a lot of chromatic stuff. Chopin was known for using a lot of chromatic. (Demonstration)
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