With Chopin, you want to use pedal, and some people think that you should always be holding the soft pedal down when you are using Chopin, so that you get the warm undertones, but that is a debate. We will just leave it up. You do not have to use a soft pedal, but it does help quite a bit in some spots.
If there is a lot of half-pedaling you want to do, you do not want to do a full pedal. You only want to do half just to get a warm sound to it. The difference between a half pedal and full pedal would be (Demonstration). You can hear the blurring less focused, so you want the half pedal instead of the full pedal. You might want it done to half from but you want to tape her off.
In Chopin, there is lots of regatta. You are free to go with your rhythm but it has to be represented off to the music. You are allowed to take extra time and spots, and speed things up as long as it is not really over the top. I like Chopin a lot. He was actually my favorite.
I think that is about everything I can think of. You just want to mix it up together. You want it to sound smooth and play out of your heart when you are playing them because it is a very emotional period.
The next one is List D, the Post-Impressionistic. This takes it even further. Now, it is going to be a bit too much. It is crazy now. We will just try to put in different chording for abstract stuff. The regatta you can use and all the dynamics, it just keeps getting further and further. There are cross-rhythms, and they are experimenting with a whole bunch of stuff. It can get a lot crazier than List C.
He was a French composer. He is prominent; he is probably the most popular List D composer, although there are a quite a few other. He originally composed stuff in the European area but then eventually, he got influenced by Oriental music, so he started using 5th’s and stuff like that. (Demonstration) He liked using quick and fast and all those other things that they like to do. You can hear more of his later stuff.
With him, he wanted to be expressive. It would be like—if you are enjoying a meal, you want to linger in the next. It is like you are devouring a cheesecake. So, in nice moments, you hold of and let it flow to sound it really nice. You do not usually follow the markings pretty closely because there is a lot more dynamic markings. If he is accenting a certain note, you definitely want to accent it. You do not want to ignore stuff like that, whereas Bach in Baroque Era that you can just make everything up because there is very little writing. As long as it is musical correct, you can just do whatever you want, whereas later on, they specify more of what they want, the composers, so we need to follow a bit more closely.
That is the Post-Impressionistic Period, List D. The next one is List E.
This one is Modern music. There are composers that are alive now, and I honestly do not like it so much. It is very crazy, and it keeps getting crazier. It is sometimes un-rhythmic and you have to have a taste for it to like it. It is more of an acquired taste. They have many dissonant chords like (Demonstration). They do not have basic chords. (Demonstration) They just throw up some crazy chord.
I have even seen a piece where they pushed the lid back on the grand piano and then part of the piece is you actually have to pluck some strings inside the piano. You pluck them with your finger. You have to make sure that got the right one or you will strum across, and get they have odd things going on.
With that kind of stuff, you just follow the directions on the music. It is directional, and sometimes they direct you to figure it out yourself and be creative. You can do anything you want. It is strange.
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