In fifth grade, I was plagued by forgetting everything. I always forgot my project, my homework, my lunch, or whatever else at home. The pay phone and I became good friends during that time period. Eventually, my parents stopped bringing things to me in efforts to get me more organized.
I can say to this day I'm miles better than I was before. But occasionally, I find myself to lose track of something. The misplacing of a paper, forgetting to enter in homework, etc. I guess it is tough to remember everything - no one really ever does remember everything - but it is definitely something we all (should) strive for. Being behind the teacher's desk has really opened up my mind. If I was as organized as I was in the fifth grade, I would be in serious trouble. What exactly would I do with my life?
So thanks Mom (and Dad) for drawing the line on bailing me out. My organizational skills, while still flawed, are at least manageable in a real world setting. And for every mistake I make, the more I learn - and the more grow as a human being.
D. Chaloux - Theorist, Composer, Human!
D.
Wednesday, October 13, 2010
Sunday, October 10, 2010
The Resurrection
As I begin to once again get head deep into the music theory world, I realize that I will need a medium to vent, bounce ideas of myself, and be a complete nerd.
Teaching theory is an incredible experience. For once, I am on the other side of the table. It is a lot of fun. Most certainly, you hate to see any of your students have trouble with any of the subject matter, but no one is perfect. It will be impossible for everyone to understand. It's just like how I don't understand quantum physics or sometimes have trouble understanding English literature (I am looking at you Faulkner!) There is nothing like being embarrassed though as you're up in front of a whole class. For all of those days where you were in the student's seat and you just had a bad day (at counting or reading or whatever)...when that happens when you're in front of the class, it equals a bad day x 1000. But with a little humility, you can bounce back on your feet.
I think I'm doing alright. It certainly gets easier day by day.
And speaking of resurrection...
D.
Teaching theory is an incredible experience. For once, I am on the other side of the table. It is a lot of fun. Most certainly, you hate to see any of your students have trouble with any of the subject matter, but no one is perfect. It will be impossible for everyone to understand. It's just like how I don't understand quantum physics or sometimes have trouble understanding English literature (I am looking at you Faulkner!) There is nothing like being embarrassed though as you're up in front of a whole class. For all of those days where you were in the student's seat and you just had a bad day (at counting or reading or whatever)...when that happens when you're in front of the class, it equals a bad day x 1000. But with a little humility, you can bounce back on your feet.
I think I'm doing alright. It certainly gets easier day by day.
And speaking of resurrection...
D.
Thursday, January 21, 2010
Sheer Beauty
I've lately been stunned by the beauty of several pieces:
Mahler 9th Symphony - IV
Rachmaninoff Cello Sonata - II
More will come later.
D.
Mahler 9th Symphony - IV
Rachmaninoff Cello Sonata - II
More will come later.
D.
Sunday, January 10, 2010
Agony
Hello world,
Did you know that I have stumbled upon one of the most agonizing situations I've ever been in my entire life? What terrible event causes such horrific agony? All who have been in my shoes currently would probably agree with me wholeheartedly! All those who have not been in my shoes will never fully understand the pain.
So what is this terrible event?
Waiting to hear back from graduate schools.
Currently, I have heard back from two graduate schools for entry into a Music Theory program. I heard back from Eastman. They supposedly want me to enroll in their Music Theory Pedagogy program over their Music Theory program. Hey, it's Eastman. I'll take an interview if I can get one. And one I did get! Friday January 29th...I'll be grilled by professors during my interview.
The week before, I will be heading to the University of Cincinnati. Fortunately (or unfortunately), they grant an interview to all students who apply.
These are the two schools I've heard back from at this point. I definitely feel good that I got an interview at Eastman because it is such a difficult school to get into. Getting an interview is a small moral victory, even if I don't get in. It shows me that I definitely have a future in music theory and that I personally chose the right path.
I still have to hear from the University of Oregon, Yale, and The Graduate Center at CUNY. As far as the University of British Columbia...what is the status with them? Well interestingly, when I visited them this fall in late November, I really just made a visit to the school to see if it was one worth applying to. When I left, I began to be concerned over the fact that interview would probably occur during the Winter Olympics and finding a hotel and airfare would probably be hellish! After I jotted an email sharing my concerns, I received one back that mentioned that basically my trip would be sufficient for an interview.
Either I impressed them or severely damaged my chances there. But considering how well I thought the trip went, it probably was the prior statement. I remain cautiously optimistic. I really loved the UBC campus and program. I really loved Vancouver. To be fair to all of the graduate schools though, they all have impressed me in their own right.
So why the agony? Well...the fact is, I have no idea where I will be heading in less than half a year. What if I don't get into any grad programs or don't get enough money to make it worthwhile? Then...real life begins! That's the major difference between graduate school admissions and undergraduate admissions. The fact is, most of my friends are going to be working full-time jobs while I'm hoping to go to more school.
On a separate note, I have made an observation. I don't know what it necessarily means, but it sure is an interesting observation. Many of my friends and my parent's friends ended up at top tier schools, mostly private. Duke, Tufts, GWU, etc etc etc. However, most of my friends that are graduating from such schools are not going onto graduate school. However, my friends who stayed at state institutions like myself are the ones pursuing their field further by attempting to go to graduate school. I'm sure it really doesn't mean much other than the fact that going to a state school does not really impact your future. To me, it seems like a very cost efficient way to go about your education.
And with that, I leave.
D.
Did you know that I have stumbled upon one of the most agonizing situations I've ever been in my entire life? What terrible event causes such horrific agony? All who have been in my shoes currently would probably agree with me wholeheartedly! All those who have not been in my shoes will never fully understand the pain.
So what is this terrible event?
Waiting to hear back from graduate schools.
Currently, I have heard back from two graduate schools for entry into a Music Theory program. I heard back from Eastman. They supposedly want me to enroll in their Music Theory Pedagogy program over their Music Theory program. Hey, it's Eastman. I'll take an interview if I can get one. And one I did get! Friday January 29th...I'll be grilled by professors during my interview.
The week before, I will be heading to the University of Cincinnati. Fortunately (or unfortunately), they grant an interview to all students who apply.
These are the two schools I've heard back from at this point. I definitely feel good that I got an interview at Eastman because it is such a difficult school to get into. Getting an interview is a small moral victory, even if I don't get in. It shows me that I definitely have a future in music theory and that I personally chose the right path.
I still have to hear from the University of Oregon, Yale, and The Graduate Center at CUNY. As far as the University of British Columbia...what is the status with them? Well interestingly, when I visited them this fall in late November, I really just made a visit to the school to see if it was one worth applying to. When I left, I began to be concerned over the fact that interview would probably occur during the Winter Olympics and finding a hotel and airfare would probably be hellish! After I jotted an email sharing my concerns, I received one back that mentioned that basically my trip would be sufficient for an interview.
Either I impressed them or severely damaged my chances there. But considering how well I thought the trip went, it probably was the prior statement. I remain cautiously optimistic. I really loved the UBC campus and program. I really loved Vancouver. To be fair to all of the graduate schools though, they all have impressed me in their own right.
So why the agony? Well...the fact is, I have no idea where I will be heading in less than half a year. What if I don't get into any grad programs or don't get enough money to make it worthwhile? Then...real life begins! That's the major difference between graduate school admissions and undergraduate admissions. The fact is, most of my friends are going to be working full-time jobs while I'm hoping to go to more school.
On a separate note, I have made an observation. I don't know what it necessarily means, but it sure is an interesting observation. Many of my friends and my parent's friends ended up at top tier schools, mostly private. Duke, Tufts, GWU, etc etc etc. However, most of my friends that are graduating from such schools are not going onto graduate school. However, my friends who stayed at state institutions like myself are the ones pursuing their field further by attempting to go to graduate school. I'm sure it really doesn't mean much other than the fact that going to a state school does not really impact your future. To me, it seems like a very cost efficient way to go about your education.
And with that, I leave.
D.
Thursday, December 10, 2009
Angst!
Is it ironic that Angst in German means fear? It seems kind of strange. But that is the word and feeling of the moment. I would divulge and dissect what is causing this angst, but I honestly don't feel like writing a Dickens novel tonight.
Monday, November 9, 2009
Irony
Dear fellow friends,
I haven't posted in a while, but I believe now is the perfect time to do so again. My story is one of irony...the irony of swine flu. I joked about it. I prepared for it. And yet, I got it. The most ironic part of the story is that today, UConn, is handing out their swine flu vaccines. Nevertheless, I am here in New Hampshire rather than at school because the school has sent me home. The home where I just left nearly 22 hours ago to return back to campus to take a test.
Irony. It's not your friend.
D.
I haven't posted in a while, but I believe now is the perfect time to do so again. My story is one of irony...the irony of swine flu. I joked about it. I prepared for it. And yet, I got it. The most ironic part of the story is that today, UConn, is handing out their swine flu vaccines. Nevertheless, I am here in New Hampshire rather than at school because the school has sent me home. The home where I just left nearly 22 hours ago to return back to campus to take a test.
Irony. It's not your friend.
D.
Thursday, September 24, 2009
Brahms' Rhapsody in G Minor Op. 79 No. 2
This beautiful Brahms Rhapsody is one of the pieces I'm playing this semester for my juries. It is quite intriguing, especially from a theoretical view. I have not looked at any analyses of this piece...but I am going to point out some of the interesting parts of this piece.
http://www.youtube.com/watch?v=Sr2q8-Sr__A
Score
The clear motive of this piece is an upper neighbor motive...however, it is commonly characterized as a half-step motion upwards in the melody. This can be heard in the first measure with the D stepping up to the Eb and then repeating in m.2 with the E stepping up to the F. This motion continues through the first phrase...moving up F# to G...G# to A. I find interesting that during this entire time, Brahms is trying to establish the tonic of G minor, however, his melody outlines the perfect fifth owned by the dominant with this half-step motion. Something to think about.
The melody however does move towards B natural. Wait...B NATURAL?! Isn't this piece in G Minor? There is no B natural in G minor. Ah, but the brilliant Brahms is just about to establish the importance of the upper neighbor...because B natural happens to be the upper neighbor of Bb, the ever important note that defines G minor.
The pickup to measure 14 gives us our first strong upper neighbor motion in the melody with the A-Bb-A eventually leading to G#. At first, it may seem odd that Brahms is starting the bass on D, creating a 4/3 inversion of a Ger+6...but it allows for a mirror effect of the mirror motion (D-C#-D). The mirror neighbor motion in the bass continues in measure 17 (A-G-A) while the melody is embellished by the upper neighbor motion. I think Brahms was trying to make this rather obvious.
While I'm not going to go into a full analysis of the piece, I think it was important to set that groundwork for the part I do want to talk about...which is measures 110-111. This measures seem to be oddly placed, especially considering how they do not coincide with the exposition of the piece (I probably should have mentioned this piece is in strict sonata form). So why is this measure intriguing? May it have something to do with the upper neighbor motion?
Yes.
The second theme of the exposition has the upper neighbor motion as a perpetual motor in the background. Let's look at all of the times a similar idea comes up throughout the piece. The second theme of the exposition (measures 21-32) really drive home the A-Bb-A motion. The next time we see something similar is in measure 53 with the F#-G-F# motive. This does move down to E-F#-E for a slight moment, but since it does not qualify under my half step upper neighbor motion (not to mention it only occurs in one measure) and I'm going to pass it off as a passing gesture to the more important neighbor motion of D-Eb-D in measure 58 until the recapitulation. (It would be bad of me not to mention the fact that some of this neighbor motion is D-E-D...but this will be moot with my next point.)
Discounting the "passing" E-F#-E neighbor motion...let's look at the roots of each of these wonderful neighbor motions...A, F#, D. That looks like the outline of a D major triad to me! The greatest part about this discovery is that it is the dominant of G minor. Now, let's fast forward to those seemingly awkward measures (110-111). What happens to be the root of the neighbor motion Bb-C-Bb. Why...it's a Bb. Let's add that to our previously important neighbor roots, D, F#, and A. Bb is the upper neighbor to the A. When you look at all of these upper neighbor motions, they occurs mostly as a sol-le-sol neighbor. Brahms gave his outline it's own neighbor.
BRAHMS IS BRILLIANT!!!
I'm sorry...but this is pure genius. Once you realize the importance of those two measures formally in the piece...it makes the piece even that much better. Now, as I mentioned, I'm not sure if someone has written about this before, but it was a little discovery I made when I was practicing one day. One thing I have learned from my theory classes is that if something seems out of place (especially in Classical/Romantic music) it's probably there for a reason.
Brahms did have the most expansive library of music literature than any composer up to his time. I believe this is just him showing off his smarts. If I could go back in time, I would love to meet Brahms and his brilliance. Alas, he's dead. His music does live!
http://www.youtube.com/watch?v=Sr2q8-Sr__A
Score
The clear motive of this piece is an upper neighbor motive...however, it is commonly characterized as a half-step motion upwards in the melody. This can be heard in the first measure with the D stepping up to the Eb and then repeating in m.2 with the E stepping up to the F. This motion continues through the first phrase...moving up F# to G...G# to A. I find interesting that during this entire time, Brahms is trying to establish the tonic of G minor, however, his melody outlines the perfect fifth owned by the dominant with this half-step motion. Something to think about.
The melody however does move towards B natural. Wait...B NATURAL?! Isn't this piece in G Minor? There is no B natural in G minor. Ah, but the brilliant Brahms is just about to establish the importance of the upper neighbor...because B natural happens to be the upper neighbor of Bb, the ever important note that defines G minor.
The pickup to measure 14 gives us our first strong upper neighbor motion in the melody with the A-Bb-A eventually leading to G#. At first, it may seem odd that Brahms is starting the bass on D, creating a 4/3 inversion of a Ger+6...but it allows for a mirror effect of the mirror motion (D-C#-D). The mirror neighbor motion in the bass continues in measure 17 (A-G-A) while the melody is embellished by the upper neighbor motion. I think Brahms was trying to make this rather obvious.
While I'm not going to go into a full analysis of the piece, I think it was important to set that groundwork for the part I do want to talk about...which is measures 110-111. This measures seem to be oddly placed, especially considering how they do not coincide with the exposition of the piece (I probably should have mentioned this piece is in strict sonata form). So why is this measure intriguing? May it have something to do with the upper neighbor motion?
Yes.
The second theme of the exposition has the upper neighbor motion as a perpetual motor in the background. Let's look at all of the times a similar idea comes up throughout the piece. The second theme of the exposition (measures 21-32) really drive home the A-Bb-A motion. The next time we see something similar is in measure 53 with the F#-G-F# motive. This does move down to E-F#-E for a slight moment, but since it does not qualify under my half step upper neighbor motion (not to mention it only occurs in one measure) and I'm going to pass it off as a passing gesture to the more important neighbor motion of D-Eb-D in measure 58 until the recapitulation. (It would be bad of me not to mention the fact that some of this neighbor motion is D-E-D...but this will be moot with my next point.)
Discounting the "passing" E-F#-E neighbor motion...let's look at the roots of each of these wonderful neighbor motions...A, F#, D. That looks like the outline of a D major triad to me! The greatest part about this discovery is that it is the dominant of G minor. Now, let's fast forward to those seemingly awkward measures (110-111). What happens to be the root of the neighbor motion Bb-C-Bb. Why...it's a Bb. Let's add that to our previously important neighbor roots, D, F#, and A. Bb is the upper neighbor to the A. When you look at all of these upper neighbor motions, they occurs mostly as a sol-le-sol neighbor. Brahms gave his outline it's own neighbor.
BRAHMS IS BRILLIANT!!!
I'm sorry...but this is pure genius. Once you realize the importance of those two measures formally in the piece...it makes the piece even that much better. Now, as I mentioned, I'm not sure if someone has written about this before, but it was a little discovery I made when I was practicing one day. One thing I have learned from my theory classes is that if something seems out of place (especially in Classical/Romantic music) it's probably there for a reason.
Brahms did have the most expansive library of music literature than any composer up to his time. I believe this is just him showing off his smarts. If I could go back in time, I would love to meet Brahms and his brilliance. Alas, he's dead. His music does live!
Subscribe to:
Comments (Atom)
