By Jim Aikin
This ebook leads readers in a step by step, easy-to-understand approach throughout the fundamentals of musical durations, scales, triads, extra complicated chord voicings, and the types of chord progressions utilized in hundreds of thousands of recognized songs. whereas firmly grounded in conventional song concept, it addresses the desires and pursuits of readers who're more well-off with pop tune. in contrast to a few "chord and scale encyclopedia" books released for guitarists and jazz avid gamers, which provide you masses of scales and licks with out explaining the place they arrive from, Chords andHarmony "opens up the box" to give an explanation for why a few chords and scales paintings good jointly whereas others conflict.
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Additional resources for A Player's Guide to Chords and Harmony: Music Theory for Real-World Musicians (Backbeat Music Essentials)
19 One wonders how much later. In Orphee Eurydice's disappearance, when Orpheus looks back at her, is achieved slowly through an elaborate trick of lighting, which Cocteau insists on even in theatres with trapdoors. But in Cocteau's notes of March 1926 for Oedipus the only comparable use of lighting accompanies the appearance of Tiresias, at which the stage lights dim and the seer is picked out by a spotlight, exactly like the head of Orpheus when it is thrown on to the stage in the play. But even the preface in the score adds nothing more on lighting.
But we do not, in actual fact, know exactly how it arose. 16 One senses in all this a certain tension between the different sources of Stravinsky's inspiration. Meyerhold's idea of a statuesque, tableau-style treatment of Sophocles certainly would not have precluded stylistic collisions of the Cocteau type. But nor does it instantly suggest the modish boulevardier quips by which the author of Orphee may well have felt tempted. A chorus without a face Except possibly in The Soldier's Tale, with its intrusion of telephones and stock market reports into the fairytale world of Afanassiev, Stravinsky had always avoided anachronism within the frame of his stage works.
The text itself is based on Pushkin, and the music is self-consciously modelled on Glinka and Tchaikovsky. Mavra may not be one of Stravinsky's best works, but it is one of his most self-revealing. It suggests that in 1921 he was thinking hard about what it meant to be a Russian exile in western Europe. 5 Above all, it shows an already well-developed tendency to treat such models as a source not just of inspiration but of actual musical material. Strictly speaking, Stravinsky had been 'borrowing' material in this way for more than a decade.