Search This Site

06/07/2019

Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl

WEEKLY AURAL TRAINING AUDIO - from MusicOnline UK

Weekly Aural Training for ABRSM exams from MusicOnline UK

E Aural Trainer has become a very popular method of training for the Aural Tests of the ABRSM exams, but obviously the more practice you can get, the more you will feel prepared. With this in mind, Patrons of MusicOnline UK can get a weekly Audio Track to practice their Aural Skills which will cover all grades and a different aspect of the Aural Tests every week.

So don't leave it until just before the exam. Start giving yourself the best possible chance in the Aural Test section of the exam and sign up today for YOUR WEEKLY Aural Training sessions.

Weekly Aural Tests for ABRSM from MusicOnline UK


As well as these weekly tests, Patrons of MusicOnline UK get a whole host of other benefits including:



04/07/2019

Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl

YouTube's content ID system gone CRAZY

So in the continuing saga of copyright issues, I recently received the following message on a video of Beethoven's Pathetique Sonata on my other channel:
Copyrighted content was found in your video.
The claimant is allowing their content to be used in your YouTube video. However, ads might appear on it.
...which is obviously ridiculous. The work is in the public domain being 70 years after the composer's death and if you compare the two videos below, apart from being the same piece, the audio nowhere near matches (see if you can play them both simultaneously). The basic tempo is similar, but with rubato touches in different places, articulation variations as well as a completely different tone. Oh, and did I mention that my video was published over two years before the one I am supposed to have copied. Maybe I have a time machine.......





So dispute filed against the misidentification with YouTube - lets see if the automated system can learn from its mistakes.

14/06/2019

Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl

ABRSM Piano 2019/20 Grade 8 A2 - MusicOnline UK Teaching Notes

Sonata in D - Kp 214

Domenico Scarlatti

Grade 8 Piano ABRSM 2019/2020 A2



Teaching Notes

One of the first things you may notice with this piece, is that (at least in the ABRSM edition), there are no dynamic markings. However, the examiner will be looking out for your creativity by adding some dynamics to your performance. The music itself, suggests quite obviously at times, where these should be. Bars 4 and 5 for example are an exact repeat of bars 2 and 3 and so an "echo effect" here would be stylish. Be careful however, that the phrases in this piece often start on the third quaver of the beat and so your changes in dynamics should reflect this. If you need inspiration, listen to the above performance and pencil in your copy any dynamic changes you hear. These are open to interpretation, so also feel free to experiment, noting that changes from this period of music tend to be "stepped" or "terraced", i.e. sudden not gradual.

The next thing to consider is the articulation. Very few "slur markings" are to be found. Indeed, even the ones shown in the ABRSM edition are editorial suggestions only and the performance above on occasions varies from these. In general a note that is a discord on the beat that then resolves in the 3rd quaver of that beat, should be slurred onto that 3rd quaver. For example, those slurs marked in bars 6-9. However, later on there are similarly printed slurs that are not  resolved discords (e.g. bars 37-40) and you will notice that the above performance omits these slurs in general. In order to give a forward momentum and dance like feel, you will notice, that apart from those discords just mentioned - there is a slur of the first two quavers of the beat with the 3rd quaver separated from its adjacent notes. Again, this is not gospel - the above video is just one interpretation and your inner creativity may feel it differently.

Regarding the ornaments, at speed the suggested triplet works well, but make sure that this is  on  the beat, not before and also that they flow without hesitation onto the next note. Some slow metronome practice in the sections where both hands play ornaments together (e.g. bars 6-9), may be beneficial.

Finally, you may have noticed in the above performance, some re-assignment of the hands to what is written in the ABRSM edition. The slurred resolution of discords mentioned earlier are written one note in each hand. This works fine for the first one in bar 6, but becomes slightly clumsy and awkward for the next two in bar 7 where it is suggested to slide your thumb from one note to the next. Far easier and equally acceptable would be to take both these notes in the RH in each case.

Aternative fingering to ABRSM edition

09/06/2019

Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl

Pot calling the kettle black.

Alan Chan YouTube Channel plagiarizes other users content

So, a little aside from my usual type of post, today excuse me for ranting a little about a certain channel which has become nothing less than a nuisance to serious music students on YouTube.

A little while ago, you may remember a copyright dispute that I had with Alan Chan, (without going into detail here you find out more HERE)

Anyway, moving on....

I recently came across another of 
Alan Chan's videos, 
ABRSM Violin 2020-2023 Grade 7 C1 Bridge Moto Perpetuo Three Dances H.4 No.3 Sheet Music
...which I found surprisingly well played. I say surprisingly, because it was way beyond his standard of violin playing.

Then I dug a little further to find that he had simply copied the audio from someone else's video and added sheet music. 


Have a listen to these two examples and let me know if you think they are one and the same audio.

Alan Chan's Video

Duo Deconet's Video (NOW DELETED)


Having contacted the original channel "Duo Deconet", their reply was as follows,


Hi , Duo Deconet has not authorized any download of our videos to anyone. Alan Chan does not have permission or any concession to use our audios in his websites. This has been reported to head office. Duo Deconet is based in the Hills District in Sydney too... He would need to delete his video if he wants to keep his account open and learn how to play it himself.
The crazy thing about this is that Alan Chan, himself tried to make a Copyright claim against myself, even though the source that I used in the alleged claim was marked at the time "Creative Commons - Re-use allowed"

MORE PLAGIARIZED CONTENT
https://www.youtube.com/watch?v=FKftLpQbeCo
copied from https://www.youtube.com/watch?v=zRMaNgxEwxE

https://www.youtube.com/watch?v=-SY0yDFKCpw
copied from https://www.youtube.com/watch?v=sZ7bm9DlEbY

OK - rant over. Thanks for taking the time to read and let's concentrate on producing quality content in the hope that it eventually will overcome the mass produced, sub-standard monopoly that currently is offered to music students on YouTube.


UPDATE: Alan Chan's first video has been removed since this post was originally written. 

If you spot any other plagiarized content, let's clean up the platform and leave a comment below and we'll investigate. 


23/05/2019

Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl
Textual description of firstImageUrl

ABRSM Piano 2019/20 Grade 5 C1 - MusicOnline UK Teaching Notes

Rektor

Witold Lutoslawski

Grade 5 Piano ABRSM 2019/2020 C1




Teaching Notes

The best place to start learning this piece is the final vivace. This brilliant finish will need extra practice, so if you start learning this first you can confident of secure finish, rather than leaving the hardest part to the end, thus giving it the least practice.

As you work through the piece, pay careful attention to the exact dynamics and articulation. Often the dynamics are sudden changes for just one bar (bars 16-18) and other times involve a very quick crescendo (bar 24). Making good contrasts will give this piece character and earn you credit in the exam. Regarding the articulation, apart from the fact that very often a staccato in one hand is against a longer note in the other hand, make sure the tenuto notes are long, but NOT legato.Also notice that a lot of these tenuto notes have accents on them, a characteristic of this piece where the emphasis is frequently on the 2nd beat rather than the first.

In the meno mosso section, note the staccato dots under a slur in the RH. These should be "semi-staccato", separated, but note too short. The LH could afford a legato line here, but for a perfect legato, you'll need a different fingering to the one in the book (see video above). Also this section could benefit from an extra ritardando (not printed ) up to the pause. Then notice the little comma after the pause before the Tempo I. There should be a brief moment of silence here, a breath if you like.

Overall, the strictness and accuracy of the details mentioned above should convey that discipline and attention to detail expected by the inspiration for this piece, a stern old style schoolmaster who demands nothing but perfection.