Aram Khachaturian master class with Konstantine Sirounian скачать в хорошем качестве

Aram Khachaturian master class with Konstantine Sirounian

Konstantine Sirounian got his doctorate in composition at the Moscow conservatory, and his professor was the world renowned Soviet Armenian composer Aram Khachaturian. Filmed in 1978 this is Konstantine in one of Khachaturians master classes. For those of you interested in classical, concertos, jazz, composition, music theory, or just want to see Konstantine in his pre-doctorate days, I recommend watching. My mother and I tried our best to translate it; not just from Russian, but from advanced musician lingo. The piece is a piano jazz style concerto. Konstantine was one of the last students of Khachaturian. Rough translation: 1:33 Aram: Well, why did you use a bass guitar? How do you explain that? Konstantine: There are places that would be very difficult for contra bass. A: Ok well show me. Don't show me all of it, just show me the pure details. 2:13 A: Well, this part could be played perfectly with contrabasses and cellos. You could also- K: Can I show you another part? A: Yes, please. 2:28 A: Maybe you’re not exactly explaining why you used bass guitar because what you just played could be played by contrabass and cellos but it won't be as precise, and it’ll be 10 times a stronger pizzicato if played on electric bass. I approve that you used a guitar, rhythmically. I agree with what you’re going for. Now, I'm ready to tell you what I was planning on telling you. Continue playing the sincopa part. 3:22 A: Generally, I like this piece, it can exist not only in classical, but also outside of the auditorium, especially since this is one of the first pieces that you wrote with such a high level. I want to mention to everyone, this is a piano concerto, and it's specially written as a piece for the orchestra, in particular, a jazz orchestra, with more jazz rhythms. [Back to Konstantine] So, rhythms that you're using are naturally acceptable because it’s as if it was written for a jazz orchestra. These rhythms exist, and you won't get away from them. And if a composer is writing for that kind of orchestra, then it's wonderful. It's not important that it's from jazz, but how you interpret it. He interpreted it in a way that it's not shocking you, but on the contrary, catching your attention because the music itself is fulfilled. This is a concerto. But the way the rhythms are going through it, I like it. The rhythm becomes very bouncy, precise, and bright. Well, play it again. 5:44 A: It's very good that the music itself is relieved, but that pulsing rhythm stays on those 16th notes and keeps that active pulse. Please play that part again. 6:22 A: The music is in relief, it comes to an end, and the 2nd theme is overlaid with a deep meaning. What I recommend with these 16th notes is to go into a ritardando. Write what you're doing, from triols, go to 8th notes, etc., and asymmetrically, and it slows and slows and slows, and then the 2nd theme appears. On the 13th page there are many harmonic chords, play it for me again. 7:16 A: I can't say exactly, but it seems to me the harmonies are not nonchords, play a chord. 7:45 A: I don't know which ones, the septachord chords variations, and the creation could be with some alteration. Your chord progression is too simple, you have to find different progressions. You’re going by quintols. You have to think about that. Because you used those sincopa forms earlier, it would be good compensation with these new progression chords. You create new harmonies, more sharp, more fresh, but when I mean sharp I don't mean only vertical harmonies, that vertical creation could be very simple but they should be fresh. The most important thing is that they should be freshly contrasting. Now you have a slow part, I'm not going to listen to it, I’ve told you enough. You have to work. You have to write a lot. The amount will lead to quality. You have to write, and come back, and not refuse your creations. Composers work on their pieces their entire lives. Rimsky Korsakov was always rewriting his compositions. But you have to write all the time. Write write write. The amount of destroyed papers, this is the important point in composition.