Hi. Don't know really where to begin. I play organ, piano, synthesizer, bass, drums been playing keys for around 45 years, so yes I am now getting a bit old in the tooth. On my Youtube channel, my main focus is my music in which I vary as much as I can. It could be just the organ (one of them) Synths (VST software synthesizers) or as a one man band playing Aerodrums, Bass guitar, and keys. Check out my music, maybe you may even like it.
Dedicated to my fellow patriots of the United Kingdom. Who, like myself love their country and feel in their hearts that they are proud to be British. Being British should be celebrated and not criticized. This is our country, our land. Lets not lose it, but protect and love it. God Save Our Queen.
Please share with fellow patriots.
Edward Elgar composed his Variations on an Original Theme, Op. 36, popularly known as the Enigma Variations,[a] between October 1898 and February 1899. It is an orchestral work comprising fourteen variations on an original theme.
Elgar dedicated the work "to my friends pictured within", each variation being a musical sketch of one of his circle of close acquaintances (see musical cryptogram). Those portrayed include Elgar's wife Alice, his friend and publisher Augustus J. Jaeger and Elgar himself. In a programme note for a performance in 1911 Elgar wrote:
This work, commenced in a spirit of humour & continued in deep seriousness, contains sketches of the composer's friends. It may be understood that these personages comment or reflect on the original theme & each one attempts a solution of the Enigma, for so the theme is called. The sketches are not ‘portraits’ but each variation contains a distinct idea founded on some particular personality or perhaps on some incident known only to two people. This is the basis of the composition, but the work may be listened to as a ‘piece of music’ apart from any extraneous consideration.
In naming his theme "Enigma" Elgar posed a challenge which has generated much speculation but has never been conclusively answered. The Enigma is widely believed to involve a hidden melody.
After its 1899 London premiere the Variations achieved immediate popularity and established Elgar's international reputation. The work has been recorded over 60 times.
SOME music arouses sad or happy emotions because of past events that we associate with it (the 'Listen, darling, they're playing our tune' syndrome) but this doesn't account for the fact that some tunes seem to have the power to affect different individuals' emotions in an apparently similar way, even when the people concerned have no shared history of experience to account for this reaction. Music scholars and philosophers have long disputed whether or not music actually 'means' anything, and if so, what. The late Deryck Cooke comes closest, in my view, to explaining this contentious area of musical aesthetics. In his book, The Language of Music (OUP, 1959), Cooke suggests that all composers of tonal music from the Middle Ages to the mid-20th century have used the same 'language' of melodic phrases, harmonies and rhythms to evoke the same emotions in the listener. If true, this could account for the fact that Nimrod seems to communicate the same feeling of melancholy to different people.
Nimrod uses all of these tricks. The theme itself is harmonised using dissonances (some of which resolve into further dissonance, heightening the effect); it starts quietly and gradually builds up; just before the final statement of the theme there is a long roll on a timp while the brass extend the feeling of 'here we go back to the tonic key' by waffling in the dominant, and after the loudest bit of all it recedes to a quiet conclusion.
videoAuthor.getCity() United Kingdom
Classic cover by Chris Rendall
Please share with fellow patriots.
Edward Elgar composed his Variations on an Original Theme, Op. 36, popularly known as the Enigma Variations,[a] between October 1898 and February 1899. It is an orchestral work comprising fourteen variations on an original theme.
Elgar dedicated the work "to my friends pictured within", each variation being a musical sketch of one of his circle of close acquaintances (see musical cryptogram). Those portrayed include Elgar's wife Alice, his friend and publisher Augustus J. Jaeger and Elgar himself. In a programme note for a performance in 1911 Elgar wrote:
This work, commenced in a spirit of humour & continued in deep seriousness, contains sketches of the composer's friends. It may be understood that these personages comment or reflect on the original theme & each one attempts a solution of the Enigma, for so the theme is called. The sketches are not ‘portraits’ but each variation contains a distinct idea founded on some particular personality or perhaps on some incident known only to two people. This is the basis of the composition, but the work may be listened to as a ‘piece of music’ apart from any extraneous consideration.
In naming his theme "Enigma" Elgar posed a challenge which has generated much speculation but has never been conclusively answered. The Enigma is widely believed to involve a hidden melody.
After its 1899 London premiere the Variations achieved immediate popularity and established Elgar's international reputation. The work has been recorded over 60 times.
SOME music arouses sad or happy emotions because of past events that we associate with it (the 'Listen, darling, they're playing our tune' syndrome) but this doesn't account for the fact that some tunes seem to have the power to affect different individuals' emotions in an apparently similar way, even when the people concerned have no shared history of experience to account for this reaction. Music scholars and philosophers have long disputed whether or not music actually 'means' anything, and if so, what. The late Deryck Cooke comes closest, in my view, to explaining this contentious area of musical aesthetics. In his book, The Language of Music (OUP, 1959), Cooke suggests that all composers of tonal music from the Middle Ages to the mid-20th century have used the same 'language' of melodic phrases, harmonies and rhythms to evoke the same emotions in the listener. If true, this could account for the fact that Nimrod seems to communicate the same feeling of melancholy to different people.
Nimrod uses all of these tricks. The theme itself is harmonised using dissonances (some of which resolve into further dissonance, heightening the effect); it starts quietly and gradually builds up; just before the final statement of the theme there is a long roll on a timp while the brass extend the feeling of 'here we go back to the tonic key' by waffling in the dominant, and after the loudest bit of all it recedes to a quiet conclusion.