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𝐓𝐜𝐡𝐚𝐢𝐤𝐨𝐯𝐬𝐤𝐲 𝐕𝐢𝐨𝐥𝐢𝐧 𝐂𝐨𝐧𝐜𝐞𝐫𝐭𝐨 𝐢𝐧 𝐃 𝐌𝐚𝐣𝐨𝐫, 𝐎𝐩. 𝟑𝟓 Written in 1878, Tchaikovsky's Violin Concerto is one of the greatest works ever written for the instrument. But did you know that the most important music critic at the time, Eduard Hanslick, described it as “music that stinks to the ear”?... The concerto was dedicated to the great violinist Leopold Auer, who proclaimed the piece as “unplayable” due to its difficulty and refused to perform it. The premier performance didn’t happen until two years later, when violinist Adolph Brodsky proved Auer wrong by performing the concerto. The work has since become one of the best-loved staples of the violin repertoire. Enjoy this lyrical masterpiece, performed by Catherine Zhang and Shen Yun Symphony Orchestra, on Shen Yunshow more

🌷🦋 Love Music 🎶 & Dance 💃🏻🕺🏻

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79,421 görüntüleme • 1 yıl önce •via X (Twitter)

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Love Music 🎶 & Dance 💃🕺 profil fotoğrafı

Love Music 🎶 & Dance 💃🕺1 yıl önce

It's here! Unveil the trailer for Shen Yun all-new 2025 performances. Mark your calendars and book your tickets now: Watch More:

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Solar Heavy1 yıl önce

Instrumental Music is the best

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JBNW1 yıl önce

A favorite - and I still like the early review which said the "violin was beaten black and blue."

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My sweet Piotr Illich.

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💖Currently, Shen Yun is having performances in 2026 worldwide. ☘️ Book your tickets now: ☘️ See more: =========== 💫The Shen Yun Symphony Orchestra is part of the world-renowned Shen Yun Performing Arts. In addition to showcasing highlights from Shen Yun's extensive original repertoire, the orchestra also performs masterpieces from the Western classical tradition. 💫In this video, Shen Yun violist Liaokuo Fang performs an arrangement of Gypsy Airs (Zigeunerweisen), Op. 20, a famous piece composed in 1878 by the Spanish virtuoso violinist Pablo de Sarasate.

💖Currently, Shen Yun is having performances in 2026 worldwide. ☘️ Book your tickets now: ☘️ See more: =========== 💫The Shen Yun Symphony Orchestra is part of the world-renowned Shen Yun Performing Arts. In addition to showcasing highlights from Shen Yun's extensive original repertoire, the orchestra also performs masterpieces from the Western classical tradition. 💫In this video, Shen Yun violist Liaokuo Fang performs an arrangement of Gypsy Airs (Zigeunerweisen), Op. 20, a famous piece composed in 1878 by the Spanish virtuoso violinist Pablo de Sarasate.

Beauty of music and nature 🌺🌺

39,209 görüntüleme • 7 ay önce

An ancient melody of devotion and destiny. The Butterfly Lovers Violin Concerto is one of the most well-known classical Chinese concert pieces and is divided into three sections that correlate to a Chinese folk tale. Shen Yun is currently scheduled to perform in 2026 around the world. ✨Book your tickets now: 📷See more:

An ancient melody of devotion and destiny. The Butterfly Lovers Violin Concerto is one of the most well-known classical Chinese concert pieces and is divided into three sections that correlate to a Chinese folk tale. Shen Yun is currently scheduled to perform in 2026 around the world. ✨Book your tickets now: 📷See more:

Love Music

258,138 görüntüleme • 11 ay önce

This might be the most beautiful music ever written. This passage feels angelic—every time I hear it, it makes me want to cry. ❤️🎶✨ ✨𝐁𝐚𝐜𝐡: 𝐁𝐫𝐚𝐧𝐝𝐞𝐧𝐛𝐮𝐫𝐠 𝐂𝐨𝐧𝐜𝐞𝐫𝐭𝐨 𝐍𝐨. 𝟑 𝐢𝐧 𝐆 𝐌𝐚𝐣𝐨𝐫 𝐁𝐖𝐕 𝟏𝟎𝟒𝟖 ℹ️ Compiled in 1721, and presented to the Margrave of Brandenburg-Schwedt in Berlin, the six Brandenburg Concertos were written for a diverse, demanding and sometimes daring combination of instruments and represent some of the most jubilant and joyful music of the 18th century. Not discovered until 100 years after Bach’s death, the works are now widely regarded as masterpieces in Western music and human civilisation, so much so that in 1977, the second concerto was sent into space on the Voyager Golden Record as a supreme example of human achievement.

This might be the most beautiful music ever written. This passage feels angelic—every time I hear it, it makes me want to cry. ❤️🎶✨ ✨𝐁𝐚𝐜𝐡: 𝐁𝐫𝐚𝐧𝐝𝐞𝐧𝐛𝐮𝐫𝐠 𝐂𝐨𝐧𝐜𝐞𝐫𝐭𝐨 𝐍𝐨. 𝟑 𝐢𝐧 𝐆 𝐌𝐚𝐣𝐨𝐫 𝐁𝐖𝐕 𝟏𝟎𝟒𝟖 ℹ️ Compiled in 1721, and presented to the Margrave of Brandenburg-Schwedt in Berlin, the six Brandenburg Concertos were written for a diverse, demanding and sometimes daring combination of instruments and represent some of the most jubilant and joyful music of the 18th century. Not discovered until 100 years after Bach’s death, the works are now widely regarded as masterpieces in Western music and human civilisation, so much so that in 1977, the second concerto was sent into space on the Voyager Golden Record as a supreme example of human achievement.

🎶𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀 ✨

25,716 görüntüleme • 6 ay önce

I sometimes like to reflect on my work over the past few years and I love to think back to the recording process of my favourite piece of music - Elgar's cello concerto - with Sir Simon Rattle and the London Symphony Orchestra. It will always remain one of the high points of my life.

I sometimes like to reflect on my work over the past few years and I love to think back to the recording process of my favourite piece of music - Elgar's cello concerto - with Sir Simon Rattle and the London Symphony Orchestra. It will always remain one of the high points of my life.

Sheku Kanneh-Mason

35,132 görüntüleme • 3 yıl önce

John Williams has spent a lifetime making great film scores but I think the best work of his career is Schindler’s List. I’m a violinist of 25 years. Itzhak Perlman is one of my heroes. Listening to Perlman perform this violin solo at a young age is something that drew me even closer to 1) the violin & 2) Cinema. This is just one of the most memorable scores in film history.

John Williams has spent a lifetime making great film scores but I think the best work of his career is Schindler’s List. I’m a violinist of 25 years. Itzhak Perlman is one of my heroes. Listening to Perlman perform this violin solo at a young age is something that drew me even closer to 1) the violin & 2) Cinema. This is just one of the most memorable scores in film history.

Cinema Tweets

17,863 görüntüleme • 17 gün önce

I played with Elina in 2015, but never performed. I was about to, but I had an emergency: We’d just played the overture and I was called off stage and informed that my wife was in an ambulance with chest pains. When asked what I wanted to do, I said “I’m out” and ran out of the hall in my tuxedo, left my clarinets on stage. As I ran out the door the last thing I heard over the PA was the clarinet solo echoing the opening, played by my colleague on no rehearsal. “It’s gonna be ok” I thought as I sprinted for my car. Sadly my wife was not ok, passing away two days later. I always think of this when I hear the Sibelius Violin Concerto now, in a way it was the perfect piece for the occasion, the ultimate expression of loneliness. Here’s Elina playing it that same year, the music of her people. Hope her violin is ok:

I played with Elina in 2015, but never performed. I was about to, but I had an emergency: We’d just played the overture and I was called off stage and informed that my wife was in an ambulance with chest pains. When asked what I wanted to do, I said “I’m out” and ran out of the hall in my tuxedo, left my clarinets on stage. As I ran out the door the last thing I heard over the PA was the clarinet solo echoing the opening, played by my colleague on no rehearsal. “It’s gonna be ok” I thought as I sprinted for my car. Sadly my wife was not ok, passing away two days later. I always think of this when I hear the Sibelius Violin Concerto now, in a way it was the perfect piece for the occasion, the ultimate expression of loneliness. Here’s Elina playing it that same year, the music of her people. Hope her violin is ok:

slimzim

42,222 görüntüleme • 3 ay önce

Babe I’m Gonna Leave You- Led Zeppelin- Violin Cover by Nina D Wait for the twist at the end… Wait again- how is this a violin and also the instrument I played on Eruption also a violin? Because adding extra strings and frets doesn’t change the fact that you have to be a VIOLINIST to play both of them. #ledzeppelin #babeimgonnaleaveyou #25or6to4 #chicago #cover #coversong #violin #violincover #classicrock

Babe I’m Gonna Leave You- Led Zeppelin- Violin Cover by Nina D Wait for the twist at the end… Wait again- how is this a violin and also the instrument I played on Eruption also a violin? Because adding extra strings and frets doesn’t change the fact that you have to be a VIOLINIST to play both of them. #ledzeppelin #babeimgonnaleaveyou #25or6to4 #chicago #cover #coversong #violin #violincover #classicrock

Nina DiGregorio

12,285 görüntüleme • 1 yıl önce

Hans von Bülow's #Bechstein in Beijing. I was profoundly moved to be able to play a little #Liszt and a tiny bit of #Wagner on this instrument owned by one of the greatest and most influential musicians of the 19th century. He was Liszt's son-in-law (Cosima's first husband) and the one divorced by her to marry Wagner. He not only conducted the first performances of Tristan and Meistersinger (he bore no grudge against the music) but he played the first performance of the #Tchaikovsky First Piano Concerto in Boston. Not to mention the first public performance of the LISZT SONATA! A giant.

Hans von Bülow's #Bechstein in Beijing. I was profoundly moved to be able to play a little #Liszt and a tiny bit of #Wagner on this instrument owned by one of the greatest and most influential musicians of the 19th century. He was Liszt's son-in-law (Cosima's first husband) and the one divorced by her to marry Wagner. He not only conducted the first performances of Tristan and Meistersinger (he bore no grudge against the music) but he played the first performance of the #Tchaikovsky First Piano Concerto in Boston. Not to mention the first public performance of the LISZT SONATA! A giant.

Stephen Hough

16,317 görüntüleme • 9 ay önce

What is the name of this instrument? Who brought it into our music in Nigeria? Who are the muscians synonymous to its usage in Nigeria?? One of the best oldies instruments that refused to leave! Still much relevant and in use!

What is the name of this instrument? Who brought it into our music in Nigeria? Who are the muscians synonymous to its usage in Nigeria?? One of the best oldies instruments that refused to leave! Still much relevant and in use!

Ogbeni

76,308 görüntüleme • 16 gün önce

Violin Concerto No. 4 in D major, K. 218 (Second Movement – Andante cantabile): When Every Voice is Allowed to be Itself The Violin Concerto No. 4 in D major, K. 218 is one of five violin concertos composed by Wolfgang Amadeus Mozart in 1775, when he was only nineteen years old. Though written in the early years of his career, the work already reveals the mature Mozartian voice: a perfect equilibrium between melodic beauty, crystalline clarity of structure, and an almost effortless art of dialogue between soloist and orchestra. The second movement, Andante cantabile, has long been regarded as one of the most exquisitely lyrical pages Mozart ever wrote for the violin. In this recording, the work is performed by the French violinist Zino Francescatti. With his pure, singing tone, refined technique, and an interpretative approach that always places the music above personal display, Francescatti proves ideally suited to Mozart’s artistic world — a realm in which beauty arises not from ostentation, but from the natural flowering of every musical line. What makes this movement truly exceptional is not merely the loveliness of its violin melodies — Mozart wrote many such melodies. Its enduring power lies in the way Mozart creates a musical universe in which no single voice needs to overpower another. The solo violin remains the central presence, yet the orchestra never degenerates into mere accompaniment. Each element retains its own character while contributing to a greater harmonious whole. To understand why this *Andante cantabile* continues to move listeners more than two centuries later, one must begin with this very relationship. The first impression is not created by the solo violin. It is the atmosphere established by the orchestra that captivates from the very opening bars. There is no grand rhetorical introduction, no imposing chords. Mozart allows the orchestra to unfold with gentle, balanced, and luminous phrases. The harmony moves with serene deliberation, the rhythm free of any sense of strain. Within a few bars, the listener is drawn into a tranquil musical space where every motion feels natural and unforced. Only once this world has been gently established does the violin enter. It does not appear as a protagonist stepping onto the stage to command attention. Rather, it emerges as a voice that already belongs to this space. Its melody flows with perfect naturalness from the orchestral texture, without any sense of opposition or conquest. The violin does not strive to rise above the orchestra; it simply continues and expands what the ensemble has already begun. Throughout the movement, Mozart sustains this delicate balance. At times the violin sings long, flowing cantilenas while the orchestra offers the simplest and most tender harmonic support. At other moments, the woodwinds engage in gentle dialogue with the soloist, adding new colours without ever interrupting the melodic line. Even in the more ornate passages, one never feels that the soloist has detached from the whole. Every flourish remains an organic part of the same musical breath. Remarkably, Mozart avoids stark contrasts in this movement. There are no explosive climaxes, no violent conflicts demanding resolution. Instead, each musical idea leads gracefully into the next, with transitions so subtle that the listener scarcely notices them. The entire movement feels like a living organism breathing — every motion connected to the next in perfect organic unity. By the close, the listener does not experience a triumphant conclusion or a dramatic release of tension. What remains is akin to the surface of a lake after the ripples have gently subsided: everything returns to its natural state of equilibrium, yet, having passed through this journey, the final serenity feels infinitely deeper and more profound. Thus, the listener’s experience gradually transforms. At first, one is captivated by the beauty of the violin itself — its crystalline tone, the exquisite smoothness of its phrasing, and the characteristic Mozartean elegance. Yet the more attentively one listens, the more the centre of perception shifts. One begins to realise that the true beauty does not reside in the violin alone. What lingers is the profound sense that every voice in the orchestra is permitted to exist according to its own nature. The violin does not dominate by overpowering the ensemble, nor does the orchestra diminish itself to serve the soloist. Each part speaks with just measure, and precisely because every element remains true to itself, the whole achieves an extraordinary harmony. At that moment, the listener ceases to hear individual instruments. What one perceives is no longer “the violin” or “the orchestra”, but the presence of a single living entity in which every constituent part is allowed to be fully itself — and it is this very authenticity that creates the work’s profound beauty. The principle revealed in this music extends far beyond the realm of art; it is one that resonates deeply in human life itself. We often suppose that for a community to be strong, its members must be alike, think alike, and act in the same manner. Yet the most enduring communities are rarely built upon such uniformity. In a family, father, mother, and children do not fulfil identical roles. Each loves in their own way, bears different responsibilities, and contributes according to their distinct abilities. It is precisely this diversity that makes the family whole. A hospital functions upon the same principle. The physician diagnoses and treats, the nurse tends to the patient, the technician performs the tests, and the support staff ensure the smooth running of the institution. No one can fully replace another, yet it is through each person’s faithful fulfilment of their own role that the entire system flourishes. Even a wise leader does not attempt to do everything himself. His true gift lies in creating an environment where each individual can realise their highest potential while working towards a common purpose. What lends lasting strength to such wholes is not uniformity, but the ability of each part to preserve its own character while contributing to a greater harmonious order. One finds this same principle throughout the natural world. A forest does not thrive through mighty trees alone. Among the great oaks stand saplings, climbing vines, wild grasses, fungi, birds, insects, and countless smaller creatures — each with its own manner of being and its own role within the ecosystem. It is this very diversity that sustains the vitality of the whole. A river is not formed merely by flowing water. It consists of the riverbed, the banks, the meanders, the silt, and the myriad living things that inhabit it. Each element retains its distinct nature, yet together they create a single, unified flow. Even the human body is constituted according to this law. The heart cannot replace the lungs, the eyes cannot perform the work of the ears, nor can the brain take the place of the hands. Each organ fulfils its own function while remaining in constant relation to the entire body, thereby sustaining life. The more closely one observes Nature, the more clearly one sees that true harmony is not achieved by making everything the same. On the contrary, it is when each element is allowed to develop according to its own essential nature that the greater whole attains balance and enduring vitality. Such is the profound truth one experiences when listening with an open heart to the Andante cantabile of Mozart’s Violin Concerto No. 4 in D major.

Violin Concerto No. 4 in D major, K. 218 (Second Movement – Andante cantabile): When Every Voice is Allowed to be Itself The Violin Concerto No. 4 in D major, K. 218 is one of five violin concertos composed by Wolfgang Amadeus Mozart in 1775, when he was only nineteen years old. Though written in the early years of his career, the work already reveals the mature Mozartian voice: a perfect equilibrium between melodic beauty, crystalline clarity of structure, and an almost effortless art of dialogue between soloist and orchestra. The second movement, Andante cantabile, has long been regarded as one of the most exquisitely lyrical pages Mozart ever wrote for the violin. In this recording, the work is performed by the French violinist Zino Francescatti. With his pure, singing tone, refined technique, and an interpretative approach that always places the music above personal display, Francescatti proves ideally suited to Mozart’s artistic world — a realm in which beauty arises not from ostentation, but from the natural flowering of every musical line. What makes this movement truly exceptional is not merely the loveliness of its violin melodies — Mozart wrote many such melodies. Its enduring power lies in the way Mozart creates a musical universe in which no single voice needs to overpower another. The solo violin remains the central presence, yet the orchestra never degenerates into mere accompaniment. Each element retains its own character while contributing to a greater harmonious whole. To understand why this Andante cantabile continues to move listeners more than two centuries later, one must begin with this very relationship. The first impression is not created by the solo violin. It is the atmosphere established by the orchestra that captivates from the very opening bars. There is no grand rhetorical introduction, no imposing chords. Mozart allows the orchestra to unfold with gentle, balanced, and luminous phrases. The harmony moves with serene deliberation, the rhythm free of any sense of strain. Within a few bars, the listener is drawn into a tranquil musical space where every motion feels natural and unforced. Only once this world has been gently established does the violin enter. It does not appear as a protagonist stepping onto the stage to command attention. Rather, it emerges as a voice that already belongs to this space. Its melody flows with perfect naturalness from the orchestral texture, without any sense of opposition or conquest. The violin does not strive to rise above the orchestra; it simply continues and expands what the ensemble has already begun. Throughout the movement, Mozart sustains this delicate balance. At times the violin sings long, flowing cantilenas while the orchestra offers the simplest and most tender harmonic support. At other moments, the woodwinds engage in gentle dialogue with the soloist, adding new colours without ever interrupting the melodic line. Even in the more ornate passages, one never feels that the soloist has detached from the whole. Every flourish remains an organic part of the same musical breath. Remarkably, Mozart avoids stark contrasts in this movement. There are no explosive climaxes, no violent conflicts demanding resolution. Instead, each musical idea leads gracefully into the next, with transitions so subtle that the listener scarcely notices them. The entire movement feels like a living organism breathing — every motion connected to the next in perfect organic unity. By the close, the listener does not experience a triumphant conclusion or a dramatic release of tension. What remains is akin to the surface of a lake after the ripples have gently subsided: everything returns to its natural state of equilibrium, yet, having passed through this journey, the final serenity feels infinitely deeper and more profound. Thus, the listener’s experience gradually transforms. At first, one is captivated by the beauty of the violin itself — its crystalline tone, the exquisite smoothness of its phrasing, and the characteristic Mozartean elegance. Yet the more attentively one listens, the more the centre of perception shifts. One begins to realise that the true beauty does not reside in the violin alone. What lingers is the profound sense that every voice in the orchestra is permitted to exist according to its own nature. The violin does not dominate by overpowering the ensemble, nor does the orchestra diminish itself to serve the soloist. Each part speaks with just measure, and precisely because every element remains true to itself, the whole achieves an extraordinary harmony. At that moment, the listener ceases to hear individual instruments. What one perceives is no longer “the violin” or “the orchestra”, but the presence of a single living entity in which every constituent part is allowed to be fully itself — and it is this very authenticity that creates the work’s profound beauty. The principle revealed in this music extends far beyond the realm of art; it is one that resonates deeply in human life itself. We often suppose that for a community to be strong, its members must be alike, think alike, and act in the same manner. Yet the most enduring communities are rarely built upon such uniformity. In a family, father, mother, and children do not fulfil identical roles. Each loves in their own way, bears different responsibilities, and contributes according to their distinct abilities. It is precisely this diversity that makes the family whole. A hospital functions upon the same principle. The physician diagnoses and treats, the nurse tends to the patient, the technician performs the tests, and the support staff ensure the smooth running of the institution. No one can fully replace another, yet it is through each person’s faithful fulfilment of their own role that the entire system flourishes. Even a wise leader does not attempt to do everything himself. His true gift lies in creating an environment where each individual can realise their highest potential while working towards a common purpose. What lends lasting strength to such wholes is not uniformity, but the ability of each part to preserve its own character while contributing to a greater harmonious order. One finds this same principle throughout the natural world. A forest does not thrive through mighty trees alone. Among the great oaks stand saplings, climbing vines, wild grasses, fungi, birds, insects, and countless smaller creatures — each with its own manner of being and its own role within the ecosystem. It is this very diversity that sustains the vitality of the whole. A river is not formed merely by flowing water. It consists of the riverbed, the banks, the meanders, the silt, and the myriad living things that inhabit it. Each element retains its distinct nature, yet together they create a single, unified flow. Even the human body is constituted according to this law. The heart cannot replace the lungs, the eyes cannot perform the work of the ears, nor can the brain take the place of the hands. Each organ fulfils its own function while remaining in constant relation to the entire body, thereby sustaining life. The more closely one observes Nature, the more clearly one sees that true harmony is not achieved by making everything the same. On the contrary, it is when each element is allowed to develop according to its own essential nature that the greater whole attains balance and enduring vitality. Such is the profound truth one experiences when listening with an open heart to the Andante cantabile of Mozart’s Violin Concerto No. 4 in D major.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

13,580 görüntüleme • 29 gün önce

"Beijing sees it as an attack because Shen Yun is saying: No. Take a look at it, because that's what China was before communism." "[The CCP] understands that the major threat to their regime is not economic. It is for what they used to call the hearts and minds of people. They see that as the sort of center of gravity under which their regime could be in trouble," says investigative journalist and author Peter Schweizer Watch UNBROKEN: The Untold Story of Shen Yun

"Beijing sees it as an attack because Shen Yun is saying: No. Take a look at it, because that's what China was before communism." "[The CCP] understands that the major threat to their regime is not economic. It is for what they used to call the hearts and minds of people. They see that as the sort of center of gravity under which their regime could be in trouble," says investigative journalist and author Peter Schweizer Watch UNBROKEN: The Untold Story of Shen Yun

The Epoch Times

11,092 görüntüleme • 4 ay önce

The New York Times has started to smear Shen Yun and Falun Gong again. Before I respond directly to its latest three articles, I'd like to repost my previous show so that you have some "background" knowledge of why The New York Times went so far as to publish as many as 11 so-called "in-depth" investigative reports in just four months about a spiritual group and a performing arts troupe that the CCP hates the most. Exclusive: Father of NYT Reporter Attacking Shen Yun is Director of CCP United Front Organization

The New York Times has started to smear Shen Yun and Falun Gong again. Before I respond directly to its latest three articles, I'd like to repost my previous show so that you have some "background" knowledge of why The New York Times went so far as to publish as many as 11 so-called "in-depth" investigative reports in just four months about a spiritual group and a performing arts troupe that the CCP hates the most. Exclusive: Father of NYT Reporter Attacking Shen Yun is Director of CCP United Front Organization

Inconvenient Truths — Jennifer Zeng Reports

131,449 görüntüleme • 1 yıl önce

Free Lesson. Enjoy! Lesson 32: Voice Leading and the beauty of utility In this lesson we look at chords as if each note has its own melody and story. Some of the best sounding most timeless music is written with the voice leading school of thought. Within the forward momentum of a piece, the shortest and simplest way to the next chord is the most beautiful. We look at “free fallen” by Tom Petty and how you can play the entire song by just moving one finger within the first chord. Also the harmonics of “California Girls.” Then we look at the pompous and regal sound of waste and vanity in the brilliant piece “Dance of the Knights” by Prokfiev (1935). Enjoy! And thanks for sticking with the lessons! It’s worth it in the long run. No one ever says “I’m glad I quit music when I was a kid.” Even if at times you feel frustrated or like you aren’t improving, you are. That frustration is actually the feeling of pre growth. And don’t forget to enjoy the process. sign up for access to all the lessons and what's coming next.

Free Lesson. Enjoy! Lesson 32: Voice Leading and the beauty of utility In this lesson we look at chords as if each note has its own melody and story. Some of the best sounding most timeless music is written with the voice leading school of thought. Within the forward momentum of a piece, the shortest and simplest way to the next chord is the most beautiful. We look at “free fallen” by Tom Petty and how you can play the entire song by just moving one finger within the first chord. Also the harmonics of “California Girls.” Then we look at the pompous and regal sound of waste and vanity in the brilliant piece “Dance of the Knights” by Prokfiev (1935). Enjoy! And thanks for sticking with the lessons! It’s worth it in the long run. No one ever says “I’m glad I quit music when I was a kid.” Even if at times you feel frustrated or like you aren’t improving, you are. That frustration is actually the feeling of pre growth. And don’t forget to enjoy the process. sign up for access to all the lessons and what's coming next.

Owen Benjamin 🐻

28,562 görüntüleme • 10 ay önce

🚨 The Chinese Consulate FAILED to SHUT DOWN Shen Yun in Vancouver. Chinese officials directly pressured Vancouver city staff last month to cancel Shen Yun at the city-owned Queen Elizabeth Theatre. The city didn’t capitulate. The shows went ahead. This is the latest in the Chinese Communist Party’s global campaign to silence the dance company that celebrates “China Before Communism.” Shen Yun says the CCP has targeted them with hundreds of hoax bomb threats, slashed tour bus tires, smear campaigns, and even bribery attempts (two Chinese agents jailed in the US in 2024). In Toronto, China-linked hoax bomb threats cancelled 6 shows before they were rescheduled. Shen Yun revives traditional Chinese culture the CCP has tried to erase. That’s why they’re terrified of it. Watch the full story for NTD News

🚨 The Chinese Consulate FAILED to SHUT DOWN Shen Yun in Vancouver. Chinese officials directly pressured Vancouver city staff last month to cancel Shen Yun at the city-owned Queen Elizabeth Theatre. The city didn’t capitulate. The shows went ahead. This is the latest in the Chinese Communist Party’s global campaign to silence the dance company that celebrates “China Before Communism.” Shen Yun says the CCP has targeted them with hundreds of hoax bomb threats, slashed tour bus tires, smear campaigns, and even bribery attempts (two Chinese agents jailed in the US in 2024). In Toronto, China-linked hoax bomb threats cancelled 6 shows before they were rescheduled. Shen Yun revives traditional Chinese culture the CCP has tried to erase. That’s why they’re terrified of it. Watch the full story for NTD News

Jack Bradley

13,227 görüntüleme • 3 ay önce

From horror show to triumph! This is the moment when pianist Maria Joao Pires realises - as the orchestra starts to play - that she has learned the wrong piece for a concert. With no sheet music to fall back on, she has to keep calm and carry on. She is AMAZING. As is conductor Riccardo Chailly, who shows he’s surely the cheerleader we all want in our corner. Belief and bravery in action! Mozart’s Piano Concerto in D minor, my Stop the Clock piece Classic FM today…

From horror show to triumph! This is the moment when pianist Maria Joao Pires realises - as the orchestra starts to play - that she has learned the wrong piece for a concert. With no sheet music to fall back on, she has to keep calm and carry on. She is AMAZING. As is conductor Riccardo Chailly, who shows he’s surely the cheerleader we all want in our corner. Belief and bravery in action! Mozart’s Piano Concerto in D minor, my Stop the Clock piece Classic FM today…

Joanna Gosling

5,000,786 görüntüleme • 2 yıl önce

One of the most famous melodies of all time—and perhaps the most iconic in D major—“Air” from Bach’s Orchestral Suite No. 3. For centuries, this timeless piece has offered comfort and serenity, and it continues to move listeners just as deeply today. Here, it is performed by François Leleux with the SWR Symphony Orchestra, conducted by Markus Poschner.

One of the most famous melodies of all time—and perhaps the most iconic in D major—“Air” from Bach’s Orchestral Suite No. 3. For centuries, this timeless piece has offered comfort and serenity, and it continues to move listeners just as deeply today. Here, it is performed by François Leleux with the SWR Symphony Orchestra, conducted by Markus Poschner.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

27,389 görüntüleme • 3 ay önce

Eruption- Van Halen- Eddie Van Halen Guitar Solo- Electric Violin Cover by Nina D Nina’s Notes 🎶: This was by far the hardest thing I’ve learned thus far on electric violin in the rock genre. This is the solo of all solos. While there is no shortage of covers and tutorials on the internet for a guitarist who wants to learn it, when I went to learn it, almost nothing of the sort existed for violin. There were a few covers out there on acoustic violin that are great- but anyone who knows me, knows I wanted to try and sound as authentic to Eddie as possible, on violin. There were many steps to this process, the biggest being learning how to finger tap on a violin. It was a long process of trial/error and practice to achieve the effect chain and technique. Some FAQ: 1.) It is a 7-string violin, not a chin guitar. If you don’t understand why, ask me a question! I will gladly answer. (But don’t state something as fact you have no experience in). I am a classically trained violinist who also plays electric violin, guitar, bass, and piano. I am qualified to answer your questions. 2.) It’s not easier to play on a violin. (Violin is never the “easy” instrument). 3.) Yes, I write my own music, but that has no bearing at all on being an instrumentalist. The best virtuoso instrumentalists in the word mostly do not write music because they practice all the time- to be the best they can be at their instrument. (Touring soloists, session players, hired guns for A-listers). 4.) No, I’m not miming to Eddie. You can come see this live on my tour dates with Femmes of Rock. You can also find live videos of this on YouTube. Special thanks to my team on the music video: Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden Hair and Makeup: the MOBB Group Graphics/Animation: Derryl Rice

Eruption- Van Halen- Eddie Van Halen Guitar Solo- Electric Violin Cover by Nina D Nina’s Notes 🎶: This was by far the hardest thing I’ve learned thus far on electric violin in the rock genre. This is the solo of all solos. While there is no shortage of covers and tutorials on the internet for a guitarist who wants to learn it, when I went to learn it, almost nothing of the sort existed for violin. There were a few covers out there on acoustic violin that are great- but anyone who knows me, knows I wanted to try and sound as authentic to Eddie as possible, on violin. There were many steps to this process, the biggest being learning how to finger tap on a violin. It was a long process of trial/error and practice to achieve the effect chain and technique. Some FAQ: 1.) It is a 7-string violin, not a chin guitar. If you don’t understand why, ask me a question! I will gladly answer. (But don’t state something as fact you have no experience in). I am a classically trained violinist who also plays electric violin, guitar, bass, and piano. I am qualified to answer your questions. 2.) It’s not easier to play on a violin. (Violin is never the “easy” instrument). 3.) Yes, I write my own music, but that has no bearing at all on being an instrumentalist. The best virtuoso instrumentalists in the word mostly do not write music because they practice all the time- to be the best they can be at their instrument. (Touring soloists, session players, hired guns for A-listers). 4.) No, I’m not miming to Eddie. You can come see this live on my tour dates with Femmes of Rock. You can also find live videos of this on YouTube. Special thanks to my team on the music video: Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden Hair and Makeup: the MOBB Group Graphics/Animation: Derryl Rice

Nina DiGregorio

262,577 görüntüleme • 1 yıl önce

.Vice President JD Vance: "I think it’s something striking to reflect on, that in 2026, the Declaration was written with the assumption that its audience would immediately grasp its words—though they had never heard it, they would know exactly what it meant. It wasn’t written for historians, it wasn’t written for academics, it wasn’t written for the generations to come. It was written for the people of this fledgling country. It was written for the soldiers who would fight to turn those words into a new system of government. As a document, it does not handhold its readers—it’s citizenship at a very hard level. It does that pause to explain who this Creator is. It doesn’t explain what the equality of men means. It doesn’t try to go into details about the consent of the governed. It simply declares these truths to be self evident. Two hundred and fifty years later, it’s worth asking, self evident to whom? The Declaration proclaims truth the founders believed to all mankind, yes, but it says those truths in language intended to be familiar specifically to the American nation that it was author to, authored by, and authored for."

.Vice President JD Vance: "I think it’s something striking to reflect on, that in 2026, the Declaration was written with the assumption that its audience would immediately grasp its words—though they had never heard it, they would know exactly what it meant. It wasn’t written for historians, it wasn’t written for academics, it wasn’t written for the generations to come. It was written for the people of this fledgling country. It was written for the soldiers who would fight to turn those words into a new system of government. As a document, it does not handhold its readers—it’s citizenship at a very hard level. It does that pause to explain who this Creator is. It doesn’t explain what the equality of men means. It doesn’t try to go into details about the consent of the governed. It simply declares these truths to be self evident. Two hundred and fifty years later, it’s worth asking, self evident to whom? The Declaration proclaims truth the founders believed to all mankind, yes, but it says those truths in language intended to be familiar specifically to the American nation that it was author to, authored by, and authored for."

Rapid Response 47

146,035 görüntüleme • 1 ay önce

The first movement of Violin Concerto in E minor, Op. 64 is one of Felix Mendelssohn-Bartholdy's most celebrated works. It is admired for the lyrical, vocal quality of its melodies and the coherence of its structure. Yet the enduring vitality of the movement arises not from these qualities alone, but from the way Mendelssohn shapes the entire work as a continuous process of development, in which each musical idea grows from material already established while simultaneously preparing the way for what follows. It is this organic continuity that gives the movement its distinctive persuasive power. To understand why, one must begin with its most concrete musical details. The first striking feature is Mendelssohn's decision to introduce the solo violin almost immediately, rather than reserving an extended orchestral introduction in the manner of the Classical concerto tradition. The violin enters at once with the principal theme, unfolding a melody that is long, supple and unmistakably song-like. From the opening bars, the listener does not feel as though the narrative is waiting to begin; rather, one is drawn into a musical process that already seems to be in motion. This manner of opening establishes a sense of continuity from the very outset and defines the character of the movement as a whole. The violin's melodic writing is built chiefly from stepwise motion interspersed with moderate leaps. Instead of presenting isolated musical gestures, Mendelssohn shapes his phrases into long, flowing arcs, each seeming to arise naturally from the one before it. As one motif reaches its conclusion, its closing notes frequently become the point of departure for the next. The ear therefore seldom perceives the music as a sequence of detached units, but rather as a single line of development unfolding from within itself. Equally significant is Mendelssohn's treatment of his musical motifs. He rarely introduces an entirely new idea only to abandon the old. Instead, previously stated motifs are continually transformed through changes of pitch, rhythm, expression or harmonic setting. When a familiar motif returns in a new guise, the listener immediately recognises its relationship to what has already been heard while simultaneously perceiving its transformation. It is this union of familiarity and renewal that allows the music to develop without ever seeming fragmented. Rhythm likewise plays an essential part in sustaining this continuous movement. Between the violin's expansive lyrical phrases appear short, flexible rhythmic figures that provide constant forward impetus. These patterns, however, never unfold at random. They are frequently repeated with subtle adjustments of accent or metrical emphasis, sufficient to maintain momentum while preserving a sense of unity. The listener therefore experiences an unbroken impulse of progression without any impression that the musical thread has been interrupted. At a deeper level, it is the harmony that gives the entire process a clear sense of direction. Mendelssohn creates moments of tension through passing harmonies, non-chord tones and carefully judged modulations into closely related keys. Yet each expansion is meticulously prepared and ultimately resolved back to stable tonal centres. The ear continually rediscovers its tonal point of reference and thus never loses sight of the broader trajectory of the movement. The orchestra is organised according to the same principle. It serves not merely as accompaniment to the solo violin but frequently receives, echoes and develops the motifs first introduced by the soloist. As musical ideas pass from violin to orchestra and back again, the listener perceives not two independent voices but a single musical thought unfolding through contrasting colours. The dialogue between soloist and orchestra therefore creates not opposition but an ever richer expansion of the musical structure while preserving its essential unity. As the movement unfolds, the listener is drawn not only to the beauty of its melodies but also to the relationships between them. Each idea leads naturally to the next, so that the entire movement appears as an organic whole in continual expansion rather than a succession of isolated episodes. Its persuasive power lies not in any single memorable passage, but in the coherence of the process as a whole. At a deeper level, the first movement embodies not merely a principle of musical composition but a broader principle of living systems. The work is constructed as a process in which no element exists in isolation. Each motif inherits material from its predecessor, is transformed into a new form, and in turn becomes the foundation for subsequent development. It is precisely this uninterrupted sequence of inheritance and transformation that gives the music its vitality. The same principle may be observed in the workings of the natural world. Life is sustained not by isolated parts but by continuous cycles of exchange and mutual support. The human body functions in this manner. Oxygen passes from the lungs into the bloodstream; the blood carries it to every cell where energy is produced, before returning the products of metabolism to continue the cycle. Each stage depends upon the one before it while simultaneously preparing the conditions for the next. No single link exists solely for itself; each both receives from and contributes to the others. Should one essential link in this cycle be broken, the entire system gradually loses its capacity to sustain itself. Life endures not because its individual parts exist independently, but because an unbroken cycle binds them together into a unified whole. The first movement of the concerto is organised according to a comparable principle. Melodies do not simply appear and disappear; they become the material from which subsequent motifs are fashioned. These motifs are reshaped through new rhythmic and harmonic contexts before being taken up, expanded and returned by the orchestra to the solo violin. No idea is detached from the larger process. Every element receives material from what precedes it while preparing the conditions for what follows. Through this continual exchange, inheritance and transformation, Mendelssohn creates a musical cycle in which each idea both nourishes and is nourished by the others. It is perhaps because the movement reflects such a principle that it possesses so natural and compelling a character. Its beauty resides not merely in individual melodies or episodes of development, but in the way every musical element remains connected within a continuous cycle of motion, where each part both receives from and supports the rest, preserving the unity of the whole. This is the deepest source of the first movement's enduring power. Mendelssohn does not assemble a succession of disconnected ideas; he creates a living organism in which every musical element continually inherits, transforms and sustains the others. It is this unbroken cycle that has endowed the concerto with its lasting vitality and enabled it to continue moving listeners across generations.

The first movement of Violin Concerto in E minor, Op. 64 is one of Felix Mendelssohn-Bartholdy's most celebrated works. It is admired for the lyrical, vocal quality of its melodies and the coherence of its structure. Yet the enduring vitality of the movement arises not from these qualities alone, but from the way Mendelssohn shapes the entire work as a continuous process of development, in which each musical idea grows from material already established while simultaneously preparing the way for what follows. It is this organic continuity that gives the movement its distinctive persuasive power. To understand why, one must begin with its most concrete musical details. The first striking feature is Mendelssohn's decision to introduce the solo violin almost immediately, rather than reserving an extended orchestral introduction in the manner of the Classical concerto tradition. The violin enters at once with the principal theme, unfolding a melody that is long, supple and unmistakably song-like. From the opening bars, the listener does not feel as though the narrative is waiting to begin; rather, one is drawn into a musical process that already seems to be in motion. This manner of opening establishes a sense of continuity from the very outset and defines the character of the movement as a whole. The violin's melodic writing is built chiefly from stepwise motion interspersed with moderate leaps. Instead of presenting isolated musical gestures, Mendelssohn shapes his phrases into long, flowing arcs, each seeming to arise naturally from the one before it. As one motif reaches its conclusion, its closing notes frequently become the point of departure for the next. The ear therefore seldom perceives the music as a sequence of detached units, but rather as a single line of development unfolding from within itself. Equally significant is Mendelssohn's treatment of his musical motifs. He rarely introduces an entirely new idea only to abandon the old. Instead, previously stated motifs are continually transformed through changes of pitch, rhythm, expression or harmonic setting. When a familiar motif returns in a new guise, the listener immediately recognises its relationship to what has already been heard while simultaneously perceiving its transformation. It is this union of familiarity and renewal that allows the music to develop without ever seeming fragmented. Rhythm likewise plays an essential part in sustaining this continuous movement. Between the violin's expansive lyrical phrases appear short, flexible rhythmic figures that provide constant forward impetus. These patterns, however, never unfold at random. They are frequently repeated with subtle adjustments of accent or metrical emphasis, sufficient to maintain momentum while preserving a sense of unity. The listener therefore experiences an unbroken impulse of progression without any impression that the musical thread has been interrupted. At a deeper level, it is the harmony that gives the entire process a clear sense of direction. Mendelssohn creates moments of tension through passing harmonies, non-chord tones and carefully judged modulations into closely related keys. Yet each expansion is meticulously prepared and ultimately resolved back to stable tonal centres. The ear continually rediscovers its tonal point of reference and thus never loses sight of the broader trajectory of the movement. The orchestra is organised according to the same principle. It serves not merely as accompaniment to the solo violin but frequently receives, echoes and develops the motifs first introduced by the soloist. As musical ideas pass from violin to orchestra and back again, the listener perceives not two independent voices but a single musical thought unfolding through contrasting colours. The dialogue between soloist and orchestra therefore creates not opposition but an ever richer expansion of the musical structure while preserving its essential unity. As the movement unfolds, the listener is drawn not only to the beauty of its melodies but also to the relationships between them. Each idea leads naturally to the next, so that the entire movement appears as an organic whole in continual expansion rather than a succession of isolated episodes. Its persuasive power lies not in any single memorable passage, but in the coherence of the process as a whole. At a deeper level, the first movement embodies not merely a principle of musical composition but a broader principle of living systems. The work is constructed as a process in which no element exists in isolation. Each motif inherits material from its predecessor, is transformed into a new form, and in turn becomes the foundation for subsequent development. It is precisely this uninterrupted sequence of inheritance and transformation that gives the music its vitality. The same principle may be observed in the workings of the natural world. Life is sustained not by isolated parts but by continuous cycles of exchange and mutual support. The human body functions in this manner. Oxygen passes from the lungs into the bloodstream; the blood carries it to every cell where energy is produced, before returning the products of metabolism to continue the cycle. Each stage depends upon the one before it while simultaneously preparing the conditions for the next. No single link exists solely for itself; each both receives from and contributes to the others. Should one essential link in this cycle be broken, the entire system gradually loses its capacity to sustain itself. Life endures not because its individual parts exist independently, but because an unbroken cycle binds them together into a unified whole. The first movement of the concerto is organised according to a comparable principle. Melodies do not simply appear and disappear; they become the material from which subsequent motifs are fashioned. These motifs are reshaped through new rhythmic and harmonic contexts before being taken up, expanded and returned by the orchestra to the solo violin. No idea is detached from the larger process. Every element receives material from what precedes it while preparing the conditions for what follows. Through this continual exchange, inheritance and transformation, Mendelssohn creates a musical cycle in which each idea both nourishes and is nourished by the others. It is perhaps because the movement reflects such a principle that it possesses so natural and compelling a character. Its beauty resides not merely in individual melodies or episodes of development, but in the way every musical element remains connected within a continuous cycle of motion, where each part both receives from and supports the rest, preserving the unity of the whole. This is the deepest source of the first movement's enduring power. Mendelssohn does not assemble a succession of disconnected ideas; he creates a living organism in which every musical element continually inherits, transforms and sustains the others. It is this unbroken cycle that has endowed the concerto with its lasting vitality and enabled it to continue moving listeners across generations.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

12,733 görüntüleme • 1 ay önce