Casa Ricordi

Jovan Stosic July 21, 2017

Casa Ricordi is a publisher of primarily classical music and opera. Its classical repertoire represents one of the important sources in the world through its publishing of the work of the major 19th-century Italian composers such as Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giuseppe Verdi, and, later in the century, Giacomo Puccini, composers with whom one or another of the Ricordi family came into close contact.
https://en.m.wikipedia.org/wiki/Casa_Ricordi

Riccardo Muti

Jovan Stosic July 21, 2017

Riccardo Muti (Italian: [rikˈkardo ˈmuːti]; born in Naples 28 July 1941) is an Italian conductor. He holds two music directorships: the Chicago Symphony Orchestra and the Orchestra Giovanile Luigi Cherubini. Previously he held posts at the Maggio Musicale in Florence, the Philharmonia Orchestra in London, the Philadelphia Orchestra, the Teatro alla Scala in Milan and the Salzburg Whitsun Festival. Muti has been a prolific recording artist and has received dozens of honors, titles, awards and prizes. He is particularly associated with the music of Giuseppe Verdi.
https://en.m.wikipedia.org/wiki/Riccardo_Muti

Allan Holdsworth

Jovan Stosic July 19, 2017

Allan Holdsworth (6 August 1946 – 15 April 2017)[1] was a British guitarist and composer. He released twelve studio albums as a solo artist and played a variety of musical styles in a career spanning more than four decades, but is best known for his work in jazz fusion.
Holdsworth was known for his advanced knowledge of music, through which he incorporated a vast array of complex chord progressions and intricate solos; the latter comprising myriad scale forms often derived from those such as the diminished, augmented, whole tone, chromatic and altered scales, among others, resulting in an unpredictable and “outside” sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Having been unable to afford one, he strove to use the guitar to create similarly smooth lines of notes. He also become associated with playing an early form of guitar synthesizer called the SynthAxe, a company he endorsed in the 1980s.
Holdsworth was cited as an influence by a host of rock, metal and jazz guitarists such as Eddie Van Halen,[2] Joe Satriani,[3] Greg Howe,[4] Shawn Lane,[5] Richie Kotzen,[6] John Petrucci,[7] Alex Lifeson,[8] Kurt Rosenwinkel,[9] Yngwie Malmsteen,[10] Michael Romeo,[11] Ty Tabor,[12] and Tom Morello.[13] Frank Zappa once lauded him as “one of the most interesting guys on guitar on the planet”,[14] while Robben Ford has said: “I think Allan Holdsworth is the John Coltrane of the guitar. I don’t think anyone can do as much with the guitar as Allan Holdsworth can.”[15]

Source: Allan Holdsworth – Wikipedia

Legato

Jovan Stosic July 19, 2017

This article is about legato in music. For other uses, see Legato (disambiguation).


In music performance and notation, legato [leˈɡaːto] (Italian for “tied together”; French lié; German gebunden) indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid rearticulation. Standard notation indicates legato either with the word legato, or by a slur (a curved line) under notes that form one legato group. Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato (sometimes referred to as “portato”).

Source: Legato – Wikipedia

Staccato

Jovan Stosic July 19, 2017

Staccato [stakˈkaːto] (Italian for “detached”) is a form of musical articulation. In modern notation it signifies a note of shortened duration,[1][2] separated from the note that may follow by silence.[3] It has been described by theorists and appeared in music since at least 1676.[4]

Notation
In 20th-century music, a dot placed above or below a note indicates that it should be played staccato, and a wedge is used for the more emphatic staccatissimo. However, before 1850, dots, dashes,, and the dot a longer, lighter one. A number of signs came to be used in the late 19th and early 20th centuries to discriminate more subtle nuances of staccato. These signs involve various combinations of dots, vertical and horizontal dashes, vertical and horizontal wedges, and the like, but attempts to standardize these signs have not generally been successful.[5] This does not, however, alter the rhythm of the music and the remainder of the time allotted for each staccato note is played as rest. The opposite musical articulation of staccato is legato, signifying long and continuous notes.

Playing staccato is the opposite of playing legato. A staccato passage for strings is by definition a bowed rather than a pizzicato technique, though pizzicato itself might be thought of as a kind of staccato effect. For example, Leroy Anderson’s Jazz Legato/Jazz Pizzicato. There is an intermediate articulation called either mezzo staccato or non-legato. By default, in the music notation program Sibelius, “staccatos shorten a note by 50%.”

Source: Staccato – Wikipedia

Enharmonic

Jovan Stosic July 18, 2017

In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but “spelled”, or named differently. Thus, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. For example, in twelve-tone equal temperament (the currently predominant system of musical tuning in Western music), the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressions.

Source: Enharmonic – Wikipedia