User:Jason M. C., Han/Mozart's Genius Techniques in Kids' Eye
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Main techniques:
1. Whole scale-running or some small phrases-running ways were picked from a key's scale, but with some specially interesting treatments, such as a legato head plus a half-staccato tail up-raising, or a set of staccatos but under a larger slur-background edit
You may said: Jason, what you said was so detailed in classical music, but so hard the feeling being described out in languages and re-appeared on hands. Yes, it is 'so small' an item; but in Mozart's works, especially some later time's claver works, this special treatment was to express one fashion (or taste), in which he had cherished the treasures of past but felt his Time & Energy's losing alongside a trace of half-staccatos like a scale, from loudness to weakness, without any possibilities to be revert... Then, they were all 'lazily' carved into a wall of 'Golden Colour Classics'... In another view, we can apply some techniques of vocal 'Coloratura soprano' (especially some dramatic ones - Wikipedia introduction: https://en.wikipedia.org/wiki/Coloratura_soprano) to understand this case, when in the later time Mozart brought a common root for returning to his operatic approach but with a little bit depression...In piano, Sentence-playing technique, with some small breaths of sounds intervallic added were sent to our eyes naturally, could be better by analogy with this situation in the vocal field - 'Coloratura soprano'. When playing some parts in his works, I thought, 'from nature', the elasticity and flexibility of our wrists hung there should be kept alongside a breath or some breaths threaded underneath & throughout, which could be a good way to recover Mozart's self-fashion and tastes.
2. Gorgeous ornamentations were usually designed with a rit. tempo and some expressive life-attitudes edit
Sometimes, we can compare Mozart's classical ornamentations with the songs of nightingale (Wikipedia introduction: https://en.wikipedia.org/wiki/File:XN_Luscinia_megarhynchos_012.ogg; https://en.wikipedia.org/wiki/Common_nightingale), in time, speeds, lengths (long or short) and sound quality. Usually, the frequency (more or less), the agility (about how fast the movement of two or three fingers was) and the flexibility (about the degree of the smartness fingering can achieve) of Mozart's ornamentation-parts would have been an advanced level students in his time could try to learn and composers should communicated in their improvisation and also notation. The ratios 2:3, 2:5, even 5:7 and their natural expressions in two hands' matching usually became some research topics which required both some averagely treatments and natural outpouring - in right power, right fluency and right position... We cannot say that: something has been explicitly or implicitly discussed or communicated between Mozart and Beethoven's romanticism (Wikipedia introduction:https://en.wikipedia.org/wiki/Beethoven_and_Mozart)
3. Special octave-playing ways, such as progression, jumping and chordal edit
4. Tunes-varying alongside his emotional changes and dynamics changes (Noble expressions, or, called: Prince-illness) edit
5. Sunshine background was usually diffused from many layers and hiding some heart-shadows back (especially in his later time) edit
In analysis of Mozart's works, we cannot ignore some 'golden' and 'sunshine' colours he created in his perfectionism. They were weaved in different layers and directions from some majors' applications such as thirds-matching ways distributed in models, perfect fourths or fifths, and even some sixths specially treated... (Sometimes, we can hear Baroque's shadows - https://en.wikipedia.org/wiki/Baroque - in transition to classical music - https://en.wikipedia.org/wiki/Classical_music - especially as if to some elements of the symphony form; That is another story we will discuss in another time); but together, they generalized out a much wider in ranges, much richer of diversity & vitality and more graceful background (mental belt) totally holding you in, that you have 'no reason to be negative but re-positive, re-picked up (yourself), comfortable and even with a little bit of joyfulness'... We can understand it as Mozart's energic 'Self-encouragement', or 'Self-recovery' in Mozart Effect (Wikipedia introduction:https://en.wikipedia.org/wiki/Mozart_effect), which popularized many other musical forms in the following days... (it was 'One of Mozart's contribution to the world', I thought) Individually, we can also understand it as a 'self-forgiveness' and 'self-savour' of many things and your own heart in life journeys. Like... 'In one later-coming morning, you will slowly wake up with a pure soul and a clear body, coolly & energetically & peacefully being hollowed down and embraced with by the holly lights from up-head to down-toes... Out of the tiredness, the bitterness and the painfulness of a life and being in a silence, you can face yourself and those past roads...bravely and reasonably. Then..., before flying (moving) away with an angelic wing added in back, your feeling would be like...' (Jason's heart-musicality, 2018) Jason M. C., Han (discuss • contribs) 01:14, 14 August 2018 (UTC)
6. Total Arpeggio-running to show his innocence and curiosity edit
Could you think that: in the works of a pre-founder & master of classics, there were many paragraphs totally letting you to run Arpeggios of major triads, minor triads or sevenths? What's his mental situations, or to say, what were the views he saw while making people simply run arpeggios in piano sonatas? I think this was motivated by Mozart's bravery, curiosity and the nature of innocence to travel somewhere beyond the horizon for out-brokenly seeing something 'new, fresh and unfound effects'. Sometimes, a tune (key) has boundaries to cover a territory (notes) as a country's. Mozart has kept a totally innocent curiosity from his childhood (being continuously without dying) to watch many landscapes (newly composed harmonies) through Arpeggio-travelling anywhere in different keys. He always wanted to positively break up those boundaries through sharpening or flattening several single notes to switch the fingering to other keys and got new experiences in the 'self-rewarded' senses of travelling achievement. You may think this characteristic was similar with a child's attempts in many simulated roles-playing games for the construction of the personality in their earlier years. Yes, it's quite right that Mozart did never die his this nature out, which was reflected out from many composing ways he innovated, including a technique-toy named 'Arpeggio-running'... It was also like a kid who had found a new toy and what had been expressed. Mozart is almost teaching us: Do you think you have known every simple & basic points of every tune? No, no, no, though you should know everything, by following me in this adventure, you can still see some differences out of your imaginations... Yes, let us follow him to see more!Jason M. C., Han (discuss • contribs) 12:55, 12 September 2018 (UTC)
7. Legendary & Storming Complex edit
In the middle of his movements (like in Sonatas, or other instrumental works), there are usually some small paragraphs in which he dramatically changed 'the colours' to minor-tunes' 'clouds' directly, and with a 'tight & serious tempo', his 'hidden' senses of sadness, or to say, a type of sense 'while facing unknown dangers of life-future & unpredicted changes or departures of his relatives' surrounding and watching it as beating 'monsters' of 'Queen of Night' (Such as a storm a piece from 2.56 mins of K. 494 which you can hear; To be very honest, I think 'The Magic Flute' was a final, closed & great operatic conclusion of his Legendary & Storming Complex but also oppositely reflected from his many other works) were explicitly expressed in front which were out of control, as if he came into his transcendentalist 'internal' world which was a 'visualized' Oceanic journey or in forest. In the meanwhile, a tempest (violent storm from Cambridge dictionary online; Storm in Wikipedia introduction: https://en.wikipedia.org/wiki/Storm) began there which made his adventure dangerous but legendary... There, he was like a young hero or a king of music achieving himself from beating against waves, sea monsters, forest wild beasts and some unknown secrets. Finally, he usually got out from those heart-tempests through some perfect & natural 'solutions' in tunes to majors or building up some 'rainbow bridges' across those areas. When he got out, sunshine colours got back and more meaningful senses were concluded out from his life journeys on sea - more brightened and full tasted. Therefore, I call this self-heart treatment, or to say, heroism-overcoming a 'Legendary & Storming Complex' repeatedly occurred in his works and never given up.
8. Transcendentalism philosophy of Mozart for maintaining 'classically Golden Colours' was our usually 'fallen-ins' during some 'Supreme analyses' edit
This point is very hard to describe for a current me though I can touch some, which would be rooted in the core area and many benefits of 'The secret garden of Mozart Effect' (Wikipedia introduction: https://en.wikipedia.org/wiki/Mozart_effect), for players, listeners and educators... Let me identify the complexity of my ideas and say something: 1. In this time, things almost began with a mistake: in the first edition of my classroom performance 'File:KV279 2nd Movement Shading Andante hollowed-out by Sunlights.ogg' beside, I mistakenly coordinated its Time-Axis to 10 years later - 1784, rather than 1774. I found: still, bringing all factors in - transcending Baroque contrapuntal complexities (Classical countermelody), exploring new forms & chromatic passages, Masonic music style of a Freemason, the influence & discussions with Haydn's many (though at that moment, they didn't meet), a heavenly supreme-reasoning complex... and an enlightenment for further romanticism of Beethoven (though he was only 4 years old...), they are all applied and working as in a big Life-cycling of fate pre-designed already and wheeling forever. However, when you read with my way, the time was posted, later the right one for 10 years... 2. It's to say: Mozart's music has already fixed many 'positively evolutional points' and his 'emotional reaches' naturally in his notation, scores and music, which predicted his later life, many possible actions he would behave, people to meet in history and even some tendencies of life & fate... Therefore, we could call it Mozart Transcendentalism...which, I thought, was in term of his 'Childhood Genius' developed so much in the beginning... 3. Mozart always would have been likely to draw his 'Enthusiast Vitality for Hope & Extraordinary' streams into his 'fixed' notations, Dynamics comparisons and some small life paces... which usually re-woke up your own life echoes and your attentions of the curiosity - 'rising up and falling down'. I thought that was why you can get many positive benefits for learning or life, from its on-going as either a musical background or a solo-entertainment.
In addition, 4. In my experiences, correcting some mistakes of 'File:KV279 2nd Movement Shading Andante hollowed-out by Sunlights.ogg' and making some more careful notation-readings might mean a young heart to see Transcendentalism - if fate has been predicted, fixed and cycling there, hope, life-challenges, different senses and positive moods were still there from the humanity... at least, in 1774, Mozart's heart was very young for his fashion, many his musician friends, a new career routine - as Mozart's opera La finta giardiniera, and he did really transcendentally plan to meet Joseph Haydn for Classical Counterpoints and see more beautiful landscapes in this journey. (Furthermore, really, I think the fourth point - '4. Imagining' in my Wikimedia Commons Page was analysed greatly from a sunny boy's feeling)Jason M. C., Han (discuss • contribs) 04:18, 9 October 2018 (UTC)
Classroom Editions and Analysis edit
Possible reading list for self-learning & self-researching in Wikipedia edit
https://en.wikipedia.org/wiki/Piano_Sonata_No._11_(Mozart) https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart https://en.wikipedia.org/wiki/Beethoven_and_Mozart
Reviews of findings edit
1. Who is Mozart? Currently, through one realistic opportunity, I am reading out many fields, categories, and myths of Mozart... If in a very brief way, you asked me 'who is Mozart?', I would say: Mozart is a positive, enthusiastic, and legendary LIFE-TRAVERLER in his adventures, who saw musical genres of all fields countlessly opened for him , earlier education and family members, big events of society in his growth and relatively subjective & emotional empiricisms, as natural landscapes of our earth, universe and God (creator) waiting to be DISCOVERED, including birds, forests and seas, Days (Life) and Nights (Death)... Jason M. C., Han (discuss • contribs) 00:30, 16 February 2019 (UTC)