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Musical technique may also be distinguished from music theory, in that performance is a practical matter, but study of music theory is often used to understand better and to improve techniques. Techniques such as intonation or timbre, articulation, and musical phrasing are nearly universal to all instruments.
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]
In European art music, the common practice period was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.
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Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.
Braunbehrens suggests that on at least one occasion, Mozart met a deadline by simply not writing down part of the music and improvising it instead while performing before the audience. This was evidently true of the Piano Concerto in D, K. 537, premiered 24 February 1788. In this work, the second movement opens with a solo passage for the pianist.
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"Playing the studio" is equivalent to 'in-studio composition', meaning writing and production occur concurrently. [4] Definitions of the specific criterion of a "musical instrument" vary, [5] and it is unclear whether the "studio as instrument" concept extends to using multi-track recording simply to facilitate the basic music writing process. [6]