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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.
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.
"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]
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The Virtuoso Pianist (Le Pianiste virtuose) by Charles-Louis Hanon (1819 – 1900), is a compilation of sixty exercises meant to train the pianist in speed, precision, agility, and strength of all of the fingers and flexibility in the wrists.
Realization is the art of creating music, typically an accompaniment, from a figured bass, whether by improvisation in real time, or as a detained exercise in writing. It is most commonly associated with Baroque music .
Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate. [7]