{"id":124,"date":"2017-08-14T22:54:03","date_gmt":"2017-08-14T22:54:03","guid":{"rendered":"https:\/\/seanchenpiano.com\/pianonotes\/?p=124"},"modified":"2017-08-14T22:54:03","modified_gmt":"2017-08-14T22:54:03","slug":"overture-zu-tannhauser","status":"publish","type":"post","link":"https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/","title":{"rendered":"A look at transcriptions: Liszt\u2019s Concert Paraphrase of Wagner\u2019s Overture zu Tannh\u00e4user"},"content":{"rendered":"<div id='gallery-1' class='gallery galleryid-124 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_title\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_title-150x150.png\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_title-150x150.png 150w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_title-100x100.png 100w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/apa-box-logo\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/APA-Box-Logo-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/APA-Box-Logo-150x150.jpg 150w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/APA-Box-Logo-300x300.jpg 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/APA-Box-Logo-768x768.jpg 768w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/APA-Box-Logo-1024x1024.jpg 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/APA-Box-Logo-100x100.jpg 100w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/APA-Box-Logo.jpg 1350w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/nikita\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/nikita-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/nikita-150x150.jpg 150w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/nikita-300x300.jpg 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/nikita-100x100.jpg 100w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/nikita.jpg 400w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<p>This article is cross-posted with <a href=\"http:\/\/www.americanpianists.org\/\">American Pianists Association\u2019s<\/a> Beauty of Music, a regular feature on the American Pianists Association <a href=\"http:\/\/www.americanpianists.org\/blog\">blog<\/a> that covers variety of topics to help readers better understand and appreciate the music they love. <a href=\"https:\/\/app.etapestry.com\/onlineforms\/AmericanPianistsAssociation\/NewsletterSignUp.html\">Sign up for 88 Keys<\/a>, the monthly newsletter of the American Pianists Association, to automatically receive each issue.<\/p>\n<p>I was fortunate four years ago to be selected as the winner of the American Pianists Awards, becoming a Christel DeHaan Classical Fellow for the following four years. The competition was a year-long process, which included performances with the Indianapolis Symphony Orchestra, Indianapolis Chamber Orchestra, the Linden Quartet, and soprano Jessica Rivera. It was one of the most amazing musical experiences of my life! I also got to hang out with my fellow finalists, most of whom I was already friends with, and get to know the amazing arts community of Indianapolis.<\/p>\n<p>Apropos to the <a href=\"http:\/\/www.americanpianists.org\/calendar\/event\/94-from-cleveland-with-love\">concert Nikita Mndoyants will be giving<\/a> for APA\u2019s Grand Encounters, we will be talking about Liszt\u2019s paraphrase of the overture to Wagner\u2019s Tannh\u00e4user. It is a piece that I have worked on as well, both in Liszt\u2019s form, as well as in the original form when I was a violinist in the Conejo Valley Youth Orchestra. I am so grateful that we tackled this piece in youth orchestra, because I got to know this piece intellectually and emotionally before I ever set out to learn the transcription. The scrubbing and woodshedding I had to do, both on the violin and on the piano, for this piece will never be forgotten.<\/p>\n<p>For your enjoyment while reading, here&#8217;s a recording from when I played this overture in a recital for the 2015 Cleveland Young Artist Competition as a guest artist.<\/p>\n<p><iframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/337834026&amp;color=00aabb&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\"><\/iframe><\/p>\n<p><strong>Transcription, Arrangement, Paraphrase \u2013 what\u2019s the difference?<\/strong><\/p>\n<p>Liszt used many words: phantasie, paraphrase, transcription, reminiscence, &#8230;sur de[s] [themes\/motifs de] &#8230; , d\u2019apr\u00e8s, illustrations, etc. to describe his arrangements. I think you can tell to what degree of freedom Liszt is going to take his arrangements by the words he uses. It seems that transcriptions and paraphrases (and any which just bear the title of the original work) are his most true-to-the-source works.<\/p>\n<p>Transcriptions exist not only in music, but in literature and spoken word as well. If you break down the word transcribe, it is literally \u201cacross-write\u201d in Latin, and it implies writing or copying across different forms of media. In language, transcription is more akin to recording \u2013 you often get transcripts of speeches printed in papers or news sites. Transcription is also used in biochemistry, describing the creation of RNA from DNA. The \u201clanguage\u201d of DNA and RNA are very similar, but not quite, and so transcription seems to be a fitting word.<\/p>\n<figure style=\"width: 448px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/f\/fb\/MRNA-interaction.png\" width=\"448\" height=\"453\" \/><figcaption class=\"wp-caption-text\">Picture showing DNA to mRNA transcription, which results in protein synthesis. From https:\/\/en.wikipedia.org\/wiki\/Messenger_RNA, uploaded by user\u00a0<a class=\"extiw\" title=\"wikipedia:User:Sverdrup\" href=\"https:\/\/en.wikipedia.org\/wiki\/User:Sverdrup\">Sverdrup<\/a><\/figcaption><\/figure>\n<p>Arrangement is very similar to transcription \u2013 it usually means taking a piece and rewriting it for a different instrumentation. My inclination is to consider transcriptions to be more faithful and also more technically demanding than arrangements, which often tend toward simplification or for mass consumption.<\/p>\n<p>Then what about paraphrases? In language, paraphrases are a rewording or approximate copy of something previously written or said. In music, paraphrases might be more flexible with material added in or taken out. Or they may have figurations that are completely changed, or in the case of the Tannh\u00e4user Overture, meters altered. I don\u2019t think Liszt would have really dared to do too much of that with the Beethoven Symphonies, for example.<\/p>\n<p><strong>Transcription as Translation<\/strong><\/p>\n<p>Another trans- word we should mention is translation. Transcription in musical terms is rather like translation, but instead of moving between languages, it is moving between instrumentation. This seems like a pretty obvious connection, but it becomes even more robust once we get beneath the surface. In any translation of text, there is always the consideration of how literal should the text be. If the translation is too literal, the translator runs the risk of losing high level meanings, such as idioms or figures of speech. On the other hand, if the translation is too free or stylized, the original meaning could be lost, as could cultural-specific ideas.<\/p>\n<p>In transcription of music, these considerations are also important \u2013 there are certain passages or chords that can be played in one instrumentation that are impossible on another. The trouble is finding how to make it work on the new instrumentation in a way that is idiomatic, but at the same time retains the essence of the original (whatever the transcriber decides that may be). Furthermore, even the structure of phrases or large chunks of material may be altered to make the music more effective on the destination instrumentation.<\/p>\n<p>The signature of a transcriber lies in how they deal with these challenges. Pianists and music lovers will be familiar with the different ways the details of transcription occur between arrangements by Liszt, Busoni, Godowsky, or Rachmaninoff, etc. It\u2019s the fingerprint not only of their pen and hands, but also of their ears.<\/p>\n<p><strong>Konzertparaphrase<\/strong><\/p>\n<p>Either Liszt or his publisher titled this piece as a \u201cconcert paraphrase\u201d and so we have to consider a bit what this means. Surely, compared to his \u201cR\u00e9minscences\u201d this piece is very faithful. However, compared to works like his arrangement of the Beethoven Symphonies, this piece might be considered ever so slightly less strict in its transcription.<\/p>\n<p>I would say the baseline for this piece is a very straight-forward transcription of the orchestral version. For example, the opening wind chorale works very well as is on the piano. Even a lot of the string figurations are pretty much unaltered. But with that out of the way, we can start to see both the subtle and not-so-subtle changes that Liszt makes, and try to see why he made them.<\/p>\n<p><strong>Voice Leading on the Piano<\/strong><\/p>\n<p>I mentioned previously that the wind chorale in the beginning is mostly the same. The changes are minute, but interesting. Liszt adds some extra notes to make the voice leading work a bit better on the piano \u2013 the doublings in the orchestral version would cause some texture inconsistencies if transcribed exactly:<\/p>\n<figure id=\"attachment_126\" aria-describedby=\"caption-attachment-126\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-126 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_chorale_open_0002-1024x373.png\" alt=\"\" width=\"525\" height=\"191\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_chorale_open_0002-1024x373.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_chorale_open_0002-300x109.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_chorale_open_0002-768x279.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-126\" class=\"wp-caption-text\">Notice in measure 5 and on, a literal transcription would result in the voice counts decreasing. Liszt was forced to add another voice in the bass.<\/figcaption><\/figure>\n<p>When played by multiple instruments, doubled notes sound doubled. But on the piano, when two voices collapse to a unison, the audience rarely hears it as such, and it sounds more like a voice has dropped out. I would argue this is the reason why Liszt has made the changes above.<\/p>\n<p>The opposite can also be true \u2013 sometimes Liszt will leave voices out, because in the piano transcription it will sound like there is an extra note if unison voices split up:<\/p>\n<figure id=\"attachment_125\" aria-describedby=\"caption-attachment-125\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-125 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_chorale_0002-1024x337.png\" alt=\"\" width=\"525\" height=\"173\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_chorale_0002-1024x337.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_chorale_0002-300x99.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_chorale_0002-768x253.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-125\" class=\"wp-caption-text\">Here, a literal transcription would result both in an abrupt change in voice count and also an awkward chord to play, given that Liszt wants a left-hand only passage.<\/figcaption><\/figure>\n<p>Another instance of changes occurring because of voice leading is during the second theme. He actually leaves out a dominant 7<sup>th<\/sup> chord (opting for a straight up major chord) \u2013 he probably thought it sounded better without the 7<sup>th<\/sup>, but it could also have been a voice leading consideration. In the orchestral version, there two contrapuntal lines that are of interest are E \u2013 E# \u2013 F# and F# \u2013 E# \u2013 E. The crossing is interesting, but in a piano transcription with limited voice independence, it seems more appropriate to focus on the one that is more interesting. Furthermore, the bass line is moving upwards F# \u2013 G# &#8211; A#, so Liszt seemed to want to focus on the contrary motion created with F# \u2013 E# \u2013 E. Again, he might have just left out the dominant chord because it wouldn\u2019t sound good, but I think the underlying reason is the voice leading.<\/p>\n<div id='gallery-2' class='gallery galleryid-124 gallery-columns-2 gallery-size-large'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_second_orch\/'><img loading=\"lazy\" decoding=\"async\" width=\"525\" height=\"856\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_orch-628x1024.png\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-2-138\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_orch-628x1024.png 628w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_orch-184x300.png 184w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_orch-768x1252.png 768w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_orch.png 990w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-2-138'>\n\t\t\t\tDescending chromatic scale (green), ascending chromatic scale (red), and bass line (blue)\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_second_piano\/'><img loading=\"lazy\" decoding=\"async\" width=\"525\" height=\"184\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_piano-1024x359.png\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-2-139\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_piano-1024x359.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_piano-300x105.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_second_piano-768x270.png 768w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-2-139'>\n\t\t\t\tBass line and descending chromatic counterpoint is accounted for, but the rising chromatic line is missing (red dotted notehead)\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>Some changes are more about voicing of chords, where because of the overtones of the piano, it sounds better to have a more open spacing of chords rather than closed. Take for example the left hand here compared to the original cello arpeggios. The difference is small, but the wide spacing sounds better than the closed one on the piano \u2013 the broken third in the bass can end up being very muddy.<\/p>\n<p><strong>The timbre of the hands<\/strong><\/p>\n<p>There is a part of every pianist that wishes their left hand were just as good as their right hand, whether that be control of sound, speed, voicing, or any technical matter. However, I think it is just as well that the hands have their separate character. Liszt thought so, too, because he uses both the visual and aural effect of putting melodies in the left hand. Take for example this second phrase of the opening:<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-130\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_lefthand-1024x560.png\" alt=\"\" width=\"525\" height=\"287\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_lefthand-1024x560.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_lefthand-300x164.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_lefthand-768x420.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><\/p>\n<p>Liszt goes through the trouble of crossing the hands so that the left hand can play the cello melody. Notice later he reverts back, but just the effect of having the melody suddenly be taken up by the left hand is a striking gesture. Not only is it visually interesting, but using the left hand ensures that the melody lies mostly between the thumb, index, and third fingers, which are the easiest fingers to use in terms of weight distribution. This allows for a warmer sound, emulating what the cellos would make.<\/p>\n<figure id=\"attachment_131\" aria-describedby=\"caption-attachment-131\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-131 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_lefthand_2-1024x234.png\" alt=\"\" width=\"525\" height=\"120\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_lefthand_2-1024x234.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_lefthand_2-300x69.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_lefthand_2-768x176.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-131\" class=\"wp-caption-text\">Return of the theme after the first big tutti. When I perform it I cheat and use the right hand to help, but actually for the bass notes, so that I do not have to roll, but can also keep the left-hand character in the melody. I like the imitation between the right hand in the pickup to the 5th measure here and the left hand in the pickup to the 5th measure &#8211; both have a C# &#8211; F# leap.<\/figcaption><\/figure>\n<p>After the fireworks of the first section, the chorale comes back, and Liszt again uses the left hand, this time completely solo, for the first sub-phrase of the main theme. The same effects as the above apply. This also allows the following <em>pi\u00f9 <strong>p<\/strong><\/em> to be even more special, with the addition of the right hand (and thus better control).<\/p>\n<p><strong>Aural Illusion<\/strong><\/p>\n<p>This isn\u2019t going to be something about Shepard Tones, or weird tritone upwards-downwards ambiguities (which I spent too much time researching than I care to admit), but more about how our brains fill in notes that are omitted, or in different octaves. The closest visual analogy I could find is something like the Kanizsa Triangle, where our brains make a shape out of the negative space. Our brains ability to interpolate is a blessing to transcribers, because often times you just have to leave certain things out.<\/p>\n<figure style=\"width: 450px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-large\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/5\/55\/Kanizsa_triangle.svg\/450px-Kanizsa_triangle.svg.png\" width=\"450\" height=\"480\" \/><figcaption class=\"wp-caption-text\">Kanizsa Triangle uploaded to wikimedia commons by user Fibonacci. We don&#8217;t see this as their disparate shapes, but rather as a complete composition.<\/figcaption><\/figure>\n<figure id=\"attachment_127\" aria-describedby=\"caption-attachment-127\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-127 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_displace-1024x358.png\" alt=\"\" width=\"525\" height=\"184\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_displace-1024x358.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_displace-300x105.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_displace-768x268.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-127\" class=\"wp-caption-text\">Notice that the melody jumps between octaves. Left hand accompaniment has rests, but because they are filled in by the melody, the illusion is not broken.<\/figcaption><\/figure>\n<p>One example is in the very first <em>tutti<\/em> section, where the right hand has to negotiate the broken descending scales. Here the melody alternates between being in both the right hand and left hand, and just in the left hand; thus, sometimes the melody fills up from the bass to the treble, and other times it only goes up to the tenor. No matter, our brains hear the melody as one line (especially if the pianist voices adequately).<\/p>\n<p>Furthermore, the bass is always omitted when the melody is played, but because we still get an articulated attack, we don\u2019t really miss the bass. As long as it is regularly occurring, our brains assume that the pattern continues.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-141\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_syncopate-1024x471.png\" alt=\"\" width=\"525\" height=\"241\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_syncopate-1024x471.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_syncopate-300x138.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_syncopate-768x354.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><\/p>\n<p>A further striking example is in the main theme of the Allegro \u2013 Liszt doesn\u2019t bother to put the melodic high note on the beat. He puts it on the second sixteenth note to make the tremolo pattern easier to play. You can try to come up with alternatives, but none will be as elegant as what Liszt came up with. I think this figuration works because our ears group the first two notes together, so it sounds like a broken downbeat. In fact, we roll and break chords so often in piano music that our ears probably have adjusted to that. It\u2019s really amazing that it sounds better than trying to copy the original rhythm exactly.<\/p>\n<p><strong>Registration<\/strong><\/p>\n<p>One of the challenges for transcribers is what octave to put notes on the piano. Often we can just put it in the octave that the source is in, but some times that just does not sound quite right. Rather, we must put the notes in the same octave relative to the \u201cnormal\u201d range of the instrument. Let\u2019s say there\u2019s a violin passage that\u2019s quite high, like this:<\/p>\n<figure id=\"attachment_128\" aria-describedby=\"caption-attachment-128\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-128 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_orch-748x1024.png\" alt=\"\" width=\"525\" height=\"719\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_orch-748x1024.png 748w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_orch-219x300.png 219w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_orch-768x1052.png 768w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_orch.png 968w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-128\" class=\"wp-caption-text\">Sorry the instrumentation is cut off. From top to bottom: clarinets, bassoons, first violins div. 4, second violins div. 4<\/figcaption><\/figure>\n<p>If we put it directly onto the piano, it\u2019s not going to sound as high or stratospheric as the original. In fact, we\u2019re going to have to move it up to another octave so that it has the right sound.<\/p>\n<figure id=\"attachment_129\" aria-describedby=\"caption-attachment-129\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-129 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_piano-1024x270.png\" alt=\"\" width=\"525\" height=\"138\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_piano-1024x270.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_piano-300x79.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_floating_piano-768x203.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-129\" class=\"wp-caption-text\">Same ledger lines as the orchestral version, but there&#8217;s an 8va here!<\/figcaption><\/figure>\n<p>Conversely, this passage in the violins is all the way at the bottom of the G string. Liszt opts to go all the way into the bass clef to convey the timbre of the low violin.<\/p>\n<div id='gallery-3' class='gallery galleryid-124 gallery-columns-2 gallery-size-large'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_low_register_orch\/'><img loading=\"lazy\" decoding=\"async\" width=\"525\" height=\"227\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_low_register_orch-1024x442.png\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-3-132\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_low_register_orch-1024x442.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_low_register_orch-300x130.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_low_register_orch-768x332.png 768w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-3-132'>\n\t\t\t\tThe slur figuration is around the tenor range here.\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_low_register_piano\/'><img loading=\"lazy\" decoding=\"async\" width=\"525\" height=\"135\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_low_register_piano-1024x263.png\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-3-133\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_low_register_piano-1024x263.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_low_register_piano-300x77.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_low_register_piano-768x197.png 768w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-3-133'>\n\t\t\t\tLiszt moves the figuration down into the bass and sub-bass to get the right timbre on the piano.\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>Octave considerations can also apply to whether to put a melody in octaves or unison. Even though two instruments (such as viola and violin) could be playing the same melody in the same octave, the effect is one of rich overtones. Liszt appropriately goes for octaves on this melody.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-135\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_piano-1024x250.png\" alt=\"\" width=\"525\" height=\"128\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_piano-1024x250.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_piano-300x73.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_piano-768x188.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><\/p>\n<p><strong>Making Some Noise<\/strong><\/p>\n<p>Liszt often gets a lot of flak for putting in runs and chromatic passages as fillers. This piece is no exception, but I do think many of them serve more of a purpose in this piece than others. The orchestral version is loud and full of energy and texture. With only two hands, ten fingers, and two feet, Liszt had to find a way to create the same kind of excitement.<\/p>\n<div id='gallery-4' class='gallery galleryid-124 gallery-columns-2 gallery-size-large'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_noise_orch\/'><img loading=\"lazy\" decoding=\"async\" width=\"346\" height=\"1024\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_orch-346x1024.png\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-4-134\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_orch-346x1024.png 346w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_orch-101x300.png 101w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_orch.png 686w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-134'>\n\t\t\t\tSextuplets here.\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_noise_piano\/'><img loading=\"lazy\" decoding=\"async\" width=\"525\" height=\"128\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_piano-1024x250.png\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-4-135\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_piano-1024x250.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_piano-300x73.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_noise_piano-768x188.png 768w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-4-135'>\n\t\t\t\tLeft hand is original.\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>In the transition between the first and second themes, Liszt changes the accompaniment figure from a sextuplet chromatic scale, to sixteenth-note chromatically ascending alternating sixths (whew). This change accomplishes a few things. First, it spans a bit more of the range; Liszt gets to cover a bit more harmonic ground and not have a huge whole between the melody and the bass. Second, it\u2019s a bit easier to play metrically than the polyrhythm \u2013 it\u2019s not a hard one, but it can affect stamina and pacing. Third, the rotation of the hand in the oscillating sixths allows for a bigger crescendo.<\/p>\n<p>The beautiful soaring melodies after the second themes are accompanied by brilliant arpeggios. These arpeggios are not in the orchestral score, but they help to get across the effect of this nice legato melody after all of the octave chords previously. It also allows Liszt to showcase the ingenious dividing of the theme between the hands as the right hand climbs up the keyboard over and over again. In addition, the runs make it easier to fill out the harmonic content, since a pianist can\u2019t even begin the span the actual voicing in the original.<\/p>\n<figure id=\"attachment_140\" aria-describedby=\"caption-attachment-140\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-140 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_soar-1024x272.png\" alt=\"\" width=\"525\" height=\"139\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_soar-1024x272.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_soar-300x80.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_soar-768x204.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-140\" class=\"wp-caption-text\">Negotiating the melody is a challenge, both in voicing and timing.<\/figcaption><\/figure>\n<p><strong>\u201cIf it ain\u2019t Broke\u2026\u201d<\/strong><\/p>\n<p>There\u2019s two parts to this topic I want to cover. The first is regarding the relationship between exposition and recapitulation. In the second theme, Wagner changes the orchestration of the accompaniment quite drastically. There\u2019s a bit more scrubbing the second time around, as well as rhythmic diversity (with triplets in the bass). Liszt saw this, thought \u201cwell it sounded so good on the piano in the exposition,\u201d and just kept the figurations the same for the recapitulation. I won\u2019t accuse Liszt of being lazy, because let\u2019s face it, the pianist learning the piece is also glad that he or she doesn\u2019t have to learn even more patterns and figurations. However, it\u2019s interesting to think about how it could sound if some of the changes were incorporated into the transcription.<\/p>\n<div id='gallery-5' class='gallery galleryid-124 gallery-columns-2 gallery-size-large'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_recap_orch\/'><img loading=\"lazy\" decoding=\"async\" width=\"525\" height=\"870\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_orch-618x1024.png\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-5-136\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_orch-618x1024.png 618w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_orch-181x300.png 181w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_orch-768x1272.png 768w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_orch.png 1100w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-5-136'>\n\t\t\t\tScrubbing violas and cellos. Pattern is generally downwards.\n\t\t\t\t<\/figcaption><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/tannhauser_recap_piano\/'><img loading=\"lazy\" decoding=\"async\" width=\"525\" height=\"249\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_piano-1024x486.png\" class=\"attachment-large size-large\" alt=\"\" aria-describedby=\"gallery-5-137\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_piano-1024x486.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_piano-300x142.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_recap_piano-768x364.png 768w\" sizes=\"100vw\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-5-137'>\n\t\t\t\tLeft-hand pattern is upwards, same as exposition.\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>Second is the fact that there is plenty of the piece we didn\u2019t talk about, and that\u2019s because he really didn\u2019t change much from the original source in those parts. The notes are good, and the phrases are good, so Liszt just has to make them fit comfortably in the hands, and he\u2019s good to go. This even applies to that beast of an ending with the flourishing of octaves. There really is no other way that should be transcribed.<\/p>\n<p>However, this is exactly why this piece is so difficult to play. The fact that it is so close to the original version, and that Liszt made very little compromises, especially in the little figurations, means that the pianist really has to be an orchestra. That means singing individual voices, having different colors, filling out the entire dynamic range, and building up the stamina to perform such a work.<\/p>\n<p><strong>Addendum<\/strong><\/p>\n<p>This article wouldn\u2019t be a Sean Chen pianonotes without some re-transcription. As a reward for getting through the entire article, I\u2019ve engraved some of the additions I made to the piece when I performed it. The best part about transcriptions is that you get to hear the piece as the transcriber heard it the original source. Here, we get a glimpse into what Liszt heard when he heard the piece performed live (I assume he did hear it). But, I\u2019m fully of the opinion that if you hear different things, it is okay to add them or change some things in a transcription. You can probably find where these changes should go easily. Without further ado:<\/p>\n<figure id=\"attachment_148\" aria-describedby=\"caption-attachment-148\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-148 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_1_0001-1024x217.png\" alt=\"\" width=\"525\" height=\"111\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_1_0001-1024x217.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_1_0001-300x64.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_1_0001-768x163.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-148\" class=\"wp-caption-text\">Right before the first tutti section.<\/figcaption><\/figure>\n<figure id=\"attachment_149\" aria-describedby=\"caption-attachment-149\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-149 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_2_0001-1024x170.png\" alt=\"\" width=\"525\" height=\"87\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_2_0001-1024x170.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_2_0001-300x50.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_2_0001-768x128.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-149\" class=\"wp-caption-text\">Those tremolos in the violins are exciting. This is a simple change, but I think makes it sound better than straight eighth notes.<\/figcaption><\/figure>\n<figure id=\"attachment_150\" aria-describedby=\"caption-attachment-150\" style=\"width: 525px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-150 size-large\" src=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_3_0001-1024x734.png\" alt=\"\" width=\"525\" height=\"376\" srcset=\"https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_3_0001-1024x734.png 1024w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_3_0001-300x215.png 300w, https:\/\/seanchenpiano.com\/pianonotes\/wp-content\/uploads\/2017\/08\/tannhauser_edit_3_0001-768x551.png 768w\" sizes=\"(max-width: 525px) 100vw, 525px\" \/><figcaption id=\"caption-attachment-150\" class=\"wp-caption-text\">I added some counterpoint back in from the orchestral version. My favorite is the little turn flourish near the end.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>This article is cross-posted with American Pianists Association\u2019s Beauty of Music, a regular feature on the American Pianists Association blog that covers variety of topics to help readers better understand and appreciate the music they love. Sign up for 88 Keys, the monthly newsletter of the American Pianists Association, to automatically receive each issue. I &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/seanchenpiano.com\/pianonotes\/2017\/08\/14\/overture-zu-tannhauser\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;A look at transcriptions: Liszt\u2019s Concert Paraphrase of Wagner\u2019s Overture zu Tannh\u00e4user&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10,5,17],"tags":[],"_links":{"self":[{"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/posts\/124"}],"collection":[{"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/comments?post=124"}],"version-history":[{"count":10,"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/posts\/124\/revisions"}],"predecessor-version":[{"id":158,"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/posts\/124\/revisions\/158"}],"wp:attachment":[{"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/media?parent=124"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/categories?post=124"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/seanchenpiano.com\/pianonotes\/wp-json\/wp\/v2\/tags?post=124"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}