27 December 2016 Tel Aviv, Israel Heichal Hatarbut – Charles Bronfman Auditorium

Chamber Concert with Martin Grubinger and Percussive Planet Ensemble

Music Theory Minute #1.2 – Voicing Extended Chords Welcome to Music Theory Minute, a new weekly series meant to give easily digestible music theory tidbits on a regular release schedule. The idea behind this series is that each week, the topic of the month will be explored in increasing depth. This video is meant to […]

Liked on YouTube: Music Theory Minute #1.2 – Voicing Extended Chords — Daemonia Tweets

To the average person, I, IV and V are hours of the day. But to the trained musician, they are a set of instructions. They tell the performer to play chords, and are an integral part of the way the musical system works. There are a lot of bloggers out there that debate whether or […]

Yes, Music Theory Matters! — Megan Ireland

In this post I will be showing you different ways of using tonal and chromatic polychord structures in your music. But first, a thing or two about polychords. It consists of two or more chords played together and such chords may be originated from the same or different tonalities – usually the latter is applied.      Generally, the […]

How to Use Polychords in Your Music — BEYOND MUSIC THEORY


October 10, 2020

RIP | Guitar Rock Legend Eddie Van Halen Dies of Cancer at 65


Enzo Oliva

This series returns one year later, to talk about a game with mixed critical responses, but wonderful music.

Favorite Video Game Soundtracks Pt. 4: Sonic Adventure 2 Battle — Hunting It Down

There is nothing wrong with being a slow songwriter. Leonard Cohen was practically famous for how long it took him to complete songs to his satisfaction. But if your songwriting process is slow because your creative brain constantly blocks up, that’s more than just being “slow.” The main annoying feature of songwriter’s block is frustration, and…

Five Best Ways to Avoid Songwriter’s Block — The Essential Secrets of Songwriting

I just received an envelope holding a new double cd by Phasma Music with my work “…am I hearing voices within the voice?” inside.The cd is also available on spotify https://open.spotify.com/album/0ZfUoBIxONxAUz9lgiTlaN Apple https://music.apple.com/us/album/am-i-hearing-voices-within-the-voice/1525273742?i=1525274059 Presto Classical https://www.prestomusic.com/classical/works/341055–papageorgiou-am-i-hearing-voices-within-the-voice/browse Amazon https://www.amazon.com/Am-Hearing-Voices-Within-Voice/dp/B08DQJS8BV spotify https://open.spotify.com/album/0ZfUoBIxONxAUz9lgiTlaN Apple https://music.apple.com/us/album/am-i-hearing-voices-within-the-voice/1525273742?i=1525274059 Presto Classical https://www.prestomusic.com/classical/works/341055–papageorgiou-am-i-hearing-voices-within-the-voice/browse Amazon https://www.amazon.com/Am-Hearing-Voices-Within-Voice/dp/B08DQJS8BV and other online services. More info on the […]

…am I hearing voices within the voice? released by Phasma Music — dimitri papageorgiou

Hindemith performs Hindemith

Paul Hindemith (1895-1963)

Paul Hindemith: Konzertmusik for Brass and String Orchestra, Op. 50 (1930) Anton Bruckner: Symphony No. 7 in E major, 1st movement (1881-1883) Johannes Brahms: Academic Festival Overture, Op.80 (1880)

Chicago Symphony Orchestra Paul Hindemith, conductor

Telecast of April 7, 1963

hr-Sinfonieorchester – Frankfurt Radio Symphony

Lucas & Arthur Jussen

Lucas & Arthur Jussen – Mozart: Sonata for Two Pianos in D, KV 448 Live recording – 25 June 2019, Konzerthaus Dortmund Lucas & Arthur Jussen on Spotify https://lnk.to/CompletePlaylistJussen

Follow Lucas & Arthur on Facebook https://www.facebook.com/OfficialJussen on Instagram https://lnk.to/Jussen_Insta on their website http://arthurandlucasjussen.com/en

This video: Audio producer: Everett Porter Video producer: Dick Kuijs Technical supervisor: Robbert-Jan Sebregts Camera operator: Carrien Dijkstra, Martine Rozema

Enrico Ricciardi


Du sollt Gott, deinen Herren, lieben

Richard Atkinson analyzes the stunningly complicated counterpoint in the opening chorus of J. S. Bach’s BWV 77 cantata, “Du sollt Gott, deinen Herren, lieben”. This is a fair use educational commentary that uses excerpts from the following recordings/performances:

BWV 77 (Cantata): Pieter Jan Leusink, Holland Boys Choir/Netherlands Bach Collegium Dies sind die heiligen zehn Gebot (Melody): Vox Luminis, Lionel Meunier BWV 298 (Chorale Harmonization): Chamber Choir of Europe, Nicol Matt & Chamber Ensemble of Europe BWV 4 (Cantata): Konrad Junghänel, Cantus Cölln BWV 635: (from Orgelbüchlein): Wolfgang Zerer, organ BWV 678 and 679 (from Clavier-Übung III): Kay Johannsen, organ Please support this channel on Patreon: https://www.patreon.com/RichardAtkinson

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Alternative Music Official

01 – The Radiant Return 02 – In Present Space 03 – Reflection in Ascension

Created by Steve Roach at the Timehouse April 2020 Mastered by Howard Givens – Spotted Peccary Studios NW, Graphic design by Sam Rosenthal Portland, Oregon © 2020 Soundquest Music BMI Dedicated to Sylvia Roach

https://steveroach.bandcamp.com/album… Tucson, Arizona 🇺🇸

· ambient, immersive, drone, soundscape. #SteveRoach#ASoulAscends

roger bridgland

Prelude & Liebstod from Tristan und Isolde Leonard Bernstein (conductor) Boston Symphony Orchestra

2011 Symposium2

Mr. A’s Music Place

Elsewhere in this blog, I have written about the strengths and weaknesses of some of the rhythm syllables systems in use. (See my post “A Review of Rhythm Syllables Systems.”) These included Gordon, Eastman, Takadimi, Kodaly, and Orff rhythm teaching systems. Of these, I prefer the Gordon and Eastman systems, because both the ictus and its first division always have the same syllable, which makes the rhythmic function clear. Today I will discuss the so-called French time names, which are really another set of rhythm syllables.

The French time names were “translated” into English by Curwin, whose work became popularly known as the Kodaly system. The two systems, French time names and Curwin/Kodaly system, are fundamentally the same. In this system, the ictus is always taa. Like the Gordon and Eastman systems, this keeps the function of the ictus clear. After that, though, things begin to become a bit muddled. When the beat is divided into two, as when the ictus is a quarter note and the division is two eighth notes, the latter is called taa tay, but when the rhythm is an eighth followed by two sixteenths, the first sixteenth, which is in the same rhythmic position as the second eighth note in taa tay, is this time called teh. As with Kodaly syllables a note with the same rhythmic function gets a different name when it is a sixteenth note compared to when it is an eighth note. This confuses the learning of rhythms, because we can only tell what kind of note is being chanted, but not where it is located within the beat. Naming notes after the kind of note rather than after function continues throughout the French time names. Four sixteenth notes are ta fa teh fee, two sixteenths and an eighth are ta fa tay, and a dotted eighth and sixteenth is taa fee.

In compound time, things get more confusing. Remember that in simple time, four sixteenth notes were ta fa teh fee. In compound time, the first three syllables are reused, making no distinction between simple and compound meter. The six sixteenth notes are ta fa teh fe ti fee. Apparently “fee” is reserved for the last sixteenth in a group of sixteenths, regardless of how many there are. Three eighth notes are taa tay tee, reusing the taa tay from simple meter, and then adding on tee.



French Time Names


Portland Youth Philharmonic

Instrumental demonstrations prepared by the sections of the Portland Youth Philharmonic. These are done annually by the members of the orchestra for PYP’s children’s concerts, during which we perform for 10,000 schoolchildren at the Arlene Schnitzer Concert Hall.

Flutes 1:49 Oboes 2:47 Clarinets 3:47 Bassoons 4:46 Low Brass 5:49 Trumpets 6:26 Horns 7:26 Percussion 8:25 Harp 9:34 Piano 10:24 Double Bass 11:06 Cello 12:26 Viola 13:36 Violin 14:30 May 3, 2015 PYP Spring Concert