I Write The Music

Robert Schumann – Fantasiestücke Op. 12 (1837) – Piano Score

Posted in Uncategorized by Higher Density Blog on November 21, 2017


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What is Polychromatic Music? – An introduction with comparison of modern microtonal instruments

Posted in Uncategorized by Higher Density Blog on November 20, 2017

Published on Oct 28, 2015

A description of Polychromatic Music as a new genre and musical language by Dolores Catherino. My TEDx talk on Polychromatic Music is posted at https://www.youtube.com/watch?v=EfJbS… An introductory comparison of 21st century electronic instruments (multidimensional polyphonic controllers) including the Tonal Plexus, Roli Seaboard, Continuum Fingerboard, and Microzone U-648, from a microtonal perspective. The Tonal Plexus and Microzone are multidimensional, polyphonically, at the level of the musical pitch language itself, expanding the chromatic language, exponentially, into a greater pitch-resolution (alphabet) dimension of polychromatic languages. Pitches can be played polyphonically in both the left/right chromatic dimension and the front/back polychromatic (color) dimension. The Microzone has polyphonic touch sensitivity and the Tonal Plexus does not, yet the Tonal Plexus layout allows a pitch programming of up to 211 pitches per octave while the Microzone U648 enables up to 72 pitches per octave. The Seaboard and Continuum (and LinnStrument, Eigenharp Alpha) are multidimensional, polyphonically, at the level of tactile expression – touch sensitivity in up/down, left/right, and, except the Seaboard, front/back dimensions. The LinnStrument is an amazing first-generation hybrid. Each pad-switch has multidimensional expressivity, and the instrument can be programmed polychromatically. However, one limitation of the design, from a polychromatic perspective, is that the pad-switch layout is isomorphic (same fingering ‘shape’/pattern for every key scale/chord type). While this design feature makes the instrument easier to learn, it becomes limiting with advancing levels of proficiency and pitch resolution. Other leading edge features of the LinnStrument include a rudimentary lighting display and the use of open-source software/firmware! Hopefully, future musical instruments will be able to bring together these polyphonic pitch-resolution and expressive tactile-resolution dimensions, as well as visual ‘feedback’ (light/color) dimensions into integrated designs. And, an option for multiple pitch regions per key-switch (i.e. hexagonal key option of 1; 3 – center, top, bottom; or 5 – center, top, bottom, right, left pitch regions). This would allow for more complex pitch layouts with fewer physical key-switches. Although conventional research estimates our hearing range (tested with sine waves) to be within 20 Hz to 20 KHz, higher resolution audio recording formats/encoders and mic, amplifier, speaker, etc. technology, extending upper harmonics content beyond 20 KHz, may enable the perception of new interactive and integrated sonic complexities within our auditory range. These new qualities may be perceived as gestalt (sum greater than the parts), and dynamic (evolving, ‘organic’ color/shape changes over space and time) qualities of multidimensional sound. Another bottleneck in the full implementation of a Polychromatic music system is our MIDI standard (a foundational framework for digital electronic instruments). MIDI remains a ‘gold-standard’ and, since its emergence in 1983, hasn’t yet been significantly updated. Thank you for the questions and comments! more information: dolorescatherino.com facebook: https://www.facebook.com/dolomuse/ Polychromatic (high pitch-resolution) music systems reveal new multidimensional qualities of sound and complex interactions of harmonics. This suggests a deeper look into the extent of information loss in capturing these qualities, when analyzed and approximated in two-dimensional analog to digital conversion protocols (limited to sampling rate and bit depth measurements). It seems that this third auditory dimension is related to the inclusion of ultrawide frequency bandwidth spectra and non-periodic waveform elements of complex sounds. Hopefully, further auditory qualities will be synergistically uncovered between Polychromatic (hi-res) music systems and innovative three-dimensional analog to digital conversion protocols in the future.
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Latin American Composers

Posted in Uncategorized by Higher Density Blog on November 19, 2017







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Arturo Márquez – Días de Mar y Rio –

Posted in Uncategorized by Higher Density Blog on November 17, 2017


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Sultans of swing- flamenco version – Tommy Emmanuel, John Jorgenson, Pedro Javier González

Posted in Uncategorized by Higher Density Blog on November 12, 2017

Tommy Emmanuel live Guitar Boogie Amazing Grace

Published on May 28, 2014



Vengerov, Spadano – Bach BWV 1043 – Concerto for 2 violins, in d minor

Posted in Uncategorized by Higher Density Blog on November 11, 2017




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How to Write a Song – Tips for Writing Lyrics to Music | Songwriting | Tips & Techniques

Posted in Uncategorized by Higher Density Blog on November 8, 2017



Published on Sep 10, 2015

Download Your Free Songwriting Handbook Now: https://berkonl.in/2v4qUyj Earn Your Songwriting Degree Online with Berklee: https://berkonl.in/2w6KwPi In this free tutorial, Berklee Online instructor Andrea Stolpe shares how to write a song using tips and techniques that will help you to write lyrics to music and convey your message to your listeners. Placing that perfect lyrical idea into a melody without it sounding unnatural is a common obstacle to many songwriters. An unfortunate setting of a word or phrase can sink the emotion of the song, calling your listener’s attention away from WHAT you are saying to HOW you are saying it. Writing Lyrics to Music analyzes a variety of song forms to instruct you on key lyrical and melodic components: stressed and unstressed beats, rhyme positions, melodic sections, and tone. You’ll work through different musical feels and time signatures, and discover how the natural shapes of the words follow the shape of the melody, ultimately creating a much more expressive composition. This is a “can’t miss” course – it’s bound to take your writing to the next level. It will also make you a more valuable co-writer. Enroll in Writing Lyrics to Music now: http://bit.ly/1JVEq6n For more songwriting tips and techniques watch these free tutorials: How to Write A Song: Sensory Writing Tricks http://bit.ly/1JDBT0s How to Write A Song: Use Critique to Improve Your Songs http://bit.ly/1KtuXGN Want more? Learn songwriting online with Berklee: Learn techniques for writing original songs in a variety of musical styles—techniques that have propelled Berklee alumni to write number one songs and win Grammy Awards. In this program, you will develop skills to create song structures, harmonies, melodies, and lyrics that support and enhance the ideas that you want to express. Through listening and analysis, you will be able to recognize and discuss quality elements in musical and lyrical structures. You will learn arranging techniques that support the style and structure of a song with appropriate instrumentation. You will develop your own voice as a songwriter and learn to write more effectively and efficiently, whether by yourself or in collaboration with other songwriters. Andrea Stolpe is a multi-platinum recorded songwriter, performing artist, and educator. She has worked as a staff writer for EMI, Almo-Irving, and Universal Music Publishing, with songs recorded by such artists as Faith Hill, Daniel Lee Martin, Julianne Hough, and others. Andrea is the author and instructor of the course Commercial Songwriting Techniques, part of Berklee Online’s online songwriting program. Recently released in fall of 2007, her book Popular Lyric Writing: 10 Steps to Effective Storytelling describes how to apply a unique process for uniting our artistic voice with the commercial market. Andrea graduated with a degree in songwriting from Berklee College of Music. She continues to tour and promote her solo release, “Breaking Even,” and serve as a guest clinician nationally and abroad. Andrea lives in Los Angeles with her husband, recording engineer Jan Teddy. Enroll in Commercial Songwriting Techniques now: http://bit.ly/1ixjQQH How to Write A Song | Songwriting | Tips & Techniques | Free Tutorial
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Trio by Madeleine Dring – for Flute, Oboe and Piano

Posted in Uncategorized by Higher Density Blog on November 4, 2017


Published on Aug 25, 2012

Trio, Madeleine Dring. Performed live on the 24th August 2012, by: Flute: Hollie Macdonald Oboe: Sam Baxter Piano: Zi Wang For bookings and enquiries contact: Holliemacdonaldflute@live.co.uk http://www.holliemacdonaldflute.com Filmed and Recorded by Tom Lukas
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Hieronymus Albrecht Hass Harpsichord

Posted in Uncategorized by Higher Density Blog on November 3, 2017



Published on Apr 7, 2014

Norberto BROGGINI plays Courante from English Suite IV by Johann Sebastian BACH on the nasal stop of the 3 keyboard Harpsichord built by Hieronymus Albrecht Hass in 1740.
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Jazz Sax Lessons

Posted in Uncategorized by Higher Density Blog on November 2, 2017



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Learning R & B

Posted in Uncategorized by Higher Density Blog on November 1, 2017








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Happy Halloween

Posted in Uncategorized by Higher Density Blog on October 31, 2017

Image result for halloween music

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Harmonic analysis – Beethoven’s Pathetique Sonata – Second movement

Posted in Uncategorized by Higher Density Blog on October 31, 2017

Published on Dec 26, 2011

Michiel’s live performance video: http://www.youtube.com/watch?v=klZYv-… Choose 720p from below the video window for high definition. http://www.davidbthomas.com

How to Play New Orleans Style Clarinet

Posted in Uncategorized by Higher Density Blog on October 30, 2017


Evan Christopher and Eli Yamin talk about the techniques a clarinetist can use to capture the sounds, colors, and stylistic tricks of New Orleans Jazz. Learn more at our Jazz Academy! Visit http://academy.jalc.org Evan Christopher – Clarinet Eli Yamin – Piano Eric Suquet – Director Bill Thomas – Director of Photography Richard Emery – Production Assistant Seton Hawkins – Producer Theme music composed and performed by Eli Yamin. Recorded April 9, 2013
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Knut Nystedt – Le verbe eternel, op. 133 – Marc Labruijere Organist – Toccata

Posted in Uncategorized by Higher Density Blog on October 29, 2017




Le Verbe Eternel. An organ work of the Norwegian Composer Knut Nystedt (1915-2014).


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Cédric Tiberghien plays Bartók

Posted in Uncategorized by Higher Density Blog on October 28, 2017




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In Memoriam – Fats Domino R.I.P

Posted in Uncategorized by Higher Density Blog on October 26, 2017



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Eric Whitacre – Alleluia

Posted in Uncategorized by Higher Density Blog on October 25, 2017

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Dave Frank Jazz Master Class – An Evening with Pat Martino

Posted in Uncategorized by Higher Density Blog on October 24, 2017


Dave Frank 

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Hans Zimmer Teaches Film Scoring | Official Trailer

Posted in Uncategorized by Higher Density Blog on October 23, 2017


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