I Write The Music

John Mayer Trio Live at the Bowery Ballroom, New York

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

 

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Trumpet Articulations in Jazz – by Charlie Porter

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

 

 

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Bach, Double Violin Concerto in D Minor

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

 

Bach Concerto in D Minor for Two Violins, first movement, Vivace, accompanied by a scrolling bar-graph score. FAQ Q: Where can I get the sheet music for this? A: Here http://tinyurl.com/bwv1043 Q: What do the colors and sizes of the bars indicate? A: Each instrument has a different color; the solo instruments have brighter colors; the non-solo instruments are wider (taller) to indicate that more than one instrument is playing each note. Q: Who is playing this? A: The solo violin parts are performed by Lara St. John and Scott St. John; they are playing with the New York Bach Ensemble. Q: I hear a harpsichord, but I don’t see it. A: True. The harpsichord is not included in the score; it is usually improvised. To include it in the animation, I would have had to have transcribed it, which would have been more trouble than it was worth. Anyway, you are seeing all the notes Bach wrote. Q: Did you already upload this? A: Yes, but I ran into copyright issues with the previous one, and decided that it was simpler to re-do it, using a new recording with more explicit license terms, than to try to straighten out the mess with the old one. Q: Could you please do a video of ______? A: Please read this: http://www.musanim.com/requests/

 

 

Chopin: 19 Nocturnes – Pianist Ivan Moravec – w/ Piano Score

Posted in Uncategorized by Higher Density Blog on September 18, 2017

 

Published on Jan 28, 2017
A capital-G Great Recording.
Once in a very rare while one of these comes along that is so stubbornly & irreducibly beautiful that it’s sort of hard to say anything sensible about it, which obviously leaves reviewers and aficionados with a bit of a problem.
I don’t think I really knew what legato playing was before I heard this recording, or what Chopin’s long phrase marks were actually meant to mean *aurally*.
There’s too much to praise here: ultra-fine dynamic control, tempi neither fast or slow but always reverential, rubato as free as it is natural, the sheer glory of the tone as Moravec unfurls those long melodies.
Even the relatively pedestrian opening of a nocturne like the 15.1 suddenly makes the breath catch. It’s weird and deeply uplifting and makes you want to learn all the nocturnes but despair at actually doing it at the same time.
Everyone likes Chopin’s nocturnes, but perhaps because they’re so generous and immediate in what they offer the listener, their quality is often underestimated: they aren’t (at first blush) difficult or weird in the way that we sometimes expect really great music to be.
But the nocturnes aren’t just excellent pieces: you could plonk them down beside both books of the Well-Tempered Klavier and they wouldn’t be out of place. They still stand as one of the all-time big feats of lyrical composition in any genre and time period: all the melodies sound songlike while being (for the most part) unsingable.
Right from the first nocturne you’ve given a 22-tuplet, and then fiorituri (structural ones, not just ornamental fluff) and colouristic novelties and hidden countermelodies and harmonic innovations will deluge you until you reach the last one.
Analysing just one nocturne is an exhausting affair, and I won’t attempt an analysis of all 19 here. (Do check out Ohlsson’s lecture on just one bit of the 27.2, though.)
I guess I’ll just make three very brief observations. First, the nocturnes closely track Chopin’s stylistic maturation: he uses counterpoint more and more frequently as we approach the late nocturnes, culminating in 55.2, 62.1, and the middle (and very Bachian) section of 62.2.
Second, there are in the nocturnes some sections that achieve a kind of late-Beethoven stillness: listen to some of the more minimalist middle sections that Chopin writes, for instance. And lastly: despite being relatively short pieces, some of these nocturnes cover a lot of musical ground in a very concentrated narrative-like structure, almost like ballades in miniature
(see 15.3, which also has an interesting structure, 27.1, 62.1). 00:00
Op.9 No.1 in Bb Min 05:37
Op.9 No.2 in Eb Maj 10:03
Op.9 No.3 in B Maj 16:28
Op.15 No.1 in F Maj 20:55
Op.15 No.2 in F# Maj 24:55
Op.15 No.3 in G Min 29:31
Op.27 No.1 in C# Min 34:47
Op.27 No.2 in Db Maj 42:04
Op.32 No.1 in B Maj 47:09
Op.32 No.2 in Ab Maj 52:40
Op.37 No.1 in G Min 58:57
Op.37 No.2 in G Maj 1:04:37
Op.48 No.1 in C Min 1:10:47
Op.48 No.2 in F# Min 1:17:44
Op.55 No.1 in F Min 1:22:40
Op.55 No.2 in Eb Maj 1:26:54
Op.62 No.1 in B Maj 1:33:59
Op.62 No.2 in E Maj 1:39:30
Op.72 No.2 (posth.)
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[NAMM 2017] – Jean-Michel Jarre Interviewed – Electronic Music

Posted in Uncategorized by Higher Density Blog on September 16, 2017

Image result for Jean-Michel Jarre

 

Legendary French electronic music composer, producer & performer Jean-Michel Jarre talks to Digital DJ Tips’ Phil Morse about his long career, making music, and what young DJ/producers should do to succeed. Join us: http://www.digitaldjtips.com/join

The whole culture is telling you to hurry, while the art tells you to take your time. Always listen to the art – by Art of Quotation – Moorezart.WordPress.com

Posted in Uncategorized by Higher Density Blog on September 16, 2017

“The whole culture is telling you to hurry,

while the art tells you to take your time.

Always listen to the art.”

Junot Diaz, Dominican, writer, professor

via “The whole culture is telling you to hurry, while the art tells you to take your time. Always listen to the art.” — Art of Quotation

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Animated Sheet Music – So What – by Miles Davis

Posted in Uncategorized by Higher Density Blog on September 15, 2017

 

2CELLOS – LIVE at Arena Pula 2013

Posted in Uncategorized by Higher Density Blog on September 13, 2017

2CELLOS Luka Sulic and Stjepan Hauser.
Exciting, unforgettable and emotional evening at the beautiful Roman Colosseum
in Stjepan’s hometown of Pula, Croatia.
The concert took place on 3rd of July, 2013
Dusan Kranjc, drums 00:39
Benedictus (K. Jenkins) 07:14
Where The Streets Have No Name (U2) 10:34
Good Riddance/Time Of Your Life (Green Day) 13:28
The Book of Love (Magnetic Fields/Peter Gabriel) 16:22
The Resistance (Muse) 21:24
With Or Without You (U2) 27:57
Viva La Vida (Coldplay) 31:44
Human Nature (Michael Jackson) 34:25
Smooth Criminal (Michael Jackson) 37:35
Welcome To The Jungle (Guns N’ Roses) 39:39
Every Teardrop is a Waterfall (Coldplay) 41:53
We Found Love (Rihanna/Calvin Harris) 45:01
Voodoo People (The Prodigy) 48:46
Technical Difficulties (Paul Gilbert/Racer X) 52:18
When I Come Around (Green Day) 54:28
Smells Like Teen Spirit (Nirvana) 57:01
Purple Haze (Jimi Hendrix) 59:11
You Shook Me All Night Long (AC/DC) 1:02:47
Highway To Hell (AC/DC) 1:06:03
Back in Black (AC/DC) 1:11:09
Californication (Red Hot Chili Peppers) 1:15:08
Fragile (Sting) 1:19:58
Fields of Gold (Sting)
Filmed and edited by MedVid produkcija
Directed by Kristijan Burlovic
Video editing by Stjepan Hauser & Ivan Stifanic

 

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VanAnh Vo – Vietnamese multi instrumentalist, composer, vocalist

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

 

Excerpt work from Fire and Bronze (stage 1) production. Featuring Jazz guitarist Nguyen Le. Ensemble members: Sheldon Brown on wind and reed instruments, Jimi Nakagawa on Taiko, Aaron Germain on Upright Bass and electronic bass. Van-Anh Vo on dan Tranh (Vietnamese 16-string zither), dan Bau (the monochord), dan T’rung (the bamboo xylophone), vocal, Viet traditional drum and other percussions.

Learning Music With Ray – Connecting Chord Progressions

Posted in Uncategorized by Higher Density Blog on September 10, 2017

 

 

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Learning Music With Ray – Verse/Chorus Song Form

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

 

 

Steely Dan, In Memory – “The busy world was not for me, So I went and found my own” – by Art of Quotation – 9-4-17

Posted in Uncategorized by Higher Density Blog on September 5, 2017

“The busy world was not for me,

So I went and found my own”

Lyricist, songwriter, musician, Walter Becker,

1950-2017, Goodbye in 2017.

Lyrics from “The Caves Of Altamira” written by

Walter Becker and Donald Fagen,

and recorded by Steely Dan, 1976.

Art Quotes Art The cave drawings of Altamira –

mankind’s earliest efforts …

via In Memory: “The busy world was not for me, So I went and found my own” — Art of Quotation

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Tchaikowsky – Waltz of the Flowers Harmonic Analysis by Byron Wiegel

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

Bill Hilton – Piano for Beginners, Lesson 12 || Rhythm reading and new scales

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

Johannes Brahms – Documentary about the German Composer

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

 

 

 

 

 

Pine Covered Path – by Tim Janis

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

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Music Composition Lesson 14.1 – Types of Melodic Phrases

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

Gloria Estefan – Heaven’s What I Feel

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

 

Tweety Sweety 

Published on Jan 26, 2015

The song was released as the first official single from the album “Gloria!” and was recorded in three languages: English, Spanish and French

 

 

Why We Analyse Music | Julian Horton

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

 

Society for Music Analysis 

Published on Feb 23, 2016

Professor Julian Horton opens up a dialogue between music analysis and musicology, exploring ways in which motivic and formal analysis can reflect and interact with broader historical issues.

Looking in detail at the exposition in movement one of Brahms’ Symphony No. 1, Op. 68, we will investigate the relationship between functions in a sonata form and the dense network of motivic counterpoint from which they are constructed. This will then be contextualised with late-nineteenth-century debates about the appropriate mode of expression in a symphony, especially the Wagnerian view that Brahms had wrongly imported a domestic, chamber-musical style into a public genre.

For additional content, including recommended recordings, suggested reading and music examples, see http://www.sma.ac.uk/videos/episode-1/.

_____

Presented by Julian Horton
Directed by Neil Neenan (@neilneenan)
Produced by Kirstie Hewlett (@kirstie_hewlett)

 

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How to Analyse a Chord Progression (Harmonic Analysis)

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

 

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