Timon de Nood758 subscribers

This is a music theory video on the harmonic analysis of Robert Schumann’s short piano piece ‘Träumerei’ (Dreaming) from the opus 15: Kinderscenen (scenes from childhood). The harmonic functions with brackets are secondary dominants/function chords. The audio is generated from a modified midi-file from http://www.piano-midi.de from Bernd Krueger. This video was made to educate and no commercial profit is intended. So please do not use this for commercial purposes. Thanks

yj y589

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Shepherd School of Music

1.27K subscribers

The Shepherd School Symphony Orchestra Larry Rachleff, conductor Cho-Liang Lin, soloist

East Coast Tour Preview Performance February 13, 2014

Stude Concert Hall The Shepherd School of Music at Rice University Houston, Texas

POiStar

13.5K subscribers

Artists: Freddie Mercury & Montserrat Caballlé Album: Barcelona (1988)

When all the salt is taken from the sea I stand dethroned, I’m naked and I bleed But when your finger points so savagely Is anybody there to believe in me

To hear my plea and take care of me? How can I go on, from day to day Who can make me strong in every way

Where can I be safe, where can I belong In this great big world of sadness How can I forget those beautiful dreams that we shared They’re lost and they’re nowhere to be found

How can I go on? Sometimes I seem to tremble in the dark, I cannot see When people frighten me I try to hide myself so far from the crowd Is anybody there to comfort me Lord, take care of me

How can I go on (how can I go on) From day to day (from day to day) Who can make me strong (who can make me strong) In every way (in every way) Where can f be safe (where can I be safe)

Where can I belong (where can I belong) In this great big world of sadness (In this great big world of sadness) How can I forget (how can I forget)

Those beautiful dreams that we shared (Those beautiful dreams that we shared) They’re lost and they’re nowhere to be found How can I go on? How can I go on? How can I go on? Go on, go on, go on

Rick Beato

1.14M subscribers

In this episode is explore how to compose melodies using chord structures. THE BEATO CLUB → https://flatfiv.com/pages/become-a-be…

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Rishab Rikhiram Sharma

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The Juilliard School

53.1K subscribers

Songwriting tools and Tips

October 5, 2019

Songwriters share their process for writing hit music

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End Writer’s Block: 20 Songwriting Tips from Andrea Stolpe | Berklee Online | ASCAP | Songwriting

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Writing For Big Band

September 29, 2019

6 Steps to Big Band Writing with Steven Feifke

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Voices of Music

129K subscribers

Pachelbel’s Canon in D, performed on original instruments from the time of Pachelbel by the Early Music ensemble Voices of Music. Voices of Music FAQ

Sweetwater

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Chick Corea

55.5K subscribers

http://chickcoreamusicworkshops.com/b…

“I’m just trying to share my own way I look at music, with others.

“Musicians, non-musicians, whoever is interested. And try to show a few basic things that I think are kind of true for everybody.

“One of which is that an individual’s taste and his own judgment, what he likes, and what he doesn’t like, is his own God-given right, you could say.

“Everyone has the right to like what they like, not like what they don’t like, listen to the kind of music they want to, not listen to the kind of music they don’t like. Say what you like, say what you don’t like.

“There’s a kind of a code about that. A human right, a spiritual right. “And I want to encourage that in people. I want people, and musicians, to realize their own judgment and have them think for themselves about how they see art, especially. And trying to portray that and say that in various ways. “Share things I do, or just my opinion. “So improvisation is a big interest, with a lot of musicians. So I have my own ideas about what it is, and I know there are an infinite number of other ideas, so I’m just throwing my own idea into the pot here. About ‘What is improvisation?’ “We did 5 shorts on that, so have a look.” – Chick TRANSCRIPT: Chick Corea: So this is the beginning. First one. Here we go. So we’re going to cover improvisation and Bill’s going to – we’re going to talk a little bit. We want to define it first. Bill Rooney: Start at the beginning. CC: I though that was a good idea, because when people ask me – musicians ask me, they say, “Well, how about improvising? How do you improvise? What’s it all about? What do you do? What do you think about?” All these various questions. I think to myself, well you know, I’ve never seen a satisfactory definition of improvisation. So, I want to try to give you what my – what I think of when I think of improvisation, which is something natural. Something natural you do. Improvising is living. Like, what I’m doing now is improvising. I have a thought in my head and I’m trying to get it out using the cumbersome medium of the english language. It’s really difficult. I mean I could go like this – [ plays a phrase ]. See that? I don’t have to then try to say in words what that was because that was improvisation. But to try and define it in words, it’s the natural thing you do that you already decided that you’re going to do something and you’re going to make a movement. So with improvisation, the decision that – there are decisions that have to be made. What kind of freedoms and what kind of rules. There’s freedoms, then there’s rules that you make. And that’s how you come about deciding how much improvisation there’s going to be. Like, you determine a pattern. Let’s use the term “pattern.” So let’s take, for an example, a pattern. I thought it would be good to start demonstrating right away, rather than trying to put a verbal definition. So, you take a pattern, how much freedom or how much rules and decisions you want in it. Let’s take an example. I thought we’d use “Armando’s Rhumba.” Some people know “Armando’s Rhumba”. This tune here – [ plays “Armando’s Rhumba”] Okay here’s the first phrase of “Armando’s Rhumba.” It’s written right here. If you can read music it’s starting right at “A.” So, thats the first phrase. If I’m going to play it exactly I’m going to play that exactly. [ Plays “Armando’s Rhumba” ] Not much improvisation cause I already decided. So let me play the same phrase and keep everything pretty much the same but let me change the melody a little bit. I could do something like – [ plays “Armando’s Rhumba” ] That was a lot of change, I mean comparatively. Or I could do – [ plays “Armando’s Rhumba”] Or I could do even closer. I could change the tempo. [ Plays “Armando’s Rhumba” ] It’s endless. So with that kind of thing you have the pattern and you decide how closely you want to stick to the pattern and the improvisation part comes as what freedom you give. For instance, what if I say to myself, I decide – it’s all decisions. What if I decide I’m going to play something before I start the melody? I’m going to improvise something and then play the melody. So I’m going to go add it, it’s free, I can play what I want. [ Plays tune and “Armando’s Rhumba” ] There you go. Like, play something even stranger: [ Plays tune and “Armando’s Rhumba” ] See there. There would be an infinite number of ways to take a theme. So thats one basic way to describe improvisation. It’s what you decide will be there as a pattern and what you decide you’ll be free about interpretive. Improvisation.

music, photography rule of thirds

GARY EWER BLOG – Applying the Rule of Thirds to Songwriting

When you talk about thirds to a musician, you’re usually talking about the space between two notes, like C to E, or D to F, and so on. In photography, the so-called “rule of thirds” is completely different: it refers to dividing an image into thirds using two vertical lines and two horizontal lines.


“The Essential Secrets of Songwriting” 10-eBook Bundle

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VIEW the TABLE OF CONTENTS

The theory is that objects that are a point of focus should be centred on one of the spots where the lines intersect, like in this image from the Photography Mad website:

Obviously, there’s no relation between the rule of thirds in photography, and thirds as we usually discuss them in music. But it got me thinking that in songwriting, as well as other kinds of musical composition, we also observe a kind of rule that’s similar to the rule of thirds.

Photographers are always thinking about the point of focus in a picture when they consider a photo’s composition, and that’s where the rule of thirds becomes tremendously important. By offsetting the butterfly in the photo above, it provides a sense of creative tension that encourages the eye to move, and the viewer to consider how the point of focus interacts with other aspects of the photo.

I won’t say more about it than that, as I am not a photographer. But in music, we also deal with a song’s point of focus, and in fact, most songs are a conglomeration of several points of focus. Some examples that might appear in a song:

  1. A song’s climactic high point (usually in the chorus melody).
  2. A crucial “other shoe dropping” moment in the lyric.
  3. A loudest moment in a song (either in the chorus, or perhaps during a song’s bridge.)
  4. A dramatic moment other than a climactic high point. (Like the scream at the end of the instrumental break in The Who’s “Won’t Get Fooled Again“)

In most songs, one point of focus usually takes precedence over all others. Most verses, for example, will have a moment that sounds somewhat climactic, but the climactic moment that occurs in the chorus will usually supersede the verse’s moment.

And you’ll notice that, just as in photography, the climactic moment sounds better and more interesting if it’s not in the middle of the chorus, but offset, coming in more toward the beginning of the chorus, as in Lennon & McCartney’s “She Loves You”, or toward the end, as in the refrain of Dylan’s “The Times They Are A-Changin’”.

By avoiding perfect symmetry in musical composition, we give the impression that other interesting things have and will happen in a song, but we can’t be sure during a first listening exactly when.

PLEASE CONTINUE READING

Ferde Grofé Reminisces About George Gershwin

Paul Whiteman talks about George Gershwin

American Composers

Serena Eads2 / 10

Bill Hilton

199K subscribers

Want to know more about chord theory and how harmony works? This tutorial takes a look at some of the more exotic chords you might find in a progression. It reviews the basics of diatonic chords and how to generate them and the different functions of important chords. Then I talk about secondary dominants, an interesting chord substitution and the notoriously tricksy diminished seventh chord.

Check out my book: http://www.billspianopages.com/how-to…

Support me on Patreon: http://www.patreon.com/billhilton

The jazz/blues piano tutorial I reference in this tutorial: http://youtu.be/67LabSzL32g

If you’d like to know more about harmony, music theory or piano, be sure to check out and subscribe to my piano channel, where you’ll find hundreds of massively popular tutorials explaining key concepts in a clear, straightforward style!


taky_classic

Published on Dec 18, 2014

2011 Tchaikovsky Competition – Piano Round II, Phase II

Mozart – Concerto for Piano and Orchestra No. 21 in C major, K.467

Yeol Eum Son (South Korea)

NewJazz

Published on Sep 5, 2019

Simple method to organize ALL MUSICAL SCALES of harmonies. We use a simple method based on families and circular interval patterns to organize all scales that are well suited for building up harmonies: “THE SCALES OF HARMONIES”. We explore and systematize the Major Modes, Melodic minor Modes, Harmonic minor Modes, Harmonic Major Modes, Diminished Modes, Whole tone Mode and Augmented Modes.

PDF with all scales presented in this lesson (the Scales of Harmonies): http://newjazz.dk/Compendiums/scales_… Cardboard tool to look up scales, made by subscriber and patron “nupfe”: http://newjazz.dk/Compendiums/4in1_Mo… Cardboard tool in a smaller layout: http://newjazz.dk/Compendiums/4in1_Mo… Manual to assemble the cardboard tool: http://newjazz.dk/Compendiums/4in1_Co… Lesson that presents and explains the cardboard tool: https://youtu.be/81xT1_SFV0Y In the video above I refer to this other jazz lesson playing interval patterns that exceed the octave (not framed by an octave as traditional scales): https://youtu.be/ayTl-VF6-nk

If you feel for it you are very welcome to make a donation at https://www.paypal.me/newjazz or https://www.patreon.com/newjazz You’ll help me cutting down the hours at my regular job and I’ll be able to make even more Music Lessons. But you don’t have to donate anything!!! All NewJazz videos are free and for everybody – money or no money.

You can also help me out and translate the English subtitles. All my lessons are open for translation. On your PC/MAC hit the three small dots below the video, press “Add translations” and follow the instructions. Please don’t translate the “descriptions” of the videos, just the “subtitles/captions”. Thank you so much 🙂 🙂

The best and warm regards from Oliver Prehn http://www.newjazz.dk/

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How To Sound Like A Piano Pro – Create GREAT Performances From Melody And Chords || Part 1 of 3

How To Sound Like A Piano Pro – Create GREAT Performances From Melody And Chords || Part 2 of 3