Jazz Video Guy

The Story of Jazz

February 27, 2015

Therese Hauber



The Music Instinct: Science & Song explores ground-breaking science revealing the power of music and its connection with the body, the brain and the world of nature. The film deals with research, showing music can heal as well as its potential for education.

Instrument – Double Bass

February 20, 2015

Philharmonia Orchestra (London, UK)

Marin Alsop on the NewsHour with Jim Lehrer

Rachmaninow: 2. Klavierkonzert ∙ hr-Sinfonieorchester ∙ Denis Kozhukhin ∙ Marin Alsop

Mahler – Symphony No 1 in D major – Alsop

Aspen Alumna and Conductor Marin Alsop on Conducting

hr-Sinfonieorchester – Frankfurt Radio Symphony


Dave Jamrog


Conclusion of Bernstein Unanswered Question lectures at Harvard in 1973.

Jazz Video Guy

Richard DeRosa, who teaches jazz composition and arranging at the University of North Texas, has arranged and conducted music for Wynton Marsalis and the Lincoln Center Jazz Orchestra. Other arrangements have been recorded by the Mel Lewis, Gerry Mulligan, and Glenn Miller big bands, vocalist Susannah McCorkle,


Arranging is where a musician prepares and adapts an already written composition for presentation in other than its original form. An arrangement may include reharmonization, paraphrasing, and/or development of a composition, so that it fully represents the melodic, harmonic, and rhythmic structure. Arranging is the art of giving an existing melody musical variety.

Arrangements for small jazz combos are usually informal, minimal, and uncredited. This was particularly so for combos in the bebop era. In general, the larger the ensemble, the greater the need for a formal arrangement, although the early Count Basie big band was famous for its head arrangements, so called because they were worked out by the players themselves, memorized immediately and never written down. Most arrangements for large ensembles, big bands, in the swing era, were written down, however, and credited to a specific arranger, as were later arrangements for the Count Basie big band by Sammy Nestico and Neal Hefti. Don Redman made significant innovations in the pattern of arrangement in Fletcher Henderson’s orchestra in the 1920s. He introduced the pattern of arranging melodies in the body of arrangements and arranging section performances of the big band. Benny Carter became Fletcher’s main arranger in the early 30’s, moving on become as famous for his arranging expertise as his musicianship. Billy Strayhorn was an arranger of great renown in the Duke Ellington orchestra beginning in 1938.
Jelly Roll Morton is considered the earliest jazz arranger, writing down the parts when he was touring about 1912-1915 so that pick-up bands could play his compositions. Big band arrangements are informally called charts. In the swing era they were usually either arrangements of popular songs or they were entirely new compositions. Duke Ellington’s and Billy Strayhorn’s arrangements for the Duke Ellington big band were usually new compositions, and some of Eddie Sauter’s arrangements for the Benny Goodman band and Artie Shaw’s arrangements for his own band were new compositions as well. It became more common to arrange sketchy jazz combo compositions for big band after the bop era.
After 1950, the big band trend declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late fifties and early sixties intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Steve Sample, Sr, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Gil Evans, Gordon Goodwin, and Ray Reach.

The Graduate Center, CUNY

Legendary composer Philip Glass speaks about his music and how the process of collaboration with exceptionally creative minds (including Richard Sera, Ravi Shankar, and Godfrey Reggio) has shaped his career. Glass is interviewed by Claire Chase, flutist, artistic director of the International Contemporary Ensemble, and a 2012 MacArthur Fellow. Sponsored by the Barry S. Brook Center for Music Research and Documentation.

Chase will also performs a piece for flute by Glass.


Listening to Music (MUSI 112)

This lecture explores the basic nature of melody. Touching on historical periods ranging from ancient Greece to the present day, Professor Wright draws examples from musical worlds as disparate as nineteenth-century Europe and twentieth-century India, China, and America. Professor Wright puts forth a historical, technical, and holistic approach to understanding the way pitches and scales work in music. He concludes his lecture by bringing pitch and rhythm together in a discussion of Beethoven’s Ninth Symphony.

00:00 – Chapter 1. The Nature of Melody
02:37 – Chapter 2. The Development of Notes and the Scale
14:43 – Chapter 3. Major, Minor, and Chromatic Scales in World Music
33:03 – Chapter 4. Pitch and Rhythm in Beethoven’s Ninth Symphony


Francesca Tortorello talks about her instrument.

Dave Jamrog



“Peri’s Scope” (Bill Evans) – jazzpiano tutorial. Not sure who the Perry(?) is in this title pun. This was one of the first Bill Evans songs I learnt. A transcription was in the 4th volume (‘Contemporary Piano Styles’) of those really important early books by John Mehegan on jazz theory. Actually, I think that they are still available after nearly 50 years!
I have added a leadsheet so that those who might be interested can perhaps see the relationship between the original melody and the improvised version above it. It is a good song to play around with – melodically simple, stays fairly much in one key (the ‘peoples’ key’ of C!), yet invites lots of possible substitute harmonies.
The video and midi file can be uploaded from my website at http://www.bushgrafts.com and the printable transcription I will add to my DVD.


The Unanswered Question 1973 2 Musical Syntax Bernstein Norton


In this clip from http://www.artistshousemusic.org – Bassist and educator J.B. Dyas visits Loyola University, New Orleans, to demonstrate his approach to0020teaching jazz fundamentals to high school and college students. He takes the audience through a first-class introduction to the history and sound of jazz, including the five key elements of the style (syncopation, jazz instrumentation, improvisation, rhythm and form), and then demonstrates with the help of a Loyola sextet how to help students get accustomed to reading, interpreting, memorizing, and soloing on a jazz tune.

Leonard Bernstein Channel


Baptiste Saunier

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In this clip from http://www.artistshousemusic.org – Producer, arranger and songwriter Glen Ballard introduces himself and discusses his career, the fine art of collaboration, and various aspects of the songwriting and production process.


This amazing lecture series (The unanswered Question ), is actually an interdisciplinary overview about the evolution of western european classical music from Bach to the 20th century crisis . Mr. Bernstein uses linguistics namely Chomskian Linguistics to provide a framework to illustrate how music and all the arts evolved toward greater and greater levels of ambiguity/expressivity over history until the 20th century crisis . He manages this impressive feat of popular education , by dividing music into; Phonology (the study of sound); Syntax (the study of structure) and; Semantics (the study of meaning)