Billy Taylor – How Jazz Musicians Improvise
March 9, 2015
The Story of Jazz
February 27, 2015
The Music Instinct – Science and Song – by Elena Mannes
February 24, 2015
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
Marin Alsop, Great Woman Conductor
February 3, 2015
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
Leonard Bernstein – On The Future of Music
December 3, 2014
Conclusion of Bernstein Unanswered Question lectures at Harvard in 1973.
The Art of Jazz Arranging – Richard DeRosa – University of North Texas
November 30, 2014
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,
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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 Creative Pulse – Conversation with Philip Glass
November 13, 2014
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.
Melody – Notes, Scales, Nuts and Bolts – YaleCourses
November 8, 2014
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
MN Varsity – Writing for Piano – Francesca Tortorello
October 31, 2014
Francesca Tortorello talks about her instrument.
Peri’s Scope – Bill Evans – Jazz Piano Tutorial
October 27, 2014
“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.
Leonard Bernstein – The Unanswered Question, 1973 – Musical Syntax Bernstein – Norton Lectures
October 15, 2014
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.
Baptiste Saunier – Create a Dance Remix on Logic 2014
September 30, 2014
DANCE REMIX TUTORIAL | PRODUCER BAPTISTE SAUNIER | Logic Pro Mac
Free Remix Download: http://www.baptistesaunier.com
Join Fb Fan Page: http://www.facebook.com/baptistesauni…
Souncloud: http://www.soundcloud.com/baptistesau…
LOGIC PRO TUTORIAL 2014
LOGIC X TUTORIAL 2014
REMIXING TUTORIAL 2014
CREATE DANCE REMIX OF A SONG
EDWARD MAYA REMIX 2014
Michael Tilson Thomas – Music, Emotion Through Time
September 27, 2014
Glen Ballard – Music Industry Profile – Producer, Songwriter, Arranger
September 10, 2014
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.
Leonard Bernstein – Greatest 5 minutes in Music Education
September 5, 2014
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)
I Write The Music 