Dan Cutchen

Basics of counting common time. Dan Cutchen:…. For a pdf page of the Eastman Counting System, see:…

arXter·155 videos

“Humans are naturally musical.”

In this segment of Howard Goodall’s 2006 documentary, a major exponent of why we enjoy music is explained in very clear and concise points.

He traces the roots of syncopation back to Africa, long before the West could grasp the concept, and explains the evolution of the shifting of accents in Western music using Philip Glass’s “Akhenaten” vs. Handel’s “Zadok the Priest” to illustrate.

whsaptheory·38 videos

jazzheavendotcom·106 videos

Go to for more FREE Kenny Werner Videos! This was a Jazz Rhythm Exercise excerpt from the Kenny Werner Jazz Improvisation Video “Effortless Mastery of Melody, Harmony & Rhythm”.

Get a rare look behind the scenes of this master jazz improviser & master TEACHER.

Visit also for other killer jazz instructional videos with Lee Konitz, Eric Harland, Jerry Bergonzi, Jean-Michel Pilc, Walt Weiskopf, Vince Herring, Oz Noy, Lage Lund, Gilad Hekselman, Ingrid Jensen, Geoffrey Keezer, Enrico Pieranunzi & more.

Go to to check out the madness!

Kenny Werner is a world-class pianist and composer. His prolific output of compositions, recordings and publications continue to impact audiences around the world.

Kenny was awarded the 2010 Guggenheim Fellowship Award for his seminal work, No Beginning No End. No Beginning No End is a musical journey exploring tragedy and loss, death and transition, and the path from one lifetime to the next. Utilizing over 70 musicians, Kenny’s third album for Half Note Records is an expansive composition featuring Joe Lovano, Judy Silvano, Wind Ensemble, Choir and String Quartet.

Born in Brooklyn, NY on November 19, 1951 and then growing up in Oceanside, Long Island, Kenny began playing and performing at a young age, first recording on television at the age of 11. Although he studied classical piano as a child, he enjoyed playing anything he heard on the radio. In high school and his first years of college he attended the Manhattan School of Music as a classical piano major.

His natural instinct for improvisation led Kenny to the Berklee School of Music in 1970. There he sought tutelage of the renowned piano teacher Madame Chaloff. A Her gracious wisdom and inspiration became a driving force in Kenny’s conception: A music conscious of its spiritual intent and essence.

Kenny has written many original compositions featuring trios and other small group configurations, but in the mid 1980’s, he became the pianist for the Mel Lewis Orchestra (currently known as the Village Vanguard Orchestra). Challenged by Mel and Bob Brookmeyer to write for the band, he produced his first compositions and arrangements for jazz orchestra, consequently leading him to write for the major bands in Europe including the Cologne, Danish, and Stockholm Jazz Orchestras, The Umo Jazz Orchestra of Finland and several times as the guest composer and soloist with the Metropole Orchestra of Holland. He’s released two CDs with the Brussels Jazz Orchestra. One released in 2011 is called “Institute Of Higher Learning.” Werner has had many commissions to write for large ensembles such as jazz orchestras, full orchestras and most recently, wind ensemble, choir and string quartet as featured on his latest CD, No Beginning, No End. He continues to release Cds . A new solo cd and new Quintet Cd is set for release in 2012.

In 2007, Kenny Werner released his first album for Blue Note Records.Lawn Chair Society, featuring Chris Potter, Dave Douglas, Scott Colley, and Brian Blade, received critical acclaim for its fusion of electro and acoustic elements. For several years now he has also toured with his quintet featuring David Sanchez on sax, the legendary trumpet player Randy Brecker, Antonio Sanchez on drums and Scott Colley on bass. There recent release on Half Note is titled “Balloons.”

Quincy Jones has said of Kenny, “Perfection, 360 degrees of soul and science in one human being. My kind of musician.”

Kenny groundbreaking work on Improvisation, Effortless Mastery — Liberating the Master Musician Within, was published in 1996.Using his life experiences as a microscope into the artist’s mind, Effortless Mastery is a guide to distill the emotional, spiritual, and psychological aspects of an artists life. Today it is one of the most widely read books on music and improvisation, helping thousands of musicians around the world unlock their talent and potential.The book is required reading at many universities. Werner, without intention, touched off a revolution of inspiring musicians to do inner work on the mind, body, and soul in attempt to upgrade their musical experience from the mundane to the profound. The book is also popular with artists of other mediums and business professionals. Kenny continues to teach and give clinics in the United States and abroad. He is currently an Artist-in-Residence at New York University.

Kenny Werner’s influence is unsurpassed. He has impacted an entire generation of musicians and artists. Despite his creative output, Kenny is still focused on the music.”I am still more and more aware of the true purpose of the music and the people who play it: to heal and unite the planet.

Hope you enjoyed this Kenny Werner Jazz Rhythm Exercise…


October 20, 2013

Jonathan Delbridge·43 videos

oneminutemusiclesson·30 videos

Michael New·24 videos

Nest lesson is up!

This is the start of a multi-part lesson on rhythm. This first part explains how notes are measured in beats, how to count out a series of notes, and how notes are grouped in repeating patterns.

whsaptheory·38 videos

Produced for WHS AP Music Theory
This is a guide review for Rhythm and Meter. In this video we explore the differences between Simple, Compound and Complex time signatures. This will help you understand how the beat accents work with subdivisions to create simple or compound meter. We will also take a look at different examples.

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Vic Firth·1,437 videos

About the piece:
At a time during the 1960s in which many composers in Europe and the US began working in electronic music studios in a search for new sounds, Helmut Lachenmann asserted that not only could acoustic instruments create original colors, but that there’s something special about the physical gesture of producing sound that is essential to the vibrancy of music. His music uses sound—the gradual transition between closely related sounds, and the bold crashing of conflicting timbres—against one another as an argument, both for the importance of acoustic music, and for the need to constantly rethink traditional means of expression and conventional playing techniques.

I’m sure every percussionist has played a piece where they thought “this composer must have never heard or seen a single percussion before instrument in his life.” With Lachenmann this isn’t the case: not only does he have a deep knowledge of the instruments’ capabilities, he’s also famous for using primarily non-traditional playing techniques, expanding the repertoire of sounds each instrument can produce. Throughout Intérieur I you’ll hear me making—I hope!—beautiful marimba, cymbal, triangle and timpani sounds; you’ll also hear me scratch, scrape and crash my way through some other, more original colors. I think Intérieur is a really important piece for percussionists to get to know because of how perfectly it’s suited to percussion’s greatest strength: the potential to produce a startlingly diverse range of colors and dynamics. It’s a whole piece about sound, where timbre determines both the small gestures within the piece and the overall structure!

Lachenmann’s score is bursting with innovative timbral ideas. It’s also bursting with instruments, which makes getting into position to play the correct drum or cymbal at the right time one of the major challenges in learning the piece. Lachenmann gives us a lot of help: an incredibly detailed setup diagram, a score designed to be spread across three music stands, and a notation system that helps indicate where an instrument is located based on its position on the staff. However, because most of the piece involves extremely delicate combinations or progressions of sounds, practicing my footwork was one of the first challenges in learning the piece. I also decided that memorizing as much of Intérieur as possible would let me stay focused on getting into position and producing the kinds of sounds I wanted. Lachenmann emphasizes that Intérieur is a actually a very vocal and melodic piece, regardless of how disjunctive some sections may seem. This is especially important because Intérieur is written almost entirely without traditional rhythms. Lachenmann gives suggested durations for phrases and indicates rhythmic relationships through note spacing and beaming, but the performer is left to use his or her ear and the sonic characteristics of the specific instruments in the set-up to determine note length. Because of this, I tried to rely less on muscle memory in my memorization, instead latching onto the connections Lachenmann makes between gestures and how I could use the particular instruments I had to create composite sounds from multiple instruments and to make sharp transitions between sections

Another challenge in a piece with so many instruments is the mallet changes. In the interest of simplicity, Lachenmann asks for only a few types of mallets: hard wooden or yarn mallets, soft mallets, drum sticks, brushes, a tam tam mallet and a knitting needle. He is, however very specific about where and how to change sticks, even making a note in the score to practice the many switches as an integral part of the piece and asking that the changes occur quickly and don’t disturb the flow of the piece. Because practicing Intérieur had me so attenuated to sound, I began to make additional mallet changes that I thought could improve the clarity of musical line without sacrificing continuity. A marimba mallet doesn’t sound as rich and full on a timpano than a large timpani mallet, and using a real triangle beater or brass mallets on triangles allows them to sparkle more than the butt end of a drumstick. Although my additional mallets added a some logistic difficulties and necessitated some creative thinking, the ability to both emphasize and prioritize some of Lachenmann’s gestures while making some of his brilliant timbral combinations come out was in my opinion worth it.

I hope you enjoy watching and hearing Intérieur I as much as I do playing it!

– Michael Compitello

TEDxTalks·30,731 videos

Chris Brien and his percussion group “Tribe” will perform two exciting musical performances “Mozambique for Bass” (Solo Performance by Chris Brien) and “Creative Caitlin” (Featuring Chris Brien and “Tribe”). Chris will also speak on how his students are amongst some of the most confident, creative and forward thinking people in their schools. They don’t play video games and are on the top of their grades. Want to know their secret? They play the drums. Music, especially drumming, can bring out creativity and rhythm in individuals, improves IQ levels, boosts the immune system, and is frankly, fun.

International Drumset Artist, Author, Composer, Percussionist, Educator and Clinician Chris Brien has performed and recorded with many internationally acclaimed artists, trained some of Australia’s and Hong Kong’s best drummers, and is constantly pushing the boundaries of the modern drumset. Chris Brien’s work, which includes Independence Part II, World Rhythms, and Progressive Rhythms, have garnered critical acclaimed by Modern Drummer Magazine USA. Progressive Rhythms was rated by Modern Drummer Magazine USA as one of the top twelve drumming tutorial products released worldwide since 2005.

In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)

Nathan Andersen·54 videos

The most common eight note and sixteenth note rhythms. I go through the same rhythm with the written notes, with the counting at 100 beats per second, and slowed down at 70 beats per second. I used a fantom x8 to create most of the sounds and then played them through a line 6 podxt to add some effects. I programmed all the drums right in my sequencer software (sonar 3!) The visuals were created with Adobe Premiere Elements 4.0. (Except the note images which were exported from Finale. This exercise is a suppliment to the exercises for my book “How to Read Musical Rhythm Like a Genius”. Check out for more info.

creativeguitarstudio·372 videos

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: The idea of odd time really confuses me. I cant seem to understand how to count in different time signatures. Can you please help me out here with a lesson about feeling the different popular types of odd time signatures? Thanks in advance.
Bryce Minneapolis, MN. U.S.A.

Odd Meter or Irregular Time is still a re-curring pulse to track. Keep that in mind. Just like Regular Time, (such as 4/4) Irregular Time has a re-curring groove. This is the key to getting a handle on Odd Signatures.

The complete lesson article for this video is available on the Creative Guitar Studio website.
Follow the link below:…

Andrew’s Official Q & A Guitar Blog Website:

Andrew’s “Video GuitarBlog” YouTube Channel:

The Creative Guitar Studio Website:

David Spondike·65 videos

macProVideoDotCom·1,865 videos

Additional videos for this title:
Music Theory 103: Rhythm by Gregg Fine
Video 10 of 21 for Music Theory 103: Rhythm

Rhythm is at the very essence of being. Our hearts beat. We walk and run in time. The sun rises and sets. The tides ebb and flow. Its no wonder that rhythm is at the heart of our music, too. In this tutorial Gregg Fine examines rhythm and shows us the theory behind constructing solid beats and how rhythm is used in different musical genres.

Rhythm is made up of many different components. In this tutorial youll learn about the foundation of beats. Youll see how rhythm is broker down into its essential components: Tempo, Measure, Note Values and Rests. Youll learn all about Time Signatures and how they influence the pattern of strong and weak beats in a musical phrase.

Gregg then starts moving the beat around: In this section he explains how musical rhythms are interpreted by creating Shuffle and Swing. Youll discover the power of syncopation and how it helps create musical interest and adds unexpected excitement to a tune. Theres even a cool video that demonstrates playing behind the beat and how it affects the feel of a performance.

Finally Gregg takes you through 5 different musical styles, beat by beat, and explains the importance of rhythm in their construction.

If you enjoy this tutorial be sure to check out Greggs other outstanding Music Theory tutorials on Melody, Harmony and Song Form.

More info on this title:

Austin Patty·138 videos

Discussion of phrase rhythm, upbeats, and afterbeats as presented in Rothstein’s Phrase Rhythm in Tonal Music, chapter 2