I Write The Music

RAVEL: Bolero – Glass Harp Orchestra

Posted in Uncategorized by Higher Density Blog on December 17, 2017



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Bill Evans – Portrait in Jazz

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



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9 MIT Media Lab Innovations that Changed the Future

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


Published on Dec 3, 2015

From touchscreens to E ink and GPS to Guitar Hero, some of today’s most popular technologies all originated from the same place: the MIT Media Lab. To celebrate its 30th anniversary current and former directors count down the nine most influential innovations to come out of the future-forward lab. SUBSCRIBE for more videos: http://wrd.cm/15fP7B7 Still haven’t subscribed to WIRED on YouTube? ►► http://wrd.cm/15fP7B7 CONNECT WITH WIRED Web: http://wired.com Twitter: https://twitter.com/WIRED Facebook: https://facebook.com/WIRED Pinterest: https://pinterest.com/wired Google+: https://plus.google.com/+WIRED Instagram: http://instagram.com/WIRED Tumblr: http://WIRED.tumblr.com Want even more? Subscribe to The Scene: http://bit.ly/subthescene ABOUT WIRED WIRED is where tomorrow is realized. Through thought-provoking stories and videos, WIRED explores the future of business, innovation, and culture. 9 MIT Media Lab Innovations that Changed the Future Starring: Nicholas Negroponte and Joi Ito

Understanding Chords: Building Progressions with Chord Families

Posted in Uncategorized by Higher Density Blog on December 11, 2017

Published on Nov 7, 2015

Chords are the basic building blocks of any song. But which chords should you play? How to build a chord progression? In this piano harmony lesson I will teach you an approach that involves “families” of chords that seem to fit well together. We will examine one such “family”, where each chord can pretty much be followed by any other chord from the same group. This gives you an immediate tool for building a harmonic vocabulary without having to think about complex substitutions or other such weird rules. Chord families are fun because they are so easy to use, and they are a powerful tool for songwriting as well, so come along and learn all about them in this tutorial. From Wikipedia:

ANDREW WASSON – Music Lesson – Harmonic Analysis – Minor Key Theory

Posted in Uncategorized by Higher Density Blog on December 9, 2017

Meet the Artist – Jennifer Higdon, composer – by The Cross-Eyed Pianist

Posted in Uncategorized by Higher Density Blog on December 7, 2017

Who or what inspired you to take up composing,

and pursue a career in music?

The joy of discovering new things in music inspired me.

I was self-taught,

and I just found the notion of making music

such a thrilling adventure.

Who or what were the most significant influences

on your musical life and career?

via Meet the Artist – Jennifer Higdon, composer — The Cross-Eyed Pianist

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5 Songwriting Tools That Change Everything | ASCAP | Songwriting | Tips & Tricks

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



Published on Jun 20, 2017

Download Your Free Songwriting Handbook Now: https://berkonl.in/2v4qUyj Earn Your Songwriting Degree Online with Berklee: https://berkonl.in/2w6KwPi Stop tweaking and make the most essential changes for better songs. In this workshop, you’ll learn how to identify and amplify your strengths while embracing the imperfect characteristics that make your music unique. Find greater creativity and accelerate your writing process by doing the 5 things that matter most in getting your songs heard and appreciated. About Andrea Stolpe: Andrea Stolpe is a multi-platinum recorded songwriter, performing artist, and educator. She has worked as a staff writer for EMI, Almo-Irving, and Universal Music Publishing, with songs recorded by such artists as Faith Hill, Daniel Lee Martin, Julianne Hough, and others. Her own recorded output includes a solo release, “Breaking Even.” Andrea is the author and instructor of the course Commercial Songwriting Techniques, part of Berklee Online’s online songwriting program. Her book “Popular Lyric Writing: 10 Steps to Effective Storytelling” describes how to apply a unique process for uniting our artistic voice with the commercial market. Andrea graduated with a degree in songwriting from Berklee College of Music. Andrea lives in Los Angeles with her husband, recording engineer Jan Teddy. About the ASCAP EXPO: The ASCAP “I Create Music” EXPO is the first and only national conference dedicated to songwriting and composing. The event provides a unique opportunity for songwriters, composers, artists, producers, publishers – and those in the industry who support them – to come together in an unprecedented way to share their knowledge and expertise. Learn more: http://www.ascap.com/expo About Berklee Online: Berklee Online is the continuing education division of Berklee College of Music, delivering online access to Berklee’s acclaimed curriculum from anywhere in the world, offering online courses, certificate programs, and degree programs. Call, text, or email an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.twitter.com/BerkleeOnline http://www.instagram.com/berkleeonline/ Andrea Stolpe | Songwriting Tips | Free Songwriting Lesson | Online Songwriting Lesson | Songwriting Tutorial | ASCAP | ASCAP EXPO | I Create Music | Berklee | Berklee Online | Berklee College of Music
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GARY EWER – Developing a Lyrics-First Songwriting Process – New eBook – Use Your Words!

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


Image result for gary ewer

I’m pleased to announce that I’ve just completed

a new eBook for songwriters entitled “Use Your Words!

Developing a Lyrics-First Songwriting Process.”

It’s available right now at the online store

as a free add-on to the 10-eBook Bundle.

(It will also be available as a separate sale item

in the coming days.) For a limited time,…

via New eBook: “Use Your Words! Developing a Lyrics-First Songwriting Process” — The Essential Secrets of Songwriting

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[1/2] “Opening Sequence” – The Incredibles – (Score Reduction & Analysis)

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



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Free Downloadable Rhythm Cards and Game Idea – Music Matters Blog

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

One of my studio go-to’s for an easy,

educational game for group classes

is Team Rhythm Dictation.

The students are split into two teams and

are given a set of individual rhythmic note cards to use.

via Free Downloadable Rhythm Cards and Game Idea — Music Matters Blog

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GARY EWER – Writing Song Melodies That Can Build a Fanbase – The Essential Secrets of Songwriting

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

Do you get stuck at the melody-writing stage of songwriting?

Do you find chords easy, but melody hard?

What can you do to come up with

melodies that are enticing and attractive to an audience?

Melodies and lyrics are the trickiest parts of songwriting

for most songwriters, because those are likely the parts of songs…

via Writing Song Melodies That Can Build a Fanbase — The Essential Secrets of Songwriting

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SAMUEL BARBER – Adagio for Strings, Original Version – Dover Quartet

Posted in Uncategorized by Higher Density Blog on November 27, 2017

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HERZOGENBERG, HEINRICH – Trio for piano oboe and horn Op.61

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

Published on Nov 22, 2015

Chamber music concert (26-05-2015) HERZOGENBERG, HEINRICH – Trio for piano oboe and horn Op.61 – Mov: I – Allegretto III – Andante con moto II – Presto Grupo: Trio Scarlatti de Casa de la moneda Oboe: Ángel Luis Sánchez Moreno Horn: Manuel Escauriaza Peñuela Piano: David Bekker Prof: Marta Gulyas Escuela Superior de Música Reina Sofía Auditorio Sony
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Understanding song structure

Posted in Uncategorized by Higher Density Blog on November 24, 2017

Published on Jun 4, 2014

Worshipwoodshed lesson on song structure. This video breaks down songs into sections and explains what the names are for each section.



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Beethoven – Sonata No.17 in D Minor, “Tempest” – Harmonic Analysis

Posted in Uncategorized by Higher Density Blog on November 22, 2017
00:00 – Theme Group 1, Motif A (Rising Arpeggio)
00:14 – TG1, Motif B (Scalar Passage, with notes in groups of 2)
00:18 – TG1, Motif C (Turn)
00:24 – Counterstatement of TG 1, entering in a surprise E6, the dominant of III
00:37 – Motif B
00:48 – Transition (or an extension of TG 1): Motif A rising in bass, answered by Motif C in RH. Surprisingly substantial.
01:06 – Theme Group 2, Theme 1 (= Motif B!, with Motif C in the LH.) A minor.
01:18 – TG2, Theme 2 (= Motif C, with lengthened 2nd note)
01:26 – TG2, Theme 2, with Motif C now in the deep bass
01:31 – TG2, Theme 3 (Cadential Theme) DEVELOPMENT
03:51 – Motif A, repeated thrice, arriving in F#
04:37 – Transition Theme (Motif A + C), sequentially deployed, rising constantly
04:58 – 22(!) bars of dominant preparation, totally devoid of any thematic allusion. Short recitative (with a little Neapolitan Eb) leads into RECAPITULATION
05:19 – TG1, with 4 bars of recitative attached to each statement of the largo. This section hangs on a Ab, which is transformed
06:43 – into a G# (in enharmonic implied Gb minor!) in a darkly guttural 4 chords. This ushers in a extraordinary modulating section.
06:55 – TG2, in tonic.
07:59 – Theme 1. (Motif A = rising double-dotted 3-note figure)
09:38 – Transition, with stately rising theme. (Motif B = drumroll in bass) 10:55 – Theme 2. At
11:42 Motif B enters, building into dominant minor 9th chord RECAPITULATION 12:08 – Theme 1, with Motif A immediately used as inner voice.
At 13:00 a demisemiquaver accompaniment drifts down the keyboard 13:42 – Transition
14:54 – Theme 2 CODA
15:42 – Motif B, again building into a dominant minor 9th
16:26 – Motif A, rounded-off, in LH then RH
16:45 – Recalling Theme 1
17:19 – A new, 2-bar long 3rd theme enters and is repeated in the middle voice, before the movement ends. MVT III EXPOSITION
18:06 – Theme Group 1, Theme 1. A single motif (Motif A) repeated 16 times in RH. Note codetta with chromatic descending line
18:29 – Transition. Theme 1 in bass, interspersed with arpeggiated figure
18:38 – Theme Group 2, Theme 1, entering with insistent hemiola and 6 bars of dominant harmony
18:55 – TG2, Theme 2
19:05 – TG2, Theme 3 (Cadential Theme) DEVELOPMENT
20:26 – Motif A in dim7 of iv, modulating into A min 20:37 – The bass uses Motif A to climb up a dim7 in D min, then shifts to D min harmony, then shifts into C min by flattening the A and introducing the inversion of Motif A in the RH. Then movement into the dim7 of Bb min
20:54 – Dramatic entrance of inverted A motif in RH, while LH climbs up bass chromatically.
21:06 – TG1 Theme 1, in Bb min
21:12 – Chromatic rising, landing on a dominant 7, suddenly revealed
21:19 – to be a augmented 6th when it resolves into the dominant of D min 21:23 – Dominant preparation begins, oscillating between G min and D min
21:41 – 16 bars of continuous descent to the home dominant RECAPITULATION
21:53 – TG1, Theme 1. The bII in bar 18 becomes the subdominant of Bb, introduction a surprisingly lyrical passage.
22:14 – Transition. Tonal movement around circle of 5ths. G min harmony becomes augmented 6th chord, leading back into
22:34 – D min, TG2. Note how at
23:00 (Theme 3) Beethoven omits the expected high G, since his piano didn’t have the note, and substitutes a really nice repetition of the high D instead. CODA
23:12 – Mimicking the beginning of the development, without forte outbursts 23:21 – for 16 bars(!) we dwell on the dominant, leading to
23:33 – a violent restatement of TG1 Theme 1, with an A pedal in the highest registers 23:54 – The original codetta from Theme 1 is now presented in full. With another familiar tonic-dominant swing the sonata ends.

Robert Schumann – Fantasiestücke Op. 12 (1837) – Piano Score

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


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What is Polychromatic Music? – An introduction with comparison of modern microtonal instruments

Posted in Uncategorized by Higher Density Blog on November 20, 2017

Published on Oct 28, 2015

A description of Polychromatic Music as a new genre and musical language by Dolores Catherino. My TEDx talk on Polychromatic Music is posted at https://www.youtube.com/watch?v=EfJbS… An introductory comparison of 21st century electronic instruments (multidimensional polyphonic controllers) including the Tonal Plexus, Roli Seaboard, Continuum Fingerboard, and Microzone U-648, from a microtonal perspective. The Tonal Plexus and Microzone are multidimensional, polyphonically, at the level of the musical pitch language itself, expanding the chromatic language, exponentially, into a greater pitch-resolution (alphabet) dimension of polychromatic languages. Pitches can be played polyphonically in both the left/right chromatic dimension and the front/back polychromatic (color) dimension. The Microzone has polyphonic touch sensitivity and the Tonal Plexus does not, yet the Tonal Plexus layout allows a pitch programming of up to 211 pitches per octave while the Microzone U648 enables up to 72 pitches per octave. The Seaboard and Continuum (and LinnStrument, Eigenharp Alpha) are multidimensional, polyphonically, at the level of tactile expression – touch sensitivity in up/down, left/right, and, except the Seaboard, front/back dimensions. The LinnStrument is an amazing first-generation hybrid. Each pad-switch has multidimensional expressivity, and the instrument can be programmed polychromatically. However, one limitation of the design, from a polychromatic perspective, is that the pad-switch layout is isomorphic (same fingering ‘shape’/pattern for every key scale/chord type). While this design feature makes the instrument easier to learn, it becomes limiting with advancing levels of proficiency and pitch resolution. Other leading edge features of the LinnStrument include a rudimentary lighting display and the use of open-source software/firmware! Hopefully, future musical instruments will be able to bring together these polyphonic pitch-resolution and expressive tactile-resolution dimensions, as well as visual ‘feedback’ (light/color) dimensions into integrated designs. And, an option for multiple pitch regions per key-switch (i.e. hexagonal key option of 1; 3 – center, top, bottom; or 5 – center, top, bottom, right, left pitch regions). This would allow for more complex pitch layouts with fewer physical key-switches. Although conventional research estimates our hearing range (tested with sine waves) to be within 20 Hz to 20 KHz, higher resolution audio recording formats/encoders and mic, amplifier, speaker, etc. technology, extending upper harmonics content beyond 20 KHz, may enable the perception of new interactive and integrated sonic complexities within our auditory range. These new qualities may be perceived as gestalt (sum greater than the parts), and dynamic (evolving, ‘organic’ color/shape changes over space and time) qualities of multidimensional sound. Another bottleneck in the full implementation of a Polychromatic music system is our MIDI standard (a foundational framework for digital electronic instruments). MIDI remains a ‘gold-standard’ and, since its emergence in 1983, hasn’t yet been significantly updated. Thank you for the questions and comments! more information: dolorescatherino.com facebook: https://www.facebook.com/dolomuse/ Polychromatic (high pitch-resolution) music systems reveal new multidimensional qualities of sound and complex interactions of harmonics. This suggests a deeper look into the extent of information loss in capturing these qualities, when analyzed and approximated in two-dimensional analog to digital conversion protocols (limited to sampling rate and bit depth measurements). It seems that this third auditory dimension is related to the inclusion of ultrawide frequency bandwidth spectra and non-periodic waveform elements of complex sounds. Hopefully, further auditory qualities will be synergistically uncovered between Polychromatic (hi-res) music systems and innovative three-dimensional analog to digital conversion protocols in the future.
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Latin American Composers

Posted in Uncategorized by Higher Density Blog on November 19, 2017







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Arturo Márquez – Días de Mar y Rio –

Posted in Uncategorized by Higher Density Blog on November 17, 2017


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Sultans of swing- flamenco version – Tommy Emmanuel, John Jorgenson, Pedro Javier González

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

Tommy Emmanuel live Guitar Boogie Amazing Grace

Published on May 28, 2014



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