I Write The Music

Symphony for Percussion by Eric Ewazen

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



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Instruments: Percussion – Philharmonia Orchestra (London, UK)

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


Philharmonia Orchestra (London, UK)

Published on Aug 7, 2013

In this film, David Corkhill introduces some of his instruments in the percussion section.

Vibraphone – 00:07
Xylophone – 02:29
Marimba – 03:31
Glockenspiel – 04:53
Bass Drum – 05:54
Tam-Tam – 07:19
Snare Drum – 08:57
Cymbals – 10:49
Triangle – 13:14
Crotales – 14:17
Tambourine – 15:16

To learn more about the percussion section visit http://www.philharmonia.co.uk/explore…

Why not download our iPad app The Orchestra to learn even more? Visit http://www.philharmonia.co.uk/app for more information.

“Have you seen the app called ‘The Orchestra’? It is astonishing. For somebody who can’t read music to learn how an orchestra functions, to be able to see from the perspective of a flute or a second violin, is really enlightening.” – Sir John Eliot Gardiner, quoted in an interview by Richard Fairman, Financial Times, February 2014

The Philharmonia’s Principal Percussionist’s Chair is endowed by Mercedes and Michael Hoffman. For more information on Chair Endowments, please visit: http://www.philharmonia.co.uk/support..


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Witold Lutosławski (1913-1994) – Piano Sonata (1934)

Posted in Uncategorized by Higher Density Blog on August 15, 2017


Published on May 23, 2016

00:00 – I. Allegro
10:27 – II. Adagio ma non troppo
18:08 – III. Andante – Allegretto
Pf. Gloria Cheng
Lutosławski’s Piano Sonata, the only composition preserved from his early student years, was completed on 29 December 1934. That three-movement work was modelled on the music of Debussy and – to a certain extent – Ravel (especially his Sonatine). The composer himself acknowledged Szymanowski’s influences. The rich palette of sound colours reveals impressionistic origins and, in most of the Sonata (and especially its first movement), the basis of the timbre is the quick succession of broken chords, providing, by means of the pedal, a glimmering background for the subjects and independent motives. The Sonata places certain technical demands on the pianist . In order to perform it correctly, considerable dexterity is required as well as a mastery of passage-work and octave technique, sensitivity to instrumental colouring and skill in bringing polyphony into prominence vividly. In later years Lutosławski’s attitude towards his youthful Sonata was so critical that, though the manuscript survived the turmoil of war, he never decided to publish it. In the 1970s Ryszard Bakst acquired a copy of the music and recorded it for Polish Radio, albeit against the wishes of the composer. Danuta Gwizdalanka, Krzysztof Meyer (excerpt from the book Lutosławski. A Road to Mastery)


Sihyeon Choe 

Carl Vine – Advice to Emerging Composers

Posted in Uncategorized by Higher Density Blog on August 15, 2017

First gig:
Daily life
Published on Mar 14, 2016

So you want to be a composer? Some words of wisdom from Carl Vine AO.

Considered one of Australia’s 10 Greatest Composers (Limelight Magazine 2015), Carl Vine AO is also Senior Lecturer in Composition at the Sydney Conservatorium and Artistic Director of Musica Viva Australia. Read more about him at http://carlvine.com/

It’s the Boroondara Eisteddfod’s 25th birthday and we’re celebrating the range of careers open to music lovers. LIKE our Facebook page for more insights from Australia’s inspiring arts leaders:https://www.facebook.com/boroondaraei…

Music: Garden of Bronze (2015) by Peggy Polias, Federation Bells, http://federationbells.com.au/. Visit http://peggypolias.com to hear more.





Eurovision – Hovig – Gravity (Cyprus) Eurovision 2017 – Official Music Video

Posted in Uncategorized by Higher Density Blog on August 13, 2017
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Music Of Cathedrals and Forgotten Temples – 8-11-17

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


The Spirit of Orchestral Music 

Published on Mar 20, 2017

The Best Choral Orchestral Pieces of Cathedrals and Forgotten Temples!

0:00 Jeremy Soule – Peace of Akatosh (The Elder Scrolls: Oblivion Soundtrack)
4:09 Catholic Renaissance Hymns – Adoremus in Aeternum
6:42 Hans Zimmer – Aurora
15:17 Mozart – Requiem: Lacrimosa
18:26 Howard Shore – Evenstar (The Lord of the Rings: The Two Towers Soundtrack)
21:41 Gregorian Chant – Da Pacem Domine
26:15 Mychael Danna – Tsimtsum (Life of Pi Soundtrack)
29:05 Pergolesi – Stabat Mater: Dolorosa
33:48 Samuel Barber – Agnus Dei
41:44 Catholic Hymns – Pange Lingua Gloriosi
48:08 Satie – Gymnopedie No. 1 (Soprano)
51:47 Gregorian Chant – Dies Irae
54:53 Jeremy Soule – From Past to Present (The Elder Scrolls: Skyrim Soundtrack)
59:58 Howard Shore – Twilight and Shadow (the Lord of the Rings: Return of the King Soundtrack)
1:03:28 Faure – Pie Jesu
1:06:56 Gregorian Chant – Te Deum

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Hindemith – Konzertmusik – for strings and brass

Posted in Uncategorized by Higher Density Blog on August 10, 2017



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BBC National Orchestra of Wales – Brass

Posted in Uncategorized by Higher Density Blog on August 10, 2017



Enrique Granados – Goyescas – Pianist Alicia De Larrocha

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


David Kim 

Published on Oct 23, 2015

Alicia De Larrocha, Piano

1. Book 1: Los Requiebros
2. Book 1: Coloquio En La Reja
3. Book 1: El Fandango De Candil
4. Book 1: Quejas O La Maja Y El Ruiseñor
5. Book 2: El Amor Y La Muerte (Balada)
6. Book 2: Epilogo: La Serenada Del Espectro
7. Book 2: El Pelele


R I P Glen Campbell

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



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Carl Vine – Piano Sonata No. 1 – Uses Cross Rhythms

Posted in Uncategorized by Higher Density Blog on August 8, 2017



Published on Jan 11, 2016

– Composer: Carl Vine, AO (8 October 1954 — present)
– Performer: Michael Kieran Harvey
– Year of recording: 1991

Piano Sonata No. 1, written in 1990.

00:00 – I. [no dynamic tempo marking]
08:23 – II. Leggiero e legato

Australian composer Carl Vine uses a lot of open fourths and fifths in this piano sonata, and chords/arpeggios are often based on stacked fourths or fifths. The sonata is reminiscent in its form of Elliot Carter’s piano sonata, and in its intensity of Samuel Barber’s piano sonata.

Notes by the dedicatee, Michael Harvey:
“Drawing on the lithe beauty and contrapuntal elegance of the earlier Piano Sonata (1946) by Elliot Carter, the [1st] Piano Sonata by Carl Vine is a work characterised by intense rhythmic drive and the building up of layers of resonance. These layers are sometimes delicate and modal, archieving a ‘pointed’ polyphony by the use of complex cross-rhythm, at other times they are granite-like in density, creating waves of sound which propel the music irresistibly towards its climax.

The scheme is similar to the Carter Sonata – Two movements, with the slow section built into and defining the faster portions of the first movement. The second movement is based on a ‘moto perpetuo’ which soon gives way to a chorale section, based on parallel fifths.

In discussing the work, Vine is reticent about offering explanations for the compositional processes involved, feeling that these are self-evident, and indeed the work is definitely aurally ‘accessible’ on first hearing. However one of the main concerns in this sonata is the inter-relationship between disparate tempi, which is the undercurrent of the work and its principle binding element.

The work is dedicated to me and was commissioned by the Sydney Dance Company to be choreographed by Graeme Murphy. The first concert performance of this work was on 23 June 1991 in Melbourne. The first dance performance of Piano Sonata was in the Drama Theatre of the Sydney Opera House in May, 1992.”


Understanding Tuplets

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


Jonathan Curtis 




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Scott Joplin: Elite Syncopations – George Gershwin: Fascinating Rhythm

Posted in Uncategorized by Higher Density Blog on August 6, 2017


Alan Houghton 

Jim Gillson 12/20/11



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Art Of Composition – Ear Training, Going to College, Orchestration – Music Composition Webinar – by Art of Composing

Posted in Uncategorized by Higher Density Blog on August 3, 2017


Art of Composing 

Streamed live on Apr 8, 2017

Welcome to the Composer Symposium. This is a live weekly webinar where I talk about how to compose music.

Show notes:
My article on diatonic harmony:

Checkout my podcast:

My recommended reading list:


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Learn Jazz Piano Comping

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



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Francis Poulenc – Piano Concerto FP. 146

Posted in Uncategorized by Higher Density Blog on July 31, 2017


ublished on Jun 28, 2016

This was the last of Poulenc’s five concertos. While in the first fifteen years of his career Poulenc had made a reputation as a light-hearted composer, personal crises in the late 1930s awakened a dormant religious sensibility. Thereafter, including the war years, he had written music of considerably more seriousness of purpose, but even in them retained his lightness of touch and his ability to charm. After the war ended, restoring communication between Paris and America, the Boston Symphony Orchestra commissioned this piano concerto from Poulenc. It was premiered by that orchestra, conducted by Charles Munch on January 6, 1950, with the composer as soloist.

Now Poulenc returned, for this composition, to his earlier breezy style. The composition is in three movements, each smaller than the previous one; their lengths are about ten, five and a half, and four minutes. The piano is not treated as an individual protagonist against the orchestra, but as a part of the entire ensemble.

The concerto opens with the piano playing one of Poulenc’s rhythmic ideas of faux gruffness, which is countered by a lovely tune on English horn. Reminiscent of various Rachmaninoff themes, the movement meanders here and there, never quite making up its mind; there are subdued hints of the approaching Poulenc opera “Dialogues of the Carmelites.”

The slow second movement is tender, with a sense of some sadness, using a string melody introduced with softly marching rhythms in the horns. The movement then acquires a certain airy repose after the start.

The finale is called Rondeau à la française and is in a very fast tempo. In one of the final episodes, a tune appears which has been traced back to A la claire fontaine, an old sea chanty dating back to the time of Lafayette. Its first few notes are the same as that of Foster’s song “Old Folks at Home” (or “Swanee River”), which some French commentators have mid-identified as a “Negro spiritual.” Poulenc blends it, surprisingly, with a Brazilian maxixe rhythm.

The concerto was not particularly well received, though; and was noted that there was “more sympathy than real enthusiasm,” which the composer attributed to the notion that the audience had listened to too much Sibelius. One critic wrote in Le Figaro: “Certainly it isn’t a concerto at all but a little picture of manners, done up by a minor master.” But Poulenc wrote: “I lead an austere existence in this very Puritan town.”

(AllMusic, Wikipedia)

Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.

Original audio: classical-music-online.net
Original sheet music: imslp.org


Vreny Van Elslande – Soloing using rhythmic and melodic curve repetition

Posted in Uncategorized by Higher Density Blog on July 30, 2017


Vreny Van Elslande 


Simply Piano – by Classical Music Thought Bubbles – 7-29-17

Posted in Uncategorized by Higher Density Blog on July 30, 2017

The Romantic Era is a time when the larger forms become more mammoth than ever, and the miniature forms become more intimate than ever. In solo piano, we find both extremes, made possible through the sheer imagination, genius, and artistic brain powers of individuals, as well as the emerging technology of the modern piano and […]

via Simply Piano — Classical Music Thought Bubbles

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Chris Harrington – 12 Bar Blues improvisation

Posted in Uncategorized by Higher Density Blog on July 28, 2017


Chris Harrington 


5 Reasons To Include a Bridge In a Song’s Design

Posted in Uncategorized by Higher Density Blog on July 25, 2017


Check out Gary Ewer’s Songwriting eBooks: http://www.secretsofsongwriting.com/p… Not every song uses a bridge section, but how do you know if your song would benefit. In this video, Gary goes through five situations songwriters encounter that can be solved by adding a bridge after the second chorus.




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