taky_classic

Published on Dec 18, 2014

2011 Tchaikovsky Competition – Piano Round II, Phase II

Mozart – Concerto for Piano and Orchestra No. 21 in C major, K.467

Yeol Eum Son (South Korea)

NewJazz

Published on Sep 5, 2019

Simple method to organize ALL MUSICAL SCALES of harmonies. We use a simple method based on families and circular interval patterns to organize all scales that are well suited for building up harmonies: “THE SCALES OF HARMONIES”. We explore and systematize the Major Modes, Melodic minor Modes, Harmonic minor Modes, Harmonic Major Modes, Diminished Modes, Whole tone Mode and Augmented Modes.

PDF with all scales presented in this lesson (the Scales of Harmonies): http://newjazz.dk/Compendiums/scales_… Cardboard tool to look up scales, made by subscriber and patron “nupfe”: http://newjazz.dk/Compendiums/4in1_Mo… Cardboard tool in a smaller layout: http://newjazz.dk/Compendiums/4in1_Mo… Manual to assemble the cardboard tool: http://newjazz.dk/Compendiums/4in1_Co… Lesson that presents and explains the cardboard tool: https://youtu.be/81xT1_SFV0Y In the video above I refer to this other jazz lesson playing interval patterns that exceed the octave (not framed by an octave as traditional scales): https://youtu.be/ayTl-VF6-nk

If you feel for it you are very welcome to make a donation at https://www.paypal.me/newjazz or https://www.patreon.com/newjazz You’ll help me cutting down the hours at my regular job and I’ll be able to make even more Music Lessons. But you don’t have to donate anything!!! All NewJazz videos are free and for everybody – money or no money.

You can also help me out and translate the English subtitles. All my lessons are open for translation. On your PC/MAC hit the three small dots below the video, press “Add translations” and follow the instructions. Please don’t translate the “descriptions” of the videos, just the “subtitles/captions”. Thank you so much 🙂 🙂

The best and warm regards from Oliver Prehn http://www.newjazz.dk/

https://wp.me/p3xsS9-1bA

https://wp.me/p3xsS9-1bA

How To Sound Like A Piano Pro – Create GREAT Performances From Melody And Chords || Part 1 of 3

How To Sound Like A Piano Pro – Create GREAT Performances From Melody And Chords || Part 2 of 3

https://wp.me/p2ZLkE-3lz


Classics To Go

Published on Dec 11, 2017

Lucas & Arthur Jussen played Stravinsky’s The Rite of Spring in the version for four hands on one piano during the Malmö Chamber Music Festival 2017. This video has been made by Musik i Syd Channel = https://www.musikisyd.se/

Interested in the music of Lucas and Arthur? Follow them on Facebook = https://www.facebook.com/OfficialJussen/ Listen to their recordings on Spotify = https://lnk.to/CompletePlaylistJussenYD

Or listen to their albums on Deutsche Grammophon: Poulenc/Saint-Saëns/Say https://lnk.to/JussenKCO Mozart https://lnk.to/JussenMozart Jeux https://umusicnl.lnk.to/rmNnf Schubert https://lnk.to/XGw6F Beethoven https://lnk.to/RUIBw

Alberto Ginastera: Pampeana n.3 op.24 (1954

Ginastera: Complete Piano Music

Alberto Ginastera: Concerto per violino e orchestra op.30 (1963)

MangoldProject
Published on May 18, 2014

he Philosophy of Improvisation

Improvisation is one of the highest and most demanding forms of music composition. Many people try to learn how to improvise by studying scales, modes, licks and other “cheats”. In my opinion, these mechanical cheats are not only intellectually and musically dishonest, but will also end up frustrating those of you who are truly talented, because they will not teach you how to improvise. They will merely turn you into monkeys who regurgitate licks, play scales super-fast other such non-musical garbage.

In this video I present a different philosophy to learning to improvise. In my view, mastering improvisation is comprised of three steps:

1.) First, learn how to compose. Be able to say something “offline” before saying it “online”! If you can’t come up with musical ideas without any pressure, how on earth are you going to do it on the fly? By training your composition skills you are building up a true musical vocabulary of ideas.

(2.) Once you can compose on the fly in your head, you must be able to recognize the notes your hear in your mind. If you hear a musical phrase in your imagination, you must be able to say which notes precisely it corresponds to. This involves training your ear.

(3.) Finally, train your hands and master the technique necessary to play those notes you hear in your head in real time.

In my book, this is the ONLY honest way to improvise. I highly encourage all competent and curious musicians out there to steer clear of “licks” and “scales” and to embark on a much more satisfying – albeit probably much harder – journey.

More About Improvisation and Jazz from Wikipedia:

Musical improvisation (also known as musical extemporization) is the creative activity of immediate (“in the moment”) musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. Thus, musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music, and indeed many other kinds of music. One definition is a “performance given extempore without planning or preparation.” Another definition is to “play or sing (music) extemporaneously, especially by inventing variations on a melody or creating new melodies in accordance with a set progression of chords.”

Improvisation is one of the basic elements that sets jazz apart from other types of music. The unifying moments in improvisation that take place in live performance are understood to encompass the performer, the listener, and the physical space that the performance takes place in. Even if improvisation is also found outside of jazz, it may be that no other music relies so much on the art of “composing in the moment”, demanding that every musician rise to a certain level of creativity that may put the performer in touch with his or her unconscious as well as conscious states. The educational use of improvised jazz recordings is widely acknowledged. They offer a clear value as documentation of performances despite their perceived limitations. With these available, generations of jazz musicians are able to implicate styles and influences in their performed new improvisations. Many varied scales and their modes can be used in improvisation. They are often not written down in the process, but they help musicians practice the jazz idiom.

or more, visit: http://en.wikipedia.org/wiki/Musical_…

Related Videos/Playlists:

My channel has many additional piano tutorial videos which I welcome you to check out. The main channel page is: http://www.youtube.com/user/MangoldPr…

Here’s an interesting video about voicing the 2-5-1 progression: http://www.youtube.com/watch?v=8zWoOL…

How to modulate between keys using the 2-5-1 progression: http://www.youtube.com/watch?v=WS3BUH…

Learn to play Bach’s Prelude in C major: http://www.youtube.com/watch?v=awfXBE…

My playlist of inspiring piano harmony, chord and voicing tips and tricks: http://www.youtube.com/playlist?list=… (Inside you will find additional major chord voicing ideas for piano!)

ivandrums

Published on Oct 1, 2014

Ivan Trevino and Michael Burritt perform Ivan’s marimba duo Catching Shadows. While some might know the percussion sextet version, Catching Shadows was actually first written as a marimba duo for Michael and Ivan to perform together.

Ivan and Michael both perform on Malletech instruments and mallets, and sheet music for Catching Shadows is available at IvanDrums.com

Steven Cohen – Topic
ublished on Aug 27, 2018

Provided to YouTube by CDBaby

songwriter

n my last post, “Finding Your Best Starting Point”, I offered suggestions for how to build a songwriting process when you’ve got a small fragment of music as your starting point. One of those fragments might be a bit of lyric. For many songwriters, starting the process with lyrics can yield great results.

There are several advantages to creating as much of your lyric as possible before working out the music that will accompany it. For instance:


Lyrics create a mood
 because it lays out the story.Lyrics can imply melodic shape by way of the pulse of the words.Lyrics-first means you can put the magnifying glass on the words without the possible clutter from other song elements.Lyrics can imply the kinds of chords you might use because of the mood they describe.Lyrics can give you great rhythm ideas for your melody and instrumental accompaniment, patterns that come from the rhythms of the words.

And there are probably many other ways in which starting a song with the lyrics can be beneficial. When people look back on a songwriter’s personal catalog of songs, lyrics pay a huge role in a possible legacy. Songs with powerful lyrics have much longer staying power.

There’s a lot to be said about how to do a lyrics-first songwriting process that can’t be covered in a blog post. I’ve written an eBook about it, “Use Your Words! Developing a Lyrics-First Songwriting Process” that I offer free to purchasers of “The Essential Secrets of Songwriting 10-eBook Bundle.”

The most important thing to remember when putting your lyrics front & centre is this: great lyrics are not necessarily great poetry. The best lyrics have a casual, conversational style, using words one might use in everyday conversation.

The point of a good lyric, whether you’ve started with words, or written an entire instrumental to which you then add words, is to touch the emotional soul of the listener. Good songs are about feelings, and the words you use are one of the best ways you have to generate those feelings within the audience.

Gary Ewer

Written by Gary Ewer. Follow Gary on Twitter.

Fix Your Songwriting Problems - NOW

Time to fix what’s ailing your songs. Read “Fix Your Songwriting Problems – NOW!” – It’s part of “The Essential Secrets of Songwriting 10-eBook Bundle” – Or get it separately.

Duke Ellington, Composer

August 19, 2019

Jazz Video Guy
Published on Aug 13, 2017

Wes in Paris: https://amzn.to/2q1VZ1A Wes Montgomery Guitar Play-A-Long https://amzn.to/2PJyGom Wes Montgomery: Guitar, Pim Jacobs: Piano; Ruud Jacobs: Bass; Han Bennink: Drums

John Leslie “Wes” Montgomery (March 6, 1923 – June 15, 1968) was an American jazz guitarist. He is widely considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others. Montgomery was known for an unusual technique of plucking the strings with the side of his thumb which granted him a distinctive sound.

He often worked with organist Jimmy Smith, and with his brothers Buddy (piano and vibes) and Monk (bass guitar). His recordings up to 1965 were generally oriented towards hard bop, soul jazz and post bop, while circa 1965 he began recording more pop-oriented instrumental albums that featured less improvisation but found mainstream success. His later-career guitar style is a major influence on fusion and smooth jazz.

Percussion Masterclass

August 14, 2019

Alex Woolf – Composer

August 12, 2019

Golden Rhapsody – flute & piano – Sir James Galway , flute

Interview with Alex Woolf, composer of “Music”

Alex Woolf: Cantata (percussion quartet) – Colin Currie, conductor

Spitfire Audio
Published on Jul 24, 2019

Learn more about Eric Whitacre Choir: http://bit.ly/2YruLos Grammy-winning composer and conductor Eric Whitacre shares how he approaches composing for choir.

Watch Eric’s Deep Field film: https://deepfieldfilm.com/

Brilliant Classics
Published on Apr 18, 2017

Bringing together all seven of Schubert’s completed symphonies, as well as the much-loved B minor ‘Unfinished’, this set charts the development of Schubert’s voice as a symphonist. His first six symphonies were composed between 1813 and 1818 for the orchestra at the religious school that he attended in Vienna. Although they could be considered to be apprentice works, and are clearly influenced by Haydn, Mozart, Beethoven, and – in the case of the Sixth Symphony – Rossini, they are remarkable achievements for such a young composer, and the listener can hear some of the hallmarks of Schubert’s more forward-looking, romantic style, such as a bolder and richer harmonic language, beginning to emerge. After a serious illness in 1822, from which he only partially recovered, Schubert composed his final symphonic masterpieces, the ‘Unfinished’ (1822) and the ‘Great’ (1825–6). From the haunting slow introduction and the extraordinary sense of pathos of the ‘Unfinished’ to the joyful and rhythmically vital ‘Great’ symphony, both works showcase Schubert the symphonist at the peak of his powers and are some of the most popular and enduring pieces in the orchestral canon. Schubert’s complete symphonies are performed here by the legendary Staatskapelle Dresden under the inspired direction of celebrated conductor Herbert Blomstedt, praised by Gramophone for his “incomparably refined sensitivity and canny interpretative prowess”. Other information: – Recordings made between 1978 and 1981 at the Lukaskirche in Dresden. – “Probably the finest, most consistent Schubert cycles available” (David Hurwitz, Classicstoday.com, performance: 10).   00:00:00

Symphony No. 1 in D Major, D. 82: I. Adagio – Allegro vivace 00:10:15 Symphony No. 1 in D Major, D. 82: II. Andante 00:18:57 Symphony No. 1 in D Major, D. 82: III. Menuetto. Allegro 00:25:06 Symphony No. 1 in D Major, D. 82: IV. Allegro vivace 00:31:41 Symphony No. 2 in B-Flat Major, D. 125: I. Largo – Allegro vivace 00:42:10 Symphony No. 2 in B-Flat Major, D. 125: II. Andante 00:51:04 Symphony No. 2 in B-Flat Major, D. 125: III. Menuetto. Allegro vivace 00:54:48 Symphony No. 2 in B-Flat Major, D. 125: IV. Presto vivace 01:00:43 Symphony No. 3 in D Major, D. 200: I. Adagio maestoso – Allegro con brio 01:10:22 Symphony No. 3 in D Major, D. 200: II. Allegretto 01:14:50 Symphony No. 3 in D Major, D. 200: III. Menuetto. Vivace 01:18:57 Symphony No. 3 in D Major, D. 200: IV. Presto vivace 01:23:44 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: I. Adagio molto 01:33:32 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: II. Andante 01:43:05 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: III. Menuetto. Allegro vivace 01:46:25 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: IV. Allegro 01:54:09 Symphony No. 5 in B-Flat Major, D. 485: I. Allegro 02:01:20 Symphony No. 5 in B-Flat Major, D. 485: II. Andante con moto 02:12:09 Symphony No. 5 in B-Flat Major, D. 485: III. Menuetto. Allegro molto 02:17:22 Symphony No. 5 in B-Flat Major, D. 485: IV. Allegro vivace 02:23:20 Symphony No. 6 in C Major, D. 589: I. Adagio – Allegro 02:31:21 Symphony No. 6 in C Major, D. 589: II. Andante 02:37:44 Symphony No. 6 in C Major, D. 589: III. Scherzo. Presto 02:44:04 Symphony No. 6 in C Major, D. 589: IV. Allegro moderato 02:53:32 Symphony No. 8 in B Minor, D.759 ‘Die Unvollendete’: I. Allegro moderato 03:05:05 Symphony No. 8 in B Minor, D.759 ‘Die Unvollendete’: II. Andante con moto 03:17:47 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: I. Andante – Allegro ma non troppo 03:32:30 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: II. Andante con moto 03:48:24 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: III. Scherzo. Allegro vivace 03:59:21 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: IV. Finale. Allegro vivace Artist: Staatskappelle Dresden Herbert Blomstedt cunductor

Gary Ewer
Published on Jan 16, 2019

See Gary Ewer’s songwriting ebooks: http://www.secretsofsongwriting.com/p…. And check out “The Essential Secrets of Songwriting” blog at http://www.secretsofsongwriting.com

If you check out “Greatest Songs Ever” lists, you’ll almost always notice that the majority of the songs are there, at least in part, because of their excellent lyrics. In this video, we take a look at five characteristics of what makes a lyric great. You’ll learn about style of writing, emotional content, imagery, and much more. If you feel inspired to take your lyric writing to a higher level, start with the basics as described here in this video.

Jazz|ᴳᴿᴱᴱᴺ
Published on Mar 26, 2014

Michel Petrucciani – Full Length Concerts – http://bit.ly/1smggLE