Alternative Music Official

01 – The Radiant Return 02 – In Present Space 03 – Reflection in Ascension

Created by Steve Roach at the Timehouse April 2020 Mastered by Howard Givens – Spotted Peccary Studios NW, Graphic design by Sam Rosenthal Portland, Oregon © 2020 Soundquest Music BMI Dedicated to Sylvia Roach… Tucson, Arizona 🇺🇸

· ambient, immersive, drone, soundscape. #SteveRoach#ASoulAscends

roger bridgland

Prelude & Liebstod from Tristan und Isolde Leonard Bernstein (conductor) Boston Symphony Orchestra

2011 Symposium2

Mr. A’s Music Place

Elsewhere in this blog, I have written about the strengths and weaknesses of some of the rhythm syllables systems in use. (See my post “A Review of Rhythm Syllables Systems.”) These included Gordon, Eastman, Takadimi, Kodaly, and Orff rhythm teaching systems. Of these, I prefer the Gordon and Eastman systems, because both the ictus and its first division always have the same syllable, which makes the rhythmic function clear. Today I will discuss the so-called French time names, which are really another set of rhythm syllables.

The French time names were “translated” into English by Curwin, whose work became popularly known as the Kodaly system. The two systems, French time names and Curwin/Kodaly system, are fundamentally the same. In this system, the ictus is always taa. Like the Gordon and Eastman systems, this keeps the function of the ictus clear. After that, though, things begin to become a bit muddled. When the beat is divided into two, as when the ictus is a quarter note and the division is two eighth notes, the latter is called taa tay, but when the rhythm is an eighth followed by two sixteenths, the first sixteenth, which is in the same rhythmic position as the second eighth note in taa tay, is this time called teh. As with Kodaly syllables a note with the same rhythmic function gets a different name when it is a sixteenth note compared to when it is an eighth note. This confuses the learning of rhythms, because we can only tell what kind of note is being chanted, but not where it is located within the beat. Naming notes after the kind of note rather than after function continues throughout the French time names. Four sixteenth notes are ta fa teh fee, two sixteenths and an eighth are ta fa tay, and a dotted eighth and sixteenth is taa fee.

In compound time, things get more confusing. Remember that in simple time, four sixteenth notes were ta fa teh fee. In compound time, the first three syllables are reused, making no distinction between simple and compound meter. The six sixteenth notes are ta fa teh fe ti fee. Apparently “fee” is reserved for the last sixteenth in a group of sixteenths, regardless of how many there are. Three eighth notes are taa tay tee, reusing the taa tay from simple meter, and then adding on tee.



French Time Names


Portland Youth Philharmonic

Instrumental demonstrations prepared by the sections of the Portland Youth Philharmonic. These are done annually by the members of the orchestra for PYP’s children’s concerts, during which we perform for 10,000 schoolchildren at the Arlene Schnitzer Concert Hall.

Flutes 1:49 Oboes 2:47 Clarinets 3:47 Bassoons 4:46 Low Brass 5:49 Trumpets 6:26 Horns 7:26 Percussion 8:25 Harp 9:34 Piano 10:24 Double Bass 11:06 Cello 12:26 Viola 13:36 Violin 14:30 May 3, 2015 PYP Spring Concert


Juxtaposition by Michael Oare

Hal Leonard Concert Band

Three Trails Turning West by Richard L. Saucedo

Hal Leonard Concert Band

Tangents by Michael Oare

Hal Leonard Concert Band



The Universe In Me

July 1, 2020

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Walter Bergamann

Original songs composed by Fearless Motivation Instrumentals

I Am Me…

Back Yourself

Rick Beato

BECOME A PATRON → In this episode of Everything Music we explore the concept that Dissonance = Emotion. This is Part 2 of my film scoring tutorial. THE BEATO EAR TRAINING PROGRAM: BUY THE BEATO BOOK HERE → SUBSCRIBE HERE → My Links to Follow: YouTube –

Adam Neely

These music theory and composition books were enormously influential on my development as a musician in one way or another. They came at the right time for me – maybe they’ll come at the right time for you too! If you decide to check them out, do me a favor and click my affiliate links below!

Johann Sebastian Bach (1685-1750) violin concerto in A minor BWV 1041 Movement 1 : Allegro Movement 2 : Andante Movement 3 : Allegro assai BACH VIOLIN CONCERTO’S: BWV 1041 in A minor :… BWV 1042 in A major :… BWV 1043 double violin concerto : Mvt1+2… Mvt3…

Round Top Festival Institute

Saturday July 7, 2018 Round Top Music Festival Festival Concert Hall Andrew Parker, oboe; Kristin Wolfe Jensen, bassoon; YiQiao Li, piano

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Keith Jarret Trio – Georgia On My Mind


Piano – Keith Jarrett

Edmonton Symphony Orchestra


Happy Birthday! – Jazzy Piano Arrangement by Jonny May

Jonny May

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from Leonard Bernstein and the New York Philharmonic: The Creative Performer Aired January 31, 1960

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Video on functionality:… Video on Secondary Chords:… Video on Passing Chords:… Video on Borrowed Chords:…

This Jazz Piano Tutorial is about Analysing a Chord Progression (AKA Harmonic Analysis).

In this lesson I plan to show you how to analyse a chord progression and discuss how you can use this information to improvise. And we are going to use the first half of the Jazz Standard My Romance as our example.

Analysing a chord progression is partially subjective. There are a number of different ways to analyse the same chord progression – so the way I’m going to do it is not the only way you can do it. I’ve got my own personal preferences and biases which I will explain as we go. And unfortunately, learning how to analyse a progression well only comes with practice. There are certain patterns and clichés that you discover only by analysing lots of different Jazz Standards.

When analysing a chord progression, take the following general steps: – Analyse the overall Form of the song; – Analyse the First Level Chord Progression – this looks at each individual chord as a separate, standalone entity; – Analyse the Second Level Chord Progression – this looks at only the structurally important chords and functionality, ignoring immaterial passing chords. But what is ‘important’ and what is ‘unimportant’ is to an extent subjective.

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Gustav Mahler Symphony No 4 1 Bedächtig, nicht eilen 2 In gemächlicher Bewegung, ohne Hast 3 Ruhevoll, poco adagio 4 Sehr behaglich

Magdalena Kožená, mezzo-soprano Lucerne Festival Orchestra Claudio Abbado, conductor Live recording. Lucerne, August 2009