Jake Hertzog

ComposersForum·204 videos

Living Symphonies

June 9, 2014

nature video·186 videos

Living Symphonies is a sound installation which aims to portray a forest ecosystem in an ever changing soundscape – reflecting, in real time, the interactions of the natural world. In this film, Nature Video takes a peek under the hood of Living Symphonies, at the science which makes it possible; and asks how projects like these could influence the way that both the public and scientists see with the world around them.

Read a Q&A with sound artist Daniel Jones: http://www.nature.com/nature/journal/…

Find out more about the project: http://www.livingsymphonies.com

The Juilliard School·95 videos

In Juilliard’s Composition for Non-Composers class, students talk about composing and perform each others’ works.

Salvo Cracchiolo·6 videos


Andrew Schartmann·29 videos

This video addresses the question: what is a motive?

For more, visit – http://www.drewsical.com

NOTE:  This, to me , is a very exciting performance!  The Passion, Unity, Clarity and pure Emotional Drive propels you into a Musical Soul Experience.  Composers, please take note of Brahms’ development techniques.  The internal connection of music ideas creates a beautiful flow –  the sensation of One-ness from beginning to end of each movement.  I Hope you enjoy this performance!

Peter Limonov·3 videos

Gagliano Ensemble, St Peter’s Church, London, Belsize Park, 7th July 2012

Click this link to view this tutorial.  The author is not permitting code embedding.

Excellent lesson. Music theory explanation of what makes a melody.

calaf5·12 videos

Cornelis Jordaan·34 videos

In this very lengthy video I talk about the history of one of my commissions as well as take a look at how I went about composing one of the main themes for solo violin and orchestra.

Skip to 11:25 to jump straight into the analysis 🙂

Thanks so much for watching!

The Hollywood Reporter ·2,520 videos

Hans Zimmer (12 Years a Slave, Rush), Christophe Peck (Frozen), Henry Jackman (Captain Phillips), Thomas Newman (Saving Mr. Banks), Steven Price (Gravity) and Alan Silvestri (The Croods) join our roundtable to discuss the music in their movies.


Chord Tones and Passing Tones

The interaction of chords and melodies centers on one basic point: chord tones or passing (nonharmonic) tones. In FIGURE 11.2, each note of the major scale harmonized with its own chord. Since each melody note was found in each chord that supported it, only chord tones were used. FIGURE 11.3, “Amazing Grace,” used more than just chord tones in the harmonization; it used passing tones as well. Now revisit that example and see what’s really going on.

FIGURE 11.4 Chord and Nonchord Tones in “Amazing Grace”

In the example in FIGURE 11.4, the chord tones are highlighted and the passing or nonchord tones are printed normally. Compare the harmony to the melody, and you will see many different points of similarity. In general, for a harmony to work for any given melody, the majority of the melodic tones should be contained in the chord that supports it. There is no steadfast rule of how many tones per bar, but for music to sound consonant, the melody needs to line up with the harmony enough times to make the listener feel as if they’re in the same key. A passing tone does not necessarily have to move by step to and from a chord tone, but if you think of the odds, a triad has three notes and a scale has seven, you’re most likely using a passing tone as the triad takes three-sevenths of the scale with it and leaves three of the other four tones as passing tones. Only one tone will exist as a true non-harmonic tone, but then again, it may sound just fine


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How Music Works

May 3, 2014

How Music Works with Howard Goodall – 01 – Melody (Full Show)

How Music Works 1 – Melody – Part 2

How Music Works 1 – Melody – Part 3

How Music Works 1 – Melody – Part 4

How Music Works 1 – Melody – Part 5

How Music Works 3 – Harmony – Part 1

How Music Works 3 – Harmony – Part 2

How Music Works 3 – Harmony – Part 3

How Music Works 3 – Harmony – Part 4

How Music Works 3 – Harmony – Part 5

How Music Works – Rhythm – Accent, Syncopation

How Music Works – Bass (full)

How Music Works with Howard Goodall – 02 – Rhythm (Full Show)

Educator.com·2,429 videos

Watch more at http://educator.com/music-theory/ap-m… Other subjects include Biology, Calculus, Chemistry, Physics, Organic Chemistry, Computer Science, Statistics, Algebra 1/2, Basic Math, Pre Calculus, Geometry, and Pre Algebra.

-All lectures are broken down by individual topics
-No more wasted time
-Just search and jump directly to the answer

mocadvideo·178 videos

Educator.com·2,429 videos

Watch more at http://educator.com/music-theory/ap-m…  Other subjects include Biology, Calculus, Chemistry, Physics, Organic Chemistry, Computer Science, Statistics, Algebra 1/2, Basic Math, Pre Calculus, Geometry, and Pre Algebra.

-All lectures are broken down by individual topics
-No more wasted time
-Just search and jump directly to the answer

Edmonton Symphony Orchestra·29 videos

Ever wonder how a composer puts together a new piece? In this narrated slideshow, Robert Rival, Composer-in-Residence with the Edmonton Symphony Orchestra, opens up his sketchbook to explain the creative process behind his latest work, Whirlwind. Lucas Waldin conducts the world premiere on September 23, 2012 at the Winspear Centre in Edmonton, AB: http://edmontonsymphony.com/sunday-sh…


April 17, 2014


Wikipedoa  –  Passacaglia

The passacaglia was redefined in late 1620s by Italian composer Girolamo Frescobaldi, who transformed it into a series of continuous variations over a bass (which itself may be varied).[3] Later composers adopted this model, and by the nineteenth century the word came to mean a series of variations over an ostinato pattern, usually of a serious character.[4] A similar form, the chaconne, was also first developed by Frescobaldi. The two genres are closely related, but since “composers often used the terms chaconne and passacaglia indiscriminately […] modern attempts to arrive at a clear distinction are arbitrary and historically unfounded”.[5] In early scholarship, attempts to formally differentiate between the historical chaconne and passacaglia were made, but researchers often came to opposite conclusions. For example, Percy Goetschius held that the chaconne is usually based on a harmonic sequence with a recurring soprano melody, and the passacaglia was formed over a ground bass pattern,[6] whereas Clarence Lucas defined the two forms in precisely the opposite way.[7] More recently, however, some progress has been made toward making a useful distinction for the usage of the seventeenth and early eighteenth centuries, when some composers (notably Frescobaldi and François Couperin) deliberately mixed the two genres in the same composition.[8]