I Write The Music

R.I.P. – CHUCK BERRY

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

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Walking Bass – Part 1 with GRAMMY® Nominated Music Educator Mike Overly

Posted in Uncategorized by Higher Density Blog on September 2, 2016

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Georges Bizet – Carmen – Los Angeles Guitar Quartet –

Posted in Uncategorized by Higher Density Blog on August 15, 2016

 

 

Emotional melodic guitar solo by Stel Andre

Posted in Uncategorized by Higher Density Blog on August 13, 2016

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© Concierto de Aranjuez (1939) – Joaquín Rodrigo – DRSO – Pepe Romero – Rafael Frühbeck de Burgos

Posted in Uncategorized by Higher Density Blog on July 31, 2016

 

Meng Su Featured Soloist with Baltimore Symphony Orchestra — The Peabody Post

Posted in Uncategorized by Higher Density Blog on July 18, 2016

Meng Su (PC ’09, GPD ’11, Guitar; GPD ’15, Chamber Music) will be the featured soloist in two performances with the Baltimore Symphony Orchestra at the Joseph Meyerhoff Symphony Hall. Ms. Su, a former student of Manuel Barrueco, will perform the Concierto de Aranjuez by Joaquin Rodrigo with Nicholas Hersh conducting.

via Meng Su Featured Soloist with Baltimore Symphony Orchestra — The Peabody Post

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BB King – I Believe To My Soul – Live in Africa 1974

Posted in Uncategorized by Higher Density Blog on July 8, 2016

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Mastering Major and Minor Triads – Guitar Lesson

Posted in Uncategorized by Higher Density Blog on June 11, 2016
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Bach’s double violin concerto – as played by Grappelli/South/Reinhardt

Posted in Uncategorized by Higher Density Blog on May 16, 2016

Ambient Guitar Tip #1: A Wash Underneath Your Guitar

Posted in Uncategorized by Higher Density Blog on March 30, 2016

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Andrew Wasson – Creating a Strong Melodic Arc

Posted in Uncategorized by Higher Density Blog on March 20, 2016

Berklee Shares – Drop-3 Voicings – Guitar Lesson

Posted in Uncategorized by Higher Density Blog on March 7, 2016
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Andrew Wasson – GUITAR THEORY – Advanced Arpeggio Workout

Posted in Uncategorized by Higher Density Blog on February 17, 2016
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Isaac Albéniz – La Guitarra Soñada

Posted in Guitar by Higher Density Blog on October 2, 2015
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Classical Style Harmonics For Guitar

Posted in Music Theory by Higher Density Blog on July 24, 2015
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Tommy Emmanuel – Blues Virtuoso Guitar Solo

Posted in Blues, Guitar by Higher Density Blog on June 25, 2015
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Every Day And Every Night I Dream Of You.m4v

Posted in Jazz by Higher Density Blog on May 23, 2015

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Duško Gojković-

from the album Samba Tzigane- 2006

Duško Gojković (also spelled as Dusko Goykovich, born October 14, 1931, Jajce, Yugoslavia, now Bosnia and Herzegovina), Serbian jazz trumpeter and composer.He studied in Belgrade Music Academy from 1948 to 1953. He played trumpet in a number of jazz Dixieland bands and, though only 18 years of age, joined Big Band of Radio Belgrade. After five years spent there he grew into a seasoned musician and decided to continue his career in West Germany.In 1956 he recorded his first LP as a member of Frankfurt All Stars band. Next four years he spent as a member of Kurt Edelhagen’s orchestra as a first trumpet. In these years he played with legends such as Chet Baker or Stan Getz. In 1958 he performed at Newport Jazz Festival and drew much attention on both sides of the Ocean.

Andrew Wasson – GUITAR THEORY – Jazz Harmony Embellishments

Posted in Music Theory by Higher Density Blog on May 11, 2015

creativeguitarstudio

Sunday January 04, 2015 at: http://www.andrewwasson.com/

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: For the past three months I’ve been working on trying to play Jazz. Currently, I’m getting into creating melodies over basic Jazz chord changes. What I’d like to get better at is how embellishing and targeting works. Are roots important? Or, should I focus on the 5th, the 3rd or maybe the 7th? And, what should be done regarding extensions (9th, 11th & 13th) and also how do altered tones get targeted? Thank You.
Howard – Buffalo, NY. USA

A: When it comes to Jazz Harmony accents and embellishments, it is important to select the chord tone that will work the best for the particular melody being built. In some certain situations the chord tone for creating a nice resolution, might simply be the 3rd or the 7th. Other times it might be the 5th. If extensions are involved then perhaps the 9th, 11th or 13th will work nicely. And, quite often when it comes to altered chords, the altered ‘augmented or diminished’ chord tones are so distinct that we might find it best to target into them for the melodic embellishment that works best. In the lesson, we’ll explore each of these areas, and through testing each example, we’ll have the chance to notice how each target tone and embellishment affects both harmony and melody.

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History of the Guitar

Posted in Documentary, Education, Guitar by Higher Density Blog on March 7, 2015

David Bennett Thomas – Paths – Alto Flute, Guitar

Posted in Comp Process, Counterpoint by Higher Density Blog on February 13, 2015
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