14-tet Album "NANA WODORI" Cross-Fade Demo
- Length: 2:2
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- Author: knowsur
split-notes.com I released an album "NANA WODORI" at Split Notes (microtonal netlabel). This album is composed of a mode using the 7 tone equal temperament (7-tet) as a diatonic scale and 14-tet as a chromatic scale. I focused on 7-tet scale as a means for making danceable music. This album consists of only 14-tet notes and iELECTRIBE sounds.
Richard Wagner - Tristan und Isolde - act 1^ part 6
- Length: 10:59
- Rating: 5.0' max='5' min='1' numRaters='2' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 9
- Author: neuIlaryRheinKlange
"Herrn Tristan bringe meinen gruss"/"Hortest du nicht? Hier bleib' ich"/"Begehrt, herrin, was ihr wunscht". "Tristan und Isolde", german opera in three acts. Music and text by Richard Wagner (1813-1883). In 1854 Wagner finds out Schopenhauer's philosophy, which shows music as the only way of expressing the deep sense of existence: it is so that the composer grants priority to music. In some of his essaies, Wagner defines "Musikdrama" as "the acts music made visible", in opposition to the merely theatrical drama, based on the simple representation of the actions. Moreover the concept of "Gesamtkunstwerk", whose subject must be inspired by the myth, comes out and it needs a poetical language of its own, that Wagner finds in the "Stabreim", a type of versification marked by allitterations, which reminds the verses of the Nordic sagas; so the libretto acquires great importance and word merges with music. In fact Wagner gives up the succession of arias, which harms the narrative fluency: he wants a drama and a music united in an unstoppable and continuos movement; to structure this, Wagner makes large use of the leitmotiv, a sort of recurrent motif formed by short musical cells which represents a character, an object, a feeling; during the opera, every leitmotiv is subjected to a steady metamorphosis, to an almost symphonic development and it becomes one of the yarns of an exceptionally rich warp. It follows that the orchestra acquires an essential role because it must unfold ...
Richard Wagner - Tristan und Isolde - act 1^ part 5
- Length: 10:14
- Rating: 5.0' max='5' min='1' numRaters='3' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 27
- Author: neuIlaryRheinKlange
"Welcher wahn! Welch' eitles zurnen!"/"Kennst du der mutter kunste nicht?"/"Auf! Auf! ihr frauen". "Tristan und Isolde", german opera in three acts. Music and text by Richard Wagner (1813-1883). In 1854 Wagner finds out Schopenhauer's philosophy, which shows music as the only way of expressing the deep sense of existence: it is so that the composer grants priority to music. In some of his essaies, Wagner defines "Musikdrama" as "the acts music made visible", in opposition to the merely theatrical drama, based on the simple representation of the actions. Moreover the concept of "Gesamtkunstwerk", whose subject must be inspired by the myth, comes out and it needs a poetical language of its own, that Wagner finds in the "Stabreim", a type of versification marked by allitterations, which reminds the verses of the Nordic sagas; so the libretto acquires great importance and word merges with music. In fact Wagner gives up the succession of arias, which harms the narrative fluency: he wants a drama and a music united in an unstoppable and continuos movement; to structure this, Wagner makes large use of the leitmotiv, a sort of recurrent motif formed by short musical cells which represents a character, an object, a feeling; during the opera, every leitmotiv is subjected to a steady metamorphosis, to an almost symphonic development and it becomes one of the yarns of an exceptionally rich warp. It follows that the orchestra acquires an essential role because it must unfold most of ...
Autoharp Blues Song.MOV
- Length: 2:45
- Rating: 5.0' max='5' min='1' numRaters='1' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 81
- Author: Bobtheautoharp
A song that I 'wrote' telling of the trials and tribulations of playing the autoharp. Played on an F/C diatonic D'Aigle Desert Rose, in C.
Richard Wagner - Tristan und Isolde - act 1^ part 4
- Length: 10:42
- Rating: 5.0' max='5' min='1' numRaters='3' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 18
- Author: neuIlaryRheinKlange
"Wie lachend sie mir lieder singen"/"O blinde augen! Blode herzen!". "Tristan und Isolde", german opera in three acts. Music and text by Richard Wagner (1813-1883) In 1854 Wagner finds out Schopenhauer's philosophy, which shows music as the only way of expressing the deep sense of existence: it is so that the composer grants priority to music. In some of his essaies, Wagner defines "Musikdrama" as "the acts music made visible", in opposition to the merely theatrical drama, based on the simple representation of the actions. Moreover the concept of "Gesamtkunstwerk", whose subject must be inspired by the myth, comes out and it needs a poetical language of its own, that Wagner finds in the "Stabreim", a type of versification marked by allitterations, which reminds the verses of the Nordic sagas; so the libretto acquires great importance and word merges with music. In fact Wagner gives up the succession of arias, which harms the narrative fluency: he wants a drama and a music united in an unstoppable and continuos movement; to structure this, Wagner makes large use of the leitmotiv, a sort of recurrent motif formed by short musical cells which represents a character, an object, a feeling; during the opera, every leitmotiv is subjected to a steady metamorphosis, to an almost symphonic development and it becomes one of the yarns of an exceptionally rich warp. It follows that the orchestra acquires an essential role because it must unfold most of the action, the evolution of the ...
Richard Wagner - Tristan und Isolde - act 1^ part 3
- Length: 7:54
- Rating: 5.0' max='5' min='1' numRaters='2' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 19
- Author: neuIlaryRheinKlange
"Hab' acht, Tristan"/"Weh! Ach wehe!". "Tristan und Isolde", german opera in three acts. Music and text by Richard Wagner (1813-1883). In 1854 Wagner finds out Schopenhauer's philosophy, which shows music as the only way of expressing the deep sense of existence: it is so that the composer grants priority to music. In some of his essaies, Wagner defines "Musikdrama" as "the acts music made visible", in opposition to the merely theatrical drama, based on the simple representation of the actions. Moreover the concept of "Gesamtkunstwerk", whose subject must be inspired by the myth, comes out and it needs a poetical language of its own, that Wagner finds in the "Stabreim", a type of versification marked by allitterations, which reminds the verses of the Nordic sagas; so the libretto acquires great importance and word merges with music. In fact Wagner gives up the succession of arias, which harms the narrative fluency: he wants a drama and a music united in an unstoppable and continuos movement; to structure this, Wagner makes large use of the leitmotiv, a sort of recurrent motif formed by short musical cells which represents a character, an object, a feeling; during the opera, every leitmotiv is subjected to a steady metamorphosis, to an almost symphonic development and it becomes one of the yarns of an exceptionally rich warp. It follows that the orchestra acquires an essential role because it must unfold most of the action, the evolution of the characters, their feelings ...
Richard Wagner - Tristan und Isolde - act 1^ part 2
- Length: 10:44
- Rating: 5.0' max='5' min='1' numRaters='1' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 31
- Author: neuIlaryRheinKlange
"Westwarts schweift der blick"/"Frisch weht der wind der heimat". "Tristan und Isolde", german opera in three acts. Music and text by Richard Wagner (1813-1883). In 1854 Wagner finds out Schopenhauer's philosophy, which shows music as the only way of expressing the deep sense of existence: it is so that the composer grants priority to music. In some of his essaies, Wagner defines "Musikdrama" as "the acts music made visible", in opposition to the merely theatrical drama, based on the simple representation of the actions. Moreover the concept of "Gesamtkunstwerk", whose subject must be inspired by the myth, comes out and it needs a poetical language of its own, that Wagner finds in the "Stabreim", a type of versification marked by allitterations, which reminds the verses of the Nordic sagas; so the libretto acquires great importance and word merges with music. In fact Wagner gives up the succession of arias, which harms the narrative fluency: he wants a drama and a music united in an unstoppable and continuos movement; to structure this, Wagner makes large use of the leitmotiv, a sort of recurrent motif formed by short musical cells which represents a character, an object, a feeling; during the opera, every leitmotiv is subjected to a steady metamorphosis, to an almost symphonic development and it becomes one of the yarns of an exceptionally rich warp. It follows that the orchestra acquires an essential role because it must unfold most of the action, the evolution of the ...
IMTCP (Interactive Music Technology Curriculum Project ) (2010) imtcp.org | eamir.org
- Length: 9:30
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- Views: 17
- Author: vjmanzo
Tags: IMTCP interactive music technology EAMIR VJ Manzo Max/MSP music education
IMTCP (2010) was a research project for teaching musical concepts to non-traditional music students by using non-traditional software-based musical instruments. By using original music technology software as adaptive instruments (by EAMIR), middle-school and high school students participating in a week-long summer camp at Rowan University learned about diatonic chord functions, chord progressions, harmonic ear-training, and harmonic direction tendencies, and used this knowledge to compose original music. For more information, visit www.imtcp.org or http
Richard Wagner - Tristan und Isolde - act 1^ part 1
- Length: 11:1
- Rating: 5.0' max='5' min='1' numRaters='4' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 55
- Author: neuIlaryRheinKlange
"Vorspiel" (Prelude). "Tristan und Isolde", german opera in three acts. Music and text by Richard Wagner (1813-1883). In 1854 Wagner finds out Schopenhauer's philosophy, which shows music as the only way of expressing the deep sense of existence: it is so that the composer grants priority to music. In some of his essaies, Wagner defines "Musikdrama" as "the acts music made visible", in opposition to the merely theatrical drama, based on the simple representation of the actions. Moreover the concept of "Gesamtkunstwerk", whose subject must be inspired by the myth, comes out and it needs a poetical language of its own, that Wagner finds in the "Stabreim", a type of versification marked by allitterations, which reminds the verses of the Nordic sagas; so the libretto acquires great importance and word merges with music. In fact Wagner gives up the succession of arias, which harms the narrative fluency: he wants a drama and a music united in an unstoppable and continuos movement; to structure this, Wagner makes large use of the leitmotiv, a sort of recurrent motif formed by short musical cells which represents a character, an object, a feeling; during the opera, every leitmotiv is subjected to a steady metamorphosis, to an almost symphonic development and it becomes one of the yarns of an exceptionally rich warp. It follows that the orchestra acquires an essential role because it must unfold most of the action, the evolution of the characters, their feelings and their impulse ...
hohner diatonic 72 buttons
- Length: 0:24
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- Views: 19
- Author: charliepiper41
hohner diatonic 72 buttons
베이스 기타 배우기 트라이어드(Triad) #2 - 메이저 트라이어드(Major Triad) 강좌
- Length: 0:46
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- Views: 10
- Author: MotorFingerNet
Tags: 베이스 베이스기타배우기 베이스기타강좌 트라이어드 메이저트라이어드 코드톤 모터핑거 베이스기타독학 다이어토닉 Bass 베이스기타 기타악보 기타코드
www.motorfinger.net 트라이어드(Triad) 두 번째 시간입니다. 지난 시간 '트라이어드의 종류'와 '다이어토닉 트라이어드 코드'(Diatonic Triad Chord) 대해 배웠는데요, 이번시간에는 메이저 트라이어드(Major Triad)의 코드 톤(Chord Tone)을 연습해 보도록하겠습니다. 우리가 앞으로 접하게 될 많은 코드(Chord)와 스케일(Scale)은 이론으로 배운 뒤, 악기와 접목시키는 과정이 매우 중요합니다. 음악 이론과 실제를 따로 생각해서는 전혀 응용이 되지 않기 때문이죠. 그러므로 우리의 손뿐만 아니라 우리의 귀도 익숙하게 만드는 코드 톤(Chord Tone) 연습, 스케일 연습은 꼭 필요한 과정입니다. 익숙해지는 시간들이 지나면 연주 중에 자연스레 코드와 스케일을 응용할 수 있게 됩니다. 예를 들어, 연주중에 G 메이저 트라이어드 코드가 나오는 순간 코드 톤을 순간적으로 떠올리거나 지판에서의 손모양을 기억하여 반사적으로 연주 할 수 없다면 그 마디는 지나가 버리고 맙니다. 그렇게되면 늘 치던 베이스 라인 밖에 칠질 못합니다. 이를 깰 수 있는 방법은 스케일과 코드 톤 연습인 것이죠. 그럼 시작해 볼까요? ^^ 강좌 내용 1. 메이저 트라이어드 코드 톤(Chord Tone)과 전위(Inversion) 2. 3개의 블록에서의 메이저 트라이어드 코드 톤 연습 3. 각 키(Key)별 메이저 트라이어드 코드 톤 연습 강좌 바로가기 www.motorfinger.net
Lux aeterna from requiem mass composed by Man-Ching Donald Yu
- Length: 4:50
- Rating: ( ratings)
- Views: 8
- Author: mozartdonaldyu
Tags: Lux Aeterna requiem mass modern choral music classical music sacred music Hong Kong composer
Chorus: Resonance Chanters; Conductor: Esmond Lim; Piano: Donald Yu Lux Aeterna (chorus) begins with a majestic theme which is gravitationally pulled to E-flat. After passing through several imitative passages and fused diatonic and chromatic passages, the music lands on the tone D which brings back the opening figure of the introduction of the requiem aeternam. The chromatic theme in the requiem aeternam is brought back near the end of the piece. 領主詠一曲由一個莊嚴主題引進，其後全音元素和半音元素相繼引進並縱橫交錯地交織在一起，其後第一樂章進堂詠之元素相繼再現，在全首樂曲起了重要的首尾呼應作用。
Lacrimosa from requiem mass composed by Man-Ching Donald Yu
- Length: 2:13
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- Views:
- Author: mozartdonaldyu
Tags: Lacrimosa requiem mass modern choral music classical music sacred music Hong Kong composer
Soloist: Jimmy Chan; Chorus: Resonance Chanters; Conductor: Esmond Lim Lacrimosa (chorus and soloist) is composed for bass voice and the choir. The chromatic vocal line is accompanied by the chromatic accompanied 4-note motivic figure. Approaching the end of the piece, the solo chromatic vocal line blends with the emerged background diatonic choral parts and they end the music in a peaceful manner. 痛哭之日一曲是為男低音和合唱而寫的，富有半音性之深沈及帶有悲怨之旋律由鋼琴四音音形動機細胞襯托。樂曲結尾時悠長的女聲合唱慢慢地唱出並加以點綴，為死難者帶來平靜的一刻。
Training Guitar Software - Fretboard Masterclasses - Superb Guitarist / Musician Software
- Length: 4:34
- Rating: ( ratings)
- Views:
- Author: QuantumOCB
Tags: guitar lesson blues bb king bbking chords berklee playing music instruments free video expertvillage Acoustic Electric Reverb Echo Delay Filter Flanger Sound wave Sine Lessons Technology Studio Oldiies Jazz Trumpet Violin Instrument Gibson Epiphone Play Bass Learn Teach String Jimmy Hendrix Dragonforce
hulksell76.PETTSOFT.hop.clickbank.net Are You Confused by the Guitar Fretboard? You're not alone! I've been playing the guitar for over 20 years, but a few years ago I decided that I wasn't playing as well as I wanted to. After all, when you've been doing something for over 20 years, you should have become pretty good at it, right? So, I decided to sit down and really analyze my playing and try to discover what was holding me back, and you know what I discovered? I didn't really understand the fretboard! http hulksell76.PETTSOFT.hop.clickbank.net Here is a brief overview of the topics covered by Guitar Notes Master • Open Strings • Root Shapes • Note Names and Finding Notes on the Fretboard • Diatonic Scales (Major and Minor Scales) • Pentatonic Scales • Pentatonic Lead Patterns • Intervals • Triads - Arpeggios and Chords • Seventh Arpeggios and Chords • Other Chord Types - Extended (eg 9th, 11th), Suspended Chords, 6, 6/9, Add9, Slash Chords and Power Chords • Modes - Dorian, Phrygian, Lydian, Mixolydian, Locrian • Other Scales - Blues Scales, Harmonic and Melodic Minor, Phrygian Dominant Mode, Whole Tone and Diminished Scales hulksell76.PETTSOFT.hop.clickbank.net
Valse Triste - Accordéon Diatonique
- Length: 1:47
- Rating: 5.0' max='5' min='1' numRaters='3' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 61
- Author: HectorAwol
Tags: French Waltz Valse Triste accordeon diatonique button accordion diatonic melodeon two double row aussie man beat
Australian Hector plays this lovely French waltz on the diatonic button accordion (melodeon). Enjoy! September, 2010.
Rex, Recordare from Requiem Mass composed by Man-Ching Donald Yu
- Length: 8:11
- Rating: ( ratings)
- Views: 3
- Author: mozartdonaldyu
Tags: classical religion requiem mass rex recordare sacred choral music Hong Kong choral music Hong Kong composer Man-Ching Donald Yu
Chorus: Resonance Chanters, soprano: Jeffie Leung, Bass: Jimmy Bass Rex tremendae (chorus) begins with the three-note rhythmic motive and this three-note rhythmic motive continues to develop and reuse throughout the whole piece. The music arrives on the tone B by means of contracting wedge, where the higher and lower voices are pulled to the tone B in opposite direction. The next section immediately follows and the voices enter contrapuntally. The melodies are in Phrygian mode on tone A. Soon the music becomes more chromatic while blending with some whole-tone elements. The music returns to diatonic at the end. 威嚴的君主一曲開始時由三連音節奏動機來引進而此節奏動機在貫穿整首樂曲起了統一性的作用。樂曲開始時全聲部輝煌地引進，其氣氛令人不禁想起莫札特安魂曲同一樂章，旋律在中段時反向收縮至降Ｂ音上，緊接而來的Ａ音開始另一段富有對位性的樂思，旋律結構乃屬PHRYGIAN MODE。樂曲末段之音樂元素帶有半音性而主題在結尾時再次引進。 6). Recordare (soloists) is composed for soprano solo and bass solo. The sublime and diatonic first section shows contrast to the rather chromatic second section. 慈悲的耶穌是為女高音和男低音而創作。音樂首段略顯淒美而音樂元素則建基於新調性技巧上，歌唱部份旋律動人。經過簡短的間奏後，音樂語言漸趨無調性和半音性但不失旋律抒情之元素。
Lux Aeterna from requiem Mass composed by Man-Ching Donald Yu
- Length: 5:19
- Rating: ( ratings)
- Views: 6
- Author: mozartdonaldyu
Tags: Lux Aeterna Requiem Mass Sacred Choral Music Hong Kong composer Man-Ching Donald Yu
Lux Aeterna (chorus) begins with a majestic theme which is gravitationally pulled to E-flat. After passing through several imitative passages and fused diatonic and chromatic passages, the music lands on the tone D which brings back the opening figure of the introduction of the requiem aeternam. The chromatic theme in the requiem aeternam is brought back near the end of the piece. 領主詠一曲由一個莊嚴主題引進，其後全音元素和半音元素相繼引進並縱橫交錯地交織在一起，其後第一樂章進堂詠之元素相繼再現，在全首樂曲起了重要的首尾呼應作用。 Lux Aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam, dona eis, Domine, et lux perpetua luceat eis. (十四)領主詠主！願永遠的光輝照耀他們， 使他們永遠與主的聖人為伍， 因為主是慈悲的。 主！請賜給他們以永遠的安息， 願永遠的光輝照耀他們。
Sanctus from Requiem Mass composed by Man-Ching Donald Yu
- Length: 2:19
- Rating: ( ratings)
- Views: 10
- Author: mozartdonaldyu
Tags: Sanctus Requiem Mass Sacred Choral Music Hong Kong Composer Man-Ching Donald Yu
Premiere: Resonance Chanters; Conductor: Esmond Lim; Pianist: Donald Yu Sanctus (chorus) opens with the perfect 4th melodic intervals in the vocal part. Soon, each voice enters imitatively in a mysterious manner while dissonant sounds are generated. The harmonic language of the piece is gradually transformed from diatonic to extremely chromatic where the climax occurs. The glissando vocal extended technique is employed at the highest registration where it brings the music back to a calmer state. The music ends with the opening diatonic materials. 聖哉經一曲開始時，全聲部唱出莊嚴的主題---萬有的天主，此主題之動機音核是全四度音程，其後各聲部以模彷進行的方式進入，並將音樂推進至一個半音性的高潮，並加上前衛的滑音技巧。全四度音程之主題再次在樂曲結尾重現。 Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. (十二)聖哉經聖、聖、聖上主，萬有的天主。 你的光榮充滿天地， 歡呼之聲，響徹雲霄。
Lacrimosa from requiem mass composed by Donald Yu
- Length: 2:8
- Rating: ( ratings)
- Views: 2
- Author: mozartdonaldyu
Tags: Lacrimosa Requiem mass sacred song Hong Kong composer Man-Ching Donald Yu
Bass: Jimmy Chan; Chorus: Resonance Chanters; Piano: Donald Yu .Lacrimosa (chorus and soloist) is composed for bass voice and the choir. The chromatic vocal line is accompanied by the chromatic accompanied 4-note motivic figure. Approaching the end of the piece, the solo chromatic vocal line blends with the emerged background diatonic choral parts and they end the music in a peaceful manner. 痛哭之一曲是為男低音和合唱而寫的，富有半音性之深沈及帶有悲怨之旋律由鋼琴四音音形動機細胞襯托。樂曲結尾時悠長的女聲合唱慢慢地唱出並加以點綴，為死難者帶來平靜的一刻。 8) Lacrimosa Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce, Deus, pie Jesu Domine, dona eis requiem. Amen. (八)痛哭之日這是可痛哭的日子， 死人要從塵埃中復活， 罪人要被判處。 求你予以宽赦。求你予以寬赦。 主！ 仁慈耶稣！ 求你賜他們以安息。 阿門。
Recordare from requiem mass composed by Man-Ching Donald Yu
- Length: 5:40
- Rating: ( ratings)
- Views: 3
- Author: mozartdonaldyu
Tags: Recordare Requiem Mass Sacred music Hong Kong choral music Hong Kong composer Man-Ching Donald Yu
Soprano: Jeffie Leung; Bass: Jimmy Chan; Piano: Donald Yu Recordare (soloists) is composed for soprano solo and bass solo. The sublime and diatonic first section shows contrast to the rather chromatic second section. 慈悲的耶穌是為女高音和男低音而創作。音樂首段略顯淒美而音樂元素則建基於新調性技巧上，歌唱部份旋律動人。經過簡短的間奏後，音樂語言漸趨無調性和半音性但不失旋律抒情之元素。 6) Recordare Recordare, Jesu pie, quod sum causa tuae viae; ne me perdas illa die. Quaerens me, sedisti lassus, redemisti crucem passus; tantus labor non sit cassus. Juste judex ultionis, donum fac remissionis ante diem rationis. Ingemisco, tamquam reus: culpa rubet vultus meus; supplicanti parce, Deus. Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti. Preces meae non sunt dignae, sed tu, bonus, fac benigne, ne perenni cremer igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra. (六)慈悲的耶穌慈悲的耶穌，請你懷念， 你曾為我降來人間， 到了那天，勿殄滅我。 你為覓我，受盡辛勞； 又為救我，被釘死於十字架上。 但願這些苦難，並不付諸東流。 報應的審判者是公正的， 願在清算的期限前， 恩賜寬恕我的罪愆。 我如囚犯，聲聲長嘆， 因我有罪，滿面羞慚； 天主！懇求你，饒恕我吧！ 你曾赦免了瑪利亞-瑪達雷娜， 你又憐恤了右盜， 求你也給我一線希望。 我的禱告固不足取； 但你是慈善的，請你包涵， 勿使我墮入永火。 請你使我側身綿羊群內， 使我能脫離山羊， 請將我列於你右翼之中。
Arthur Berger - Suite for Piano Four-Hands
- Length: 10:37
- Rating: 5.0' max='5' min='1' numRaters='2' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 28
- Author: Epogdous
Tags: arthur berger suite piano duo duet four-hands 4-hands quattro mani american neoclassicism stravinsky copland
Arthur Berger (1912-2003) Suite for Piano Four-Hands I. Capriccio 0:00 II. Aria 3:14 III. Rondo 6:18 Rodney Lister & David Kopps, piano duet Art: "Brace" (1962) by Robert Rauschenberg Berger studied at New York University and also at Harvard University under Piston. He has served as a professor at several universities, including the Juilliard School and Brandeis University. In addition to these duties, Berger has been a music critic and editor, as well as a contributor to several papers and peiodocals. All of these activities have been for the purpose of broadening his musical understanding and creativity, or to advance American composers. His early influences were Stravinsky and Schoenberg, and later Webern. One of his main compositional concerns has been that of musical space, vertical and horizontal. He makes use of very wide linear leaps such as 7ths and 9ths and considers these to conjunct intervals. His goal in this matter is not to create abstract sound but to enhance the beauty of pitch relationships. Though a diatonic composer early on, he often displaced and fragmented chords to challenge the vertical space. His later works have moved away from serialism, but he has continued his effort to create spacial effects through the use of tone-cluster 'cells', or pitch classes that are diffused by shifting octave arrangements. ~ Lynn Vought
Rex from requiem mass composed by Man-Ching Donald Yu
- Length: 2:0
- Rating: ( ratings)
- Views: 4
- Author: mozartdonaldyu
Tags: Rex requiem mass choral music contemporary choral music Hong Kong composer Man-Ching Donald Yu
Premiere: Resonance Chanters, Conductor: Esmond Lim, Piano: Donald Yu Rex tremendae (chorus) begins with the three-note rhythmic motive and this three-note rhythmic motive continues to develop and reuse throughout the whole piece. The music arrives on the tone B by means of contracting wedge, where the higher and lower voices are pulled to the tone B in opposite direction. The next section immediately follows and the voices enter contrapuntally. The melodies are in Phrygian mode on tone A. Soon the music becomes more chromatic while blending with some whole-tone elements. The music returns to diatonic at the end. 威嚴的君主一曲開始時由三連音節奏動機來引進而此節奏動機在貫穿整首樂曲起了統一性的作用。樂曲開始時全聲部輝煌地引進，其氣氛令人不禁想起莫札特安魂曲同一樂章，旋律在中段時反向收縮至降Ｂ音上，緊接而來的Ａ音開始另一段富有對位性的樂思，旋律結構乃屬PHRYGIAN MODE。樂曲末段之音樂元素帶有半音性而主題在結尾時再次引進。 5) Rex tremendae Rex tremendae majestatis, qui salvandos savas gratis, salve me, fons pietatis. (五)威嚴的君主威嚴的君主， 你救了你所預簡的， 完全出於你白白的恩賜！ 仁慈的源泉，請你救我。
Tuba mirum from Requiem Mass composed by Man-Ching Donald Yu
- Length: 3:14
- Rating: ( ratings)
- Views: 1
- Author: mozartdonaldyu
Tags: Tuba Mirum Requiem Mass Hong Kong composer Man-Ching Donald Yu
Premiere: (Mezzo-soprano) Cynthia Luff, (Tenor) Sam Kan Tuba mirum begins with several diatonic materials and the repeated tone at the higher registers feature the trumpet sound in the Tuba Mirum. Throughout the first whole section, the 4-note ostinato cells are made up of octatonic elements while blending with the chromatic tenor part. Soon the mezzo-soprano enters the ostinatic cells are transformed into 6-note cells in which chromatic materials are employed. A lyrical duet passage between the tenor and the mezzo-soprano is generated at the end. 號角響徹四一曲開始時由全音元素來襯托而鋼琴右手部之重覆音象徵號角之響起。樂曲的第一部份，莊嚴的男高音進入而其伴奏則由四粒重覆音形細胞襯托，當女中音進入時四音音形轉形至六音音形，樂曲結尾由二重唱結束。 4) Tuba mirum Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura, judicanti responsura. Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur. Judex ergo cum sedebit, quidquid latet, apparebit, nil inultum remanebit. Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justus sit securus? (四)號角響徹四方號角響徹四方， 墓穴中的已死眾生， 都將被逼走向主的台前。 受造的都要復蘇。 答復主的審訊， 死亡和萬像都要驚惶失措。 展開記錄功過的簿冊， 罪無鉅細，無一或遺， 舉世人類都將據此裁判。 當審判者坐定後， 一切隱秘都將暴露， 無一罪行可逃遣罰。 可憐的我，那時將說什麼呢？ 義人不能安心自保， 我還向誰去求庇護？
Song writing workshop
- Length: 2:58
- Rating: ( ratings)
- Views: 2
- Author: ballsackmctit
Here Clint explains diatonic chords and the infinite power you can harn-ass
In offset 2.avi
- Length: 2:51
- Rating: ( ratings)
- Views: 177
- Author: ViktorShestakov
harmonica irish diatonic harp
Diatonic Triads Eb mayor (pag 56) William Leavitt
- Length: 1:12
- Rating: ( ratings)
- Views: 2
- Author: piccianoguitar
Tags: modern method for guitar alejandro picciano william leavitt berklee guitar solo guitar
Me grabé en un par de días en casa la primer mitad de método 2 de berklee para guitarra de Willam Leavitt , sin demasiados medios, pero me pareció muy útil para poder practicar, fui pasando página a página del tirón y si la maquinita de fotos me dejaba hacía la toma, perdón por algunos errores y espero sea útil al que lo use...después hago la segunda parte y el primer libro. Alejandro Picciano
Diatonic Triads Bb mayor (pag) 56 Willam Leavitt
- Length: 1:9
- Rating: ( ratings)
- Views: 3
- Author: piccianoguitar
Tags: modern mthod for guitar alejandro picciano william leavitt berklee music guitar
Me grabé en un par de días en casa la primer mitad de método 2 de berklee para guitarra de Willam Leavitt , sin demasiados medios, pero me pareció muy útil para poder practicar, fui pasando página a página del tirón y si la maquinita de fotos me dejaba hacía la toma, perdón por algunos errores y espero sea útil al que lo use...después hago la segunda parte y el primer libro. Alejandro Picciano
Diatonic Triads F major (pag 55) William Leavitt
- Length: 1:10
- Rating: ( ratings)
- Views:
- Author: piccianoguitar
Tags: modern method for guitar alejandro picciano william leavitt berklee
Megrabé en un par de días en casa la primer mitad de método 2 de berklee para guitarra de Willam Leavitt , sin demasiados medios, pero me pareció muy útil para poder practicar, fui pasando página a página del tirón y si la maquinita de fotos me dejaba hacía la toma, perdón por algunos errores y espero sea útil al que lo use...después hago la segunda parte y el primer libro. Alejandro Picciano
Guitar Fretboard Software - Open Strings, Root Shapes, Pentatonic Scales, Arpeggios And Chords
- Length: 4:34
- Rating: ( ratings)
- Views:
- Author: Archimonde1987
Tags: guitar lesson blues bb king bbking chords berklee playing music instruments free video expertvillage Acoustic Electric Reverb Echo Delay Filter Flanger Sound wave Sine Lessons Technology Studio Oldiies Jazz Trumpet Violin Instrument Gibson Epiphone Play Bass Learn Teach String Jimmy Hendrix Dragonforce
hulksell76.PETTSOFT.hop.clickbank.net Are You Confused by the Guitar Fretboard? You're not alone! I've been playing the guitar for over 20 years, but a few years ago I decided that I wasn't playing as well as I wanted to. After all, when you've been doing something for over 20 years, you should have become pretty good at it, right? So, I decided to sit down and really analyze my playing and try to discover what was holding me back, and you know what I discovered? I didn't really understand the fretboard! http hulksell76.PETTSOFT.hop.clickbank.net Here is a brief overview of the topics covered by Guitar Notes Master • Open Strings • Root Shapes • Note Names and Finding Notes on the Fretboard • Diatonic Scales (Major and Minor Scales) • Pentatonic Scales • Pentatonic Lead Patterns • Intervals • Triads - Arpeggios and Chords • Seventh Arpeggios and Chords • Other Chord Types - Extended (eg 9th, 11th), Suspended Chords, 6, 6/9, Add9, Slash Chords and Power Chords • Modes - Dorian, Phrygian, Lydian, Mixolydian, Locrian • Other Scales - Blues Scales, Harmonic and Melodic Minor, Phrygian Dominant Mode, Whole Tone and Diminished Scales hulksell76.PETTSOFT.hop.clickbank.net
Que Seas Dichosa on Chromatic
- Length: 0:15
- Rating: ( ratings)
- Views: 96
- Author: tavo220
Learning how to play chromatic on my own, so I'm transposing everything I know from Diatonic accordion. I'm also learning how to play with left hand, kind of difficult, not used to it. Will post more later.
Steirische-1970er-Duo Sebrich-Dreher-Diatonic-Special-Bavaria
- Length: 2:29
- Rating: 5.0' max='5' min='1' numRaters='1' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 38
- Author: jenischoldiefreak
Tags: Diatonische from Natura- Music. Urburschn.-Hanesla(-Siehe Toni Bartl und Sepp Gröbl.)
Meine alte LP-von den Werdenfelsern. Da Toni und da Franz.Das ist schon höchste Qualität,wie der Sebrich Toni die Ziachn weinen lässt. Hab schon so lange nichts mehr von dem Duo gehört.Info erwünscht. (Siehe unter Hanesla. Echt guat.
Master Guitar Software - NotesMaster Teaches Beginners Expert Techniques Fast.
- Length: 4:34
- Rating: ( ratings)
- Views:
- Author: RichWoWPlayer
Tags: guitar lesson blues bb king bbking chords berklee playing music instruments free video expertvillage Acoustic Electric Reverb Echo Delay Filter Flanger Sound wave Sine Lessons Technology Studio Oldiies Jazz Trumpet Violin Instrument Gibson Epiphone Play Bass Learn Teach String Jimmy Hendrix Dragonforce
hulksell76.PETTSOFT.hop.clickbank.net Are You Confused by the Guitar Fretboard? You're not alone! I've been playing the guitar for over 20 years, but a few years ago I decided that I wasn't playing as well as I wanted to. After all, when you've been doing something for over 20 years, you should have become pretty good at it, right? So, I decided to sit down and really analyze my playing and try to discover what was holding me back, and you know what I discovered? I didn't really understand the fretboard! http hulksell76.PETTSOFT.hop.clickbank.net Here is a brief overview of the topics covered by Guitar Notes Master • Open Strings • Root Shapes • Note Names and Finding Notes on the Fretboard • Diatonic Scales (Major and Minor Scales) • Pentatonic Scales • Pentatonic Lead Patterns • Intervals • Triads - Arpeggios and Chords • Seventh Arpeggios and Chords • Other Chord Types - Extended (eg 9th, 11th), Suspended Chords, 6, 6/9, Add9, Slash Chords and Power Chords • Modes - Dorian, Phrygian, Lydian, Mixolydian, Locrian • Other Scales - Blues Scales, Harmonic and Melodic Minor, Phrygian Dominant Mode, Whole Tone and Diminished Scales hulksell76.PETTSOFT.hop.clickbank.net
ZORAN LUPINC & NEW BELTUNA Alpstar IV D emotion
- Length: 10:32
- Rating: ( ratings)
- Views: 117
- Author: frajtonarcainfo
Tags: prof zoran lupinc beltuna alpstar IVD emotion diatonic accordion diatonična harmonika frajtonarca frajtonerca frajtonarca.info
Prof. Zoran Lupinc playing his model of diatonic accordion from Beltuna, the Alpstar IV D emotion.
Piano Diatonic Circle Chord Progression - Autumn Leaves - I Will Survive
- Length: 9:16
- Rating: 5.0' max='5' min='1' numRaters='1' rel='http://schemas.google.com/g/2005#overall ( ratings)
- Views: 246
- Author: dududavid
Tags: diatonic circle piano tutorial autumn leaves I Will survive piano chord theory piano chord progressions chord progressions chord piano how to play piano by chords falling fifths music theory how to play piano instructions piano howto how-to blues rock classical music tips & tricks educational
To read and watch the full piano lesson go to: www.piano-play-it.com In this piano lesson we'll learn about the diatonic circle chord progression and how to play it on the piano. Then I'll show you how it is played on the songs Autumn Leaves and I Will Survive. Bottom line, you get both a piano lesson and a piano tutorial in one video! This piano lesson was made by: David Yzhaki I hope you'll enjoy it... See ya in the next one!
Sneaky Sound System UFO Cover
- Length: 4:37
- Rating: ( ratings)
- Views: 11
- Author: sickbarrell
Tags: Sneaky Sound System UFO Cover
Pretty pleased with this one.I used the Yamaha rs 7000 for drums,Nord Lead 2x Rack for leads and bleepy bits.Korg MicroKorg for Bass,Vocals were cut from windows media player playing the acapella to a Boss Sp-303 sampler into verses for accuracy.The Vocals were then filtered through the Roland VP-770 Vocoder mixing the direct voice and a bit of vocoding using the diatonic auto note in chord dI did not sequence the vocals just hit the pads at the right time more fun i reckon,I was pretty happy that i got the video to synchronize too sweet!.just bought a monomachine sfx60 mk2 cant wait ti get fiddling with that...Thanks for watching....
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