Hi All, I have a guest post up on the MGRMusic.com website about a basic guitar exercise that I still use day-in and day-out. Here is the link: https://mgrmusic.com/exercise-that-builds-strength-stamina-and-accuracy/ Enjoy! Dan
String bending and ear training go hand in hand.
Piano music depends on how you hit the keys; Organ music depends on how you let go of them.
Ryan Carraher just finished a new work for solo tenor trombone entitled Alazia. "I figured I would share some thoughts and formal processes I had during the composition process."
I wanted to provide this score so we can evaluate the areas that need engraving. Here is a laundry list of things that need to be changed. You can go through the score and see how chaotic things are pre-engraving, and how much work needs to be done to make the music playable.
P.M. Joyce's work "Fairytale" is a well-polished work that would work well in a film score.
Scott Blasco's work "Queen of Heaven" is a devotional-type meditation for piano and electronics.
Reilly Spitzfaden's work Resonances is an interesting exploration of instrumental tone and gesture, a cat-and-mouse game of imitation.
Mitch Weakley's piece "Keys, Strings, Clothespins" investigates a C pentatonic scale with a flattened sixth step (Ab) through the lens of a prepared piano, and its consequent timbres.
Frustrated with the built-in sounds of Logic X and the direct-in from my amp into my interface, I needed better sound quality, more tones, and much more versatility. The Zoom G1Xon does not disappoint.
Matthew Kennedy's "Until I Say 'When'" is a breathtaking exposure of space, timbre, and mood, that is both playful and hypnotic.
We will be taking a brief detour from edgy music by exploring the world of modality, jazz, and levity.
Dale Osterman's piece Ouroboros depicts the serpent that devours its own tail. #analysis #contemporaryclassical
There are times when musical notation simply does not suffice to both technically manifest, nor artistically describe, the music that is heard. This is the case with Diogo Carvalho's piece Reveal.
Benjamin Rickevicius's "Saxophone Quartet: Leaving Day" is a charming and well-structured piece, that clearly exists more in the composer's head than in the MIDI realization. The score can be found here, and the MIDI realization, that will sound much better and more fluid in real life, can be found here: The composer clearly has a …
Composer 1's work "A Complaint" is based on William Wordsworth's poem of the same title. Please view the score here and listen to it below. This work has an apt sense of gesture, time, and structure. The opening gestures of the work return to us at the end, in a "bookending" format. However, the opening …
Kyle Grimm's music spans the gamut of media and instrumentation. A double bassist and dance collaborator, he also has experience working with ensembles and other performers. This is evident in his work "Pitchforks and Crow's Feet". The score can be found here: Pitchforks and Crow's Feet for Flute, Cello, and Bass. This work relies heavily …
Jacob Sachs-Mishalanie's work "Pole, Steam, Tree, Glass" is an inventive approach to timbre, idiomatic writing, a certain poetry, and the interaction of acoustic and electroacoustic approaches. As he writes in his program notes in the score, "Program Note: In this collection of four short pieces, I contemplate questions about electroacoustic music, searching not necessarily for …
It seems more and more that Iceland is becoming a haven for new music and new sounds in Hartford, CT. From the influence of Bjork to the Hartt School's international collaborations, the music of Iceland is seeping deeper into the Hartford area. Gísli Magnússon's piece Svartifoss depicts a waterfall in his native Iceland, and is …
Hi All, Here is another image from Steven Maheu's Elements of Creative Force. This explains how different elements can be contrasting or complementary to one another. We use the relationships between each number and another number to define if the two numbers are contrasting, or complementary. This only applies when using the same color. (We …