Margaret A. Waddell, M.M., Soprano, of Columbia, Missouri performs seven chants of Saint Hildegard von Bingen, who lived from 1098-1179 in the Rhine River Valley of present-day Germany.
Chants sung are: Kyrie, O pastor animarum, O rubor sanguinis, O viridissima virga, Caritas abundat, O frondens virga and Hodie.
Instruments: Tibetan bell and singing bowls
Recorded April 2018 at Sacred Heart Catholic Church, Columbia, MO by Pat Holt.
Google Play: https://play.google.com/store/music/artist?id=Aqj2y5pcnoqv3er35x6lnyxcv3u
I had a dream that we were the same.
You breathed down my throat and I called you my own name.
Being alone might not be such a bad thing,
But being without you
You are the dream that I want every night.
Keep my back straight and fingernails clean for all of my life.
You are the song that my heart won't stop singing.
It's embarrassing to need you like this, you're maddening.
If you're just a dream,
Can you stay with me
After I wake up
God, I don't want to be
Waiting on a fantasy,
These pipe dreams are wearing me down
It's maddening, maddening
My feature from our show in Lakeside, OH.
THE MIRACLES ft. Sydney Justin:
WATCH MY FREE EAR TRAINING VIDEO SERIES::
FREE 'EAR TRAINING EXPLAINED' EBOOK:
Download my free LIBRARY MUSIC BUNDLE at:
EAR TRAINING LESSON NOTES:
Most musicians never learn to play music by ear. Not because they lack passion or don't practice, but simply because they practice things the wrong way.
It's the norm these days to tell music students to 'practice in all 12 keys'. However, playing in all 12 keys too early on just causes confusion. Most songs actually use the same few notes and chords, the only thing changing is usually the key. So it's virtually impossible to spot the recurring patterns while you're playing every piece in a different key.
Attempting to play in all 12 keys is like trying to learn 12 languages at once. And I believe that it's better for a musician to master one key, than to remain equally unaware in all 12 keys.
The other benefit to restricting playing to one key, is that it teaches you to paly music by ear. All of the time you're playing in one key, every note and chord sounds the same each time you play it. C always sounds like the root, D like the 2nd, E like the 3rd, etc. But if you then change key, suddenly each note takes on a new sound (a new 'tonal color') in the context of the new key. A note can take on 12 different colors, depending on which of the 12 keys it's played in. Ultimately your brain doesn't know which color to trust, so each new key you play in undoes the memories that had been building up from the previous key. Each note is just a muddy mix of memories - none of which stick: C sometimes sounds like the root, sometimes like the minor 3rd, sometimes like the 5th, sometimes like the major 6th, etc. But when you restrict your playing to one key, your memory of these sounds builds up naturally, unconsciously, without you having to give any conscious thought to what you're doing. After a while you'll notice that you 'just know' that that note is the root, or the major 3rd, or the minor 7th of the key. And the same for chords too.
FIXED KEY LEARNING
Instead of trying to build up your knowledge of all 12 keys, in slow motion, I suggest you double down on one key. Build your knowledge of that one key. Live and breath that one key. Dream about that one key. Listen to all music as though it's in that one key, and imagine that no other key exists.
I suggest you stick mostly to one key for 6 - 12 months.
If you enjoy the lesson I'd really appreciate a thumbs up. And please share this video with another musician who could also benefit from this information.
Copyright 2015 Julian Bradley
GIML Piano 2018!
Arr. Jan Sanborn
Don and Lori Chaffer perform a song from their new Waterdeep album and Don & Chris Cragin-Day's musical The Unusual Tale of Mary & Joseph's Baby.
Upcoming Performances of the musical:
Oklahoma City, OK • Nov 30 – Dec 3, 2017
Knoxville Tn • Dec 7 – Dec 24, 2017
For more info and tix:
Follow Don and Lori: @donchaffer @lorichaffer
Waterdeep: @waterdeepmusic (fb) @waterdeep (tw)
by Michael W. Smith, arr. Mark Hayes
First, you put your hat on
Then you fly away
Quiet now, don’t let on
That you cannot stay
Sure there’s much to miss here
But clouds have shapes like trees
And puff like cookie dough
First, just lots of small steps
Then take wing and soar
Yes, flight is full of false steps
And you can’t ignore
That life perhaps is safer when
You’re on the ground
But sky is calling you
So what else is there to do
But from gravity, unglue
Then your view is only blue
From all around.
(Music and Lyrics by Marc Chan; with Benjamin Steinhardt)
MICHAEL SPYRES singing Ferrando's aria "Un'aura amorosa" from Wolfgang Amadeus Mozart's opera COSÌ FAN TUTTE - for the first time ever with orchestra.
Recorded on 3 November 2017 at the Théâtre des Champs Elysées
READ THE DESCRIPTION FOR AN INTERVIEW WITH KAPUSTIN!
pf: Nikolai Girshevich Kapustin
I have ablolutely no idea where this recording came from. It was just hanging on the "Classics online" Russian website. The sound seems to have been reproduced from a vinyl LP, so I added a few low frequencies... there is virtually no sound compression because I carefully handled the downloaded 320-kbps MP3, converted it into WAV PCM, boosted the lows a bit, added to Adobe After Effects project and exported the WMV with lossless audio. I hope you're viewing it at 720p!
There was an interview with Kapustin on March 8th, 2009 at the Chamber hall of Moscow Conservatoire... by the way, did you know that "Kapustin" stands for "of cabbage" in Russian? That's fun!
Audience (A): Nikolai Girschevich, you graduated from the Conservatoire from Goldenweiser's piano class, but who taught you composition?
Nikolai Kapustin (NK): Nobody. I am self-taught.
[The public stands in confusion, Kapustin smiles]
A (recovering from confusion): This is unbelievable! But you have created your magnum opus—"24 Préludes and Fugues," how did you manage?
NK: There's nothing impossible, for instance, Bach was an autodidact, too, yet it was not an obstacle to creating his fugues.
A: But Bach was born in a musical family, he had an opportunity to listen to great masters and to study their scores. Did you consider great composers' practice?
NK: Yes, I had such an opportunity. Nevertheless, I do have four-voice fugues which are very fast-paced, whereas Bach has no one of a kind.
Из интервью с Капустиным 8 марта 2009 г. в Камерном зале Московской консерватории.
— Николай Гиршевич, вы заканчивали консерваторию как пианист по классу Гольденвейзера, а у кого вы учились по композиции?
— Ни у кого. Я самоучка.
(Всеобщее замешательство. Капустин улыбается.)
Публика (оправившись от изумления):
— Это невероятно! Но вы же создали грандиозный опус — «24 прелюдии и фуги», как вам это удалось?
— Ничего невероятного: например, Бах тоже был самоучкой, однако это не помешало ему создавать свои фуги.
— Но Бах родился в музыкальной семье, он имел возможность слушать великих мастеров и изучать их ноты. Вы тоже брали за образец наработки великих композиторов, включая Баха?
— Да, я тоже имел такую возможность, и, тем не менее, у меня есть фуги на 4 голоса в очень быстром темпе, а у Баха ни одной такой нет.
Mozart K. 467, Development. iPad's are so useful!
Benjamin Steinhardt, piano
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In Episode 1 of Music Learning Academy Presents, Hannah Mayo discusses her transition from traditional methods to Music Moves for Piano, a piano method by Marilyn Lowe that applies Edwin E. Gordon's Music Learning Theory to piano instruction.