A Bow To Lennie Max Bruel with Swedish All Stars Modern Music M 11 (MM 123-A) Max Gruel(bs) Gunnar Svensson(p) Yngve Akerberg(b) Jack Noren(d) Stockholm, December 8, 1952A Bow To Lennie / Max Bruel with Swedish All Stars - YouTube | |
| 0 Likes | 0 Dislikes |
| 47 views views | 458 followers |
| People & Blogs | Upload TimePublished on 18 Apr 2018 |
Duck Waddle Boyd Raeburn and his Orchestra Arranged by Eddie Finckel Jewel 10,004 (JRC 233-3) Frank Beach, Ray Linn, Dale Pierce, Nelson Shelladay(tp) Tommy Pederson, Hal Smith, Fred Zito(tb) Lloyd Otto, Evan Vail(fhr) Bill Starkey(english horn) Willie Schwartz(as,cl) Ralph Lea, Guy McReynolds(ts) Hy Mandel(b) Boyd Raeburn(bsx) Loretta Thompson(harp) Hal Schaefer(p) Tony Rizzi(g) Harry Babasin(b) Jackie Mills(d) Los Angeles, CA, September 14, 1946 EQ: 500Hz/-12dBDuck Waddle / Boyd Raeburn and his Orchestra - YouTube | |
| 0 Likes | 0 Dislikes |
| 25 views views | 458 followers |
| People & Blogs Hep Boyd's | Upload TimePublished on 21 Dec 2017 |
What Is The This Thing Called Love Barney Kessel's Allstars Atomic A-209-B Herbie Steward(ts) Barney Kessel(el-g) Dodo Marmarosa(p) Morris Rayman(b) Lou Fromm(d) Johnny White(vib) Los Angeles, June 7, 1945What Is The This Thing Called Love / Barney Kessel's Allstars - YouTube | |
| 1 Likes | 1 Dislikes |
| 67 views views | 458 followers |
| People & Blogs | Upload TimePublished on 3 May 2018 |
Interlude In "C" Dizzy Gillespie plays Johnny Richards conducts Discovery 140 (D-392) Dizzy Gillespie(tp) Henry Coker, Dick Kenny, Harold Smith(tb) John Graas(fh) Askell Issenbuth(fl) Philip Shuken(alto-fl) Harry Steinfeld(o) Shirley Thompson(bassoon) Victor Arno, Walt Edelstein, Jack Shulman, Felix Slatkin(vln) Cy Bernhard, Eleanor Slatkin(cello) Barbara Whitney(harp) Paul Smith(p) Jack Cascales(b) Specs Wright(d) Carlos Vidal Bolado(congas) Johnny Richards(arr,cond) Los Angeles, CA, November 1, 1950Interlude In "C" / Dizzy Gillespie plays Johnny Richards conducts - YouTube | |
| 2 Likes | 2 Dislikes |
| 39 views views | 458 followers |
| People & Blogs Interlude (A Night In Tunisia) | Upload TimePublished on 24 Apr 2018 |
Five O'Clock Drag Duke Ellington and his Famous Orchestra Victor 27700-B (061684-1) Duke Ellington(p,arr,dir) Rex Stewart(cnt) Ray Nance, Wallace Jones(tp) Joe Nanton, Lawrence Brown(tb) Juan Tizol(v-tb) Barney Bigard(cl,ts) Johnny Hodges(as,ss) Otto Hardwick(as,bsx) Ben Webster(ts) Harry Carney(bs,cl,as) Fred Guy(g) Jimmy Blanton(b) Sonny Greer(d) Hollywood, September 26, 1941Five O'Clock Drag / Duke Ellington and his Famous Orchestra - YouTube | |
| 1 Likes | 1 Dislikes |
| 21 views views | 458 followers |
| People & Blogs Five O'Clock Drag | Upload TimePublished on 31 Jul 2018 |
Paddock Blues Octave Crosby's Original Dixieland Band Jazz Man No. 103-A (DB-112-D1) Alvin Alcorn(tp) Irving "Cajun" Verret(tb) Albert Burbank(cl) Octave Crosby(p) Jim Davis(b) Chester Jones(d) Hollywood, January 25, 1954Paddock Blues / Octave Crosby's Original Dixieland Band - YouTube | |
| 4 Likes | 4 Dislikes |
| 38 views views | 458 followers |
| People & Blogs | Upload TimePublished on 8 Sep 2018 |
Sesac Transcriptions N-2103 (YTNY 26771) 16-inch Transcription Disc Joe Wilder, Charlie Shavers, Al Mattaliano(tp) Sonny Russo, Jimmy Cleveland, Bobby Byrne(tb) Don Redman(as,vib,whistling) George Dorsey, Milt Yaner(fl,as) Coleman Hawkins, Al Cohn(ts) Seldon Powell(fl,ts) Danny Bank(bs) Hank Jones(p) George Barnes(g) Al Hall(b) Osie Johnson(d) Capitol Recording Studios, New York, July 22 & 26, 1957 Recorded According to NAB StandardsFall Leaves / Don Redman and his Orchestra - YouTube | |
| 0 Likes | 0 Dislikes |
| 13 views views | 458 followers |
| People & Blogs | Upload TimePublished on 12 Aug 2017 |
"Slam Slam" Blues Red Norvo and his Selected Sextet Comet T6-B (T10-2) Dizzy Gillespie(tp) Charlie Parker(as) Flip Phillips(ts) Red Norvo(vib) Teddy Wilson(p) Slam Stewart(b) J.C. Heard(d) New York, June 6, 1945 EQ: 500Hz/-8.5dB"Slam Slam" Blues / Red Norvo and his Selected Sextet - YouTube | |
| 4 Likes | 4 Dislikes |
| 139 views views | 458 followers |
| People & Blogs | Upload TimePublished on 4 Jan 2018 |
China Stomp Lionel Hampton and his Orchestra Lionel Hampton at the piano Victor 25586-A (07866-1) Buster Bailey(cl) Johnny Hodges(as) Lionel Hampton(p) Allen Ruess(g) John Kirby(b) Cozy Cole(d) New York, April 26, 1937China Stomp / Lionel Hampton and his Orchestra - YouTube | |
| 1 Likes | 1 Dislikes |
| 42 views views | 458 followers |
| People & Blogs China Stomp (Chinatown, My Chinatown) | Upload TimePublished on 10 Apr 2018 |
Circle J-1058-B (NY-83 A) Albert Snaer(tp) Wilbur De Paris(tb) Buster Bailey(cl) Sidney Bechet(ss) James P. Johnson(p) Walter Page(b) George Wettling(d) New York, January 31, 1949I Got Rhythm / Sidney Bechet and his Circle Seven - YouTube | |
| 0 Likes | 0 Dislikes |
| 57 views views | 458 followers |
| People & Blogs | Upload TimePublished on 19 Sep 2017 |
South Kid Ory's Creole Jazz Band Crescent Number 1 (CPM-10-33-1A) Mutt Carey(tp) Kid Ory(tb) Omer Simeon(cl) Buster Wilson(p) Bud Scott(g) Ed Garland(b) Alton Redd(d) Los Angeles, August 3, 1944South / Kid Ory's Creole Jazz Band - YouTube | |
| 0 Likes | 0 Dislikes |
| 18 views views | 458 followers |
| People & Blogs South | Upload TimePublished on 10 Feb 2018 |
An extract from my course: **** Grade 6 ABRSM Music Theory Complete **** Full details about the course here: https://mymusictheory.zenler.com/cour... _______________________________________________________________ The woodwind section is made up of four main instruments: flute, oboe, clarinet and bassoon. In a larger orchestra (used from the Romantic era onwards) you might also find the larger or smaller versions of these instruments, for instance the piccolo, cor Anglais, bass clarinet or double bassoon (contrabassoon). Parts are written two to a stave in a full orchestral score. You need to be able to work out how many players are supposed to be playing, and which notes belong to who. Words in the score such as "a 2" or "zu 2", or "solo" explain who precisely is supposed to play. You might also need to look at the stem direction of the notes on the stave - stems up are used for first player parts, and stems down for the second player. A double semibreve (whole note) means that the note is shared by both players. For more information about music theory exams set by the ABRSM (Associated Board of the Royal Schools of Music) please see www.abrsm.org For lots of lessons, exercises, resources and quizzes, come to http://www.mymusictheory.com Victoria WilliamsGrade 6 Music Theory General Knowledge: The Woodwind Section - YouTube | |
| 44 Likes | 44 Dislikes |
| 3,923 views views | 4,750 followers |
| Education | Upload TimePublished on 2 Dec 2016 |
Figured Bass: Find out about my Video Course To sign up: please visit http://www.mymusictheory.com/learn-mu... If you have ever struggled with understanding figured bass (basso continuo) from a traditional text book, this course is for you. Let me guide you from the absolute basics of how the figures work, up to more complex tasks seen the ABRSM grade 6 and 7 exam papers, such as realising a figured bass, creating a figured bass line, and figuring a given bass line. If you're moving on to Grade 6 music theory after grade 5, you'll probably finding the 4-part harmony and figured bass sections to be tough - it's a steep learning curve and big gap between the grades. This course will ensure you learn not only the necessary rules of harmony, but also how to effectively tackle the exam questions, to get full marks. The course covers the figures for root position, first inversion and 2nd inversion chords, added 7th chords, suspensions, as well as coping with melodic decoration. Follow the link to check out the free preview of this unique Figured Bass course! (30-day money back guarantee too!) http://www.mymusictheory.com/learn-mu...Master Figured Bass in 3 Hours (Video Course) - YouTube | |
| 13 Likes | 13 Dislikes |
| 3,186 views views | 4,750 followers |
| Education | Upload TimePublished on 28 May 2015 |
Sign up for FREE to this course on how to read sheet music here: https://www.udemy.com/play-songs-on-t... This is a preview lesson from Victoria Williams' course: How to Read Sheet Music on the Piano In this video: Meet your Keyboard! Learn about the pattern of black and white notes, how to locate each note pitch on your keyboard and, most importantly, how to remember each note's position on the keyboard. This video is a preview lesson from Victoria's course teaching you how to read sheet music for the piano. Learn how to read musical notes and play any song you like! In less than a day! #piano lessons online On the piano keyboard, the black and white notes are arranged in patterns. The black notes are placed in groups of two, then three, alternating across the piano keyboard. You can easily locate the key for note D on your piano keyboard: find a group of two black notes together, then look for the white note which sits between them. This note is D. We use the letter names A-G to name the musical notes, then continue the series from A again. A full size piano keyboard has 7 octaves (sets) of letters. Smaller keyboard can have only one or two octaves, but that's fine for a beginner. More about how to read music can be found on Victoria Williams' website, http://www.mymusictheory.com.Meet Your Keyboard: Piano lessons online - YouTube | |
| 4 Likes | 4 Dislikes |
| 463 views views | 4,750 followers |
| Education | Upload TimePublished on 23 Jun 2015 |
Key Signatures for Grade 5 Music Theory: Easy! (ABRSM) Brought to you by http://www.mymusictheory.com. In the grade 5 music theory exam you need to recognise and use key signatures with up to six flats or sharps in them. This video explains an easy way to draw up tables with all the information about numbers of sharps and flats, plus which keys are relative to each other (major and minor). We also explain how to write key signatures correctly in the four main clefs, treble clef, bass clef, alto clef and tenor clef. The position of the sharps/flats on the stave and their order is important to get right! Finally we look at a quick and painless way to work out what key a piece is in. You'll need to be able to do this both in the composition question (where you need to know what key the piece is that you are writing) and also in the big score questions, where you are sometimes asked to identify the beginning key of a piece and later key changes (or "modulations"). For more information see http://www.mymusictheory.com http://www.absrm.orgKey Signatures for Grade 5 Music Theory ABRSM: EASY! - YouTube | |
| 558 Likes | 558 Dislikes |
| 80,244 views views | 4,750 followers |
| Education | Upload TimePublished on 4 Apr 2014 |
Grade 6 Music Theory ABRSM Composition: Chromatics This video is a lesson from my Udemy course on writing a composition for the ABRSM Grade 6 Music Theory exam. Visit http://www.mymusictheory.com/downloads for more details about this composition course! Course includes: How the composition is marked What the examiner expects from you How work out a plausible harmonic structure (and what that means) How to adapt the given opening (and why you need to) How to add meaningful performance directions How to work out the correct accidentals to use in a minor piece How to modulate How to deal with chromatics The course includes two complete workings of compositions from scratch - one major and one minor. Victoria Williams is the creator of http://www.mymusictheory.com You also get PDF downloads with summaries of the main points of the lesson, plus exercises you can try at home. ABRSM = Associated Board of the Royal Schools of Music Grade 6 is an upper-intermediate level.Grade 6 Music Theory ABRSM Composition: Chromatics - YouTube | |
| 35 Likes | 35 Dislikes |
| 4,524 views views | 4,750 followers |
| Education | Upload TimePublished on 15 Jun 2015 |
This video walks you through a composition sent in by one of my students who is taking part in my "Compose a Melody for Instruments" video course. More details about the course here: http://www.mymusictheory.com/downloads This composition example highlights some of the most common errors made by grade 5 music theory candidates. We look at the notation used, in particular how the rhythm and note values relate to the time signature of the composition, as well as some details about beaming quick notes such as semiquavers (16th notes) with a dotted note. We also look at cadences and how they should be approached in the minor key, using a dominant chord and an imperfect cadence. If you would like some coaching for the ABRSM grade 5 music theory exam, visit http://www.mymusictheory.com.Composition: ABRSM Grade 5 Music Theory - an example - YouTube | |
| 51 Likes | 51 Dislikes |
| 5,820 views views | 4,750 followers |
| Education | Upload TimePublished on 17 Oct 2015 |
Adding Rests (Grade 5 Music Theory, ABRSM) Brought to you by http://www.mymusictheory.com [Please watch this first http://youtu.be/ZHMu9cq0LaA !) This video explains how to work out which rests are missing - a typical grade 5 music theory exam question. The choice of rests depends on two things - how many beats you need to fill the bar AND what the main beat of the music is - you need to understand exactly what the time signature represents. For example, in 3/4, there are 3 main beats per bar (it's triple time), and the rests should reflect that. In 6/8, although there are the same number of notes per bar overall, 6/8 is actually duple time (with 2 dotted crotchet beats per bar). This means that the rests used will be different in 6/8 compared to 3/4. See also: http://www.abrsm.orgAdding Rests (Grade 5 Music Theory, ABRSM) - YouTube | |
| 56 Likes | 56 Dislikes |
| 7,495 views views | 4,750 followers |
| Education | Upload TimePublished on 24 Mar 2014 |
GRADE 8 ABRSM Students: Complete Video Course here: https://mymusictheory.zenler.com/cour... This is a MIDI score recording of Corelli's Trio Sonata Op.3 no.1, 2nd movement in F major. (Made with Musescore.) This video is part of the free course on completing a Baroque Trio Sonata, set in the ABRSM grade 8 music theory exams. Corelli was a master of the Baroque Trio Sonata genre. The format is for two high pitched instruments (such as violins, flutes or oboes) with a third bass instrument, such as the cello. In addition, a harpsichord (or similar) provided an accompaniment, improvised from the figured bass (basso continuo) written underneath the bass part. A large number of Trio Sonatas were written in the contrapuntal style. In the ABRSM grade 8 music theory exam, you are asked to reconstruct a Trio Sonata - some parts are provided and you need to fill in the gaps. The complete lesson on http://www.mymusictheory.com explains how the Trio Sonata was constructed and provides you with easy to understand, detailed advice for completing this question.Trio Sonata Corelli Op3 No.1, 2nd mvnt with Score - for Grade 8 Music Theory ABRSM - YouTube | |
| 15 Likes | 15 Dislikes |
| 2,348 views views | 4,750 followers |
| Music | Upload TimePublished on 28 Nov 2015 |
From http://www.mymusictheory.com Grade 4 Music Theory - Composing a Rhythm to Words (ABRSM) In the ABRSM Grade 4 music theory exam you will have to compose a rhythm. You can opt to continue a given rhythm for a further four bars, (see https://www.youtube.com/watch?v=cQ3qp... for a tutorial on that) or you can choose to write a vocal rhythm, to fit the given poetic words. This video explains everything you need to know about composing a rhythm to fit two lines of words. All the elements of composition are explained: how to work out the word stress or accents, and stressed syllables, how to figure out a suitable time signature, how to ensure that the rhythm you compose is both creative or imaginative enough to score top marks in the exam, and how to avoid common pitfalls like making a rhythm overly repetitive. I'll also explain how up beats (anacrusis) work, and how you need to take this into account in the last bar of your rhythm. Where to put bar lines, and what kind to use is also explained, as is how to break up a word with more than one syllable using hyphens. In this video you can watch me compose a rhythm to fit two lines of poetry. Setting words to a rhythm is easier if English is your first language, but I'll also give you some tips on how to work out word stress from a grammatical point of view. This video will also be useful for grade 5 music theory candidates who have opted for the vocal composition question, because applying the word-stress correctly is essential at grade 5 too. I've been teaching music theory for many years - why not take a look at my website, http://www.mymusictheory.com, which is full to the brim with resources for ABRSM music theory candidates. There's a complete course free online for each grade, plus downloadable PDFs, quizzes and tests. Don't forget to leave me a comment below if you have any questions about writing a rhythm for the ABRSM grade 4 music theory exam.Grade 4 Music Theory - Composing a Rhythm to Words (ABRSM) - YouTube | |
| 108 Likes | 108 Dislikes |
| 13,897 views views | 4,750 followers |
| Education | Upload TimePublished on 24 Mar 2015 |
Counterpoint: J.S. Bach Fugue in C minor with Analysis See more: https://www.mymusictheory.com/learn-m... Want to learn more about counterpoint including how to write your first fugue? Join the MyMusicTheory Counterpoint Course Here: https://www.mymusictheory.com/learn-m... This fugue is played on Musescore. See the subject, answer, countersubject, episodes, modulations and structure of the fugue marked out as you listen.Counterpoint: Fugue in C minor Analysis J.S. Bach BWV 847 from the Well Tempered Klavier I - YouTube | |
| 94 Likes | 94 Dislikes |
| 9,782 views views | 4,750 followers |
| Education | Upload TimePublished on 2 Oct 2017 |
Circle of 5ths by https://www.mymusictheory.com Learn how to make a circle of 5ths to help you with key signatures, sharps and flats. An indispensable tool for all taking music theory exams by the ABRSM, Trinity, AP music theory, AMEB etc.Circle of 5ths | Circle of fifths - Key signatures tool - YouTube | |
| 31 Likes | 31 Dislikes |
| 2,157 views views | 4,750 followers |
| Education | Upload TimePublished on 3 Nov 2017 |
Grade 6 Music Theory: Score reading tips - Save time in the exam! By http://www.mymusictheory.com In this video, I'll show you my top tips on how to save time in the Grade 6 music theory exam (ABRSM) when locating specific examples of musical examples within a score. You'll learn how to scan a score to find harmonic and melodic intervals quickly, by focussing on the shape of the interval. Finding examples of imitation is easy, when you know how. You'll learn how to look at the phrases of a piece and quickly compare them with subsequent phrases, to find likely sequences and imitation. You'll also discover a lightening fast way to find chords within a score - by working out the chord and its bass note first (from the inversion), then focusing only on the relevant part of the stave. Come on over to http://www.mymusictheory.com for lots more resources for grade 6 music theory candidates. http://www.abrsm.orgGrade 6 Music Theory: Score Reading Tips | Save time in the exam! - YouTube | |
| 76 Likes | 76 Dislikes |
| 8,815 views views | 4,750 followers |
| Education | Upload TimePublished on 19 May 2015 |
By http://www.mymusictheory.com Top 10 tips for your ABRSM grade 5 theory exam! Visit http://www.mymusictheory.com for all you need for music theory exam prep!Top 10 Tips for Grade 5 Music Theory Candidates ABRSM - YouTube | |
| 75 Likes | 75 Dislikes |
| 5,190 views views | 4,750 followers |
| Education | Upload TimePublished on 12 Jun 2016 |
See http://www.mymusictheory.com/downloads for full details : Grade 8 Music Theory ABRSM - How to Compose a Melody This course covers building a structure for your composition, which is comprises of phrases (with cadences) that are adapted from the given opening. We explore various methods for creating new music from a couple of given bars - using diatonic sequences, imitation and other techniques. You'll also learn how to plan out a good series of modulations, and how to effectively achieve those modulations using a strong chord progression or chromatic sequence. We also take a look at how to add performance directions, and how to write idiomatically for a specific instrument. For more about the ABRSM music theory exams see http://www.abrsm.orgGrade 8 Composition - Video Course for ABRSM Music Theory - YouTube | |
| 16 Likes | 16 Dislikes |
| 3,855 views views | 4,750 followers |
| Education | Upload TimePublished on 2 Nov 2015 |
![How to Compose a Canon or Round - [Easy music composition] - YouTube Victoria Williams](https://i.ytimg.com/vi/xjinwPDhhBI/hqdefault.jpg)
How to Compose a Canon or Round - [Easy music composition] Read the full lesson at http://blog.mymusictheory.com/2014/ho... How to write a canon (or "round") using Musescore.(Musescore can be downloaded for free from www.musescore.org). A canon is a melody which is played by two or more instruments at staggered intervals. Because each part starts the melody at a slightly different time, harmonies are created by the combination of sounds. Writing a canon which works is very easy - you just need to plan in advance what chords you want to build the canon around. Well-known canons are "Frere Jacques" and "Three Blind Mice". They are built on very simple chord patterns. You can easily choose a slightly more complicated harmonic structure for your canon, making some really nice harmonies. This video shows you how to compose a canon using Musescore, which is an easy-to-use music publishing software freely available to download. However, you can use any music software you like, or none at all if you prefer! See also: http://www.mymusictheory.com http://www.musescore.orgHow to Compose a Canon or Round - [Easy music composition] - YouTube | |
| 199 Likes | 199 Dislikes |
| 25,379 views views | 4,750 followers |
| Education | Upload TimePublished on 16 Mar 2014 |
Intervals for Grade 5 Music Theory: in Less than 10 Minutes (ABRSM) Brought to you by http://www.mymusictheory.com Learn how to understand musical intervals: explained in less than 10 minutes! This video is suitable for students taking the ABRSM grade 5 music theory exam and includes an intervals exercise. This is the easy way to understand intervals! Intervals Explained Intervals have a number (e.g. 3rd) and a quality (e.g. perfect). To work out an interval, first you need to know the major scale built from the lower note of the two. If the interval exists in the major scale, it will be perfect (for unisons, 4th, 5th and octaves) or major (for 2nds, 3rds, 6ths and 7ths). If the interval isn't found in the major scale built from the lower note, it could be augmented, minor or diminished. If the interval is bigger than an octave, it's a compound interval. Compound intervals also need to be described as major, minor, perfect, augmented or diminished. If the lower note of the interval is too tricky to build a major scale from, shift both notes up or down by the same amount, without changing the letter names, until the lower note becomes one you can build a scale from easily. This video will increase your understanding of musical intervals. See also: http://www.mymusictheory.com http://www.abrsm.orgIntervals Explained: for Grade 5 Music Theory - in Less than 10 Minutes (ABRSM) - YouTube | |
| 710 Likes | 710 Dislikes |
| 72,218 views views | 4,750 followers |
| Education | Upload TimePublished on 21 Feb 2014 |
Scales for ABRSM Grade 5 Music Theory Candidates Brought to you by Victoria Williams from http://www.mymusictheory.com This video shows you how to work out the 4 kinds of scales which are tested in the ABRSM grade 5 music theory exam. The scales you need to know are: major, minor harmonic, minor melodic, and chromatic. And you need to know them in all key signatures up toe six sharps or flats. That means you need to know these keys: C major / A minor G major / E minor D major / B minor A major / F# minor E major / C# minor B major / G# minor F major / D# minor F major / D minor Bb major / G minor Eb major / C minor Ab major / F minor Db major / Bb minor Gb major / Eb minor Scales are just patterns of tone (whole steps) and semitones (half steps). You need to make sure that the correct pattern of tones and semitones is used in your scale. For major and minor scales, you also need to make sure that you use each note letter name only once per octave (except the first and last note, which will be the same, of course). Because of this, you'll sometimes need to use notes like E# instead of F natural, for example, and you'll sometimes need to use double sharps as well. You can find a more detailed lesson (plus free online exercises) about scales at: http://www.mymusictheory.com/learn-mu... and we also have a complete list of scales for your reference at: http://www.mymusictheory.com/learn-mu... The link to my video on KEY SIGNATURES IN 10 MINUTES is: https://www.youtube.com/watch?v=u7vhk... And you can find out more about the ABRSM music exams at: http://www.abrsm.org Please leave a comment below if you have any questions about scales, music theory exams or anything else!Scales - for ABRSM Grade 5 Music Theory - YouTube | |
| 63 Likes | 63 Dislikes |
| 6,291 views views | 4,750 followers |
| Education | Upload TimePublished on 3 Sep 2015 |
Medieval music: Guillaume de Machaut | Playlist (Music History) by http://www.mymusictheory.com Guillaume de Machaut was a French, medieval poet and composer. He wrote in the style of "ars nova" - a new type of music which became popular after the consecration of the Notre Dame Cathedral in France in the 12th century. "Ars nova" music is characterised by the use of adventurous rhythms, compared with the older type of music (like Gregorian chant) which was not rhythmic. Machaut was an expert at composing using musical devices which were new to the Medieval ear - rhythmic devices called the hocket (hiccup) and isorhythm. Hockets were short bursts of tune interspersed with rests, which were passed from one voice to another, creating an effect of an interruption or hiccup. Isorhythms were repeated stretches of rhythmic ideas repeated at different pitches. Playing with rhythm was a new game for Medieval composers, and these ideas were quite new at the time. This video uses images and audio available under the Creative Commons licence and sourced from Wiki Commons Images and archive.org. Attributions: File:Abadia de Saint-Pierre de Moissac - Detall portalada.JPG By Josep Renalias (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/b...)], via Wikimedia Commons File:Brandenburg Katharinenkirche - Fresko 3 Musikant.jpg By Wolfgang Sauber (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/b...)], via Wikimedia Commons "Fr Sélestat Bibliothèque Humaniste Sacramentaire et graduel" by Pethrus - Own work. Licensed under GFDL via Wikimedia Commons - http://commons.wikimedia.org/wiki/Fil... By Alexander Naumov (Originally posted to Panoramio as Tatev Monastery) [CC BY 3.0 (http://creativecommons.org/licenses/b...)], via Wikimedia Commons Sheep_Gate_sunrise By Denis O'Donovan (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/b...)], via Wikimedia CommonsMedieval Music: Guillaume de Machaut | Playlist - YouTube | |
| 54 Likes | 54 Dislikes |
| 9,784 views views | 4,750 followers |
| Education Monetize Your Music Today! Le Voir Dit - Rondeau 18: Puis qu'en oubli | Upload TimePublished on 25 May 2015 |
Completing a Rhythm - Grade 4 Music Theory ABRSM From http://www.mymusictheory.com This video shows you how to take the given opening rhythm and create a complete four-bar rhythm. This question is part of the ABRSM's grade 4 music theory exam and is worth ten points. You will be given one complete bar, plus the appropriate time signature. You need to create three more bars to make a 4-bar piece. Start by checking the time signature. It's important to realise that the time signature tells you how many beats there are per bar, not just how many notes! Both 3/4 and 6/8 time could have six quavers (eighth notes) in the bar, but in 3/4 time there are three beats per bar (it's triple time) and in 6/8 there are only two beats per bar (it's duple time). Look carefully at the given opening - you can reuse some of the rhythms to create the rest of the piece. Also, jot down other combinations of notes which, when added together, make up a total of one beat. For example, in 3/4 time, the beat is a crotchet (quarter note), so think about the different ways you can add smaller notes together to make up one beat. Write out the rhythm choosing from the ideas you noted down, as well as copying some of the rhythm from the given opening. Make sure that no two bars are exactly the same. Make the last note of the piece relatively long (it's also a good idea to do this on the note which lands half way through). If your rhythm has an up beat, you need to take it into account in the last bar. You will end up with three full bars, an incomplete bar at the beginning, and another incomplete bar at the end. Added together, the first and last bars should equal one complete bar. For more info: http://www.mymusictheory.com http://www.abrsm.orgCompleting a Rhythm - Grade 4 Music Theory ABRSM - YouTube | |
| 49 Likes | 49 Dislikes |
| 6,129 views views | 4,750 followers |
| Education | Upload TimePublished on 16 Mar 2015 |
How to Write a Minor Pentatonic Composition This video accompanies the lesson on how to compose a minor pentatonic piece here http://blog.mymusictheory.com/2014/ho... A pentatonic piece is built on just five different notes. A minor pentatonic scale uses the notes D, F, G, A and C (or those notes transposed to another key), and the keynote is D. It's really simple to compose a piece based on the minor pentatonic scale, because all the notes blend together harmoniously. It doesn't matter which note of the minor pentatonic scale you write against another, it will always sound pleasant, with no harsh clashes or dissonances. To make an effective pentatonic composition, use a nice combination of instruments and focus on using a variety of rhythms. Use cross rhythms (syncopation) for an interesting effect.How to Write a Minor Pentatonic Composition - YouTube | |
| 48 Likes | 48 Dislikes |
| 4,667 views views | 4,750 followers |
| Education | Upload TimePublished on 18 Mar 2014 |
I also have a complete grade 8 ABRSM music theory VIDEO COURSE which includes the Trio Sonata: see https://mymusictheory.zenler.com/cour... The Trio Sonata question is worth 15% of the Grade 8 Music Theory ABRSM exam. You are given an incomplete Trio Sonata, and you need to fill in the gaps according to the given figured bass, but also taking into account sequences, imitation and stylistic issues such as melodic and rhythmic ideas. In this video I show you how I tackle the question. I break it down into three sections. First you need to work out the key, and also any modulations. You do this by looking at the chords indicated by the figured bass (e.g. C major etc.) and then fitting them together using Roman numeral notation e.g. V-I. Doing this helps you to understand how the harmony works, and also helps to pinpoint likely cadence points. Cadences need special treatment - a cadence is a natural pause, so you need to use slightly slower rhythmic values to help indicate this. After sorting out the chords, go through and look for obvious places where sequences or imitation fit. Look at the fragments of melody given to you, and see if they resemble other parts of the piece. You can also see whether harmonic patterns are repeated. Finally, you need to fill in what's left with your own ideas, which must fit the style of the period. Make sure you have a chord note coinciding with every change of harmony. Pick chord notes according to good voice-leading (move in small steps) and according the conventions of doubling and avoiding consecutive perfect intervals. Then, fill in the gaps between the chord note with melodic decoration, for example, passing notes, auxiliary notes, anticipations and so on. Keep the parts independent rhythmically for the most part. Slow down at cadences. Re-use melodic and rhythmic ideas from the rest of the piece. When you have finished, check carefully for grammatical errors, and make sure you have included any obligatory notes according to the figured bass. Also check you have not missed out any beats! For more about the ABRSM music theory exams see http://www.mymusictheory.com and http://abrsm.orgGrade 8 Music Theory ABRSM The Trio Sonata Question - YouTube | |
| 140 Likes | 140 Dislikes |
| 18,677 views views | 4,750 followers |
| Music | Upload TimePublished on 29 Jan 2016 |
Meet the Piano Stave! How to read sheet music. FREE COURSE! This is a preview lesson from Victoria Williams' course: Learn to Read Sheet Music on the Piano - sign up for free here! https://www.udemy.com/play-songs-on-t... Learn how to play songs on the piano from sheet music. You'll learn how to read music notes, how to understand the musical stave and timing, how to count out time, and get a bonus three songs all taught by video! Learn to read sheet music for the piano - play any kind of song on the piano, from a song book. In this video, you'll learn where the notes are placed on the music stave using the treble clef. In the last lesson https://www.youtube.com/watch?v=yG_-G... you learnt about the notes on the piano keyboard - now you can see where the same notes are placed on the staff. There are five lines on the musical stave/staff. The notes are written on each line and space, rising up the stave as they rise in pitch. The treble clef is also called a "G clef" because the curly part of the clef shows you where the note G (above middle C) is located. After watching this lesson you'll be able to work out the letter names of any of the white notes on the piano keyboard. For more online piano lessons, please visit http://www.mymusictheory.com.Meet the Stave! Online piano lessons. - YouTube | |
| 7 Likes | 7 Dislikes |
| 496 views views | 4,750 followers |
| Education | Upload TimePublished on 23 Jun 2015 |
By http://www.mymusictheory.com Cadences in music theory for Grade 5 Music Theory (ABRSM) - Easy! Cadences explained! This video explains a quick, easy way to work out cadences for the ABRSM grade 5 music theory exam. Explained to you by http://www.mymusictheory.com Cadences in music are groups of two or three chords. You need to work out which chords fit with the notes in the melody. The first thing you need to do is work out the key of the piece. Then write down the notes which make up the chords of I, II, IV and V (you don't need to use any other chords in the grade 5 music theory exam). Each melody note has to be in the you pick, EXCEPT the middle note of a group which is a scale-step apart. If there are 3 notes which are a scale-step apart, you should ignore the middle note. The final chord in a cadence can only ever be chord I or chord V. It is not possible to end a cadence with any other chord. If the last chord is chord I, then the one before it can only be chord IV or chord V. Or in other words, you can't finish a cadence with II-I or VI-I. Cadences in music theory don't have to be difficult! See also: http://www.mymusictheory.com http://www.abrsm.orgCadences for Grade 5 Music Theory (ABRSM) explained - Easy! - YouTube | |
| 462 Likes | 462 Dislikes |
| 67,886 views views | 4,750 followers |
| Education | Upload TimePublished on 24 Feb 2014 |
How to Work Out the Time Signature (Grade 5 Music Theory, ABRSM) Brought to you by http://www.mymusictheory.com. [Please watch this video first! http://youtu.be/ZHMu9cq0LaA] In the grade 5 music theory exam you will probably be asked to work out the time signature of a few bars. Start by counting the number of beats in one bar (choose the easiest note to count, depending on what note values are in the bar). Then try to divide the bar into 2, 3 or 4 equal sized blocks. Beams won't cross over blocks - they will be broken when the block is broken. Ties can join blocks together. If two quick notes like quavers or semiquavers are not beamed, the second one will be the start of a new block (i.e. new main beat). Count up the notes per block to work out the time signature. If you can't divide up the bar into 2, 3 or 4 equal blocks, it will be irregular time. In that case, count the largest value note possible. Don't forget that you have to use a whole number (not a fraction!) for the top number of a time signature. Valid top numbers are 2, 3, 4, 6, 9 and 12 (regular time). Irregular time often uses 5, 7 or 11 for the top number. Valid bottom numbers are 2 (count minims), 4 (count crotchets or dotted minims), 8 (count quavers or dotted crotchets. You might also see 16. See also: http://www.mymusictheory.com http://www.abrsm.orgHow to Work Out the Time Signature (Grade 5 Music Theory, ABRSM) - YouTube | |
| 174 Likes | 174 Dislikes |
| 45,245 views views | 4,750 followers |
| Education | Upload TimePublished on 24 Mar 2014 |
How do Time Signatures Work? (Grade 5 Music Theory, ABRSM) **** VIDEO COURSE for GRADE 5 THEORY CANDIDATES: Get Top Marks in Your Composition! *** See http://www.mymusictheory.com/learn-mu... Time signatures explained by http://www.mymusictheory.com For a complete time signature chart see http://www.mymusictheory.com/referenc... Time signatures tell you how many beats there are per bar, what value note is being used as the beat, and how the main beat is subdivided into smaller beats. Many people don't realise that last point! In order to understand the difference between 3/2, 6/4 and 12/8 you need to understand the difference between duple, triple and quadruple time, and between simple and compound time. The way the main beat is divided (which is always into 2 or into 3), is reflected in the ways notes are grouped together - with beams, with ties, and also with the choice of values for rests, for example. In the grade 5 theory exam, your knowledge of time signatures is tested in several ways. Apart from putting a time signature into a few bars with the time signature missing, you'll probably also have to add missing rests, add missing barlines, rewrite a rhythm without changing the rhythmic effect and answer general knowledge questions about the technical words to describe time signatures. On top of that, you'll be expected to use the correct notation (including beaming, ties and rests etc.) in the composition question. Time signature dependent questions crop up throughout the grade five music theory exam, so make sure you are confident you know how they work! Subsequent videos will explain in detail how to tackle the grade 5 theory questions. Please make sure you watch this video before watching any of the others connected with time signatures! See also: http://www.mymusictheory.com http://www.abrsm.orgHow do Time Signatures Work? (Grade 5 Music Theory, ABRSM) - YouTube | |
| 713 Likes | 713 Dislikes |
| 103,668 views views | 4,750 followers |
| Education | Upload TimePublished on 24 Mar 2014 |
by https://www.mymusictheory.com Figured Bass Walkthrough Watch me complete an ABRSM grade 6 music theory question 2, figured bass realisation. Work out the key and pencil in the chord notes before you start. Then start with the complete soprano part, because it needs to be tuneful. Don't forget the following rules: Move mostly by step, avoid large intervals and never use augmented or diminished intervals. Watch out for parallel (consecutive) 5ths and octaves, as well as hidden (exposed) 5ths and octaves. Don't double the leading note. Next put in the alto and tenor parts. Keep the spacing with wider gaps between the lower two parts. Within each part, use a repeated note where you can or move to the nearest note. Aim to write complete triads and make sure you double an allowed note. Never omit the root or 3rd of the chord. Check for 5ths/8ves as you go along. With each note you write, consider what is coming next and base your selection on the best-possible outcome. For more grade 6 music theory resources, visit https://www.mymusictheory.comFigured Bass Realization Walkthrough | ABRSM Grade 6 Music Theory - YouTube | |
| 157 Likes | 157 Dislikes |
| 10,584 views views | 4,750 followers |
| Education | Upload TimePublished on 14 Nov 2017 |
By http://www.mymusictheory.com In this video Victoria Williams explains step-by-step how to tackle the ABRSM Grade 7 Music Theory Exam question on figured bass. This video doesn't go into details about the background knowledge you need - all that is covered in the tutorials on the website here http://www.mymusictheory.com/for-stud.... You'll find lessons reviewing the basics of figure bass, using accidentals in figured bass, information about common chord progressions, advice on adding suspensions and much more. The basic method for adding a figured bass in the grade 7 ABRSM exam is this. First, work out the key and modulations. Then tackle the easiest chords; the cadences, V-I progressions and suspensions. Then fill in any chords which are left over, always leaving the trickiest ones until the end.Grade 7 Music Theory: Figured Bass - A Worked Example - YouTube | |
| 78 Likes | 78 Dislikes |
| 14,918 views views | 4,750 followers |
| Education | Upload TimePublished on 29 Mar 2014 |
By http://www.mymusictheory.com Rewrite a Rhythm in a New Time Signature (Grade 5 Music Theory ABRSM) How to rewrite a rhythm in a new time signature, without changing the rhythmic effect (grade 5 music theory question) brought to you by http://www.mymusictheory.com. [Please watch this video http://youtu.be/ZHMu9cq0LaA first!] You can write a rhythm in several different ways without changing the way it sounds. You can just change the main beat of the time signature (represented by the lower note) (for example, change a crotchet beat to a minim beat), or you can do a more complicated transformation by changing the time signature from "compound" to "simple" time, or vice versa. It is this transformation which most often crops up in the ABRSM grade 5 music theory exam. Changing the main beat, or any longer note values, is straightforward - you need to simply add or remove a dot on the note. Any sub-beats have to be treated carefully. Because in simple time signatures the main beat is divided into 2, any sub-beats in the equivalent compound time will need a duplet symbol. On the other hand, since in compound time the main beat divides into 3, in the equivalent simple time signature you will need to use a duplet (which looks just like a triplet, except the number is "2" instead of "3". If in simple time, the note is already dotted, you need to substitute a tied note of the same value, making sure that the first tied note is equal to one main beat. Then add a dot to the first of the tied notes, then add a duplet to the end. For lots more help on time signatures including plenty of free online practice exercises, visit http://www.mymusictheory.com/for-stud... See also http://www.abrsm.orgRewrite a Rhythm in a New Time Signature (Grade 5 Music Theory ABRSM) - YouTube | |
| 172 Likes | 172 Dislikes |
| 20,969 views views | 4,750 followers |
| Education | Upload TimePublished on 24 Mar 2014 |
ABRSM Grade 6 Music Theory - An Overview If you've just taken your Grade 5 Music Theory exam, now's the time to decide whether you want to continue with grade 6. There are lots of benefits! Visit http://www.mymusictheory.com for detailed lessons and exercises covering the ABRSM grade 6 syllabus. We also offer tuition and video courses. Watch this video to find out what the grade 6 theory exam is all about, how hard it is, and whether it's right for you. The grade 6 exam has five sections. Two questions are about harmony (harmonising a melody and realising a figured bass), there's one composition question, and two score analysis questions. The syllabus covers all aspects of theory related to music from around the time of Bach, up to the early 20th century. If you pass Grade 6 Music theory you will earn UCAS points, which will help with your university application. Even if you're not applying to university, grade 6 theory is worth doing - it's interesting, challenging and will grow your brain! For more information see http://www.mymusictheory.com http://www.abrsm.orgABRSM Grade 6 Music Theory - An Overview - YouTube | |
| 156 Likes | 156 Dislikes |
| 21,821 views views | 4,750 followers |
| Education | Upload TimePublished on 6 Mar 2015 |
by http://www.mymusictheory.com The earliest music that was written down in Europe was church music. The first hymns were based on pagan folk tunes, which were set to biblical texts. Christianity was beginning to spread across Europe from Rome, and each local region had its own particular songs and hymns. These songs are known as plainsong or chants. They have one solo vocal line, which would have been sung by a male voice. The songs were unaccompanies, with no sense of "harmony" as we know it today. They also were not based on rhythm - instead the melodies meandered smoothly up and down. Because they were based on already familiar songs, the earliest chants were not written down. Knowledge of the songs was passed down from generation to generation, as children's nursery rhymes still are today. This is known as an "oral tradition". Pope Gregory I, head of the Catholic Church, decided that the chants needed to be organized and standardized, so that churches everywhere were literally singing from the same hymn book. Pope Gregory's new index of official chants is now known as "Gregorian chant". In order to teach church choirs across the continent what the tunes for the official chants were, music needed to be written down. The earliest notated music we have then, is a result of the Pope's efforts to standardize chants. This video uses images and audio which are used under the Creative Commons licence. Attributions: "Procedamus in Pace"; www. commons.wikimedia.org/wiki/File:Gregorian_chant_-_Procedamus_in_pace_-_Cum_angelis_-_Psalm_24_(23)_(German-Polish_accent).ogg?uselang=en-gbMedieval Music 1: Early Church Music - YouTube | |
| 27 Likes | 27 Dislikes |
| 8,709 views views | 4,750 followers |
| Education | Upload TimePublished on 22 May 2015 |
![Grade 7 ABRSM Composition Question - [Intro to Video Course] Music Theory - YouTube Victoria Williams](https://i.ytimg.com/vi/0OKR4g7ruPM/maxresdefault.jpg)
This is the introduction video to my course on Composing a Melody for ABRSM Grade 7 Music Theory exam. Link to the course http://www.mymusictheory.com/downloads You will learn in the full Grade 7 Composition video course: What the examiners are specifically looking for in your composition How to adapt a given opening to create new material How to fit a melody to a given piano accompaniment How to compose in the correct style for the period How to compose convincingly for the instrument in question How to create a melody based on a series of chords Tips for creating a really great melody, even if you're not good at hearing in your head Advice on getting better at hearing in your head About "musical grammar" and what you should avoid doing Both question options are covered in detail - 3a and 3b in the exam paper. How you will learn: Lessons are given in several formats. Demonstration compositions are shown as edited live recordings, e.g. you can watch me create a composition based on a past exam paper question in real-ish time Instructions are given in animated video format with musical and audio examples. Images are used to highlight the part of the score you need to focus on. E.g. when learning about melodic structure, the animated video will allow you to see the score and hear any relevant music, as I'm explaining. PDFs are provided which contain full lesson notes. It's recommended that you print these off before you start, so you can write your own notes down on them as you follow the course. Text lessons are given as recaps or for quick explanations. You can ask me unlimited questions within the course, either using the course discussion dashboard or via private message. Downloadable practice composition questions are also included. About Victoria Williams: I specialise in music theory exam coaching, in particular for the ABRSM examination board (but not exclusively!) I have taught literally thousands of students via http:/www.mymusictheory.com, which provides more free resources on music theory exam training than any other site in the world (yes really!) I teach all levels from absolute beginner up to grade 8 ABRSM level, and I love the challenges that the higher grades bring to the table. Grade 7 music theory is a really rewarding exam (and is great on your CV too!): I'm here to help you make the most of it. Teaching composition is one of my favourite topics, as I love to compose myself! I graduated from the University of Leeds (UK) in 1995 with a BA Hons degree in music, specialising in musicology, and I'm also a qualified teacher. In the ABRSM Grade 7 Music Theory exam, there is a choice of compositions, but the type of question is different in each case. The questions are always numbered as 3a and 3b, so that's what I'll be using to refer to the different question types throughout this course. Question 3a Complete the solo part to fit a given piano accompaniment. Normally you'll be asked to complete about two full staves-worth, and you'll be given about 2 bars of the solo part to start you off. The idea behind this question is that you are being tested on: • your ability to understand the harmonic structure from the piano part, and • your ability to create a melody which fits nicely with that accompaniment. Question 3b You are given 1 or 2 bars as a given opening for a solo instrument to complete, with a choice of two instruments. If you choose this question, you will need to add performance directions. Occasionally in this question, you are also given a harmonic progression to work from. You'll also be given an opening of 1 to 2 bars, but whether you choose to use it or not is up to you. See http://www.abrsm.org/en/our-exams/inf... for full details about the marking scheme for the grade 7 music theory composition question. For question 3a, you need to have good musical grammar - this means observing the rules which learnt about when studying harmony for grade 6, and includes things like avoiding consecutives and doubling the appropriate note of the harmony. You also need to make sure, of course, that the solo part actually fits together properly with the piano part. For question 3b you need to make sure you add performance directions, and they need to be meaningful ones! You need to use the ideas from the given opening or chord progressions, if you were asked to do that specifically. There are 20 points available for the composition question, and you'll get awarded a minimum of 7 points for handing in a complete attempt at the composition, so make sure you do put something down on the page, even if you're having a really bad day.Grade 7 ABRSM Composition Question - [Intro to Video Course] Music Theory - YouTube | |
| 13 Likes | 13 Dislikes |
| 2,779 views views | 4,750 followers |
| Education | Upload TimePublished on 11 Oct 2015 |
Learn Counterpoint here: https://www.mymusictheory.com/learn-m... Counterpoint is the art of weaving together independent melodies in order to produce a beautiful, harmonious whole. Each part is tuneful and interesting in itself, and when parts are combined with each other, we hear the result as harmony. The music then, has both a horizontal and a vertical aspect. A well-known example of a simple kind of counterpoint is the round “London’s Burning” – each voice sings its own individual line, but because the voices begin at staggered time intervals, different notes overlap with each other, creating harmony. This technique is called “canon”. At the other end of the spectrum, some of the most complicated counterpoint can be found in fugues. Fugues begin in the same way as rounds – with the melodic idea that’s heard at the beginning being introduced by different voices at staggered time intervals. But in contrast, in a fugue, the second entrance begins in a different key (usually the dominant key: for example, if the fugue begins in C major, the second entrance would be in G major), and the melodic material is then adapted and developed in clever and interesting ways. We use the terms “voice”, “line” and “part” to mean the same thing – an individual tune. It could be sung, or played by an instrument. In “London’s Burning”, we would expect sung voices of course. In a fugue written for keyboard there is only one player and one instrument, but the effect of different “voices” is still there. Bach’s Fugue no. VI is written for three “voices”, for example. “Voice 1” is in the treble clef stave, with stems up. “Voice 2” is split between the staves. It begins with the stem-up D in the bass clef, then moves to the low-position rests in the treble clef. It then continues in the treble clef, with the stems-down notes. “Voice 3” is in the bass clef, starting with the rest, then continuing with stems down. Voice 3 has the original melody that we saw earlier, this time in the home key of D minor again. We usually refer to the voices as soprano, alto, tenor and bass, depending on their general overall pitch, regardless of whether they are played or sung. There are two adjectives to describe counterpoint; “contrapuntal” and “polyphonic”.What is Counterpoint? - YouTube | |
| 166 Likes | 166 Dislikes |
| 13,031 views views | 4,750 followers |
| Education | Upload TimePublished on 13 Mar 2018 |
