Une rencontre avec Meredith Monk | "What you give is yours, what you retain is lost forever." (Armenian proverb)
(Ceci est la transcription de mon entretien avec Meredith Monk, réalisé en juin dernier à Vincennes, et qui a servi de base à un article, « Magie ancienne », paru dans le numéro 58 de la revue Mouvement – janvier-mars 2011.) Intrinsèquement musicale, se servant de la voix pour réveiller des énergies originelles, l’œuvre de Meredith Monk est d’une beauté aussi bouleversante que singulière, et fragile. Comme en témoigne son rayonnement sur de multiples artistes (de Steve Reich à Bruce Naumann, de Jean-Luc Godard à Björk), son art est avant tout source d’inspiration. Rencontre rare. Biographie / Meredith Monk naît en 1942 à New York. Cet après-midi-là, il y avait partout des chants d’oiseaux dans les feuillages de la Cartoucherie. L’énergie, la joie irradient de toute la présence de Meredith Monk, et lui confèrent une rare et lumineuse aura. Dans le cas de Meredith Monk, la langue française est commode, et singulièrement parlante, dans laquelle « voix » et « voie » sont homonymes.
Barry Harris's Sixth Diminished Scale | Cochrane Music
Here's a great excerpt from a Barry Harris workshop where he introduces an interesting diminished concept, which he (jokingly) calls his "personal scale". It produces a very cool jazz sound by a quite unexpected means. The video is a bit piano-focussed so I thought it might help some guitar players to have a summary from our point of view of the main idea. Here's the video: The scale is in fact just a major scale with an added b6 or #5, so it's spelled like this: 1 2 3 4 5 b6 6 7 C D E F G G# A B More exotically, you could think of this as Harmonic Major with an added natural 6. However, he explains it in a quite different way, noticing that a cover of the scale is given by the C6 and Bdim7 arpeggios This is what I call a "disjoint cover" because the two parts share no common notes. You can, of course, use this on any Maj7 type of harmony as well as on chords explicitly written with a 6. Being a pianist, though, Barry shows us a bit more when he moves to thinking of it in terms of chords.
Artistes 2014
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Le vinyle «made in France» victime de son succès
L'entreprise Moulage plastique de l'Ouest (MPO) située en Mayenne est le dernier fabricant français de vinyles. La société qui emploie 420 salariés en France sera présente à la 4e édition du Disquaire Day samedi qui accueillera quelque 238 disquaires. On pariait sur sa survie il y a encore quelques années, aujourd'hui le vinyle revient en force en regagnant les bacs des grandes enseignes et des disquaires. Si ses deux usines françaises situées en pleine campagne mayennaise fabriquent majoritairement des CD, des DVD et des Blu-Ray, sa production de vinyles jusqu'ici marginale semble reprendre des couleurs. La cadence s'est même accélérée ces deux derniers mois. Avec le tout numérique, les consommateurs ont eu envie de revenir vers le vinyle, «pour sa pochette, la qualité du son mais aussi la beauté de l'objet», analyse Fredi. Bien que MPO soit loin de renouer avec son record de 50 millions de vinyles pressés en 1978, cette activité représente aujourd'hui un relais de croissance.
Thibault Muller | Créations
How to Study the Two-Voiced Inventions of Bach - Music Of Yesterday
By Ernest Hutcheson Probably no single work known to teachers and students of the piano is more constantly used than the inventions of Bach. The lapse of time since they were written has served but to enhance our recognition of their musical and technical value; no substitute for them has been found or even suggested. The beginner may sometimes, in his haste, deny Bach and heatedly call them “Inventions of the Devil”; on the other hand, the teacher is abidingly grateful for a work which he can hear endlessly and often execrably repeated without loss of the interest and admiration it inspires. Yet few persons thoroughly understand the Inventions. I may begin by pointing out that the two-part and three-part Inventions each consists of fifteen pieces written in a particular series of keys. At the time the pieces were composed the method of tuning the piano by what is called “equal temperament” had not been introduced. Bach gave to the Inventions a quaint and lengthy title. 7.
Music Theory for Musicians and Normal People
by Toby W. Rush This page includes links to each of the individual Music Theory pages I've created in PDF form. This is a work in progress; I am writing new ones regularly and fixing errors and omissions on existing ones as I find them. Click the thumbnails to view or download each page as a PDF for free! These pages are available for free under a Creative Commons BY-NC-ND license. This collection is a work in progress, but if you would prefer, you can download all the current pages as a single PDF. Each and every one of these pages is available is an 18" x 24" poster. These pages are available in multiple translations and localizations! Interested in helping translate these pages to your own language? What is Music Theory? And why are all these cool and attractive people studying it? Notation: Pitch Or how five little lines came to rule the world. Notation: Rhythm Because nothing says "play that note shorter" like a bunch of weird-looking flags. Notation: Meter Feel the beat! Beaming Triads
Bach's Invention No. 1: Analysis
copyright © 2002 by Larry Solomon J S Bach's first two-part invention in C major is a keyboard work in which the music is "invented" by means of thematic transformations of a short, simple figure, called the subject, S. This subject is divided into two motives, a and b. The a motive consists of a rising 4-note scale beginning off the beat and ending on the next beat, a ubiquitous figure in Bach's music. Virtually every note of this invention comes from the subject, as shown in the following score analysis. The A section consists of 6 measures, rather than the 8 of the other two. The following is a score analysis with symbols indicating the transformations of the basic subject.
Barry Harris: Exploring the Diminished by Vera Marijt
How can the transcriptions I made of Barry Harris' workshops and recordings be incorporated in my playing, in order to develop myself in a bebop style? I transcribed two DVD boxes containing 8 discs of over 8 hours of workshops by pianist Barry Harris that were recorded and published by Howard Rees. Furthermore, I transcribed about 54 video's of Barry Harris that were published on the website, www.franselsen.com, and several solo's of him. This resulted in about 35 pages of transcribed material, that I sorted and practiced during my Master studies. Barry Harris talks in his workshops a lot about one important chord; the diminished. He explained how chords are related to the diminished and how we can use the diminished to connect chords and create 'movement'.
