Podcasts about db major

Special Episodes In Memory of Greg Lyons Ep. 1 Greg Lyons: Smoke Signals: Built to Last (6.52) Greg Lyons: Island to Island: Heart of Stone (6.25) Greg Lyons: Island to Island: Waltz for June (6.21) Michel Petrucciani: Playground: Mile's Licks (4.28) Greg Lyons: Island to Island: Out From the Shadow (7.10) Greg Lyons: Smoke Signals: Elbow Room (5.13) Cuban Big Band Sound: Reunion (5.01) Special Episodes In Memory of Greg Lyons Ep. 2 Martha Kato: After the Rain (7.31) Tigran Hamasyan, Morgan Agren: Revisiting the Film (4.08) Michael Thomas: Darkness and Light (7.42) Taylor Eigsti Becca Stevens: Look Around You (4.09) Rahel Talts: Greener Grass (7.39) Human Being Human: 15-4 (5.57) Adam Birnbaum: Prelude in Db Major (4.20) Sean Mason: Closure (5.21)

Pro tip: please watch the short video version of this post that I link to www.guitarsuccess4u.com/CapoReality. It will give you a much clearer grasp of what I'm sharing here.Abbreviated transcript and table included below…If you play the guitar, you probably use a capo sometimes. But is your capo holding you hostage? Do you sometimes get confused about which key you're actually in when you use it? No more!We as guitarists make use of a variety of tools, but perhaps one of the most common is the capotasto, better known as the capo. The capo gets its name from a phrase that means “head tie,” which implies that it's being tied to the guitar near the headstock.But when we put a capo on our guitar, what is happening, exactly? We're shortening the length of the strings. This can allow us to play in some keys with open chord shapes to access actual chords that would normally all be bar chords. Allow me to demonstrate (see the video for a clearer picture of this.) The key of Ab Major, for example, has zero open chords, so they all need to have 100% fretted notes. The chords are: Ab Major, Bb minor, C minor, Db Major, Eb Major, F minor, G diminished, and we can come back around to Ab Major.In the video, I play all of those chords again, but with my capo on fret 1. The chords are the same, but many of them are much easier to play, because I use the shapes: G Major, A minor, B minor, C Major, D Major, E minor, F sharp diminished, and ending on G Major.But let's not confuse shapes with chords.Because unless we're only collaborating with a drummer or a percussionist, there are harmonic consequences to everything we do with the capo. Do you believe it?If you're collaborating with a piano player, a synth player, a bass player, another guitar player, a vocalist, someone who plays strings or woodwinds, or any type of harmonic or melodic instrument or voice, they're going to be playing or singing in a specific key.And if you are the guitarist who's leading that band, it's super important to know which key you're all in.Here are some helpful tips so you can be sure of what's going on. Memorize marker pointsFirst, memorize the bottom 3 strings, strings 6, 5 and 4. I walk you through these markers in the video, but you're welcome to reference the diagram I'm including with this article.There's more, but this can give us plenty to work with here.Which key are we in?Our first approach is to place the capo and discover which keys we end up playing in when we play shapes.Let's say I place the capo on the 3rd fret. If I strum shapes around the tonal center of E, with the open 6th string for the low root, which key am I in? G. If I strum A shapes, which key am I in? C. If I strum D shapes, which key am I in? F.Why? Because the “open” notes at our new “nut” with the capo are G, C, and F. Right? Did you know all of those? This works best with your guitar and capo in hand.Which key do we want to play in?Let's try the opposite approach with placing the capo for keys we want to play in.Now, let's say I want to play in Eb Major with a piano player, by leveraging the capo. For a moment, let's temporarily call that the key of D#. It's a theoretical key, I know, but go with me. If I place the capo on fret 1 and play a D shape, it sounds a D#, better known as Eb. That open 4th string is our low root on Eb.If you want to think in the key of D, this can work for you, but remember, you're accountable for actually playing chords in the keys the capo has given you access to. So if the capo is on fret 1, and we play D, G and A shapes, we've actually achieved Eb, Ab and Bb chords. Right?Starting with chords that have open roots like E, A, and D can be pretty attainable, because the capo at the new “nut” easily tells us what those notes are, without fretting above it.But what about chords like G and C that do have a fretted root? Don't worry, I got you.Play an open G chord for a moment. That root on the 3rd fret is a minor 3rd above the nut.Let's just make a new “nut” with the capo! Let's say we want to play in the key of B. Well, a moment ago, we said that B on the 6th string is on fret 7. So, let's fret the G shape that's got that 7th fret B as the root, and place our capo down a minor 3rd – a distance of 3 frets, on the 4th fret. With the capo on the 4th fret, using G shapes, we've accessed the key of B.One more. Play an open C chord, the root for which is on the 3rd fret of the 5th string. It's a minor 3rd above the open A note at the nut. Let's make a new “nut” with our capo for the key of F. Where is F on the 5th string? It's all the way up at fret 8, just above the 7th fret E we talked about a moment ago. So, we can start with a C shape with our root on the 8th fret for F, and go down 3 frets to the 5th fret and place the capo there. We can now play C shapes, with capo 5, in the key of F.This process works for any Major key, minor key, or even modes, but we have to know the real key we're in, and at least some of the chords the capo is helping us play. Our charts, especially the ones we print up for the band, have to reflect this reality. Otherwise, we'll have an alternate reality that leads to confusion, or at the very least, a comedy of errors.I hope this was helpful, and I look forward to next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 23rd November 2023 Artist - Track - Album - Year Sixth Street All Stars    Everybody    Everybody    2023 Jae Sinnett's Zero to 60 Quartet w/ Randy Brecker    Winter Mamboland (Winter Wonderland)    A Swingin' Christmas - Live at WHRO    2023 Drew Zaremba    Waltz in Db Major, Op. 64 "Minute Waltz" (Chopin)    Reunion    2022 The Flying Horse Big Band    Free for All    A Message from…    2023 Karen Stachel    Peace on Earth    A Whim and a Prayer    2023 Isaiah J. Thompson    Thanksgiving Theme    A Guaraldi Holiday    2023 Christian Sands    The Gift (feat. Stefon Harris)    Christmas Stories    2023 George Burton    Fum Fum Fum    The Yule Log    2023 Gregory Porter    Christmas Time is Here    Christmas Wish    2023 Mareike Wiening    Declaration of Truth    Reveal    2023 Helge Lien Trio with Tore Brunberg    Adam    Funeral Dance    2023 Jakob Dreyer    Neuland    Songs, Hymns and Ballads: Vol. 2    2023 Constantine Alexander    The Show    Firetet    2023 Clark Sommers    Chance Encounter    Feast Ephemera    2023 Linley Hamilton    Ginger's Hollow    Ginger's Hollow    2023 Ron Blake    Grace Ann    Mistaken Identity    2023 The Jim Self & John Chiodini Quintet    Dig/Dog Tags    Tounch and Go    2023 Frank Kohl    With Tears of Joy    Pacific    2023 Ryan Pate    Aporia    Superbloom    2023 Jeff Lederer with Mary LaRose    On the Beach    Schoenberg on the Beach    2023 Peripheral Vision    The Mask Has Become the Face    We've Got Nothing    2023 The post The Creative Source (#CreativeSource) – 23rd November 2023 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

Transcript included below…Today, we're going to talk about the lasting impact of music, and how we can recognize and harness it.Music has a way of transcending time.  This is regardless of style or genre.  But it's my conviction that music that has certain qualities and characteristics has the potential to go the distance.  Track with me here through a few musical vignettes I've chronicled for you.Born to be AlivePatrick Hernandez, a French singer, released a song called “Born to be Alive” on a disco album by the same name in 1979. I discovered the song in 1986, seven years after it was released…but in a very unusual way.I was hanging out in Boston, Massachusetts, touring that city with some family, and I stumbled upon a mixed cassette tape on the side of the road with no one's name on it but the words and letters “The TT Mix PL” written in thick purple felt pen. I had no idea what those letters stood for, but my curiosity was piqued, so I put the tape in my backpack and brought it home to Washington State. I spun through it multiple times, but “Born to be Alive” stood out way beyond all the other songs in the mix, and my father and I enjoyed listening to it over and over on road trips for a couple years after that.23 years later, this same song was included in the soundtrack for the Russell Crowe political thriller State of Play, presented in a new techno version performed as a cover by the Flugel Horns.I heard it in the background about an hour and 19 minutes into the movie, just as supporting actor Justin Bateman pulled up in a Cadillac.The song had reemerged on my radar for the first time since 1986.  Whether that song had longevity is open to discussion.  But it had definitely made enough of an impression that even after 23 years of not hearing it, I was able to instantly recognize it.That Voice AgainAnother song, “That Voice Again” by Peter Gabriel, was released in 1986, the year I had discovered the mixed tape. It begins with a harmonic Major 3rd between the notes B and D sharp, to start the opening chord sequence for the intro before the song settles into Db Major.  This is a song that has been a favorite of mine for a while.While putting gas in my car at the local Costco recently, I heard a car horn honk those exact first two notes – B and D sharp.  “That Voice Again” was instantly brought to my mind.  I had to double-check and make sure that that's what I had heard.  I had my daughter pull it up on her phone, and sure enough, my mind had instantly been transported to the song.I still listen to Peter Gabriel and have appreciated the ways he has reinvented himself, especially with his symphony orchestra arrangements.  Cast AwaySpeaking of orchestra, Alan Silvestri wrote some beautiful music for the 2000 movie, Cast Away, starring Tom Hanks.  But the music only took up 24 minutes of the movie, which ran a total of 2 hours and 23 minutes.  That's less than 17% of the film that had a film score under it (there were several well-placed Elvis songs as well.)But with only 24 minutes of film score, Silvestri had to choose his notes carefully, so as to make the most impact.  And per the Internet Movie Database, he chose to go simple.  Really simple. The only instruments he used in his score for Cast Away were an oboe, a piano, and strings.  And the music was hauntingly beautiful. The movie made an impression on me when I saw it many years ago, simply because of the loneliness Chuck Noland had to endure on that island for over four years.  It was punctuated by the mournful music that swelled after he left the island.  And again, per the IMdB, there is not one single note of written musical score in the film until Nolan leaves the island (1 hour and 43 minutes into the movie).The timing of the music was very, very deliberate.In fact, even while my daughter was watching it with me, she commented that there wasn't any music under the island scenes.Robert Zemeckis, the director, was very intentional about the timing of the music.  Go with me here.  I think there wasn't music under those scenes, so that when there was music, it meant more.Several years after that film had made such an impact on me, I was leading worship as a guest worship leader at a church in Wenatchee, Washington, when I heard the worship leader from that church, whose name was Isaac, play those haunting orchestral notes on the keyboard as we were dialing in our levels.The music was unmistakable.  And it brought up a surge of emotions as I heard it.  I turned to Isaac and simply asked, “Is that the score from Cast Away?”  He nodded, appreciatively.That music still impacts me today.  And it's music without words.A Medieval English RoundThe summer I experienced the tragic loss of my sister, I attended a music camp.  The experience was a bit of a blur, but it was healing in a way, as I got to sing with people I'd never met, while enjoying the language of music that we had in common.I can remember many of the songs we sang, nearly 30 years later.  One of them was a traditional Medieval English round called “Sumer Is Icumen In.”  It's believed to have originated in the mid-13th century. We sang it jovially, and enjoyed discovering how to sing in old English.  It basically means “summer has arrived.”That same year, a film about the life of C.S. Lewis was released.  It was called Shadowlands.  I saw it a few years later.  And guess which song was sung by the choir on May Day morning in that movie?  Sumer Is Icumen In.  I recognized it right away.Fast forward 30 years, and now I'm working with the choirs at my daughters' school as a volunteer vocal coach. In sifting through some of the music folios, guess what greeted me at the top of one of the pages?  The very same old English round.  Word for word, note for note, the music leapt off the page and greeted me like an old friend.Bringing it All TogetherWhat do Born to Be Alive, That Voice Again, Cast Away and Sumer Is Icumen In all have in common?  Not much, except for the fact that they each impacted me in different ways…across time.There may be songs that have had an impact on you as well.  And these songs could go the distance in your life. They may bring you back to an earlier time, whether sweet or sad.  They may have spiritual significance, or they may just be rich in musical composition.  They may have words, or they may be instrumental. But these songs can travel alongside you through life. How do we create music that goes the distance?  I would suggest three things.First, decide the distance you want the music to go. Is it for all mankind?  Maybe that's a bit ambitious, but don't be afraid to aim high.   Write or create music that speaks to peoples' hearts.  Let your faith in Christ be an inherent part of what you do as you compose.Maybe your songs will impact a close circle of friends or family, or maybe they will bless your church family.  Maybe they will travel to people whom you've never met.  I've had the privilege of impacting lives through my music ministry that I may not cross paths with this side of heaven. Second, be content if your life is the only distance.Sometimes, songs are personally significant to us because we have a special connection with them.  That may be enough.  Personal expression and personal worship are very, very significant.Third, think about why a song has endured.Some of the great hymns of our faith have been around for centuries, and will likely endure long after we pass away.  There's something about their rich content, often scripture set to music, sometimes encapsulating the gospel in a single song…this has staying power.I'd say that some music out there is just fun to listen to, but is rather temporal and temporary.  Can we still enjoy it?  Sure.  But the music that will likely go the distance will have something extra about it.  It doesn't have to have words, or it can.  It doesn't have to have carefully-crafted lyrics, or it can.But listen for music that goes the distance.  This may require you listening more closely.  That's a subject we talk about on multiple levels inside GuitarSuccess4U.If this sounds interesting to you, please check out www.GuitarSuccess4U.com.  We could help you discover the music that's within you, that may also go the distance in your life and in the lives of others.You and I are only on this planet for a little while, so let's keep our ears open for the songs that move us, including songs in our heads that are waiting to be expressed…and shared.I hope this was helpful.  If there are songs that have impacted you over the years, please let me know in the comments.  And if there are topics I can discuss here in Guitar Serious Fun, please also comment.I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, play an effective approach to Harmonic and Melodic Practice. In this Jazz Piano Lesson you will:DiscoverThe correct conceptual approach to Harmonic and Melodic PracticeLearnVarious ways to construct effective exercises for successful Harmonic and Melodic Practice PlayVarious Harmonic and Melodic Exercises in the Key of Db Major to develop voicings and linear playingFor maximum musical growth, be sure to use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while you discover, learn, and play effective Harmonic and Melodic Practice.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fakebook, plus unlimited professional educational jazz piano support.If you wish to support JazzPianoSkills with a donation you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. It is my pleasure to help you discover, learn, and play jazz piano!Support the show

Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, play a Key of Db Major Melodic Workout. In this Jazz Piano Lesson you will:DiscoverA Key of Db Major Melodic WorkoutLearnHow to "think" within the Key of Db Major, MelodicallyPlayThe Modes of the Key of Db Major plus Inverted Melodic Arpeggios from various entry points (Root, 3rd, 5th, 7th).ANDYou are going to play Melodic lines using various 8th Note Rhythmic Configurations played over the II-V-I Progression.For maximum musical growth, be sure to use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while doing a Key of Db Major Melodic Workout.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support.If you wish to support JazzPianoSkills with a donation you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. It is my pleasure to help you discover, learn, and play jazz piano!Support the show

Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, and play a Key of Db Major Melodic Workout. In this Jazz Piano Lesson, you will:DiscoverA Key of Db Major Harmonic WorkoutLearnHow to "think" within the Key of Db Major, HarmonicallyPlayBlock Chords, Traditional and Contemporary Shells, Two-Handed Voicings using common harmonic motion AND various Rhythmic Comping PatternsFor maximum musical growth, use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while doing a Key of Db Major Harmonic Workout.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources, including a sequential curriculum with interactive Jazz Piano Courses, private and group online Jazz Piano Classes, and a private jazz piano community, Jazz Piano Forums.If you wish to support JazzPianoSkills with a donation, you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. I am pleased to help you discover, learn, and play jazz piano!Support the show

Is the "Minute" waltz really supposed to be played in a minute? Pianist Henrik Kilhamn takes a closer look at this famous piece in this video. Link to video: https://youtu.be/scsE4Qts1GY

Show Notes –  -Review of B and Bb Major note sets-D Major Note Sets and Intervals  -Db Major Note Sets and Intervals  -1 3 5 7 9 11 and 13 broken down Episode Image Link - https://harmonyimprovisati.wixsite.com/harmonyimprov/downloads  YouTube Channel - https://www.youtube.com/user/tpfbb  Podcast Link - https://open.spotify.com/show/3s7KQqOZlrbk0vZkoe4buC?si=jk14dlxoQJ-V4jhpNeU6sA  Website - https://harmonyimprovisati.wixsite.com/harmonyimprov

DawgNation Daily -- the daily podcast for Georgia Bulldogs fans -- featuring... Beginning of the show: A look at a strong comment from four-star safety Major Burns on why he chose UGA. 10-minute mark: Reaction to the interesting news regarding former Bulldogs defensive coordinator Mel Tucker leaving Colorado for Michigan State. 15-minute mark: DawgNation's Mike Griffith joins the show. 30-minute mark: I share other SEC headlines including LSU coach Ed Orgeron showing support for his likely starting quarterback Myles Brennan. 35-minute mark: I discuss why UGA DL signee Warren Brinson's feelings about hard work is a great example of the strong character the Bulldogs have seemingly added with the 2020 class. End of show: I share the Gator Hater Updater.

DawgNation Daily -- the daily podcast for Georgia Bulldogs fans -- featuring... Beginning of the show: A look at a strong comment from four-star safety Major Burns on why he chose UGA. 10-minute mark: Reaction to the interesting news regarding former Bulldogs defensive coordinator Mel Tucker leaving Colorado for Michigan State. 15-minute mark: DawgNation's Mike Griffith joins the show. 30-minute mark: I share other SEC headlines including LSU coach Ed Orgeron showing support for his likely starting quarterback Myles Brennan. 35-minute mark: I discuss why UGA DL signee Warren Brinson's feelings about hard work is a great example of the strong character the Bulldogs have seemingly added with the 2020 class. End of show: I share the Gator Hater Updater.

This episode we had Davy King in the Artist Spotlight to chat about his experiences as a guitar player and the writing process of his band Star Rover. This weeks news discusses the the Positive Grid Spark Amplifier, Mesa Boogie Cabinet Simulator, Jerry Donahue Signed Telecaster Plus music from The Darkness, Dylan Reavey and Star Rover. Episode Content and Timings: Episode Intro: 00:22, News: 00:43 Track - The Darkness (How Can I Lose Your Love): 06:10 Guitar Lesson - Db Major 7 Chord: 09:10 Track - Dylan Reavey (Guitarist of the Year 2019 Winning Entry): 11:21 Artist Spotlight - Davy King (Star Rover): 15:28 Track - Star Rover (What Can I Say): 32:14 Buy the music from the featured artists: Star Rover: https://starrover.bandcamp.com/ The Darkness: https://www.thedarknesslive.com/ Dylan Reavey: https://www.youtube.com/channel/UCqv8cUPtPuJdsTSY2vEvJ_Q Sign up for free guitar lessons at: https://fretsuccess.com/fret-success-academy-sign-up/ Hope you enjoy! Follow on Facebook: www.facebook.com/fretsuccess.com Follow on Instagram: www.instagram.com/fretsuccess_guitar_lessons Subscribe on YouTube: https://www.youtube.com/channel/UCk6VVyT7_nhnLeEagYYeW5g Thanks for stopping by! Dan Support the show (https://fretsuccess.com/fret-success-academy-sign-up/) --- Support this podcast: https://anchor.fm/the-fret-success-guitar-show/support

This month we bring you the second half of our concert/podcast series featuring David, Jodie, and Kaitlyn of illumine! They are an innovative and incredibly accomplished trio bringing new life to classical music all over the world. Learn more about out more about illumine here. Catch up on Part 1 here. This episode includes: 0:00 S&DMM+Illumine Theme - Arr. David Mathew Brown (2018) 1:55 Four Miniatures for Flute and Drum Kit – David Trum (2018) I: A playful, dancing movement inspired by Latin American rhythms. Listen for: •The ABA form of the piece (Theme – Contrasting Theme – Return) •The B section’s use of long tones to complement the active, busy rhythms of the A section *Sean Arawjo is the composer of the contrasting theme.  In the first edition of this piece, the B section was an open improvisation, but we loved one of Sean’s improvised melodies so much that it gradually became canon. II: A rhythmically driven movement that strikes a slightly sneaky tone. Listen for: •The first theme and second theme, which are in keys a tritone apart (G minor and Db Major), yielding fun, dramatic transitions •The points when the flute and drums are rhythmically in sync, versus other points where they play opposing one another, filling the gaps in each other’s phrases III: A quirky movement that showcases the flute’s extended techniques and welcomes the timbre of the hi-hat into the drums’ palate of sounds. Listen for: • The point after the first statement of the opening theme, immediately restated in rhythmic canon, with the drums delayed by two beats •The flute cadenza, involving harmonized singing while playing IV: A return to the danceable and grooving with a movement full of rhythmic surprises. Listen for: •Tom-toms, tuned specifically to provide bass notes that harmonize with the flute’s melodies •A saturation of rhythmic figures that play with cycles of 5 – for example, the opening: 1 2 34 5 – 1 2 3 4 5 – 1 2 – 1 2 3 4 20:25 Eternity is like unto a Ring – David Trum (2018)text by John Bunyan and the composer Program notes by the composer: “This piece is a reflection on the relationships between time, love, and eternity, with English writer John Bunyan’s poem ‘Upon Time and Eternity’ framing the work as the text for the first and final movements. The rest of the text is self-composed, though I pulled much inspiration from the writings of Robert Browning, Henry Thoreau, and C.S. Lewis. Just as ‘The Ring has no beginning, middle, end,’ this piece forgoes a linear narrative structure and instead exists largely within one musical moment, which is explored one layer at a time. This gradual unfolding of musical layers also parallels the introspective journey of the text, as it slowly proceeds from the universal to the more intimate and vulnerable. I have always loved music that plays with time and context- specifically the way that musical context can frame our experience of a melody or idea. The Sigur Rós EP, ‘Ba Ba Ti Ki Di Do’ [consisting of three tracks of atmospheric electronic music that can be played simultaneously to make one new piece] has long inspired me to explore similar tricks within live, notated music. I am also a huge fan of the sound and aesthetic of backwards audio, as in classic psychedelic rock like Hendrix’s ‘Are You Experienced?’ and The Beatles ‘Tomorrow Never Knows.’ Through this new composition, I have been able to indulge in both of these passions. Over the course of the piece, musical motives and even whole movements overlay, intertwine, and appear in reverse- revealing new insights and relationships between them.” Text and structure schematic  37:15 Shower Thoughts – Sean Arawjo (2018)text by Reddit.com “Shower Thoughts” users – respectively – u/slimmaslam, u/JohnBolia, u/waterdam, u/OyVeyzMeir, u/Gilfmagnet The piece is based on a popular subreddit, wherein users share “miniature epiphanies” that they have, highlighting the oddities of the familiar. “Showerthought” is a loose term that applies to the types of thoughts you might have while carrying out a routine task like showering, driving, or daydreaming. At their best, Showerthoughts are universally relatable and find the amusing/interesting within the mundane. I: This introductory movement embraces the concept of minimalism in a few different ways. The instrumentation is a nod to minimalist icon Steve Reich, and can be performed on a budget of literally $0. The text is fragmented in a way that creates several distinct statements, each with a different meaning, out of one sentence. Listen for: •The irregular phrase length of the vocal line (12.5 beats), the beginning of which is punctuated by clapped accents in parts 4 and 5 throughout the piece. These accents always occur where the words “I’m Lucky” fall in the phrase, whether the vocal line is being stated or not. •The superimposition of the accents in parts 2 and 3 (every 8 beats), and the few times when the two groups of accents line up •The final statement, “I’m,” which stands alone as a complete sentence (“I am.”), and is the only word of the movement not accompanied by claps TEXT by u/slimmaslam: I’m lucky to be broke at a time when minimalism and sustainability are in style. II: This flowing, quirky waltz consists mostly of consonant harmonies intended to represent pleasing smells. The tuba is featured in this movement and was chosen mostly for its versatility, however its aural proximity to a certain type of bad smell was also a factor. Listen for: •The expansive range of the tuba, which begins its opening accompanimental figure in the low register (G1), then jumps up several octaves for a melodic solo in measure 5 •The flute taking over the second half of this melody in measure 9, as the tuba reverts to accompanimental material •A soaring vocal line, which is set in a high tessitura (range) – lending a measure of class and dignity to what is one of the sillier texts of the broader work •Rapid harmonic shifts that occur after the main theme, building intensity until the instrumental recapitulation TEXT by u/JohnBolia: One big difference between men and women is that when a woman says “Smell this…” it will usually smell nice. III: The ambiguous meter (often 5/4, but with frequent shifts) and atonality of this movement create a sense of unease, intended to evoke the feeling of being lost and afraid. Listen for: •A tenuous groove established early on by the drums •Extended flute techniques used throughout the piece: whistle tones, tongue stops, residual tones, and diffuse tones •Pointillistic texture, which becomes more active and chaotic, reaching its peak just before the final punchline TEXT by u/waterdam: Imagine being naked in a room with people speaking a different language, and they all want to touch you. That’s the life of a dog. IV: Movement four is a jazzy Christmas carol for the modern era. The repetitive text reflects the numerous and often similar stories of workplace (and everywhere-place) harassment brought to light since the #metoo movement began. In order to appeal to the widest audience possible with this important message, the harmonies, form, and style are all conventional. Listen for: •The theme, stated in the saxophone and violin parts prior to the vocal entrance, reinforcing its familiarity •A shift in the piano and drums, signaling the B section •An improvised section after the return to A, and before the vocal reprise TEXT by u/OyVeyzMeir: This is not the year for mistletoe in the workplace. V: Reading from a multi-colored graphic score in this movement gives each performer the freedom to interpret their own musical line. Listen for: •Three spoken iterations of the text, each with slightly different inflection •A steady rhythmic pulse emerging from the middle of the piece •The interaction between pitched instruments: they are sparse and atonal at the beginning and end, but establishing an F# tonal center in between TEXT by u/Gilfmagnet: Music is just wiggly air. 55:50 Improvisation 1 - Dreamy TEXT submitted by audience member: Sleep tight, sweet dreams, angels guide. 1:09:48 Improvisation 2 - Muscular TEXT submitted by audience member: Oh to have arms like Jodie!  Check out our other episodes, Subscribe, Rate, and Review on iTunes, and like us on Facebook! And tell your friends!   

Db Major scale for 5-string double bass played 5 times at 160 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 160 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 160 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 160 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 155 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 155 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 155 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 155 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 150 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 150 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 150 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 150 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 145 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 145 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 145 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 145 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 140 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 140 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 140 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 140 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 135 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 135 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 135 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 135 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 130 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 130 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 130 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 130 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 125 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 125 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 125 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 125 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 120 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 120 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 120 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 120 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 115 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 115 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 115 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 115 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 110 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 110 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 110 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 110 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 105 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 105 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 105 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 105 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 100 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 100 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 100 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 100 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 95 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 95 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 95 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 95 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 90 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 90 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 90 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 90 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 85 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 85 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 85 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 85 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 80 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 80 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 80 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 80 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for 5-string double bass played 5 times at 40 beats per minute for 3 octaves with cello playing an octave higher.

Db Major scale for double bass played 5 times at 40 beats per minute for 3 octaves with cello playing an octave higher.

Db Major Scale played 5 times at 220 beats per minute.

Db Major Scale played 5 times at 200 beats per minute.

Db Major Scale played 5 times at 160 beats per minute.

Db Major Scale played 5 times at 120 beats per minute.