Podcasts about eb major

Adam Golka is a Polish-American Acclaimed Classical Pianist and Beethoven expert. He first performed all of Beethoven's Piano Sonatas when he was 18 years old, and he recently performed the complete cycle of Beethoven's 32 Sonatas accompanied by 32 short films that he created. He's given recitals in Japan, Amsterdam, Paris, Berlin, New York and elsewhere and performed with many symphony orchestras and conductors. He was awarded First Prize in the China Shanghai International Piano Competition.My featured song is classical pianist Michael Stephen Brown's performance of Beethoven's Variations and Fugue in Eb Major. YouTube link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------ROBERT'S SINGLES:“SOSTICE” is Robert's newest single, with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Adam at:www.adamgolka.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

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

In this episode, Mary, Hunter, and Shaun analyze Beethoven's Third Symphony in Eb. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

Brahms Intermezzo in Eb major, Op. 117 no. 1 is a kind of sweet lullaby but with a disturbingly dark middle section. What is that about? The gorgeous music draws you in with its lush harmonies and rich textures, and tells a compelling but unclear story. With Henrik Kilhamn, piano. Video: https://youtu.be/95nEeUymyaY

Andante espressivo in Eb Major. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

On this episode of the Nick Finzer Audio Experience, trade along with Nick on the tune On Green Dolphin Street in the key of Eb. Play on any instrument, it doesn't need to be trombone!

The "Secrets" theme can be easy to miss, but not in minutes 101-105 of Solo: A Star Wars Story! The veil of secrecy is lifted as the "Secrets" motif cycles through a progression of revelatory chords leading to Crimson Dawn. This is one of Xanthe's favorite musical moments in the film. Alex Cunningham returns to the show to nerd out about it! Discussion Guide: 00:00 - Hello there! 03:14 - Visual preview of these minutes. 11:33 - What makes the buildup to the Crimson Dawn reveal so interesting? 14:56 - Same pitch collection as Enfys Nest theme. 17:29 - Is the instrumentation gendered? 20:57 - How the harmony contributes to the buildup and reveal (plus some sweet, sweet Major 7th action). 30:12 - Timbral interaction between bass singers and bass flute. 32:06 - Addressing the whole Augie's Municipal Band and Emperor's Theme thingy. 36:26 - Does Frank Lehman have a list of how many variants of a theme are present in each movie? 45:32 - The chords matter in the "Secrets" theme. Otherwise, it's just 3 notes that arguably sound like Jurassic Park. 51:09 - Brief "March of the Resistance" cameo. 54:45 - Enfys Nest's accent, British accents in Star Wars for women, especially women of color. 1:02:01 - Alden Ehrenreich's performance. 1:07:02 - "Secrets" theme 7x: Cycling through the chord progression. (C Major, A half diminished 7, E minor, C minor, A7, Eb Major, C Major) 1:17:00 - Kurosawa-esque sound design on Savareen. 1:27:03 - Qi'ra's intuition about Han + the classic moviemaking time trick. 1:30:24 - Different interpretations of the harp during Beckett's goodbye. 1:33:56 - A critique about the Millennium Falcon takeoff sound. 1:43:05 - SWMM Questionnaire Things to Check Out: SWMM Solo 17: Adagio for L3 (minutes 81-85 with Lacey Gilleran) - https://youtu.be/cV9LHk05w20 All the ways to Power-up the Millennium Falcon (Supercut) (Bruce Kenobi) - https://www.youtube.com/watch?v=OQyRLge-_-U Akira Kurosawa - Composing Movement (Every Frame a Painting) - https://youtu.be/doaQC-S8de8 Doctor Eleven from STATION ELEVEN (composed by Dan Romer) - https://www.youtube.com/watch?v=Lj9-hx4Pgzg Theme to GIRLS5EVA - https://youtu.be/baaSjb-Cihs Combat Archery (Wayward Wolf) - https://youtu.be/MkAYRh0tuKc?t=273 Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Musical Themes: 2. Rebel Fanfare 7a. Enfys Nest 1 48a. March of the Resistance (A Section) 3. Secrets 1. Young Han Solo (Heroic, comp. JW) 5. The Gang Where are we in the soundtrack(s)?: "Savareen Stand-Off" & "Enfys' Stand-Off (6M35)" "Qi'Ra Knows a Bit More Than Han (6M36-37-38)" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Previous answer: John. Ben. James. New answer: John. Ben. James. 2. What's something related to Star Wars music or sound that you want to learn more about? Previous answer: What other sound designers does Ben Burtt admire? New answer: Who is on the foley team, and how do they think and talk about foley? Do they see themselves as sound designers, how do they approach their creative work? 3. What's a score or soundtrack you're fond of besides anything Star Wars? Previous answer: Akira (composed by Geinoh Yamashirogumi), The Harder They Come (primarily featuring Jimmy Cliff) New answer: Station Eleven (composed by Dan Romer) --------------- Guest: Alex Cunningham Previous SWMM episode: ANH 21: Backstage Jitters (minutes 101-105) - https://youtu.be/95tApsOGqP8 Instagram: https://www.instagram.com/muay_tie_fighter/ ------------------ If you want to support the show and join the Discord server, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

background painting: Roman ruins and sculpture by Giovanni Paolo Panini

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 Eb Major Melodic Workout. In this Jazz Piano Lesson you will:DiscoverA Key of Eb Major Melodic WorkoutLearnHow to "think" within the Key of Eb Major, MelodicallyPlayThe Modes of the Key of Eb Major plus Inverted Melodic Arpeggios from various entry points (Root, 3rd, 5th, 7th).ANDYou are going to play Melodic lines using various Whole Note, Half Note, Quarter, and 8th  Note Rhythms 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 Eb 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 (https://www.paypal.com/donate/?hosted_button_id=ZZEBGDF38VFNS)

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 Eb Major Melodic Workout. In this Jazz Piano Lesson, you will:DiscoverA Key of Eb Major Harmonic WorkoutLearnHow to "think" within the Key of Eb 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 Eb 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 (https://www.paypal.com/donate/?hosted_button_id=ZZEBGDF38VFNS)

This major Nocturne has all the typical features - long sweeping arpeggios in the left hand and a soaring melody on top - but it is also a duet of two voices that keep the dialogue alive throughout the piece. With pianist Henrik Kilham. Video: https://youtu.be/tc69rTem_qo

This question was sent by me, Vidas! I posted my answer in the Total Organist Community Basecamp channel, where I've been asked the question, “What have you been struggling with the most in organ playing this week. So, I wrote: “Last week I was struggling to record Trio Sonata No. 1 in Eb Major, BWV 525 by J.S. Bach. Somehow I find it easier to play live recitals than to record pieces one by one.”

Ben's House. Master Chase could not join this particular session for various reasons. We decided to focus on instrumentals. Some highlights of this particular day were our first time through Im Sentimental for You and K-Paz and several very energetic jams.

Ben's House. Master Chase could not join this particular session for various reasons. We decided to focus on instrumentals. Some highlights of this particular day were our first time through Im Sentimental for You and K-Paz and several very energetic jams.

On today’s date in 1941, the famous Greek-born conductor Dimitri Mitropoulos led the Minneapolis Symphony in the premiere performance of a new symphony by German composer Paul Hindemith, who came to Minnesota for the performance. Mitropoulos was an ardent promoter of new music, but few of the contemporary works he programmed were welcomed by audiences or the critics with much enthusiasm. Hindemith’s reputation as an atonal composer had preceded him, but, surprisingly, his new piece for Minneapolis was billed as a “Symphony in Eb Major” and, much to the delight of all concerned, featured recognizable tunes. By chance, another famous composer, Sergei Rachmaninoff, was in Minneapolis that day, and was invited by Mitropoulos to attend the Hindemith premiere backstage, where he wouldn’t be annoyed by autograph seekers. Rachmaninoff had a very pessimistic view of modern music, but Mitropoulos was sure the famously dour Russian would like Hindemith’s resolutely tonal new symphony. Rachmaninoff was positioned just off stage, and after the end of the symphony, which was received with great applause, Mitropoulos passed him as he left the stage. “Well?” asked Mitropoulos. “No goooood,” was Rachmaninoff’s lugubrious response.

On today’s date in 1941, the famous Greek-born conductor Dimitri Mitropoulos led the Minneapolis Symphony in the premiere performance of a new symphony by German composer Paul Hindemith, who came to Minnesota for the performance. Mitropoulos was an ardent promoter of new music, but few of the contemporary works he programmed were welcomed by audiences or the critics with much enthusiasm. Hindemith’s reputation as an atonal composer had preceded him, but, surprisingly, his new piece for Minneapolis was billed as a “Symphony in Eb Major” and, much to the delight of all concerned, featured recognizable tunes. By chance, another famous composer, Sergei Rachmaninoff, was in Minneapolis that day, and was invited by Mitropoulos to attend the Hindemith premiere backstage, where he wouldn’t be annoyed by autograph seekers. Rachmaninoff had a very pessimistic view of modern music, but Mitropoulos was sure the famously dour Russian would like Hindemith’s resolutely tonal new symphony. Rachmaninoff was positioned just off stage, and after the end of the symphony, which was received with great applause, Mitropoulos passed him as he left the stage. “Well?” asked Mitropoulos. “No goooood,” was Rachmaninoff’s lugubrious response.

This question was sent by Maureen. And she’s our Total Organist student. And she writes, Hi Vidas, The concern with the coronavirus is ratcheting up as you will know. Scotland is beginning to grow concerned and lockdown is being implemented for next week. I thought it would be a great opportunity to play as often as possible during the time when this happens here in Scotland. I would like to study the Bach Prelude and Fugue in D Major, BWV 532 and BWV 552 (this is Prelude and Fugue in Eb Major). Is this fingered for purchase by any chance? I would love to purchase it if it is. Thank you, Appreciatively, Maureen

Show Notes – -E Major Note Sets and Intervals -Eb Major Note Sets and Intervals -Introduction to Half and Whole Steps -Great Tip on how any major scale is built using whole and half steps - WWhWWWh  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

Show Notes – -Review of E and Eb Major -Ways to test your brain on intervals with the learned keys -F Major Note Sets and Intervals -F# Major Note Sets and Intervals 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

J.S. Bach - Fugue in Eb-major, "St. Anne", BWV 522 by Nashotah House Music Office

Pianist Henrik Kilhamn goes through Chopin's famous Nocturne in Eb major, Op. 9 no. 2. Find out how Chopin achieves such a lovely and playful character in the music.

In Episode 130 I gave you a list of ten songs that are perfect for playing along with YouTube videos (I've gotten a lot of positive feedback from that episode! Thanks for letting me know it was helpful for you).  It occurred to me while recording that episode that I haven’t really talked about building chords and their inversions on the podcast. Build by counting piano keys Many piano kids may be familiar with chords that are grouped by their shape. Major Chords with all white keys: C, F, G. Chords with a black key in the middle: D, E, A. Chords with black keys on the top and bottom and a white key in the middle: Db, Eb, Ab. But what about chords that don’t fit in those groups? You can find the notes you need by counting piano keys - all keys, black or white. For Major chords, start with any piano key. This becomes the ROOT of the chord. Today, let’s use B. From the ROOT, count up four piano keys (C, C#, D, D#) D# is the fourth piano key up from B. D# is the middle note of the chord. In terms of intervals, it is a third above B so we will call it the THIRD of the chord. From the ROOT, count up seven piano keys (C, C#, D, D#, E, F, F#) F# is the seventh piano key up from B. F# is the top note of the chord. In terms of intervals, it is a fifth above B so we will call it the FIFTH of the chord. Since we counted up 4 piano keys to get to the D#, we could use a shortcut of only counting three more keys from D# to get to the F#. I counted from B to reinforce the fact that the chord tones get their identity from the ROOT. For minor chords we still select a ROOT and count up seven piano keys to find the FIFTH. The difference between a Major chord and a minor chord is the sound of the THIRD. The THIRD of the chord determines the type. From the ROOT, count up three piano keys (C, C#, D). D is three piano keys up from B so D is the THIRD or middle note in the B minor chord. Changing that one note from D# to plain D changes the whole mood of the chord. That sounds like me on certain days, one little thing can make my mood change from happy to sad. The good news is one little thing can change it right back, too! Build by using the scale I discussed building scales using the Circle of Fifths in Episode 013: Magic Wand, part 1 Build a Major scale using whole steps and half steps (Whole step is two piano keys, black or white, half step is moving to the next piano key) W  W  H  W  W  W  H   2   2   1   2   2   2   1 Once you have the correct scale degrees, you can start to build chords or triads by combining every other note of the scale. For example,  Why inversions? Inversions allow us to transition quickly between chords, and often using an inversion can add a different nuance to the chord. Sounds better to our ears. More cohesive and less choppy. The common tones between chords help our ears transition from one sound to the next. If you think of a choir, the voices don’t want to jump around, they want to find the closest chord tone to help their voice move up or down efficiently.   The snowman visual for inversions on this page is cute. Invert chords to play melody on the top, build the harmony underneath. When you play a tune by ear, start with the melody, add the bass as a foundation, then fill in harmonic chord tones to add richness to the arrangement. A fun bonus and a challenge On March 4, 1963, the Beach Boys released their second album, “Surfin’ USA.” The title song on the album is in the key of Eb Major and uses Eb, Bb, and Ab. The pattern goes like this: Bb |Bb | Eb | Eb |Bb |Bb | Eb | Eb | Ab |Ab | Eb | Eb |Bb |Ab | Eb | Eb | I challenge you to use the tools I’ve shared with you today to figure out which piano keys you need for each of these chords and find the most efficient way you can use those chords and their inversions to play this song.  Once you can play "Surfin' USA" on your own, try playing along with the Beach Boys on this YouTube video. https://www.youtube.com/watch?v=EDb303T-B1w Thanks for listening! To share your thoughts: Leave a note in the comment section below Ask a question at pianoparentpodcast@gmail.com Share this show on Twitter, Instagram, Facebook, and Pinterest To help out the show: leave an honest review on iTunes. Your ratings and reviews help other piano parents and teachers find the show. Subscribe on iTunes, Podbean, or your favorite podcast player. 

This question was sent by Anne, and she writes: Dear Vidas, Could you help me out a little with registration? I am quite confused about how one should register for many compositions by Bach, in particular his Trio Sonata in E flat (BWV 525). I understand that it was not common practice in his time to list out particular stops one should pull for each piece, and that it depended rather on the organist himself and the place he was in. But I don’t know where to start. If it doesn’t trouble you too much, I’d definitely appreciate your help. Regards, Anne

Prelude and Fugue in Eb Major, BWV 552 (Ausra Motuzaite-Pinkeviciene) by Vidas Pinkevicius

Niel Jacoby (of Spall Talk) releases their reworking of Sufjan Stevens' "Tonya Harding" to reflect the dissolution of Kent State's TPUSA chapter. This track was featured live on Funkhaus Berlin.

Sufjan Stevens - Tonya Harding (in Eb Major) - a 2017 single on Asthmatic Kitty Records.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

What do you think it would be like to personally know both Mozart and Beethoven? Our composer this week, Johann Hummel, certainly knew! Check out this lesser known rockstar and his Rondo in Eb Major! Music: https://creativecommons.org/licenses/by-nc/4.0/legalcode http://imslp.org/wiki/Rondo_in_E-flat_major%2C_Op.11_(Hummel%2C_Johann_Nepomuk)