Podcasts about Music theory

Download the free guide "5 Spells Every Composer Needs." These spells are interval-based composition techniques that work like magic. In this guide, I explain 5 of my most-used spells with examples so that you can implement them in your compositions as well. https://musicintervaltheory.academy/spells/ Frank shares a powerful story from a conversation with a magician friend and composer, revealing the real benefit of learning interval theory — not just sounding different or adding tricks to your music, but saving time and eliminating frustration. Discover how interval-based thinking can help you translate your musical ideas into reality faster and with more confidence.

Podcast PacketsIllustrationsLead SheetsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Solo Piano, Music Education, Harmonization, Jazz Skills, Improvisation, Melody, Chord Progressions, Music Theory, Jazz TechniquesSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence discusses the structured approach to learning jazz piano, emphasizing the importance of a systematic educational process. He introduces the seven facts of music, explores various solo piano approaches, and provides insights into harmonizing melodies. The episode highlights the significance of clarity and simplicity in mastering jazz skills, and encourages listeners to focus on foundational techniques before advancing to more complex styles.TakeawaysJazz Piano Skills focuses on a structured educational process.Mastery in jazz is built on a solid foundation, not novelty.Understanding harmony is crucial for improvisation and melody.Listening to various artists is essential for developing skills.Simplicity in harmonization accelerates mastery.Clarity in musical concepts is vital for effective learning.Harmonizing melodies requires a strong grasp of chord scale relationships.The stair-step approach aids in developing right-hand harmonization skills.More complex voicings should come after mastering simpler ones.Building a solid foundation is key to becoming a proficient jazz musician.TitlesMastering Jazz Piano: A Structured ApproachThe Seven Facts of Music ExplainedSound Bites"Simplicity accelerates mastery.""Listening leads to imitation.""More is not always better."Support the show

Charlie Parker was punk rock before there was punk rock. His bebop was underground music: subversive, intellectual, and a major departure from popular music of the day (think: Nat King Cole, The Andrews Sisters, Perry Como). He was an intellectual heavyweight, nearly untouchable in his technical ability and pushing music to places no one else was daring to go. So where did Charlie Parker with Strings, his most accessible album, come from?It's not Bird going commercial, like some have claimed. Charlie Parker with Strings is an album he fought to make. He loved Bach and Stravinsky (even quoting the opening of Stravinsky's 'Firebird Suite' mid-solo in one legendary performance), and had longed to make a record where his jazz saxophone was accompanied by strings.The resulting record is music's greatest improviser at his best. Jazz pianists Peter Martin and Adam Maness listen to select tracks (like "Just Friends" and "Summertime"), breaking down the theory behind the music to understand what makes this album great. Jazz is the foundation of the most GENIUS music in recent history: Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo. In this popular music series, You'll Hear It, Adam and Peter break down the greatest albums of all time. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.Like the jam at the end of the show? Head to @openstudiomusic on YouTube for more.Visit openstudiojazz.com for ALLLLL your jazz lesson needs.00:00 - Intro: Charlie Parker with Strings01:10 - "Just Friends"04:40 - Want to Be a Great Musician? Study This Track10:20 - Early Recording: "Swingmatism" (1941)12:45 - The Secret to Charlie Parker's Genius: Practice15:20 - The Savoy Sessions: "Now's the Time" & Young Miles Davis18:20 - The Contrafact Built in Real Time21:45 - "Koko": Miles Davis Couldn't Play It?!24:30 - Musicians NEED to Listen to This27:15 - Think Parker Sold Out? Think AGAIN28:55 - "April in Paris": Parker's Chosen Tune33:55 - About Mitch Miller's Oboe ... 38:25 - "Summertime"44:10 - "Out of Nowhere"46:35 - We Have An Album! 47:20 - "East of the Sun"53:00 - "I'll Remember April"55:50 - Categories: Desert Island Tracks56:35 - The BEST Moments on Strings1:11:10 - Open Studio Plays "Just Friends"

In this episode, I'm joined by Simon Oslender, and I'm not exaggerating when I say his playing lit me up the first time I heard it: pure joy, but with real depth underneath. We talk about growing up in a deeply musical home, starting on drums, and the exact “big bang” moment when a John Mayall live DVD (and Tom Canning on Hammond B3) made Simon lock in on the organ for life.We get into Simon's early recording experiments, how he writes (often away from the instrument, grabbing voice memos before ideas disappear), and his relationship with theory—especially his favorite framing: theory shouldn't tell you what to do, it should explain what you're hearing. And then we go deep on the dream-team reality of All That Matters: recording with Steve Gadd and Will Lee and how that session turned into a tour, and what it takes to keep your head straight when your heroes show up fully prepared to play your music.Music from the Episode:On a Roll (Simon Oslender)In Good Hands (Simon Oslender)Cruisin' (Simon Oslender)Quite Logical (Simon Oslender)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Is Steely Dan's Gaucho more perfect than Aja? Maybe even ... too perfect? Two years in the studio. The greatest session musicians alive asked to play take after take after take until it was exactly right. And sometimes that STILL wasn't enough for Donald Fagen and Walter Becker.On today's episode of You'll Hear It, jazz pianists Peter Martin and Adam Maness are breaking down the 1980 album track by track: the jazz harmony hiding inside those smooth grooves, the abstract poetry of the lyrics, and the insane stories behind how this thing got made. Including the $150,000 drum machine invented specifically for this record, the interview quote that cost them a third of a song, and the drum track that took 85 takes and 35 tape edits to piece together.And after all that, we didn't get another Steely Dan record for 20 years.Was it worth it?Read about the simple mistake that would haunt Steely Dan for 44 years in this week's edition of the You'll Read It newsletter: https://youllhearit.com/newsletterWatch our FULL breakdown of Steely Dan's Aja: https://youtu.be/G10mYohR6T400:00 - Steely Dan's Gaucho: A Monument to Perfect01:15 - "Babylon Sisters"11:00 - What Makes Steely Dan Genius13:35 - The Precision of Purdie's Drums on Babylon Sisters16:10 - Abstract Lyrics19:35 - "Hey Nineteen"22:25 - Pristine Rhodes25:25 - Isolated Vocal Stems on "Hey Nineteen"33:00 - "Glamour Profession"38:55 - The Mingus Influence40:10 - "Gaucho"43:20 - The Keith Jarrett Lawsuit48:50 - Gaucho Chorus Deep Dive54:10 - "Time Out Of Mind"57:50 - Monument to Perfectionism (Lead Boots)1:01:35 - Perfectionism and Jazz1:05:05 - Is Gaucho More Perfect Than Aja?1:06:25 - "My Rival"1:10:40 - Bowie / Steely Dan Side-By-Side1:14:00 - Too Fussy?1:19:05 - Open Studio Plays "Glamour Profession"

In this episode of the Crazy Wisdom podcast, host Stewart Alsop interviews John von Seggern, founder of Future Proof Music School, about the intersection of music education, technology, and artificial intelligence. They explore how musicians can develop timeless skills in an era of generative AI, the evolution of music production from classical notation to digital audio workstations like Ableton Live, and how AI is being used on the education side rather than for creation. The conversation covers music theory fundamentals, the development of instruments and recording technology throughout history, complex production techniques like sidechain compression, and the future of creative work in an AI-assisted world. John also discusses his development of Cadence, an AI voice tutor integrated with Ableton Live to help students learn music production. For those interested in learning more about Future Proof Music School or becoming a beta tester for the AI voice tutor, visit futureproofmusicschool.com.Timestamps00:00 Future Proofing Musicians in a Changing Landscape03:07 The Role of AI in Music Education05:36 Generative AI: A Tool for Musicians?08:36 The Evolution of Music Creation and Technology11:30 The Impact of Recording Technology on Music14:31 The Fragmentation of Culture and Music17:19 Exploring Music History and Theory20:13 The Relationship Between Music and Memory23:07 The Future of Music Creation and AI26:17 The Importance of Live Music Experiences28:49 Navigating the New Music Landscape31:47 The Role of AI in Finding New Music34:48 The Creative Process in Music Production37:33 The Future of Music Theory and Composition40:10 The Search for Unique Artistic Voices43:18 The Intersection of Music and Technology46:10 Cultural Shifts in the Music Industry49:09 Finding Quality in a Sea of ContentKey Insights1. Future-proofing musicians means teaching evergreen techniques while adapting to AI realities. John von Seggern founded Future Proof Music School to address both sides of music education in the AI era. Students learn timeless production skills that won't become obsolete as technology evolves, while simultaneously exploring meaningful creative goals in a world where generative AI exists. The school uses AI on the education side to help students learn, but students themselves aren't particularly interested in using generative AI for actual music creation, preferring to maintain their creative fingerprint on their work.2. The 12-note Western music system emerged from mathematical relationships discovered by Pythagoras and enabled collaborative music-making. Pythagoras demonstrated that pitch relates to vibrating string lengths, establishing mathematical ratios for musical intervals. This system allowed Western classical music to flourish because it could be notated and taught consistently, enabling large groups to play together. However, the piano is never perfectly in tune due to necessary compromises in the tuning system. By the 1920s, composers had explored most harmonic possibilities within this framework, leading to new directions in musical innovation.3. Recording technology fundamentally transformed music by making the studio itself the primary instrument. The invention of audio recording in the early-to-mid 20th century shifted music from purely instrumental composition to sound-based creation. This enabled entirely new genres like electronic dance music and hip-hop, which couldn't exist without technologies like synthesizers and samplers. Modern digital audio workstations like Ableton Live allow producers to have unlimited tracks and manipulate sounds in infinite ways, making any imaginable sound possible and moving innovation from hardware to software.4. Generative AI will likely replace generic music production but not visionary artists. John distinguishes between functional music (background music for films, work, or bars) and music where audiences deeply connect with the artist's vision. AI excels at generating functional music cheaply, which will benefit indie filmmakers and similar creators. However, artists with strong creative visions who audiences follow and identify with won't be replaced. The creative fingerprint and personal statement of important artists will remain valuable regardless of the tools they use, just as DJs created art through curation rather than original production.5. Copyright restrictions are limiting generative music AI's quality compared to other AI domains. Unlike books and visual art, recorded music copyrights are concentrated among a few companies that defend them aggressively. This prevents AI music models from training on the best music in each genre, resulting in lower-quality outputs. Some developers claim their private models trained on copyrighted music sound better than commercial offerings, but legal constraints prevent widespread access. This situation differs significantly from other creative domains where training data is more accessible.6. Modern music production involves complex technical skills like sidechain compression and multi-track mixing. Today's electronic music producers work with potentially hundreds of tracks, each with sophisticated processing. Techniques like sidechain compression allow certain elements (like kick drums) to dynamically reduce the volume of other elements (like bass), ensuring clarity in the final mix. Future Proof Music School teaches students these complex production techniques, with some aspiring producers creating incredibly detailed compositions with intricate effects chains and interdependent track relationships.7. Culture is fragmenting into micro-trends, making discovery rather than creation the primary challenge. John observes that while the era of mass media created mega-stars like The Beatles and Elvis, today's landscape features both enormous stars (like Taylor Swift) and an extremely long tail of creators making niche content. AI will make it easier for more people to create quality content, particularly in fields like independent filmmaking, but the real problem is discovery. Current algorithmic recommendations don't effectively surface hidden gems, suggesting a future where personal AI agents might better curate content based on individual preferences rather than platform-driven engagement metrics.

I got to sit down with Alison Prestwood, an A-list bassist, singer, and bandleader whose playing has been anchoring records and stages for decades, and it felt like catching up with someone I should've known for years.We talked about her leap from Atlanta to Nashville in the early '90s, what it's like leaving steady work to chase the next chapter, and how those five-to-six-nights-a-week club years built the kind of chops and confidence that translate anywhere. Alison shares the winding path that led her into Nashville's session world (including a wild early moment overdubbing on a Ronnie Milsap master), and how hearing players like Glenn Worf and Michael Rhodes up close pushed her into that “forever climbing” mindset that great musicians live in.She also goes deep on her musical north stars: Paul McCartney, James Jamerson, Willie Weeks, Lee Sklar, and especially Carol Kaye, including an incredible story about spending a full weekend at Carol's house working on pick technique and soaking up stories and wisdom.From there, we get into the nuts and bolts: how Alison thinks about the difference between R&B feel vs. country feel, note length, subdivisions, and the “rules” you learn in Nashville, plus when to break them. She's also launching a brand-new Merle Haggard tribute band called We Are the Merle.We also talk about her time touring with Peter Frampton, how that gig came together, what it's like playing major stages (including the Rock & Roll Hall of Fame experience), and the weight and gratitude of watching a legend keep doing the work.And because Alison is also a fellow podcaster, we dig into her show “Hey, Good For You”, a funny, honest, and sharp look at life as a working bassist (and the absurd things people say to women musicians).It's part career map, part hang, part deep musicianship chat, and by the end, we basically agree this needs to be part one.Music from the Episode:Nadine (Is It You) (George Benson)Turning Waylon Down (Alison Prestwood)Austin (Blake Shelton)Beautiful Man (Alison Prestwood & Rodney Crowell)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Download the free guide “5 Spells Every Composer Needs.” Spells are interval-based composition techniques that work like magic. In this guide, I explain 5 of my most-used spells with examples so that you can implement them in your compositions as well. https://musicintervaltheory.academy/spells/ In this episode of The Music Interval Theory Podcast, Frank shares why he refuses to join the “music theory police” and how the internet often turns helpful knowledge into gatekeeping. He explores the value of curiosity in learning, why asking questions should be safe, and how theory is best used as a creative tool—not a strict rulebook. If you're tired of rigid opinions and just want to make great music, this one's for you.

Cory and Noah take a broader view on the concept of rhythm, exploring this fundamental part of music from as many angles as they can think of.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Download the free guide “5 Spells Every Composer Needs” — interval-based composition techniques that work like magic. https://musicintervaltheory.academy/spells/ In this episode, Frank shares how he stopped overthinking intervals and started using his keyboard or guitar as a simple visual tool to speed up his workflow. He explores the difference between writing inside scales versus composing with intervals — and how blending both approaches can bring uniqueness and familiarity to your music. You'll also hear practical tips for applying interval thinking in your own compositions, whether you're scoring for film, games, or just experimenting.

Download the free guide "5 Spells Every Composer Needs." Spells are interval-based composition techniques that work like magic. In this guide, Frank explains five of his most-used spells with examples so you can implement them in your own compositions. https://musicintervaltheory.academy/spells/ In this episode of the Music Interval Theory Podcast, Frank shares how years of teaching pattern-based music theory helped him develop instant pattern recognition—both visually and aurally. He breaks down why structured learning is far more powerful than "winging it," and how repeating intervallic patterns can train your inner ear like nothing else. You'll hear how these concepts apply directly to composition, and how to avoid common mistakes by understanding the “why” behind what works.

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Melodic Analysis, Embraceable You, Seven Facts of Music, Articulation, Jazz Education, Improvisation, Practice Strategies, Music Theory, Jazz TechniquesSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence delves into the melodic analysis of the Gershwin standard 'Embraceable You.' The discussion begins with an introduction to the structured approach of the Jazz Piano Skills program, emphasizing the importance of harmonic and melodic analysis. Dr. Lawrence introduces the Seven Facts of Music, which serve as foundational concepts for understanding music theory and practice. The episode then transitions into a detailed exploration of the melody of 'Embraceable You,' focusing on articulation, phrasing, and expression in jazz performance. The session concludes with practical applications of the learned concepts through various jazz treatments of the melody, encouraging listeners to engage with the music expressively and creatively.TakeawaysEstablishing a well-structured practice approach is crucial for success.Understanding music conceptually simplifies the learning process.The Seven Facts of Music are foundational for all musicians.Articulation in jazz is primarily legato, imitating vocal styles.Jazz melodies should be played with intentional phrasing and connection.Listening to various interpretations enhances musical understanding.Melodic analysis involves identifying phrases and target notes.Improvisation is rooted in understanding scales and arpeggios.Using backing tracks can significantly improve timing and expression.Confidence in playing comes from a deep understanding of musical concepts.TitlesUnlocking Jazz Piano Skills: A Melodic JourneyMastering 'Embraceable You': A Jazz AnalysisSound bites"Confidence replaces hope.""Connecting notes is everything.""Jazz lives in phrases."Support the show

Download the free guide "5 Spells Every Composer Needs." These spells are interval-based composition techniques that work like magic. I explain 5 of my most-used spells with examples so that you can implement them in your compositions as well. https://musicintervaltheory.academy/spells In this episode of The Music Interval Theory Podcast, Frank unpacks why chords like C6 and Am7—despite using the same notes—feel so different. The secret lies in the harmonic series and how we interpret the root. You'll learn how shifting the fundamental changes the chord's function, complexity, and emotional color. We go from simple sixth chords to rich 13th structures, all using the exact same tones. It's a powerful lesson in musical context, function, and the nature of harmony.

Download the free guide "5 Spells Every Composer Needs." Spells are interval-based composition techniques that work like magic. In this guide, Frank explains 5 of his most-used spells with examples so you can implement them in your compositions too. https://musicintervaltheory.academy/spells In this episode, Frank dives into the technique of Scaling—an interval-based approach that instantly adds emotional depth and that “Disney sparkle” to your music. He explains how using a simple formula from a major triad and an anchor note can unlock rich harmonic textures. With easy step-by-step guidance, you'll see how to use Scaling to create wide, expressive harmonies that still feel grounded and intentional.

Download the free guide “5 Spells Every Composer Needs.” Spells are interval-based composition techniques that work like magic. In this guide, Frank explains 5 of his most-used spells with examples, so you can implement them in your own compositions: https://musicintervaltheory.academy/spells In this episode of The Music Interval Theory Podcast, Frank shares how recording his composing process inside Sibelius helped him spot creative blocks, speed up his workflow, and become more self-aware as a composer. Inspired by how athletes analyze game footage, this simple practice can help any composer improve—even if you never publish a single video. It's a behind-the-scenes strategy with surprising power!

This is the final episode of a 5-part series going over all the concepts every musician should know about music theory.  This episode covers the trends that have developed in what we call classical music since 1900 from chords based on intervals other than 3rds, a wider variety of scales, atonal music, minimalism. and more. Previous Episodes in the Series: Music Theory Overview Music Theory I: Basics and Fundamentals Music Theory II: Harmonic Function and Analysis Music Theory III: Harmonic Construction and Larger Structures Inquire about private lessons on music theory by setting up a free first lesson here For more on bi-tonality and a visual introduction to Hanson Analysis: watch this video here. Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps music teachers with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Explore the Circle of Interval Magicians. You find the Circle quickly by googling "Circle of Interval Magicians," or by following this link: https://www.skool.com/circle-of-interval-magicians/about?ref=bfbebbc3d8d04a84806842a78f42963a In this episode, Frank shares how composing in isolation can distort your creative judgment—and how inviting feedback into your process can unlock surprising clarity and growth. Through personal studio stories and practical examples, you'll discover why community matters, how different ears catch different things, and what it really feels like to shape your music while the clay is still soft. Step inside the Circle of Interval Magicians and find your musical mirror.

Download the free guide “5 Spells Every Composer Needs.” These are interval-based techniques that work like magic — and they're ready for you to use in your own compositions!

Explore the Circle of Interval Magicians. You find the Circle quickly by googling "Circle of Interval Magicians," or by following the link in the show notes. https://www.skool.com/circle-of-interval-magicians/about?ref=bfbebbc3d8d04a84806842a78f42963a In this episode, Frank explores how composers truly discover their unique musical voice. Not by force, but by consistently writing and recognizing their own patterns. From harmonic habits to go-to textures, these so-called “bad habits” are actually key to identity. He shares insights from his own journey in film, animation, and games, and reminds us that innovation doesn't mean throwing away our taste—it means letting it evolve.

This is the 4th of a 5-part series going over all the concepts every musician should know about music theory.  This episode covers the guidelines for smooth voice leading when constructing notes in 4-parts. It also talks about the structure of larger forms such as Theme and Variations, Sonata Allegro, and more. Previous Episodes in the Series: Music Theory Overview Music Theory I: Basics and Fundamentals Music Theory II: Harmonic Function and Analysis Inquire about private lessons on music theory by setting up a free first lesson here Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps music teachers with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

You find the Circle quickly by googling "Circle of Interval Magicians," or by following the link in the show notes.

Ben has questions. Max has answers. (But not as many as Ben...) thebrettboles on insta   *** Submit Your Topic - Get A Free Shirt - ignorantanduninformed@gmail.com

This is the 3rd of a 5-part series going over all the concepts every musician should know about music theory.  This episode covers the basics of roman numeral analysis, diatonic triads, how to classify non-chord tones, and a way to categorize nearly every time signature. Previous Episodes in the Series: Music Theory Overview Music Theory Basics and Fundamentals Inquire about private lessons on music theory by setting up a free first lesson here Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps music teachers with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Cory and Noah discuss how decades shape our understanding of musical movements, and how they shape those movements themselves.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Explore the Circle of Interval Magicians. You find the Circle quickly by googling "Circle of Interval Magicians," or by following the link in the show notes.

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Melodic Analysis, Expressiveness, Music Education, Jazz Standards, Practice Strategies, Music Theory, Stars Fell on AlabamaSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence delves into the melodic analysis of the jazz standard 'Stars Fell on Alabama.' He emphasizes the importance of understanding music conceptually to develop expressiveness in playing. The discussion covers the seven facts of music, the significance of storytelling in melodies, and practical strategies for practicing and interpreting jazz standards. The episode culminates in a detailed exploration of the melody, including fingerings, phrases, and various interpretative styles such as ballad, bossa, and swing.TakeawaysEstablish a well-thought-out practice approach.Music conceptually easy equals musical success physically.Expressiveness in jazz comes from clarity, not complexity.Professional musicians play melodies as musical phrases, not just notes.Understanding the story behind a tune enhances expressiveness.Target notes are crucial for capturing the essence of a melody.Different treatments of a melody can convey different emotions.Silence is an important aspect of musical expression.The harmony should support the melody, not overpower it.The melody of a tune tells you how it wants to be played.TitlesMastering Melodic Analysis in Jazz PianoThe Art of Expressive Jazz PlayingSound bites"We have a method to our madness.""Music conceptually easy equals musical success.""The melody tells you how it wants to be played."Speculative Fiction Writing Made Simple: Write, Edit, and Publish Your Debut NovelMost writing podcasts just inspire. This one teaches the craft skills that hook readers.Listen on: Apple Podcasts SpotifySupport the show

This is the 2nd of a 5-part series going over all the concepts every musician should know about music theory.  This episode is for beginners or those who want a true refresher.  It's a lot crammed into just under 40 minutes, but take some notes and check out all the things you should know about theory before you can get into more intermediate and advanced understanding of how music works. FOR MONDAY, JANUARY 12 ONLY: Register for Music Theory Basics online workshop TONIGHT 7pm Eastern! Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps music teachers with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

rWotD Episode 3171: Elliot del Borgo Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Thursday, 8 January 2026, is Elliot del Borgo.Elliot Del Borgo (October 27, 1938 – May 30, 2013) was an American composer and music educator.Born in Port Chester, New York, Del Borgo earned a Bachelor of Science degree from the State University of New York at Potsdam (SUNY Potsdam) in 1960. He continued his music studies at Temple University, from which he received a Master of Education degree, and the Philadelphia Conservatory of Music, where his teachers included Vincent Persichetti (composition) and Gilbert Johnson (trumpet), and from which he earned a Master of Music degree. Del Borgo subsequently was a music teacher in the Philadelphia public schools.In 1966, Del Borgo returned to SUNY Potsdam to join the faculty of the Crane School of Music. He taught at the Crane School of Music until 1995. SUNY granted Del Borgo doctoral equivalency in 1973. During his tenure, he served as the first chair of the Department of Music Theory, History and Composition, and directed the Crane Wind Ensemble. In 1993, the American Bandmasters Association elected Del Borgo to membership.As a composer, Del Borgo wrote over 600 works, including music for the closing ceremony of the 1980 Winter Olympics in Lake Placid. His teaching compositions included two volumes titled Foundations for Strings. He also held membership in ASCAP.Del Borgo married Nancy Withington on 20 June 1970. The couple had two daughters, Anne and Laura. His widow and daughters, two grandchildren, his brother Anthony, and his sister Gloria all survive him.This recording reflects the Wikipedia text as of 00:27 UTC on Thursday, 8 January 2026.For the full current version of the article, see Elliot del Borgo on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Niamh.

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What actually is music theory, and why should you learn it? This episode explores the branches of music theory, and is a prelude to the next 4 episodes where we'll explore what you can study and how to improve level by level. Register for Music Theory Basics online workshop for Monday, January 12 - 7pm Eastern Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps music teachers with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Send Steve a Text MessageEver wonder if learning more music theory will actually make your playing better, or just add noise to your practice? We unpack the real value of theory for guitarists by separating the essential language—keys, diatonic chords, song form, and chord tones—from the advanced tools that only matter if they serve your goals. You'll hear how to use theory to communicate fast in rehearsals and jams, improvise with intention by targeting notes inside each chord, and analyze songs just enough to unlock smarter choices on the fretboard.We also dig into the “theory of rock and roll,” where feel and sound often trump strict rules. Blues reshaped the landscape, which is why minor pentatonic solos can soar over major I IV V progressions without breaking the vibe. Using clear examples, we show how ear-first logic coexists with fundamentals, so you can respect harmony while bending it to fit the style. The takeaway: theory is a toolset, not a test, and the right piece at the right time can transform your tone, timing, and phrasing.Whether you're writing riff-driven metal, harmony-rich pop, or exploring jazz colors, you'll get a roadmap to choose what to learn next: Nashville numbers for quick transposition, triads and seventh chords for fretboard mapping, voice leading for smoother progressions, and ear training to land on chord tones as changes fly by. If adding modes and arpeggios hasn't fixed stiff solos, we'll show you how to build musicality first and layer complexity only when it truly serves your sound.If this resonates, subscribe, share the episode with a guitarist who needs clarity, and leave a review telling us the one concept that moved your playing forward. Links: Check out the GuitarZoom Academy:https://academy.guitarzoom.com/ Steve's Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... .

KeywordsJazz Piano, Christmas Music, Solo Piano, Improvisation, Vince Guaraldi, Christmas Standards, Jazz Education, Music Theory, Piano Techniques, Holiday TunesSummaryIn this festive episode of Jazz Piano Skills, Dr. Bob Lawrence celebrates the holiday season by exploring classic Christmas tunes through the lens of jazz piano. He recaps previous studies, introduces new plans for solo jazz piano playing, and demonstrates various approaches to well-known Christmas songs. The episode emphasizes the importance of harmonic and melodic analysis, improvisation, and the joy of playing solo piano. Dr. Lawrence shares personal anecdotes and insights, making this episode both educational and heartwarming as he wishes listeners a Merry Christmas and a joyful holiday season.TakeawaysThe importance of a clear thought process in music.Music is a combination of sound and silence.Harmonic and melodic analysis are crucial for jazz piano.Solo piano playing requires emulating an ensemble.Backing tracks are valuable for practice.Silent Night evokes strong memories and emotions.Swinging is essential for certain Christmas tunes.Let It Snow is a classic that doesn't mention Christmas.The Christmas Song is perfect for practicing space and pacing.Merry Christmas and a joyful holiday season to all. TitlesJazz Piano Christmas CelebrationExploring Christmas Classics in JazzSound bites"Merry Christmas!""Silent Night is embedded into their memory.""Enjoy a Jazz Piano Christmas!"Support the show

Happy Christmas you filthy animals. Here's the top 5 things I've found myself explaining to students over the last 15 years of teaching.From music theory to true French expression; I can't believe I'm giving this away for free. Maybe the Guinness has finally got to me.Anyway, happy holidays, big smooches, see yous in 2026!Grma xInline G Merch ⭐️www.Inlineg.myshopify.comInline G Patreon ⭐️www.patreon.com/TheInlineGFlutePodcastInline G will ALWAYS be free of charge, but signing up to the Patreon helps let this podcast reach new heights, if you can afford it. You'll also get to ask questions to upcoming guests as well as get early access to some episodes. Or if you'd rather not spend money, subscribing to my YouTube channel and following me on Facebook, Instagram and TikTok is a HUGE way to support the podcast. It'll cost you nothing, and it really makes a difference to the algorithm gods. So please interact however you can; like, comment, or subscribe, and help keep this podcast lit xAnd finally; use the code “INLINEG” online or in person at Flute Center for; 5% off accessories, 10% off all sheet music, free shipping on new instruments and free shipping to trial instruments (USA only.)Chapters:00:00 - Wine Fuelled Intros05:57 - 5: Music Theory for Dummies11:36 - 4: Contextual Interpretation (I know)20:40 - 3: Dr Technique29:05 - 2: Easy Phrasing32:34 - 1: Free French Phrasing

Cory and Noah attempt to discuss the way modern music discourse is often so focused on making audiences angry, rather than informing them, but then we get sidetracked into discussing how modern media in general is being destroyed from within.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textBrilliant Brigid Kaelin (Tiktok, Spotify) joins me to break down every beat of The Fate of Ophelia.Support the show

Cory and Noah reflect on their experiences with early rock & roll from their childhoods and reflect on what that trend says about both the music and the culture it grew out of.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

There are a ton of videos circulating right now with music theory pros highlighting the technical aspects of Taylor Swifts latest album. While I think its great that these elements are getting coverage, I also think it's important that you don't need to have a high proficiency in music theory to write great songs. In this episode I share a story about my music theory journey, and how sometimes being open to new things, and not worrying about what you don't know can open doors to new creativity. I'd also like to know from the Swifties out there.....what is Taylors theory background? Obviously she's highly skilled in music and writing, but does it come from training or creativity or both?

Charles J. Stivale (Distinguished Professor Emeritus, Wayne State University) and Dan Smith (Professor of Philosophy, Purdue University) join me to discuss: Deleuze, Gilles. 2025. On Painting. Edited by David Lapoujade, translated by Charles J. Stivale. Minneapolis: University of Minnesota Press. Although Charles is the translator of this New Book, he has been working with Dan for years on The Deleuze Seminars (website here). Dan is also the translator of Deleuze's Francis Bacon: The Logic of Sensation, which Deleuze published shortly after giving this seminar. I thank Charles for bringing him in to contribute to our discussion! From the inside flap: “ ” Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Available for the first time in English: the complete and annotated transcripts of Deleuze's 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze's thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.Through paintings and writing by Rembrandt, Delacroix, Turner, Cézanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all?Written and thought in a rhizomatic manner that is thoroughly Deleuzian—strange, powerful, and novel—On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Charles J. Stivale (Distinguished Professor Emeritus, Wayne State University) and Dan Smith (Professor of Philosophy, Purdue University) join me to discuss: Deleuze, Gilles. 2025. On Painting. Edited by David Lapoujade, translated by Charles J. Stivale. Minneapolis: University of Minnesota Press. Although Charles is the translator of this New Book, he has been working with Dan for years on The Deleuze Seminars (website here). Dan is also the translator of Deleuze's Francis Bacon: The Logic of Sensation, which Deleuze published shortly after giving this seminar. I thank Charles for bringing him in to contribute to our discussion! From the inside flap: “ ” Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Available for the first time in English: the complete and annotated transcripts of Deleuze's 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze's thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.Through paintings and writing by Rembrandt, Delacroix, Turner, Cézanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all?Written and thought in a rhizomatic manner that is thoroughly Deleuzian—strange, powerful, and novel—On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Risible: Laughter without Reason and the Reproduction of Sound (University of California Press, 2024) explores the forgotten history of laughter, from ancient Greece to the sitcom stages of Hollywood. Delia Casadei approaches laughter not as a phenomenon that can be accounted for by studies of humor and theories of comedy but rather as a technique of the human body, knowable by its repetitive, clipped, and proliferating sound and its enduring links to the capacity for language and reproduction. This buried genealogy of laughter re-emerges with explosive force thanks to the binding of laughter to sound reproduction technology in the late nineteenth century. Analyzing case studies ranging from the early global market for phonographic laughing songs to the McCarthy-era rise of prerecorded laugh tracks, Casadei convincingly demonstrates how laughter was central to the twentieth century's development of the very category of sound as not-quite-human, unintelligible, reproductive, reproducible, and contagious. A free e-book version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit here to learn more.​ Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Cory and Noah reflect on the trend of rockism, its influence on music culture, and the ways in which it misunderstands what rock is all about.Hear new episodes a month early on Nebula: https://nebula.tv/ghost-notes12tonehttps://bsky.app/profile/12tone.nebula.tvhttps://nebula.app/12tonehttps://www.youtube.com/c/12tonevideoshttps://www.patreon.com/12tonevideosPolyphonichttps://bsky.app/profile/polyphonic.nebula.tvhttps://nebula.app/polyphonichttps://www.youtube.com/c/Polyphonichttps://www.patreon.com/polyphonicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Melodic Analysis, Music Education, Jazz Standards, Practice Strategies, Improvisation, Music Theory, Jazz Techniques, Learning Jazz, Piano SkillsTakeawaysEstablish a well-structured practice strategy for success.Understanding the seven facts of music is crucial.Listening to jazz is essential for developing musicality.Transcribing melodies by ear enhances learning.Melodic interpretation allows for personal expression.Practice phrases and target notes for better melody execution.Utilize various voicings to enrich melodic playing.Experiment with different tempos and styles.Engage with the jazz community for support and feedback.Continuous learning and exploration are key to mastering jazz.SummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence delves into the importance of melodic analysis in jazz piano. He emphasizes the necessity of understanding the seven facts of music, establishing a solid practice strategy, and the role of listening in developing musicality. The discussion includes a detailed exploration of the tune 'Tangerine,' focusing on melodic interpretation, voicings, and various styles and tempos. The episode concludes with encouragement for continuous learning and engagement with the jazz community.TitlesUnlocking Jazz Piano Skills: A Melodic JourneyMastering Melodies: The Art of Jazz InterpretationSound bites"The answer is one word: Listen.""Listening is so important.""Enjoy the sounds of jazz. Enjoy the tune."Support the show

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

It's time. Nate and Charlie break down the K Pop Demonhunters soundtrack to uncover the musical secrets behind its unprecedented success. From West Side Story to Gregorian chant, Phrygian modes to musical theater clichés, we 'll explain why you can't stop listening to the sounds of Huntr/x and Saja Boys. Songs Discussed Huntr/x - How It's Done, Golden, What it Sounds Like Saja Boys - Soda Pop, Your Idol Aldred Deller and the Deller Consort - Dies Irae West Side Story - Jet Song Aespa - Drama Riize - Get a Guitar Learn more about your ad choices. Visit podcastchoices.com/adchoices