#Satis Coleman

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New Sheet Music added in 2024 (so far... up-to-date)

New Sheet Music added in 2024 (so far...)

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Harburg 1932 Jazz Standard (Vintage sheet music)Aurora - Cure For MeBill Evans - We will meet again from The 70'S Solo PianoBill Evans- Body And Soul TranscriptionBillie Eilish - Happier Than Ever Piano vocal guitar (Billie Eilish)Billie Eilish For Beginning Piano Solo (Billie Eilish)Bobby Darin Mack The KnifeBobby Darin The Best Of SongbookBook of Jazz Guitar Lines and phrases With Tablature By Sid JacobsBroadway 20 Piano SolosBut Not For Me George Gershwin Ira Gershwin 1930 Jazz Standard (Vintage sheet music)Bye Bye Blackbird Roy Henderson Mort Dixon 1926 Jazz Standard (Vintage sheet music)Catch Me If You Can Music By Mark Shaiman And Scott Wittman Piano Vocal Score (Musical)Charles Fox Killing Me Softly by Dietmar SteinhauerCharlie Parker Essential Jazz Lines for GuitarCharlie Parker Jazz Masters 14 solos for all C instrumentsChord And Songwriting Cheat Sheet C Dave TranCome Rain Or Come Shine From The 1946 Show “st. 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[mawvsi]

⭐💡.The 2, 300 Musicians: Music That Everyone In This World Should Know. (2020)

-1- ☁️

Author: Maxine Van Stellanidou. 🕊️✨

1. The Beatles.

2. The Rolling Stones.

3. Queen.

4. The Beach Boys.

5. Bob Dylan.

6. David Bowie.

7. Led Zeppelin.

8. The Doors.

9. Pink Floyd.

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11. Duke Ellington.

12. Elliott Smith.

13. Jeff Buckley.

14. Lou Reed & The Velvet Underground.

15. Sex Pistols.

16. Ramones.

17. Talking Heads.

18. Maxine Van Stellanidou.

19. Elton John.

20. Miles Davis.

21. Charlie Parker.

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26. Bjork.

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40. Joseph Haydn.

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42. Erik Satie.

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105. Glenn Miller.

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107. Ella Fitzgerald.

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109. Jean Sibelius.

110. Alexandre Desplat.

111. Hildur Gudnadottir.

112. Linkin Park.

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115. Angelo Badalamenti.

116. Radiohead.

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121. Ennio Morricone.

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139. Ralph Vaughan Williams.

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141. John Tavener.

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147. Franz Liszt.

148. Wojciech Kilar.

149. Edward Elgar.

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154. Camille Saint-Saens.

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169. Asian Kung Fu Generation.

170. Eazy E.

171. Dr. Dre.

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177. Mstislav Rostropovich.

178. Yehudi Menuhin.

179. Martha Argerich.

180. Claudio Abbado.

181. Herbert Von Karajan.

182. Judy Garland.

183. Andy Williams.

184. Marilyn Monroe.

185. Marilyn Manson.

186. Green Day.

187. Beach House.

188. Slowdive.

189. Twenty One Pilots.

190. Clint Mansell.

191. Slash.

192. Blind Lemon Jefferson.

193. The Clash.

194. Madonna

[musictraces]

Η Μουσική Παιδαγωγική της Satis Coleman

Η Μουσική Παιδαγωγική της Satis Coleman

Mετά από 6 μήνες μελέτης και χωρίς να υπολογίσουμε την πρακτική εφαρμογή των προηγούμενων 3 χρόνων, η μονογραφία μου για την πρωτοπόρο της μουσικής παιδαγωγικής Satis Coleman επιτέλους ολοκληρώθηκε και δημοσιεύτηκε στο academia.edu. Είναι μια μελέτη που δημιουργεί θεωρητικό υπόβαθρο για την Εκπαιδευτική Οργανοποιία. Κι επίσης, είναι ένα αυ��όνομο, δεύτερο μέρος του βιβλίου που γράφω για τη μουσική.

[qprecords]

Monsanto GEMA#3

19.08.2019(Mon)  21h-

@Loophole (Boddinstr.60  Berlin Neukoelln)

Diego Ferri (Italy)

Using low-resolution digital samplers, generative patches and      multitrack cassette loops, Ferri creates highly imaginative      soundscapes where slowly evolving drones, minimal rhythmic cells      and sparse melodic patterns interact in a way that recalls      Kosmische Musik and modernist composers. His interpretations of      Erik Satie's music have been featured in the BBC1 TV show      Casualty.

https://grifasi.bandcamp.com/track/monitoring-4

   Fabiola (Portgal)

Fabiola is a multi talented artist. Singer, actress, composer,      dancer and performer, she is also a sculpturer born in Viana do      Castelo,    

https://vimeo.com/329613674    

       Santiago Dolanin (Argentina)    

https://soundcloud.com/santiagodoljanin

   Matthias Kanik (Germany)

       Rieko Okuda (Japan)

Rieko Okuda is a pianist and a composer. She      began with Classical music from the age of 3, in Japan. In her      young age, she attended to Kaizuka city Piano Competition, and got      the first prize.  Later then moved to USA to study and learn Jazz      music. She fell right into the Jazz scene in USA, performing with      some of the great American Jazz musicians (Bob Mintzer, Jon      Faddis, John Fedchock etc.) Also, she got interested in Free Jazz      and Improvised music scene while she was in Phliladelphia. She      performed with the great improvisers includes Marshall Allen (from      San Ra Orchestra), Elliott Levine (recorded with Cecil Taylor),      and Calvin Weston (recorded with Ornette Coleman). She has      performed in Jazz Festivals throughout her stay in USA. Her      interests in Improvised music led her to move to Berlin and      perform with various musicians.  Currently, she performs with      Audrey Chen, Els Vendaweyer, Susanne Zapf (from Sonar Quartet),      Yuko Kaseki, Axel Dörner, ect.  She also performs at several      experimental festivals: XChange Festival, Experymental Festival,      and Art-Sound Festival to name a few.

In 2014, she got to work with Japanese Pop Artist, YUZU.  She      arranged the song called “Amenochi Hareruya,“ which awarded Japan      Record Award 2014.

https://riekookuda.tumblr.com/    

       ememe (Japan)

Composer,improvisor and DJ from Japan living in Berlin.

As an improviser,he plays psychedelic noisy sound scape with      electronics.            Also he plays more industrial raw sounds with junk metal      percussions and DIY instruments.

He participated in a lot of festivals such as Polyfokt in      Norway,DataBitMe in France and MultiRAID in Turkey.    

He creates music for visuals and also works as sound engineer.

Running a cassette label Q.P Records.

https://soundcloud.com/amogano-a-k-a-ememe

https://qprecords.bandcamp.com/

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[theloniousbach]

ALMOST COUCH TOUR: THE REST OF THE RUNS

ARI HOENIG with Ravi Coltrane, Gadi Lehavi, and Ben Tiberio, SMALL’S JAZZ CLUB, 7 FEBRUARY 2022, Set 2

CYRUS CHESTNUT/DEZRON DOUGLAS, MEZZROW’S, 18-19 FEBRUARY 2022, Second Sets

Having seen these three first sets, I made a quick point of finishing out the runs. I could gush again, but, particularly with Cyrus Chestnut, I am near the limit of ways to express my admiration. These are, above all, writing, exercises so that’s a bit of the challenge I’ll take.

But the newer thing to figure out is Ari Hoenig who continues to astound as he did at full roar with Jean-Michel Pilc and Francois Moutin. This is a quieter operation with Gadi Lehavi being particularly restrained taking about one proper piano solo a set. He is a solid ensemble player but, while nobody is Pilc, one actually notices his recalcitrance. Ben Tiberio has much more fun finding the right accents in, what is, a three dimensional rhythmic space. They will play a trio gig in a week and that will be another chance to think on it. Here we had Ravi Coltrane adding impressively to the festivities. He plays with measured energy and a moderate tone, navigating the complexities of an Ornette Coleman opener, Turnaround, and Hoenig’s own smart, intricate compositions. He repeated the pretty Alana from the first set, but also a rarely played tune, Condemnation, that provoked big grins from composer and sax player for solving the puzzle.

I need to think more about Paul Motian as a possible reference point for Hoenig. That is, he flavors the whole band as much as drives the rhythm, though he I strong rhythmically. I also think of him as a weird Joe Farnsworth as they both have lots of subtle tricks and pay attention. But, again, he plays multidimensional rhythm.

I will be paying attention to him just as I do to Cyrus Chestnut.

Chestnut is a commanding piano presence, full of ideas and dropping hints and teases like Sullivan Fortner did this week. But Fortner was clever because he could be whereas Chestnut’s intelligence is to serve broader purposes. He often would lay out the components of a tune, weaving the multiple threads and variations on them, before the tune pulled together. Sometimes I placed the tune—I think the last one of night two was Ellington but before it was Someone To Watch Over Me and, as he does most nights, was Darn That Dream. On the first night’s second set was definitely My Funny Valentine, but often enough the notes were “bright standard” or “bop swinger” or ”hymn tune?” (mostly about the intros) or “Impressionism/Satie.”

Dezron Douglas is a worthy collaborator who shares a drive and an ear for the riff. He finds his places by listening big and with intelligence. But overall, my notes are sparse as this simply has most of the elements I value—taste, touch, intelligence, and a broad palette.

The main ingredient though is fun.

[sonyclasica]

OLGA SCHEPS & KUSS QUARTETT

MIECZYSŁAW WEINBERG: PIANO QUINTET

La joven pianista Olga Scheps y el Kuss Quartett, uno de los mejores conjuntos de música de cámara de Alemania, han colaborado en la grabación del “Quinteto para Piano Op.18” de Mieczysław Weinberg (1919-1996), uno de los compositores rusos más importantes que ha sido ignorado en la cultura musical occidental durante décadas y que ha sido redescubierto en los últimos años. Disponible hoy 8 de noviembre.

Weinberg tiene una biografía interesante y conmovedora que se refleja en su trabajo. En diciembre de este año el compositor habría cumplido 100 años. Ruso pero de origen polaco, su música, a menudo programática, fue influenciada por su amigo Dmitri Shostakovich.

El corpus de Weinberg es extenso e incluye 22 sinfonías y siete óperas, a pesar de la dura vida personal que tuvo que afrontar por su origen judío y la persecución de la que fue objeto a lo largo de su vida. Murió en 1996 tras una penosa enfermedad que le mantuvo postrado sus últimos años.

Olga Scheps comenzó a tocar con tan solo cinco años. En 1992, su familia se mudó de Moscú a Alemania y a los 16 años se convirtió en una joven estudiante en la Academia de Música de Colonia, graduándose en 2013 con una distinción. Pavel Gililov, Arie Vardi, Dmitri Bashkirov, Andrei Gavrilov y Alfred Brendel fueron algunos de sus maestros.

Olga Scheps dio algunos de sus primeros conciertos como parte del concierto de los ganadores del premio “Jugend Musiziert”. Posteriormente, fue invitada a actuar en varios conciertos y festivales, como el Festival de Música de Rheingau y el Festival de Piano del Ruhr, al que sigue asistiendo en la actualidad.

En 2009 Olga Scheps firma en exclusiva con Sony Classical. Con su disco dedicado a piezas de Erik Satie alcanzó el número 1 en las listas alemanas en 2016. Por su álbum “Chopin”, Scheps recibió el premio ECHO, en la categoría “Joven artista del año”. La pianista vive en su hogar adoptivo de Colonia y desde allí viaja festivales de música clásica y conciertos en diferentes países, con destacadas orquestas y directores.

La seña de identidad del galardonado Kuss Quartet es su programación basada en conceptos. La líder Jana Kuss y Oliver Wille han estado colaborando durante más de 25 años y se les han unido sus antiguos colegas William Coleman y Mikayel Hakhnazaryan. En 2018, el cuarteto recibió el Premio Opus Klassik por su grabación de obras de Rudi Stephans también con Sony.

CONTENIDO

Olga Scheps & Kuss Quartett - Mieczysław Weinberg: Piano Quintet op. 18

1. Moderato con moto 2. Allegretto   3. Presto   4. Largo   5. Allegro agitato

[di1617-blog]

...Et bonne fête de la musique à tous ! - même si tu sais qu’on lui fait sa fête tous les samedis entre 18 et 20h. Ce samedi 24 juin 2017, l’émission Espace D.I. était en service minimum, c’est à dire que l’équipe n’était pas au complet, c’est pourquoi j’avais préparé une playlist de toute beauté qui fera regretter à tous ceux qui n’ont pas écouté d’avoir raté ça. Bien entendu, l’émission continue pendant l’été et la nouvelle saison commencera en septembre 2017, avec deux nouveaux associés : Sian Able et Martin de Marneffe.

La playlist :

- NHORHM / Hitomi Nishiyama : “Highway Star” ( https://www.youtube.com/watch?v=U0Qa6GC1T-A ). Reprise jazz d’un titre de Deep Purple.

- MDM experience : “Mystic Brew” ( https://www.youtube.com/watch?v=tP5LmgFTPn4 ). Projet du pianiste Martin de Marneffe.

- Sian Able : “she says” ( https://www.youtube.com/watch?v=jNeM-JtxC_Q )

- Athome Trio : “Finalement” ( https://www.youtube.com/watch?v=zy9ZMB_6cUs )

- Ayre Ahizpak : “Arrosako zolan” ( https://www.youtube.com/watch?v=1RIzNpU15Ws )

- Kepa Junkera et Sorginak : “Errekeariak” + “Mare Zumaian” (  https://www.youtube.com/watch?v=Wti3D4xIAeE ) + “ Pottokak”.

- Boha en Viu : “Lo Bouquet” ( http://adrienvilleneuve.wixsite.com/boha-en-viu  )

- La preyra : “Rigodon de Charance / Rigodon du valgaudemar” ( https://archive.org/details/Httpssoundcloud.comla-preyra ). En Téléchargement gratuit !!

- Les musiciens de St Julien : “ et l’autre jour/Para Lo Op/Ont anarem gardar”

- Roby Lakatos et Shinichi Kinoshita : “ So-Gu ( https://www.youtube.com/watch?v=xhAfQTSwYaI )

- Samulnori / jamaladeen tacuma : “Arirang”

- Yazz Ahmed : “jamil jamal” ( https://yazzahmed.bandcamp.com/track/jamil-jamal-2 )

- OCM : Galungan

- Steve Coleman : “Inside Game” ( https://stevecoleman.bandcamp.com/album/morphogenesis )

- John Kaizan Neptune : “Stream Dance “

- Hula Hooper : “Reach” ( https://www.youtube.com/watch?v=iUhi4ClssaI )

- Weska Project : “ Automnal Re Ravel” ( DL gratuit : 8è morceau sur la compil : https://midnightradio-compilation.bandcamp.com/album/midnight-radio-your-first-track-you-recorded-edition )

- Yuko Ikoma : “Erik satie” (En DL gratuit : https://musicamoschata.bandcamp.com/album/erik-satie-digital )

[snoopynatural]

Song Tag

Rules: You can tell a lot about a person based on the music they listen to. Put your music on shuffle and list the first 10 songs and tag 10 people.

From Spotify:

1. All The Pretty Girls by fun.

2. Greensleeves by Coleman Hawkins

3. Hometown by Twenty One Pilots

4. Azalea by Louis Armstrong and Duke Ellington

5. Happily by One Direction

6. Feeling Myself by Nicki Minaj and Beyoncé

7. I’ve Told You Now by Sam Smith

8. 18 by One Direction

9. Gnossienne No. 1 by Erik Satie

10. Coffee and Cigarettes by Jimmy Eat World

From my phone:

1. Heavydirtysoul by Twenty One Pilots

2. Jerusalem by Dan Bern

3. Saturday by Fall Out Boy

4. Guns for Hands by Twenty One Pilots

5. Free Fallin’ by Tom Petty

6. Drunk in Love by Beyoncé

7. Battle Born by The Killers

8. Up All Night by One Direction

9. Love On Top by Beyoncé

10. Leave Your Lover by Sam Smith

Again, tagging people is a lot of work so I’m just gonna leave it here. Thanks, Gillian!

[doranedwardsmajorproject]

Bruno Duplant interview with Another Timbre for Next to Nothing (and how he doesn’t read music, took piano lessons very late and learned double bass at 40)

Although I have been playing instruments all of my adult life, I veered away from formal music training on bass guitar around the age of 19 to focus on mkaing music in “my” way. For the entirity of the sound arts BA at LCC i’ve struggled with not have a foundational practice to develop new processes from. I’ve seen how almost every artist I am drawn to has a fairly traditional practice that they have developed from to create more experimental work. I play piano almost every day and plan to take lessons, drawing as well, but reading how Duplant started very late (as I am 36) is really inspiring, and especially as he can create graphic and text scores and share and collaborate with others with them. I’d like to try my own graphic scores after the course is over. 

Can you tell us a bit about your own background in music? When did you start playing, and how did you come to experimental music?

I started playing music quite late; I took some piano lessons about ten years ago in order to be able to play Satie and Monk. However, thanks to a number of LPs and cassettes, I had discovered adventurous music very early – some jazz (Miles, Coltrane, Mingus, Monk, Coleman etc…) as well as composers such as Cage and Feldman. Then some time later, with the help of an old PC and some software (transformed from its original function), I experienced the joys of creating my first experimental compositions (to the great distress of my neighbours!)  In fact I have always been interested in transforming musical objects, for instance, taking an instrument and using it in ways that are different from those for which it was originally intended, thus taking it into new territories, as I also do today with field recordings.

It’s great that you started music late and yet haven’t let that inhibit you or hold you back, and now compose and play several instruments. There must be many people – like myself! - who keep telling themselves that it’s too late to start and so never do anything. Nonetheless, do you sometimes find it frustrating that, for example, you don’t have the dexterity as an instrumentalist that you would if you’d started younger?  Or, conversely, do you think that there are advantages in starting late?

Both. Firstly I think it’s a great advantage, because, once you take the plunge, you don’t feel there are any real barriers to what you can play or create. So, for example, I began playing double bass at 40. Also, because I started as an adult, I haven’t come out of any group or school.  But on the other hand, I am sometimes really frustrated, not by the lack of dexterity (which I certainly do not have), but by not being able to compose or play a ‘real’ score (though I am certainly not the only one in this case). So I have to invent my own solutions again and again. But I still have dreams, like playing viola da gamba.

http://www.anothertimbre.com/nexttonothing.html

[sheetmusiclibrarypdf]

New sheet music added in June 2024

New sheet music added in June 2024

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[earpeeler]

drumtalk – Chris Coleman – All of You [Musikmesse 2017] Chris with All of You in the Sweat, Blood and Tears Box at Musikmesse Frankfurt 2017. Thanks to Chris and Thomas Barth from SONOR drums, to Tim Zahn and Satis & Fy, Beringer Marketing and to Oliver Laux for helping me filming this great performance.

[musictraces]

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Η ανακάλυψη της μουσικής και η εξέλιξή της από την παλαιολιθική εποχή ως την εποχή του Μινωικού πολιτισμού ήταν το θέμα ενός πρωτότυπου μουσικού μαθήματος που πραγματοποιήθηκε στη Θεατροχώρα. Το μάθημα έγινε από το Γιώργο Γυπάκη στα πλαίσια του προγράμματος “Θέατρο και Τέχνες με ψηφιακές τεχνολογίες” που υλοποιεί η Θεατροχώρα σε συνεργασία με το Πολυτεχνείο Κρήτης.

Το μάθημα που ήταν σε μορφή βιωματικού εργαστηρίου, αφορούσε τη σύνδεση της ιστορίας της μουσικής με την ιστορία του πολιτισμού στον ελλαδικό χώρο και ιδιαίτερα στην Κρήτη, από την προϊστορική εποχή έως τη μινωική περίοδο. Το παρακολούθησαν παιδιά της Γ’, Δ’ και Ε’ δημοτικού. Γνωστικό αντικείμενο του μαθήματος ήταν η γέννηση του πολιτισμού και η ανακάλυψη της μουσικής μέσα από την ανακάλυψη των ήχων του σώματος και των πρώτων μουσικών οργάνων. Στόχος ήταν να αποκτήσουν τα παιδιά βασικές γνώσεις για την ιστορία της μουσικής, να «επανεφεύρουν» τα πρώτα μουσικά όργανα ανακαλύπτοντας τρόπους να παράγουν ήχο, με τα αντικείμενα καθημερινής χρήσης των περιόδων εκείνων (από την παλαιολιθική έως την εποχή του χαλκού). Ταυτόχρονα τα παιδιά διδάχτηκαν οργανοποιί��, κατασκεύασαν δηλαδή ενδεικτικά όργανα της εποχής εκείνης (κρουστά, πνευστά και έγχορδα) και αυτοσχεδίασαν παίζοντάς τα. Εμαθαν ακόμα πώς να παράγουν ρυθμό με ηχηρές κινήσεις, πώς να αυτοσχεδιάζουν τραγουδώντας τις υποτιθέμενες εμπειρίες τους της καθημερινής ζωής . Ανάμεσα στις δραστηριότητες του μαθήματος οι οποίες περιλάμβαναν εκτός από την οργανοποιία και ακρόαση μουσικής, παιχνίδια εμψύχωσης, μίμησης και χορού, γινόταν αφήγηση ιστοριών και διαλογική συζήτηση με τα παιδιά.

Το μάθημα οργανώθηκε με το σκεπτικό της εφαρμογής της μουσικοπαιδαγωγικής μεθόδου Coleman, που αναπτύσει τη βιωματική σχέση των παιδιών με τα μουσικά όργανα και τη μουσική τέχνη (βλέπε εδώ) με παράλληλη αξιοποίηση των σύγχρονων μουσικοπαιδαγωγικών εργαλείων, όπως αναπτύσσονται στο αναλυτικό πρόγραμμα του δημόσιου σχολείου.

    Βιωματικό εργαστήρι για την ιστορία της μουσικής – ένα πρωτότυπο μουσικό μάθημα στη Θεατροχώρα Η ανακάλυψη της μουσικής και η εξέλιξή της από την παλαιολιθική εποχή ως την εποχή του Μινωικού πολιτισμού ήταν το θέμα ενός πρωτότυπου μουσικού μαθήματος που πραγματοποιήθηκε στη Θεατροχώρα. Το μάθημα έγινε από το Γιώργο Γυπάκη στα πλαίσια του προγράμματος “Θέατρο και Τέχνες με ψηφιακές τεχνολογίες” που υλοποιεί η Θεατροχώρα σε συνεργασία με το Πολυτεχνείο Κρήτης. Το μάθημα που ήταν σε μορφή βιωματικού εργαστηρίου, αφορούσε τη σύνδεση της ιστορίας της μουσικής με την ιστορία του πολιτισμού στον ελλαδικό χώρο και ιδιαίτερα στην Κρήτη, από την προϊστορική εποχή έως τη μινωική περίοδο. Το παρακολούθησαν παιδιά της Γ’, Δ’ και Ε’ δημοτικού. Γνωστικό αντικείμενο του μαθήματος ήταν η γέννηση του πολιτισμού και η ανακάλυψη της μουσικής μέσα από την ανακάλυψη των ήχων του σώματος και των πρώτων μουσικών οργάνων. Στόχος ήταν να αποκτήσουν τα παιδιά βασικές γνώσεις για την ιστορία της μουσικής, να «επανεφεύρουν» τα πρώτα μουσικά όργανα ανακαλύπτοντας τρόπους να παράγουν ήχο, με τα αντικείμενα καθημερινής χρήσης των περιόδων εκείνων (από την παλαιολιθική έως την εποχή του χαλκού). Ταυτόχρονα τα παιδιά διδάχτηκαν οργανοποιία, κατασκεύασαν δηλαδή ενδεικτικά όργανα της εποχής εκείνης (κρουστά, πνευστά και έγχορδα) και αυτοσχεδίασαν παίζοντάς τα. Εμαθαν ακόμα πώς να παράγουν ρυθμό με ηχηρές κινήσεις, πώς να αυτοσχεδιάζουν τραγουδώντας τις υποτιθέμενες εμπειρίες τους της καθημερινής ζωής . Ανάμεσα στις δραστηριότητες του μαθήματος οι οποίες περιλάμβαναν εκτός από την οργανοποιία και ακρόαση μουσικής, παιχνίδια εμψύχωσης, μίμησης και χορού, γινόταν αφήγηση ιστοριών και διαλογική συζήτηση με τα παιδιά. Το μάθημα οργανώθηκε με το σκεπτικό της εφαρμογής της μουσικοπαιδαγωγικής μεθόδου Coleman, που αναπτύσει τη βιωματική σχέση των παιδιών με τα μουσικά όργανα και τη μουσική τέχνη (βλέπε εδώ) με παράλληλη αξιοποίηση των σύγχρονων μουσικοπαιδαγωγικών εργαλείων, όπως αναπτύσσονται στο αναλυτικό πρόγραμμα του δημόσιου σχολείου.

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Iconic Classical Music Pieces for Kids

Game 1, Game 2, Game 3, Game 4, Game 5, Game 6, Game 7, Game 8, Game 9, Game 10, Game 11, Game 12

The Hoffnung Music Academy, The Hoffnung Symphony Orchestra, The Hoffnung Maestro, and so on...

The Pink Panther in "Pink, Plunk, Plink"

Mickey Mouse: The Band Concert

Silly Symphony - Music Land

Tekfen Filar-Mini Belgeseli with Serra Yılmaz

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Ludwig van Beethoven, Symphony 9, 2nd movement - Daniel Barenboim/West-Eastern Divan Orchestra

Ludwig van Beethoven, Symphony 9, 4th movement, Ode to Joy (excerpt) - Franz Welser-Möst/Vienna Philharmonic Orchestra and New York Choral Artists (alternative - final chorus - Leonard Bernstein/Vienna Philharmonic Orchestra)

Richard Wagner, Ride of the Valkyries - Daniel Barenboim/Berlin Philharmonic Orchestra (alternative 1 - Mark Wigglesworth/National Orchestra of Wales) (alternative 3 - from Star Wars)

John Williams, Imperial March from Star Wars - Franz Welser-Möst/Vienna Philharmonic Orchestra (alternative - George (Jiří) Korynta/Prague Film Orchestra)

John Williams, Duel of the Fates from Star Wars (alternative 1 - Ulf Schirmer/Münchner Rundfunkorchester and Chor des Bayerischen Rundfunks) (alternative 2 - Diego Navarro/Tenerife FIlm Orchestra & Choir)

George Frideric Handel, Hallelujah Chorus from Messiah - The Mormon Tabernacle Choir and Orchestra at Temple Square

Pyotr Ilyich Tchaikovsky, 1812 Overture Op 49 (excerpt) - Mark Elder/Hallé Orchestra (alternative - Erich Kunzel/Cincinnati Symphony Orchestra)

Edvard Grieg, In The Hall Of The Mountain King - Jacek Kaspszyk/Warsaw Philharmonic Orchestra (Concert for Kids)

Ludwig van Beethoven, Symphony 5 - Gustavo Dudamel/Orquesta Sinfónica Simón Bolívar de Venezuela (alternative - from Disney’s Fantasia 2000)

Ludwig van Beethoven, Für Elise by Georgii Cherkin - Grigor Palikarov/Classic FM Orchestra

Johann Sebastian Bach, Toccata and Fugue in D minor by Hans-André Stamm (alternative - performer is unknown)

Johann Pachelbel, Canon in D major - Adrian Leaper/Orquesta Sinfónica de RTVE (alternative by San Francisco Early Music Ensemble Voices of Music)

Antonio Vivaldi, Four Seasons - violin by Alexandra Conunova - Orchestre International de Genève (alternative 1 - violin by Fabio Biondi - Europa Galante) (alternative 2, Summer) (alternative 3, Presto from Summer) (alternative 4, Winter) - all by Mari Silje Samuelsen (alternative 5, Spring, 1st movement - Ashot Tigranyan/Classical Concert Chamber Orchestra) (alternative 6, Autumn - Frederieke Saeijs/Netherlands Symphony Orchestra)

Wolfgang Amadeus Mozart, Eine Kleine Nachtmusik, 1st movement - David Grimal/Les Dissonances (alternative by Gewandhaus Quartet) (KV 525 by Gewandhaus Quartet again)

Gioachino Rossini, Barber of Seville - Andrés Orozco-Estrada/Tonkünstler Orchestra

Samuel Barber, Adagio for Strings - Michael Neumann/Folsom Lake Symphony Orchestra (alternative by DJ Tiesto)

Carl Orff, Carmina Burana - Shin-ik Hahm/KBS Symphony Orchestra

Richard Wagner, Here Comes the Bride by Randy Dunn (alternative by String Quartet)

Richard Strauss, Also sprach Zarathustra (excerpt) - Gustavo Dudamel/Berlin Philharmonic Orchestra (alternative - 2001 A Space Odyssey opening by Stanley Kubrick)

Gioachino Rossini, Overture to William Tell (excerpt) - Edo de Waart/Milwaukee Symphony Orchestra

Wolfgang Amadeus Mozart, Symphony 25, 1st movement - Leonard Bernstein/Vienna Philharmonic Orchestra

Richard Strauss, Blue Danube Waltz - Franz Welser-Möst/Vienna Philharmonic Orchestra (alternative - André Rie/Johann Strauss Orchestra)

George Gershwin, Rhapsody in Blue - from Disney’s Fantasia 2000 (alternative by Lang Lang - Christian Thielemann/Staatskapelle Dresden Orchestra)

Pyotr Ilyich Tchaikovsky, The Nutcracker, Op 71 by New York City Ballet (alternative)

Christian Petzold, Minuet in G major - not Bach

Wolfgang Amadeus Mozart, Ave verum corpus K. 618 by King's College Cambridge

Jean Sibelius, Finlandia - from Wild Scandinavia

Gustav Holst, Mars and Jupiter - Bruce Engel/Stony Brook Wind Ensemble

Giacomo Puccini, Nessun Dorma by Pavarotti (alternative)

Ruggero Leoncavallo - Vesti la giubba by Pavarotti

Pyotr Ilyich Tchaikovsky, Sleeping Beauty Suit - from Disney (alternative)

Johann Strauss, Radetzky March - Daniel Barenboim/Vienna Philharmonic Orchestra 2014 (alternative 1 - Herbert Von Karajan/Vienna Philharmonic Orchestra 1987) (alternative 2 - Zubin Mehta/Vienna Philharmonic Orchestra 1999) (alternative 3 - Franz Welser-Möst/Vienna Philharmonic Orchestra 2011) (alternative 4 - Mariss Jansons/Vienna Philharmonic Orchestra 2016) (alternative 5 - Gustavo Dudamel/Vienna Philharmonic Orchestra 2017) - from all the best conductors.

Ludwig van Beethoven, Moonlight Sonata by Valentina Lisitsa

Wolfgang Amadeus Mozart, Symphony 40 - Frans Brüggen/Orchestra of the Eighteenth Century

Pyotr Ilyich Tchaikovsky, Romeo and Juliet Overture - Valery Gergiev/London Symphony Orchestra

Johann Sebastian Bach, St. Matthew's Passion - opening and final - Dan-Olof Stenlund/Malmö Chamber Choir and Orchestra

Jacques Offenbach, Can Can from Orpheus in the Underworld - Nejc Bečan/Gimnazija Kranj Symphony Orchestra

Claude Debussy, Clair de Lune by Kathia Buniatishvili (alternative 1 by Angela Hewitt) (alternative 2 - Jean-Christophe Spinosi/Frankfurt Radio Symphony Orchestra) (alternative 3 - violin by Mari Lee - piano by Dina Vainshtein)

John Philip Sousa, Stars and Stripes Forever by United States Marine Band

Hector Berlioz, Symphonie Fantastique - Mariss Jansons/Bavarian Radio Symphony Orchestra (alternative 1 - Colin Davis/London Symphony Orchestra) (alternative 2, 5th movement - Leonard Bernstein/Orchestre National de France)

Frédéric Chopin, Etude Op 25 No. 9 by Valentina Lisitsa

Johann Sebastian Bach, Cello Suite No. 1 in G major by Mischa Maisky

Franz Liszt, Hungarian Rhapsody No. 2 by Lang Lang

Giuseppe Verdi, La Traviata by Plácido Domingo, Luciano Pavarotti, and José Carreras (alternative by Joan Sutherland and Pavarotti)

Wolfgang Amadeus Mozart, Piano Concerto No. 21 in C major K. 467 by Yeol Eum Son - Alexei Utkin/Moscow Chamber Orchestra (alternative - Daniel Barenboim/English Chamber Orchestra)

Johannes Brahms, Hungarian Dance No. 5 - Henry Shek/Hungarian Symphony Orchestra

Johann Strauss, Tritsch-Tratsch-Polka - Zubin Mehta/Vienna Philharmonic Orchestra

Johann Strauss, Annen-Polka - Zubin Mehta/Vienna Philharmonic Orchestra

Fritz Kreisler, Liebesleid - violin by David Oistrakh (alternative 1 - violin by Kowoon Yang - piano by Chiharu Aizawa) (alternative 2 - violin by Anne Akiko Meyers - piano by Reiko Uchida)

Georges Bizet, Carmen Overture (excerpt) - James Levine/Metropolitan Opera Orchestra (alternative by Anna Caterina Antonacci/Royal Opera House)

Giuseppe Verdi, Triumphal (Grand) March from Aida - James Levine/Metropolitan Opera Orchestra (alternative - Luis Antonio García Navarro/San Francisco Opera Orchestra - starring Luciano Pavarotti)

Johannes Brahms, Symphony No. 3 Poco Allegretto, 3rd movement - Hun-Jung Lim/SNU Symphony Orchestra (alternative - Leonard Bernstein/Vienna Philharmonic Orchestra)

Ludwig van Beethoven, Piano Sonata No. 17 in D minor, The Tempest, 3rd movement by Wilhelm Kempff (alternative by Daniel Barenboim)

Johann Sebastian Bach, Chaconne in D minor - violin solo by Isaac Stern (alternative 1 - violin solo by Lana Trotovsek) (alternative 2 by Sarah Chang - David Newman/American Youth Symphony Orchestra)

Antonín Dvořák, Rusalka, O Lovely Silver Moon by Anna Netrebko (alternative)

Dmitri Shostakovich, Waltz No. 2 - violin by André Rieu (alternative 1 - from Anna Karenina) (alternative 2) (alternative 3)

Frédéric Chopin, Prelude in E minor Op 28 No. 4 by Eric Lu (alternative 1 by Khatia Buniatishvili) (alternative 2 by Alon Goldstein)

Erik Satie, Gymnopédies No. 1 - cello solo by Cristina Nadal (alternative 1 - violin by Mimosa Duo - guitar by Morgan Haselden) (alternative 2 - cello by Jackie Baxter - guitar by Iain Coleman) (alternative 3 - violin by Tim Hughes - harp by Abigail Sliva) (alternative 4 - viola by Grigory Tsyganov - harp by Yulia Komarova) (alternative 5 - harp solo by Alexandra King) (alternative 6 - transcribed/orchestrated by Debussy - Eric Hammerstein/London Promenade Orchestra) (alternative 7 - transcribed/orchestrated by Debussy - violoncelle by Ophélie Gaillard - Tim Redmond/Royal Philharmonic Orchestra)

Niccolò Paganini, Caprice No. 24 - violin solo by Julia Fischer (alternative - violin solo by Alexander Markov)

Ludwig van Beethoven, Symphony 7, Allegretto, 2nd movement - Leonard Bernstein/Vienna Philharmonic Orchestra (alternative - Zubin Mehta/Israel Philharmonic Orchestra)

Frédéric Chopin, Valse Op. 64. No 1, Minute Waltz by Valentina Lisitsa

Frédéric Chopin, Valse Op. 64. No 2, Waltz in C sharp minor by Valentina Lisitsa

La Folia - violin by Miho Hakamata - piano by Alan Brown

In memory to Red Army Choir (aka Alexandrov Ensemble)

Bella Ciao by Russian Military Choir

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Mahler - Symphony No. 2 ('Resurrection')

Brahms - Symphony No. 4

Mozart - Symphony No. 41

Gorecki - Symphony No. 3 ('Symphony of Sorrowful Songs')

Shostakovich - Symphony No. 5

Beethoven - Symphony No. 9 ('Choral')

Dvořák - Symphony No. 9 ('From The New World')

Tchaikovsky - Symphony No. 6 ('Pathetique')

Rachmaninov - Symphony No. 2

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Beethoven: Symphonies No. 5 & 7. Carlos Kleiber, Vienna Philharmonic (DG)

Bruckner: Symphony 4. Günter Wand. Berlin Philharmonic (RCA)

Dvořák: Symphonies No. 8 & 9. Rafael Kubelík, Berlin Philharmonic (DG)

Mahler: Symphony No. 7. Leonard Bernstein, New York Philharmonic (DG)

Mahler: Symphony No. 9. Herbert von Karajan, Berlin Philharmonic (DG)

Rimsky-Korsakov: “Scheherazade.” Sir Thomas Beecham, Royal Philharmonic (EMI)

Stravinsky: “Le Sacre du Printemps.” Pierre Boulez, Cleveland Orchestra (Sony)

Tchaikovsky: Symphony No. 5. Serge Koussevitzky, Boston Symphony (EMI; with other works conducted by Koussevitzky)

Strauss: “Ein Heldenleben.” Fritz Reiner, Chicago Symphony (BMG)

Ref:

http://www.classicfm.com/discover-music/latest/best-symphony/#sP5pqU47SPzOV2rA.97

http://www.newyorker.com/culture/culture-desk/ten-perfect-orchestral-recordings

http://watchmojo.com/suggest/Top%2010%20Iconic%20Classical%20Music%20Pieces

https://www.google.com.tr/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=Warsaw+Philharmonic+Orchestra+Concert+for+Kids&tbm=vid

http://www.letsplaykidsmusic.com/14-best-classical-music-tracks-for-kids/

https://www.youtube.com/watch?v=y3K5oLg-Fq4

https://twitter.com/EmMartinEdenrah/status/661999626900344832

http://nyconcertreview.com/tag/yeol-eum-son/

https://en.wikipedia.org/wiki/International_Tchaikovsky_Competition

https://www.youtube.com/watch?v=4FeUN9aXbpY

https://www.youtube.com/watch?v=MDKssCu9Dds

https://www.youtube.com/user/FilharmoniaNarodowa/search?query=Concert+for+Kids

https://www.youtube.com/watch?v=Z1uvnuQkmUU

https://www.youtube.com/user/TheWickedNorth

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Η ΟΡΓΑΝΟΠΟΙΙΑ ΓΙΑ ΠΑΙΔΙΑ ΚΑΙ Η ΜΕΘΟΔΟΣ COLEMAN ΣΤΗ ΜΟΥΣΙΚΗ ΕΚΠΑΙΔΕΥΣΗ

Του Γιώργου Γυπάκη Από το 1920 που εκδόθηκε το βιβλίο της αμερικανίδας μουσικοπαιδαγωγού Satis Narona Coleman «Δημιουργική Μουσική για παιδιά» η οργανοποιία με απλά υλικά είναι τεκμηριωμένα μια αποδεκτή μέθοδος για το ξεκίνημα της μουσικής εκπαίδευσης των μικρών παιδιών – αυτό που σήμερα ονομάζουμε μουσική προπαιδεία. Η Coleman ανέπτυξε μια δική της μέθοδο, παράλληλα με τον Kodaly  και αρκετά…

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O πρώτος ήχος μετά τη σιωπή

O πρώτος ήχος μετά τη σιωπή

Η ΜΟΥΣΙΚΗ ΣΤΟ ΞΕΚΙΝΗΜΑ ΤΗΣ ΖΩΗΣ Ο πρώτος ήχος που ακούμε μετά τη σιωπή, είναι ο χτύπος της καρδιάς της μητέρας μας. Ετσι η ύπαρξή μας ξεκινάει με τη γνώση του ρυθμού. Το έμβρυο ακούει από τον πέμπτο μήνα της ζωής του ενδομήτριους ήχους, όπως οι καρδιακοί παλμοί της μητέρας, εντερικούς και αγγειακούς ήχους, αλλά και εξωμήτριους δυνατούς ήχους, όπως δυνατή μουσική και το χτύπημα μιας πόρτας ενώ…