#tuned percussion

[burlveneer-music]

Michael Byron - Halcyon Days - pieces for percussion, and other pieces for two pianists

Michael Byron’s “Halcyon Days” is unique percussion (marimbas, xylophones, vibraphones, glockenspiels, tubular bells, maracas) and keyboard music that’s both wild and pensive, played by an all-star group of new-music performers that includes William Winant, the William Winant Percussion Group (Winant, Tony Gennaro, Michael Jones, and Scott Siler), Lisa Moore, Vicki Ray, and Aron Kallay. Except for the final track (a piano solo written in 2016), these pieces are from a previously under-documented period of Byron’s work—the mid-’70s, when he composed unique and remarkable minimalist-styled music. This album treats us to clangorous clouds of polyrhythms and simple, direct, quiet works, both of which explore rich harmonies and bespeak a sense of transcendent motionlessness. Byron comments about the album, “Poet Anne Tardos wrote that ‘Time doesn’t pass. We pass.’ Most of the pieces on this CD were composed in the 1970s. It seemed like everything was beginning then. Lifelong friends were made, and improbable ideas were shared; composing neither began nor ended. This CD features virtuoso percussionist, and my oldest friend, Bill Winant. Over the last 50 years he has performed and premiered every percussion piece that I’ve ever composed.”. Michael Byron’s music tends to be harmonically rich, rhythmically detailed, and virtuosic. It’s often praised for its ability to create dense constructions out of relatively limited materials. His works have been performed and recorded by such new-music champions as Sarah Cahill, Joseph Kubera, William Winant, FLUX Quartet, Kathleen Supové, and Thomas Buckner. The Wire’s Julian Cowley has written that Byron is “one of those contemporary composers who can justifiably be classed as crucial. . . . Byron’s music dances with tremulous iridescence.” (Byron’s music has appeared on seven previous Cold Blue Music albums.) William Winant, tubular bells, maracas, marimba, xylophone, glockenspiel, and vibraphone William Winant Percussion Group (Winant, Tony Gennaro, Michael Jones, and Scott Siler), marimbas, xylophones, glockenspiels, and vibraphones Ray-Kallay Duo (Vicki Ray and Aron Kallay), piano four-hands Lisa Moore, piano Produced by Jim Fox, William Winant, and Scott Fraser

[sleepingangelmusic]

ASTEMAN NEW HANDPAN 432 Hz/ "VOLCANO" D KURD 10 Note /Unboxing & Musical...

[morethanmoodmaking]

Friday, 28 April 2023

And the Darkest Hour is Just Before the Dawn by Daniel Schmidt

[pearlsmagazineblog]

Urch Raymond Unveils ‘Ifunanya’.

After a successful release of his debut Album in 2023, Recording Gospel Music Minister and Worshipper Urch Raymond has released another sensational single titled: 'Ifunaya'. The single was released in September 2024, and has been trending since its release.

Urch Raymond who won the Artiste of the Year Award at the JMAF Awards in 2023 in Nigeria, and at the same time won the Song of the year with the single 'Align', has been on the spotlight in the music industry after winning the coveted awards. When Artistes make their works unique and assiduously bring out the best from their art, then, proceed to the extent that they become very recognized, the spotlight stays long on them to keep delivering!

Urch didn't disappoint fans in this new project! At first, the song has a romantic title which made fans suggest it's a love song, but looking closely 'Ifunaya' is an offshoot of his debut album 'Intimacy', since intimacy's biggest language is love.

'Ifunaya' in the Igbo language means love. Although the love here is the relationship between a Worshipper and his God. 

The song is replete with aesthetics, both sound and lyrical depth. The instrumentation is world class, its not surprising since it was produced by Dr. Nezer the man behind the award-winning 'ALIGN' sound. The producer knows what is at stake from a Recording Artiste whose spotlight is still on him, and, he didn't disappoint. The song also appeals to the local content audience which will help its marketing, since the diction has pidgin and English languages admixed. 

Among contemporary gospel music Worshippers, Urch is setting the stage for a global music ministry because of his taste for music that will stand the test of time, and, 'Ifunaya' has built another bridge that will lead the Artiste to his destination!

Stream ‘Ifunanya’ here:

Written by Dike Williams for Pearls Magazine. (dykemusic@gmail.com).

[shipmatesjournal]

Taxi Drive Through | Original instrumental song by Shipmate's Journal

[tuneintoneupuk]

Rhythm Guitar Lesson 1b: Ideas to develop your groove, pulse and funk

Listen to get your groove on and get playing those sixteenth note strumming funk patterns

This is the second part of the first lesson in our new mini-series on the topic of rhythm. Dan and I, in our first lesson look over the basics of rhythm: In lesson 1b we covered what the difference is between a quarter note, eighth note and sixteenth note along with the synonyms of crotchet, quaver and semi-quaver. We looked at staccato, dotted notes, tied notes, off-beats and counting. Finally,…

[beaniegender]

Mad Season CD from the punk record store 😍😍💞🥰🏳️‍🌈

[bmpmp3]

just found out a lot of people didn't know the mind brand sample was from the nostalgia critic and my initial reaction was surprise that it wasnt common knowledge in 2024 but then i thought about it a little and i do understand that not everyone is in their mid 20s and used watch old nostalgia critic reviews on repeat on a laptop in the back of the highschool library throughout the entirety of grade 9 and can now recognize a doug of the walker variety by the enunciation of the word "fuck"

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sits down head in hands for a very long time

[lexalovesbooks]

Tomorrow/Friday is the anniversary of one of the weirdest days of my life, yippee!

[hellocanticle]

75 Years of Classical Music in Israel

Utter the name “Israel” and probably only a handful of people will think, “classical music”. As a lifelong new music fan I’ve made many wonderful discoveries by looking at work done by composers in countries that aren’t part of the typical America, Germany, Italy, France, Russia nexus. Throw in the Nordic countries, Canada, and Australia more recently and you have perhaps 90% of what is marketed…

[the-cooler-king]

Having an embarrassing moment where I really miss being able to play music

[viv11dred]

NEIL DAY

[senadimell]

I’m not so sure I get the distinction being made? I definitely agree that it’s a hard task to guess songs via rhythm, but I’m not sure I understand the distinction you’re making between the rhythm of the song compared to the rhythm of the melody. Parts of the song involve only the rhythm, and when the melody comes in, it has a different set of beats. You’ve got the stomp-stomp-clap section, the “we will, we will rock you” chorus section that combines back into the stomp-stomp-clap section in the end, and then you’ve got the “buddy, you’re a...” verse-section. The stomp-stomp-clap continues under the melody, but there are also times when it’s exposed as the primary thing happening, and it becomes like the melody if we’re interpreting “melody” to mean the most prominent sound being made. Given that there are no-note periods of the song where the singer is resting, I don’t think anyone is amiss in tapping out both parts of the song (though there’s definitely a point to be made that the note-melody is not always the most memorable part of a song).

I’m pretty sure you’re saying that it’s hard to guess, and no disagreement from me there because a whole lot of songs have similar rhythms. I also think the task as described is hard to actually tap, because the song in question goes fairly quickly and tapping in time requires you to go pretty fast. What’s extra hard is tapping the rhythm of the percussion at the same time that you’re tapping the rhythm of the melody. I can do it, thanks to being asked to do that exact task during music theory classes and tests, but it’s pretty mind-bending and hard.

As a side note: There are about a billion songs played in 4/4 that you can drop one on top of the other and will only be able to identify by melody. Stripping the melody off of a rhythm makes most music unidentifiable unless it is extremely rhythm based. For comparison, check out this drums-only version of "We Will Rock You" and this drums-only version of "Bohemian Rhapsody." Pause the Bohemian Rhapsody vid at 3:24 and find someone to play it for without telling them the name - that's the most recognizable part of the song as just drums, but I'll bet you'll have trouble getting people to identify it when they can't hear Freddie's voice in their head.

But this experiment isn't even just tapping out the *rhythm* of the song, it's tapping out the notes of the melody in time, which is not something most of us ever think about when we're thinking about music. We know the beats of the melody in the context of the melody.

You want to know how that's different? Clap the beat of "we will rock you" to yourself. Stomp-stomp-clap, right? In 4/4 that's three hits and a rest, right? Okay. Now clap out "Buddy, you're a young man, hard man, shouting in the street, gonna take on the world someday. You got blood on your face, you big disgrace, waving your banner all over the place." You might, with no other context, be able to pick up the *rhythm* of "We Will Rock You" as claps or taps (though I bet if you did it on a single piano key and didn't change the emphasis on the third beat it would be harder) but you're not going to be able to pick up the melody. That's because in 4 beats, the melody is actually going to hit a different number of notes:

 4 beats (hit hit hit rest), 6 notes.

This is a MUCH harder task than people are giving it credit for.