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dustedmagazine · 4 years

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Dust, Volume 6, Number 3

Matthew Shipp and Nate Wooley

We shoehorn another Dust into the end of a wintery month, putting politics, a global pandemic, bad weather and the final season of Better Call Saul aside to concentrate on the ever overwhelming flow of new music. This month spans the usual gamut of obscure but worthy genres, from free jazz to crunk to extreme noise to yet another take on Pachebel’s Canon. The clear star this month, though, is Matthew Shipp, who gets two slots for two different collaborations, and so commands our cover image. Writers include Bill Meyer, Jennifer Kelly, Ray Garraty, Ian Mathers, Justin Cober-Lake and Jonathan Shaw.

Lao Dan / Paul Flaherty / Randall Colbourne / Damon Smith — Live at Willimantic Records (Family Vineyard)

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It’s a long way from China to Connecticut. But this quartet bridges the distance so masterfully, you would not know that it’s not only the first time they’ve played together; it’s the first time that alto saxophonist, bamboo flute, and suona player Lao Dan played in the United States. The musicians bring a combination of deep knowledge and fresh potential to the encounter. Saxophonist Paul Flaherty and drummer Randall Colbourne have been playing together for decades, keeping the free jazz torch lit in times and places around New England where no one else knew what the fuck they were doing, let alone appreciated the fact that they were doing it. Lao Dan may be half their age, but since he’s spent his musical career playing in China’s major cities, he knows the experience of playing in an uncomprehending environment just as well. When he plays alto, he certainly sounds well acquainted with the conventions of free jazz, matching Flaherty’s growls and cries with aplomb. And while the moments when he plays traditional Chinese instruments sound distanced from free jazz convention, he finds space and rhythmic footing to make real contributions within the fertile matrix of force and rhythm laid out by Flaherty, Colbourne, and double bassist Damon Smith (at the time a Massachusetts resident, since relocated to St. Louis).

Bill Meyer

demitasse — Perfect Life (Bedlamb)

Perfect Life by demitasse

demitasse is the quiet alter-ago of Buttercup’s Erik Sanden and Joe Reyes. Though there are a couple of lo-fi rockers here, the main tenor is tremulous, emotive and rather lovely, with spider silk melodies that look wispy but turn out to have a fair amount of tensile strength. Take for instance, “Coming Out Wrong Again,” a gently delivered slip of a song framed in the barest frame of strumming, in a well-weathered voice with creaks in the corners. And yet, as it rolls on diffidently, the tune picks up momentum, and the chorus wreathes the title phrase in harmonies in a way that might remind you of Carissa’s Wierd or its successor Grand Archives. Which is to say, in a way that seems inevitable and right. In the more amplified parts, the singer picks up a bit of Jonathan Richman’s whimsied warble and drums kick through scratchier, more aggressive guitar playing. “Free Solo (for Alex Honnold)” (yes the rock climber) is perhaps the brashest and less constrained of these cuts, imbued with the muffled mania of its title character and approaching Chad VanGaalen’s whacked out tunefulness. The title cut, like most of the album, celebrates small lapidary moments – the singer’s dad cutting his hair— and their weight in memory. There’s a resonance to the smallest sounds here, and a significance in elliptical lines. demitasse is a small cup of wonder, just sitting there on the kitchen table in the midst of life itself.

Jennifer Kelly

Duke Deuce — Memphis Massacre 2 (Quality Control Music)

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After the viral hit “Crunk Ain’t Dead” Tennessee rapper Duke Deuce dropped a full tape which got endorsed by Lil Jon, Project Pat and Juicy J. These Dirty South legends jumped on the remix of “Crunk Ain’t Dead”, a song that is literally supposed to slaughter strip clubs all the way up from Memphis to Canadian border. Crunk’s been leading zombie-ish life, being if not fully then almost dead for years. It’s hard to predict if Memphis Massacre 2 will spur a wave of neocrunk but even if it won’t, it will remain a gutsy punch to the soft rap belly. The slower songs on the tape, like “Trap Blues”, are weaker efforts as they are lost among same-y Southern rap ballads.

Ray Garraty

Arto Lindsay / Ken Vandermark / Joe McPhee / Phil Sudderberg—Largest Afternoon (Corbett Vs. Dempsey)

Largest Afternoon by Lindsay/Vandermark/McPhee/Sudderberg

After decades of frequent partnership, Joe McPhee and Ken Vandermark have attained the level where they are being recruited for dream teams. Astral Spirits recently released Invitation to a Dream, a specially commissioned meeting between the two multi-horn players and pedal steel guitarist Susan Alcorn. And now comes Largest Afternoon, by a quartet comprising McPhee, Vandermark, drummer Phil Sudderberg (Marker, Spirits Having Fun, Vibrating Skull Trio) and guitarist Arto Lindsay (DNA, Ambitious Lovers, his own bad self) at the behest of the record label / art gallery, Corbett Vs. Dempsey. If you’re hoping for a combination of free jazz and Brazilian pop, keep your dancing shoes in their box; this CD documents a first-time, no-net encounter. On the rare occasions when Lindsay opens his mouth, it’s to emit strangled phonemes; by comparison, his utterances with DNA seem positively Dylan-esque. But if you want to hear feedback squaring off against soulful reed-song, valve-pops peppering amp-coughs and interactions between percussion, strings, and wind that verge on the tectonic, Largest Afternoon will make your day.

Bill Meyer

Jason McMahon — Odd West (Shinkoyo)

Odd West by Jason McMahon

Odd West delivers extremely soft focus (bordering on new-age-y) instrumentals plus effected vocals from a one-time Skeletons mainstay. The main instrument is acoustic guitar, pristinely recorded and glossed with a radiant glow. McMahon, a jazz-trained guitarist, learned to finger pick for this record, and there’s something a bit studied about these cascading bouts of iridescent sound, a bit too perfect, a bit too glassy and calm. “Ambisinistrous” ebbs and flows in minor key fret flurries, McMahon all alone with the guitar and sounding rather good at it. “Sunshine for Locksmith” floats “lahs” and “ahs” and lullaby “wooh-ooh-oohs” over its placid surface, tilting golden dust-moted rays onto all natural motifs until it seems too good to be real. By the end, I’d give a lot for a string squeak or even a stray false note. It’s like the old descriptions of heaven in Sunday school, too pretty to seem like somewhere you’d want to live.

Jennifer Kelly

Donovan Quinn — Absalom (Soft Abuse)

Absalom by Donovan Quinn

Donovan Quinn has been a mainstay of the Bay Area’s hand-made, lo-fi folk-psych-rock scene for almost two decades through the Skygreen Leopards with Glenn Donaldson, in New Bums with Ben Chasny (who also plays here) , in the one-off Fuckaroos with Sonny Smith and Kelley Stoltz and on his own in the 13th Month. Regardless of project, you can count on him for hazily soft-focus not-quite-rock, not-quite folk songs, that drone like VU outtakes wreathed in patchouli smoke, edgeless and adrift and whispery. That’s more or less what he’s doing here, with a variety of SF-adjacent talent in tow, not just Chasny and Elisa Ambrogio but Papercuts Jason Quever and underground songwriters Eric Amerman and Michael Tapscott. But it’s Quinn’s show, really, with Quinn’s soft unhurried voice, his loosely coalescing arrangements of guitar fuzz, drums and chamber strings, his subtly off center way with lyrics. “Satanic Summer Nights,” sings urgently of “a game with no rules,” but it’s not quite that; rather it’s a game where the rules are buried like power lines under enveloping clouds of free-form smoke, feeding structure and electricity into what seems like a passing daydream.

Jennifer Kelly

Matthew Shipp String Trio — Symbolic Reality (Rogue Art)

Pianist Matthew Shipp, bassist William Parker, and violist Mat Maneri have a lengthy shared history, but Symbolic Reality is their first recording as a trio in 20 years. In its early years, this combo was the chamber music outlier of Shipp’s constellation of ensembles. But now the classical and jazz elements mix in his music like the eggs, flour and milk in your best cake batter. While it’s true that Maneri’s microtonal bowing still sets this apart from any other Shipp group, giving the music a unique pungency, the viola’s lack of auditory bulk is at least as important in defining the group sound. The presence of a third musician who is neither loud and nor chord-oriented induces Shipp to throttle back his attack a bit, which makes Parker’s foundational architecture stand out in bold relief; and the vinegary slurs in Maneri’s playing elicit a blues feeling that doesn’t often come to the fore in Shipp’s playing.

Bill Meyer

Matthew Shipp and Nate Wooley — What If? (Rogue Art)

Pianist Matthew Shipp and trumpet player Nate Wooley know how to surprise, creating both compositions and tones that get to weird places. The two have worked together before, but recent release What If? marks their first work as a duo. Shipp provided the composition, but it's clearly a two-man answer to the question. The artists touch on some more typical jazz modes, trading leads or letting Wooley play a melody over Shipp's broad chords. More intriguingly, they feed off each other's moods. Wooley doesn't shy from abrasive sounds, and on cuts like “Ktu,” Shipp matches his grating approach. “The Angle” plays with jittery space; Shipp's chords largely traded in for flutters that go with Wooley's reserved blips. Highlight “Space Junk” puts all the musicality and the enjoyment of the odd together. The duo plays a few moments that sound trad, then go for something avant, then turn somewhere new as ideas and moods run away from them. At times Wooley sounds like he wants to soundtrack a casual night out, and at times he wants to smash it; both of them find the whole enterprise entertaining. The “What if?” question remains open-ended, but the answer comes very specifically from these two artists, and it's more than sufficient for whatever's been asked.

Justin Cober-Lake

Sightless Pit — Grave of a Dog (Thrill Jockey)

Grave of a Dog by Sightless Pit

Sightless Pit is a collaboration among three significant names in contemporary heavy music: Lee Buford, of the Body; Dylan Walker, singer for Full of Hell; and Kristin Hayter, who records under the name Lingua Ignota. Made over two years at Machines with Magnets, the songs were shaped, executed and revised whenever one or two of the artists could get to the studio. It’s thus a sort of experiment in asynchronously generated music. Grave of a Dog (an unfortunate title) is likely best appreciated with that unconventional approach in mind —n ot a set of songs by a band so much as an ongoing, sonically mediated conversation among like-minded creators. Not surprisingly, the record really lights up whenever Hayter’s remarkable vocals move into the music’s foreground. She’s an unusual talent, with a big voice that can do drama, intimacy and lunacy to equal effect, and a compositional intelligence that grooves with Sightless Pit’s sound-collaging sensibility. “Kingscorpse” is a stirring combination of melody and power electronics, and the record’s solemn, fragile closer “Love Is Dead, All Love Is Dead” lets Hayter show off the full range of what she can do with her instrument.

Jonathan Shaw

Solar Woodroach — 7 Perversions on Pachelbel’s Canon (Nilamox)

7 Perversions on Pachelbel's Canon by Solar Woodroach

From the start of “How the West Was Won,” most music fans would be able to identify (if not necessarily name) the source material Solar Woodroach uses here even without the album title. Yes, Pachelbel’s Canon in D, one of the most overexposed pieces of music ever used, is getting dug up and sent shuffling our way again, this time from some enigmatic figure or figures known as Solar Woodroach. The best clue there, it must be said, is that the label is listed as “Nilamox,” also the name of whatever ex-Severed Heads man Tom Ellard is doing these days. But Ellard, or whoever, has more than just necromancy on their minds during these 7 Perversions; sometimes stretching and smearing the composition past the point of immediate recognition. But whether it’s the slow-motion glow of “Decomposition in D,” the mini-swarm of synthesized voice bits in “The Canonisation of St. Pachelbel,” or the eventual return of something like the original in the closing “The Pachelbel Spirit,” 7 Perversions proves, perversely enough, both that our takes on the Canon (or canon?) could be more inventive, and that there might be more life left in those standards than we give them credit for after an umpteenth listen. It’s a cheekily satisfying listen, maybe especially if (whisper it) you still enjoy the old Canon a bit too.

Ian Mathers

Rafael Toral / Mars Williams / Tim Daisy — Elevation (Relay)

Rafael Toral / Mars Williams / Tim Daisy :: Elevation :: (relay 027) by Relay Recordings

Interstellar Space. My Goals Beyond. Other Planes of There. The list of outward-bound jazz records that invite the listener to draw a bead on the furthest cosmic reaches is a long one, and despite the relative humility of its title, Elevation makes a similar request. The album’s three tracks are all named after cloud formations, and even in their most subdued moments the three musicians involved treat gravity as a negotiable notion, not an immutable law. Portuguese electronic musician Rafael Toral joined up with Chicagoans Mars Williams and Tim Daisy for just one day, during which they played one concert in a suburban library and the recording session yielded this CD. Daisy’s a highly accommodating drummer, and much of his playing on this record disperses beats and tones like a spray of cloud-born moisture. Williams balances incendiary blowing guided by the anything goes spirit he nurtures in Extraordinary Popular Delusions with little instrument forays that infuse this music with the spirit of A-list types like Sun Ra’s Arkestra and the Art Ensemble of Chicago. And Toral draws pure electricity into flashes and stretched bolts that illuminate “Stratus,” “Cirrus” and “Altostratus” from without and within. Keep your eyes and ears on the sky.

Bill Meyer

Tribe — Hometown: Detroit Sessions 1990-2014 (Strut)

Hometown: Detroit Sessions 1990-2014 by Tribe

This disc collects post-break-up material from the long-running Detroit cultural collective Tribe, a pan-arts organization led by saxophonist Wendell Harrison and trombonist Phil Ranelin. During its 1970s heyday, the Tribe organization put out jazz records, published monthly magazine covering black culture, collaborated with dance and theater groups and taught music in Detroit schools. This collection picks up after Ranelin moved to Los Angeles and the Tribe name had been retired. Still Harrison continued to preside over multidisciplinary creative coalition, tapping into a vibrant Detroit scene for Afro-centric visual arts, theater, dance, music and literature. Handclapped, percussive “Juba,” for instance, documents Tribe’s connections to modern dance; you can intuit movement in its chanted, panted, grunted and foot-stomped rhythms. The two spoken word pieces, “Marcus Garvey” and “Ode to Black Mothers,” showcase the works of Mbiyu Chui, a poet, pastor and founder of the Black Christian Nationalist Movement. The music, too, is very, very good, from the swaggering big band swing of “Wide and Blue,” to the smouldery sleek piano grooves of “Hometown” (Harrison’s wife Pamela Wise on keys) to the Afro-Caribbean polyrhythms that animate “Ode to Black Mothers.” Detroit was in about as bad a state as a city can be during the period this music was recorded, but art and pride and resilience run through every track.

Jennifer Kelly

Various Artists — Back from the Canigo: Garage Punks Vs Freakbeat Mods Perpignan 1989-1999 (Staubgold)

Back from the Canigó: Garage Punks Vs Freakbeat Mods Perpignan 1989-1999 by Various Artists

Perpignan is the southernmost French city, nestled in a curve of the Mediterranean just before it turns south into Spain. It also the unlikely headquarters of a Gallic garage rock scene centered around the Limiñanas, but incorporating another dozen or so bands represented on this compilation. (The Limiñanas themselves are absent, just to be clear.) The two oldest bands — Les Gardiens du Canigou and the Ugly Things — are the most vital, both rough-rocking outfits fond of wheedling organ fills and much indebted to the Troggs. “Baby I Don’t Want to Drive” from the Ugly Things has the grit and swagger of Wimple Witch’s “Save My Soul,” while Les Gardiens turn in a truly unhinged live cover of “Gloria.” Some of the younger bands follow this example closely. The Vox Men and The Feedback, for instance, pursue the exact same sort of screaming hedonism. However, others diverge. Beach Bitches take a day-glo, 1960s garage energy into joke-y surfy directions; their “Walking in the Jungle,” intersperses novelty record animal cries with banging drums and blasts of molten guitar. Les Buissons bustles and blares with a fully-orchestrated sound, James Brown doing battle with a community marching band and flop-haired psychedelia in “Buissons Theme I.” The whole comp is immensely enjoyable in a what-decade-is-it-anyway manner. It’s probably not what you picture when people say, “south of France,” but it rocks pretty hard.

Jennifer Kelly

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angrylizardjacket · 5 years

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All That Glitters {Roger Taylor} [2]

A/N: 2160 words. Every day I deadass get closer to just writing this movie. I’ve put too much time and thought into this probably. As Always @ginghampearlsnsweettea and @prettyboyroger are my favourite Giselle chearleaders. I actually rather like this, though I’m worried it’s less coherent than the first All That Glitters trailer.

[And All The Queen’s Men ‘verse masterpost]

All That Glitters (2018) | “Oracle” Teaser Trailer [HD] | 20th Century FOX

[id: We open on a shot of the crowd at Live Aid from the perspective of the stage; the crowd is cheering, but it’s distant, almost like it’s underwater. The camera pans back slowly, so slowly, and we see Giselle, facing the crowd; as soon as she is in view, the squeal of a microphone feeding back fades in, growing louder until it overpowers the sound of the audience.

The feedback cuts out sharply and we see and hear the following in rapid succession; a close up of a large aux cord, from a keyboard, being plugged into an amp, a power switch being flipped and lighting up, a bare but new-ish looking parcan lighting up.

The room is hazy, a small, speak-easy style bar; the patrons mill about, smoking and drinking and we hear a general, indistinguishable chatter. It’s mostly dark, a few dim, gold lights overhead, with one exception;

We see Giselle standing on a cramped stage, wearing an ill-fitting, wine-coloured, rayon slip dress, lit only by the unflattering light of the cheap parcan. Behind her, drowning in shadows, a four-piece jazz ensemble sits, all wearing white button down shirts and black jackets, though their accessories are a mishmash of colours; some where bowties, some don’t even have their top button done up. One is wearing sunglasses and is looking like he’s almost asleep at his keyboard.

Giselle stands awkwardly, fidgeting, she looks young, and not particularly at home on the stage. She leans into her microphone and tries to speak, but there’s the squeal of feedback and she flinches away. The band behind her just looks tired. She leans back in to the microphone.

[GISELLE] (hesitant) Hello, I’m-

[MAN] (from the crowd, not visible) Sing something already!

Giselle looks taken aback, a little offended, and she looks over her shoulder at the band who nods. There’s a moment, a beat, when we cut to a close shot of the keyboard player’s hands hovering above the keys, before coming down, playing the opening notes of This Is Where You Get Off.

[Editor’s note; This Is Where You Get Off comes from Giselle’s sixth studio album, Strictly Professional (1978). It was the second single released off the album. Think, the upbeat positivity of ABBA’s Waterloo, meets the heart and catchiness of Whitney Houston’s I Wanna Dance With Somebody. It’s joyful and tongue in cheek, as the name would imply, a song about young love and intimacy, though it may be fleeting.]

[Title cards for 20th Century Fox and Marv Films come up.]

We pull back from a close shot of hands playing the keyboard, however this time they’re Giselle’s, well manicured with gold polish, and she’s is sitting behind the keyboard though the bar is empty. She’s lit in stark relief to the rest of the room with a warm, gold light. The rest of the room is a cool, hazy grey. She’s wearing a pair of high waisted, pale blue jeans, and a yellow and green floral button-down.

[JOHN DEACON] Giselle?

Giselle looks up, a little confused. Her hands still on the keys, but the music keeps playing. It’s a wide shot, the two in profile facing each other; John Deacon is backlit on the right where he’s standing at the door, sunshine shining in behind him, wearing brown corduroy pants and a maroon jacket that’s a little too big for him. His hair is long. The space between them shows the bar, in shades of grey, almost like the colour’s been saturated from it, though it gives a nice contrast to the colours of the two figures on either side of the shot.

John smiles.

[JOHN DEACON] Thought I might find you here.

Extreme close shot of Giselle’s eyes as she squeezes them shut tightly. When she opens them, we cut to a wide shot taken from behind her, facing a small room packed with people. She’s standing now, holding the microphone on it’s stand, wearing a blue velvet, off the shoulder dress.

The camera pans back and with each beat of the music, we cut between shots, all from the same angle, all with Giselle in the same place, but it’s always in front of a crowd, and the crowd is always getting bigger; at first it’s bars, then theatres, then stadiums, with thousands of cheering fans. We never see Giselle’s face, but the crowd is always desaturated compared to her, each of her ensembles, her very presence vibrant under the stage lights.

[JOHN DEACON, VOICE OVER] So I suppose I’m gonna see your name in lights in a few months?

Giselle snaps back to the present, and we get a close shot of her looking at John a little wide-eyed.

[RAY FOSTER, VOICE OVER] Giselle? That’s the name on the marquee?

We smash cut to an over-the-shoulder shot of her sitting in Ray Foster’s office; he’s wearing a beige suit jacket with the sleeves rolled up over a bright blue button down. From what we can see of Giselle’s shoulder, her shirt is a red and orange striped turtleneck and her hair is down.

We whip pan around and stop on a shot of Giselle, sitting at her desk at the very righthand side of the shot, lit in pale yellow by her desk light, while the rest of the shot is filled with the midnight blue of the night sky through floor-to-ceiling windows; on the lefthand side of the shot is a television, showing reports and excepts all about Giselle, giving off desaturated blue and white light. Giselle is writing furiously at her desk, though we can’t see what.

[REPORTER, VOICE OVER] Giselle, the name on everyone’s lips!

[RADIO HOST, VOICE OVER] And now, with her newly certified platinum single, Giselle -

[REPORTER 2, VOICE OVER] Why Giselle? Who’s this woman who’s caught the world by storm?

The voices start to overlap, become indistinguishable as the song rises to a crescendo, though their words are clearly turning negative. Giselle’s name is distinguishable every few moments.

[GISELLE, VOICE OVER] I want to work with Queen.

Giselle stands with her hands crossed over her chest, wearing a mint green, skater style, floral dress, her hair tied back neatly. The music is still upbeat and joyful. Jim Beach stands across from her in a freshly pressed, grey suit. He looked amused.

[JIM BEACH] You want to work with Queen?

We shift through a set of quick shots all intercut together to the beat of the music that gets progressively faster, never stopping on one for enough time to get a good look; Giselle running into a drumkit and the cymbals going crashing to the ground, Giselle and all four members of Queen cheersing their drinks though they all seem to already be drunk, Giselle sitting on Roger’s shoulders and cheering and singing at the top of her lungs in a hotel room while Brian throws things at them because he’s trying to get to sleep, Roger kisses Giselle on stage in front of a stadium audience and though she’s shocked for a moment she kisses him back, Freddie walks in to what is clearly Roger and Giselle’s wedding with an elephant in tow. The final two shots are of Roger and Giselle wearing identical shocked looks, clearly at Freddie’s extravagant party, and then we cut right to the door being closed in Roger’s face.

The music stops; we come back to Jim and Giselle in the present.

[GISELLE] What’s the worst that could happen?

Her grin is all teeth.

We kick into the next scene and into the chorus section of an instrumental version of Set It Up.

[Editor’s note: Set It Up was the fifth track on Giselle’s second album, Cold In June (1971). It’s got the bass and weight of Queen’s Another Bites The Dust, courtesy of Giselle’s pre-established friendship with John Deacon, and it’s the earliest known collaboration between them. Lyrically, the original song is a love letter to dedication and drive, and is the story of a young woman forging her way in such a ruthless industry.]

Cut to; Jim and Giselle standing in the doorframe of a wood panel studio; Jim looks like he hasn’t changed, though Giselle now wears a yellow sundress.

[JIM BEACH] Boys, -

The rest of the room is filled with band equipment, and the four members of Queen, all in light coloured but colourful clothes, a solid contrast against the mid-tone brown panels along the walls, the chrome of the drumset, and the red of Brian’s guitar, the darkness of the piano and the various amps in soft focus behind them.

We quickly pulse through visions of other big name musical celebrities to the beat of the music, all looking at something just off camera, as if looking at Giselle in the room, though their background all betray different settings. We see Elton John, Aretha Franklin, Michael Jackson, and David Bowie, before settling back on Queen in the present.

The music cuts out.

[JIM BEACH] - play nice.

[ROGER TAYLOR] You’re not our father, you know!

The camera turns to show that Jim has already stepped out of the room, closing the door behind him. There’s a few moments of awkward silence; Giselle looks at the door for a few minutes before smiling awkwardly at the boys in front of her.

[GISELLE] I should introduce myself -

Before she can, the music comes back in after a beat and we cut to a montage of concert footage, of Giselle in various dresses which all look incredibly expensive, as well as her appearance on Top of the Pops in 1972, the camera craning around her as she sings in her black, velvet off-the-shoulder numbers with her black and red gloves.

This is also intercut with key moments from her life; arguing animatedly with her sister, Giovanna, in what appears to be a hospital, screaming at the top of her lungs in what appeared to be a recording studio, rage written all over her face, though we can’t hear the scream for the music, she’s laying in a hospital bed, looking exhausted but elated, holding her two daughters and almost weeping with joy. The final shot in the montage is Giselle in soft focus as she holds out a copy of Rolling Stone magazine, which she is on the front cover of, posing surrounded by Queen. The headline reads ‘And All The Queen’s Men’. She sets the magazine on fire and we fade to black, and the music dies down, fading into the slow, melancholy piano chords of Ache.

[GISELLE, VOICE OVER] (she sounds tired, a little forlorn) Everything I touch turns to gold.

We fade in to a dressing room; Giselle is sitting in front of a mirror lined by lightbulbs, sneering as she addresses someone who we can’t see, not even in the reflection of the mirror. She’s adjusting the neckline of a gold, sequinned, v-neck dress, wearing thick, winged eyeliner and gold lipstick to match. She looks over her shoulder, her expression cold.

GISELLE (rueful, a bit bitter) And God, I was all over you.

The music picks up, quick to morph into Trot, Canter, Pirouette (The Show Pony Song), and she stands quickly.

We smash cut to her walking out onto stage at Live Aid, though she’s now wearing a dress with a white velvet bodice and an ombre yellow-orange-charcoal skirt. We can hear both the song, and the crowd chanting her name.

[JOHN DEACON, VOICE OVER] An engineering student and a law student walk into a bar.

Cut to; both Giselle and John are sitting at the bar from earlier, both looking young, Giselle in her yellow and green floral shirt, and John in his maroon jacket. They’re positioned in the left half of the screen, both in profile; Giselle is in the foreground, slumped against the bar, her head resting on her arms. John is looking up wistfully. We can no longer hear the crowd, but the music is still softly playing. John pauses. Giselle turns to him, resting her cheek on her arms and looking at him expectantly. The camera angle changes so they’re side by side and fill most of the screen.

[GISELLE] And?

John, who’s seemed to have zoned out, looks at her with a slight frown, as if just remembering she’s there.

[JOHN DEACON] Oh, I just got lost thinking about the future.

Giselle gives a quiet, amused smile.

[GISELLE] About my name up in lights?

[JOHN DEACON] (nodding and grinning) About your name up in lights.

We cut to; the music picks up and the title card, “ALL THAT GLITTERS”, lights up in a block font, with lights in the letters, reminiscent of a Broadway sign. We hear Giselle belt the final, high energy, upbeat lyrics of the song, accompanied by a full brass section for the end of the song; “But I cant! Call! Cut!”

Snap to black. End id.]

#roger taylor #john deacon #roger taylor x oc #john deacon imagine #roger taylor imagine #john deacon & oc #bohemian rhapsody #BoRhap #borhap imagine #bohemian rhapsody imagine #queen #and all the queen's men #the angry lizard writes

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musescore-com · 6 years

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MuseScorer of the month: Hans Jacobi

Ladies and gentlemen, it’s time for the new MuseScorer Of The Month ! Every month we select one of the brilliant MuseScore members, doing an interview and featuring him or her for all users. Last month we introduced you to Celthyan.

This month, meet Hans Jacobi, organist and composer from Netherlands living in The Hague:

Hans publishes his own compositions for piano and organ on MuseScore. Unusual harmonies make his pieces really special.

Here is an interview with Hans Jacobi (H.J.) conducted by our staff member Alexander T. (A.T.):

A.T.: You’ve posted alot of interesting compositions on MuseScore this May. Are all of these pieces composed by you ? (talking about "Music for a dance" and "Album leaf" series). Are they from some kind of "suites" - as they share the same name but have different numbers?

H.J.: Some sets are coherent suites, like Music for a dance, Seaside walks and Natural history. Others are sets that grew out of hands, like the Album leaves and Wabi-Sabi explained. These endless sets are more like a diary, or like regular contributions to a blog.

"Album leaves" belong to my very first MuseScore pieces, 2012-13. I re-posted them because I almost forgot about them and wanted to reconsider them (some of them were already recycled). But also because the quality of the MuseScore piano soundfont has improved so much.

"Music for a dance"(2015) started at the request of ferrie = differentieel (also a MuseScore member). He wanted some music for a dance production. He only needed one piece,no ,three, I believe. But I got inspired, and started an imaginary dance sequence, based on a real story about a fraudulent inventor.

A.T.: Do you compose for piano and for organ only or do you have some ensemble/orchestral pieces?

H.J.: I'm not trained in writing for orchestra or ensemble. The organ and piano are instruments that I can imagine. And the organ I play for a living. However, I did write pieces for recorder solo and recorder & string trio. I adore the ‘flauto dolce’, I have worked with recorder players many times. I also posted pieces for choir.

A.T.: So, organ and piano...Can you tell me, as a composer, what is the difference for you?

H.J.: In general I would say that my piano pieces belong to an imaginary private world. I composed them for fun, expression, exploration. For me certain complex harmonies are profound emotions. The sonority of the piano is ideal for such, like a gaze in the abyss. Alas I'm not a concert piano player myself, but I'm intrigued by the expressive possibilities. (Some sets are not so complicated to play, like the Seaside walks. I played this one in public.)

My organ pieces belong more to the real world, because that's my profession. Most of my organ pieces were deliberately composed for the Sunday service in church. So for me there is a certain exchange between composing, church work and social media. I use some of my own recordings as audio source:

A.T.: You mentioned that organ pieces are “your profession”. So, what is your “main” job? Church organ player?

H.J.: Yes, my 25th anniversary as a church organist is upcoming; my extra activities in church include giving courses about classical music. I'm also an employee of a large internet-library for mostly cd's and dvd’s.

A.T.: So, I think you got some higher musical education? And also wondering: are you coming from a “musical” family?

H.J.: I'm not from a particularly musical family. However, my father was an amateur organist and an enthusiastic singer at the annual performances of Bach's Matthäus-Passion. His playing of Bach chorales was the greatest musical influence on me. I studied the organ and church music at the conservatory. I also have a master's degree in musicology.

A.T.: I see, long years of studying to become a professional musician. I am familiar with that. But let’s return to the “composing” topic: which pieces (composed by you) would you like to put a spotlight on?

H.J.: The first one is “The Scent of Rain” - a joyous piano piece, my most popular so far. It was performed and recorded on video by Anna Sutyagina.

Then, "The Bells" - it hasn’t my harmonies, but I love to play it. It seems impossible to do so, but actually it isn’t that difficult. It is an evocation of the friesian countryside of my youth, with their churches and bell towers.

"The Bells" by Hans Jacobi

The third one is “Rondo à la Purcell” - a clear pastiche, but not without elements from my style. It’s fun to play. It can be played on the piano or organ alike.

And the one I am most proud of is “Towards Habanera”. This could be the quintessence of all I have achieved last years: funny, entertaining, but also dark, sinister and desperate. Dilapidated taverns, souls lost in tequila, the ghosts of conquistadors, you name it. It needs a lot of experience to make something like this. I couldn’t have done it before 2012.

“Towards Habanera” by Hans Jacobi

A.T.: Are your compositions played by some performers (ensembles)?

H.J.: Some of my pieces were reworked by sound artist ferrie = differentieel, as soundtracks of documentaries or music for exhibitions. My piano piece “The Scent of Rain”, as I have already said, was performed by Anna Sutyagina. I’m a performer of my own pieces, of course.

A.T.: And what is your inspiration? What motivates you to compose?

H.J.: I'm motivated by making compositions because it is a huge emotional outlet without any dangers. It's also a great way of communicating. In church I have a very diverse audience, which is a challenge to please. But somehow it works in a way that many professional composer could be jealous of. I compose for church on a regular basis.It has the advantage of building a collection of pieces that can be used again. In a big church on a big organ it is much easier to create a certain effect. But on a small organ like mine you have to work much more economically.

A.T. Great, and really interesting to know. What about your favorite artists? I mean: which kinds of music do you prefer?

H.J.: I like all kinds of music, it changes over the years. Bach, of course, but also Wagner, Debussy, Messiaen and many more. I'm not particularly fond of jazz, pop music, or popular film scores. But they also have influenced my music, it's all part of our musical environment, whether I like it or not.

It was very exciting to conduct this interview. Hans is a professional organist and composer, so his attitude and musical personality is rather different from other MuseScorers Of The Month. It was pleasure and honor for me to meet him and to reveal at least a little part of his works. Check his profile for more scores and sets, and watch for our next MuseScorer of the month in July!

Yours, Alexander T.

P.S. This becomes a tradition already - would like to add here a piece I really enjoyed , it is one of Mr. Jacobi's organ works:

“Toccata on Old Oak and Dunes” by Hans Jacobi

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aaronmblevin · 6 years

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100 Awesome Folkways LPs

Back in 2005 I had just dropped out of graduate school and returned to Edmonton, Alberta. I was waiting for the semester to start so I could begin my journey as a mathematician. I'm indebted to my friend Christopher Bateman (co-author of In Fine Style) who told me that there was a collection of Folkways Records at the University of Alberta. An entire collection?! Wow! The only other complete collection was at the Smithsonian Museum! And I had nothing to do all day (except for my string of terrible minnimum wage jobs)!

I started visiting folkwaysAlive!, the small Folkways centre (photos below), regularly and digging through their collection. Most of the knowledge about Folkways at the time was centred on their incredible collection of ethnographic recordings. However, as I began looking through the catalog I was finding all kinds of weird and amusing records. There was one titled Speach After the Removal of the Larynx and another called Sounds of the Junkyard. Even more, there were famous composers of electronic music who had published LPs on folkways. What were those doing there? It turns out that Folkways founder Moses Asch was determined to capture all "sound" and that in the pure pursuit of this philosophy several LPs of collateral damage would delight the catalog.

Some years later I had a radio show on CJSR where I played music entirely from the Folkways collection (the show was appropriately titled The Sounds of Folkways). At the same time I was trying to capitalize on my newfound knowledge and tried to pitch a book and/or column to various people titled 100 Weird and Wonderful LPs on Folkways. I wasn't successful, but in the process I had made a "list of weird Folkways LPs" and that's what I'd like to share today.

Here is my list. It's not complete. It's not a list of "the best folkways LPs." It's just a list of Folkways records I happen to like and think weird or cool. Thus, there are large omissions in categories like Blues and Ethnomusicology, which contain many of the most incredible Folkways records.

You can find music clips for most of these LPs on YouTube. This list is a decade old, so there's probably some errata and some of the catalog numbers aren't likely correct.

I hope you enjoy.

PS - I still need a copy of Speach After the Removal of the Layrnx!

PPS - I'm forward thankful to Lorna Arndt who so graciously let me hang out in the folkwaysAlive! office!

Avant-Garde / Electronic

FW 34006 – Music of Ann McMillan - Whale-Wail, In Peace, En Paix

FW 33451 – Gateway Summer Sound – Abstracted Animal & Other Sounds Composed by Ann McMillan

FW 33855 – Reelizations – Composed and Preformed by Barton Smith

FW 33856 – Reelizations Vol. 2 – Composed and Preformed by Barton Smith

FW 37464 – Dariush Dolat-Shahi – Electronic Music Tar and Setar

FW 37467 – Dariush Dolat-Shahi – Ostashagah

FW 03434 – Eight Electronic Pieces – Todd Dockstader

FTQ 33951 - Ilhan Mimaroglu - To Kill a Sunrise and La Ruche

FW 31313 – Gamelan in the New World Vol.1

FW 31312 – Gamelan in the New World Vol. 2

FSS 33878 - Israeli Electroacoustic Music

FS 003861 – Radio Programme No. 1 Audio Collage / Henry Jacob’s Music & FolkloreFT 03704? – Indeterminacy (John Cage Reading and David Tudor Music)

FW 47902 – Invocations – Richard Kostelanetz

FX 06250 - Science Fiction Sound Effects Record

FW 06160 – Sounds of New Music

FW 06241 – Travelon Gamelon – Music for Bicycles – Richard Lerman

FW 33440 – Outer Space Music by Vaclav Nelhybel

FW 33436 – Electronic Music

FW 06253 – Futuribile the Life to Come – Gianni safred and his Electronic Instruments

FM 03349 – The Piano Music of Henry Cowell

FW 03438 – Electronic Music From Razor Blades to Moog – Produced & Composed by J.D. Robb

FW 33435 – J.D. Robb - Rhythmania & Other Electronic Compositions

FW 33439 – Music by Jean ivey for Voices, Instruments, and Tape

FW 33445 – Jon Appleton – Music for Synclavier and other Digital Systems

FW 33437 – The World Music Theatre of

FW 33442 – The Dartmouth Digital Synthesizer

FW 37461 – Jon Appleton – Four Fantasies for Synclavier

FW 33450 – McLean: Electro-Symphonic Landscapes

FW 36050 – Electronic Music from the Outside In

FW 37465 – Computer Music from the Outside In

FW 37475 – Computer Music

FSS 6301 – Highlights of Vortex

FW 33431 – Extended Piano (Elliot Schwartz)

FW 33901 – New American Music Vol. 1

FW 33902 – New American Music Vol. 2

FW 33903 – New American Music Vol. 3

FW 33904 – New American Music Vol. 4

FW 33441 – Tract: A Composition of Agitprop Music for Electromagnetic Tape by Ilhan Mimaroglu

Ethnographic

FW 31306 – The Nuru Taa African Musical Idiom: Played on the Mama-Likembi (Nadi Qamar)

FW 08975 - Mushroom Ceremoney of the Mazatec Indians of Mexico

FW 08512 – Music of Upper-Egypt

FW 04457 – The Pygmies of the Ituri Forest

FE 4377 - Modern Maya: The Indian Music of Chiapas, Mexico

FE 4379 - Modern Maya: The Indian Music of CHiapas, Mexico - Vol. 2

FC 7755 - Bilal Abdurahman – Echoes Of Timbuktu And Beyond

Folk

FG 3526 - Elizabeth Cotton - Folksongs And Instrumentals With Guitar

FTS 31003 - Elizabeth Cotton - Vol. 2: Shake Sugaree

FW 03537 - Elizabeth Cotton - Vol. 3: When I'm Gone

FW 07535 – Innovative Rythmic and Tonal Textures for developing Creative Motor Skill Activities (Bilal Abdurahman)

FW 07540 – Sound Rhythm Rhyme and Mime for Children (Bilal Abdurahman)

FW 03581 - Mike Hurley – First Songs

FW 07520 – Ghetto Reality (Nancy Dupree)

FW 32850 – Niss Puk Band – No More Nukes

FW 32852 – Roger Matura – The Outrage Grows

FW 32851 – Roger Matura – Times are Gonna Get Harder

BR 304 - The Village Fugs - Sing Ballads Of Contemporary Protest, Point Of Views, And General Dissatisfaction

PAR 01020 – A Grain of Sand: Music for the Struggle by Asians in America

FTS 31066 - Lucinda Williams - Ramblin' on My Mind

FTS 31067 - Lucinda Williams - Happy Woman Blues

FA 2951 - Anthology of American Folk Music Volume One: Ballads (Harry Smith)

FA 2951 - Anthology of American Folk Music Volume Two: Social Music (Harry Smith)

FA 2951 - Anthology of American Folk Music Volume Three: Songs (Harry Smith)

Jazz

FW 33867 – East New York Ensemble de Music at the Helm

FW 33866 – Entourage

FW 33870 – The Neptune Collection – The Entourage Music & Theatre Ensemble

FW 05403 – From the Cold Jaws of Prison

FW 09718 – Kenneth Patchen reads with Jazz in Canada

FW 02966 – Mary Lou Williams – The Asch Recordings 1944-1947

FW 02843 – Mary Lou Williams – Black Christ of the Andes

FSS 37462 - Bertram Turetzky - A Different View

New Age

FW 06195 – Clouds: New Music for Relaxation Vol. 1 (Craig Kupka)

FW 06916 – Crystals: New Music for Relxation Vol. 2 (Craig Kupka)

FW 37463 – Charles Compo – Seven Flute Solos

Soul / Funk / R&B

FW 32863 – Into Morning – Charles Cha-Cha Shaw

FW 32870 – Kingdom Come – Cha Cha Shaw

FW 31037 – Climbing High Mountains – Juanita Johnson & The Gospel Tones

FW 33868 – The Montgomery Movement featuring The Montgomery Express

FW 09723 – Underground Streets – Words and Original Music by Normal Riley

FW 09710 – Boss Soul – 12 Poems by Sarah Webster Fabio set to Drum Talk, Rhythms & Images

FW 09715 – Together to the tune of Coltranes “Equinox” (Sarah Webster Fabio)

FW 09714 – Jujus Alchemy of the Blues – Poems by Sarah Webster Fabio Read by Sarah Webster Fabio with Musical Background

Spoken Word

FC 7471 - Rev. Howard Finster - Man of Many Voices

FW 06134 – Speech After the Removal of the Larynx

FW 05401 – Angela Davis Speaks

FW 09871 – Dante: The Inferno

FW 06102 – Interview with Sir Edmun Hillary – Mountain Climbing

FW 09711 – Soul Ain’t Soul Is – Poems by Sarah Webster Fabio

FW 05404 – The End of the World

FW 09701 – The Psychedelic Experience (Timothy Leary)

FW 055338 – What If I am a Women? Black Women’s Speeches Narrate by Ruby Dee

Strange

FW 06118 – Playing Music With Animals – The Interspecies Communication of Jim Nollman with 300 Turkeys, 12 Wolves and 20 Orca Whales

FW 06143 – The Sounds of the Junk Yard

SFW 45060 – Sounds of North American Frogs

FW 06142 – Sounds of the Office

FW 06121 – Sounds of the Sea Vol. 1

FW 06122 – Sounds of the Sea Vol. 2

FW 05589 – Street and Gangland Rhythms

FW 05580 – A Dog’s Life (Tony Schwartz)

FW 05562 – The World in My Mailbox (Tony Schwartz)

FW 05581 – Music in the Streets (Tony Schwartz)

FW 06200 – Voices of Satellites

FW 06123 – Vox Humana

#folkways #rare records

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laurenredhead · 5 years

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collagemusic: a musical exchange

The purpose of this post is to share a new recording, but also to provide some context around the piece and the circumstances in which I came to compose it. Like many composers, I frequently get requests for scores for perusal and, of course, most of these come to nothing. That’s ok: I’m happy to share my music with people who are interested whether or not they end up performing it. However, last year one such request from the San Diego-based ensemble Figmentum led to a very fruitful exchange and is a great example of how these unexpected requests can lead you down new pathways and to places where you may make new discoveries.

After looking at some of my scores, Figmentum gave a lovely performance of lines that have been drawn on photographs of sculpture in November last year:

However, they also asked me about music that I had written for the toy piano, since their ensemble specialises in music for that instrument and especially in performing as an ensemble for toy pianos. It was through this discussion that I discovered that my piece boxmusic for toy piano is actually written for the largest size of the instrument and this is not the model of toy piano that they use. Even though there is some flexibility in the score for boxmusic, we couldn’t work out a meaningful way for it to work with their instruments and still sound like the same piece.

So, optimistically, I suggested that I would write a new piece for the toy piano models that they perform with. Even more optimistically, I thought I would write it in January this year. Of course, that did not happen – I finished the piece somewhat closer to Easter – but it was the first piece that I completed in 2019 and I was very grateful for the inspiration to compose it.

My first intention was to write a piece that was for one or more toy pianos. In a sense what I wrote reflects this, but I also ended up with a score with more extended options. My initial idea was to create music that was similar in character to boxmusic - that is based on a serial row – but flexible in performance in the same way that my saxophone quartet work for 1, 2, 3 or 4 saxophones is. When I came to write the piece, I wrote a large number of melodic fragments from 1 to 10 notes that were determined by the compass of the 30 key toy piano. However, I then decided that the linear approach to the music that I had originally planned no longer suited it.

After some deliberation, I ended up approaching the score for this piece as I have done many graphic scores. The melodic fragments that I had made were cut up and distributed across the 10 pages of score in various directions so as to dissuade a linear interpretation. In a similar manner to some of the decorative practices that I’ve used in my Anglo Saxon scores, the music notation itself became a kind of ‘border’ to the score – itself decorative – leaving me with a space in the middle of each page. Text and music and their intersection are another area of interest to me, and I had already decided to fill this space with a text, but a specific one did not immediately suggest itself to me. This was another block, until I decided to express the connection between the ‘border’ and the Anglo Saxon scores by re-using the poem that I had written as part of the process of the piece séo níedhæmestre; se tidfara. I worked with some very brief fragments of this poem, performing oulipo procedures similar to those that I had used to create the original text, and then further cut up, distributed, and arranged the fragments in the same manner as the musical fragments.

Hopefully, this description of the process explains the title: collagemusic is intended to be both explicit about its method of composition and its relationship to my previous solo toy piano piece. Rather than describing the piece as only for toy pianos, I gave the designation “for one or more toy pianos or melody instruments” along with the instruction that all of parts of the notation could be used. I specified “melody instruments” since I think it important that some of the pitches are heard in any performance, but of course there are ways that the text or other aspects of the score could be performed by musicians or performers who cannot realise melodies (e.g. untuned percussion, electronics, speakers, etc). Here is the recording made by Figmentum, who gave the first performance at their end of season concert on 14th June 2019:

What I love about this recording is that it surprised me when I heard it. I already knew that, as an ensemble, Figmentum were very familiar with working with open scores and that they were not likely to make a linear interpretation of the piece (such as to play all the notes on all the pages from 1 – 10, or a similar approach). However, in their interpretation they also found something about the notation and revealed it in their performance that offers a different perspective from the one that I had when I was composing the piece.

First, the element of repetition is one that really works for the music. When I heard this, I immediately linked it to the processes that I used to create the score and the processes that are evident in the text. It really expresses something about the music to me, and yet this is something that I didn’t feel aware of until I heard this performance. Second, I really like the way that the ensemble used variation in pace and texture to structure the piece. Again, having heard this it is very clear to me how it links with the notation, but this was also not something I focused on when creating the music because I was thinking about how I used a similar procedure to create each page of the score. Finally, I really enjoy the instrumentation that they chose for the performance. There are three toy pianos and they are paired with wind instruments (flute and clarinet). These aren’t all the instruments that are played by the group, although they show how although toy pianos are part of their specialism this isn’t the limit of their soundworld. But the combination that they chose shows their variety of sound along with their unique ensemble sound too, and for me brings out both the similarities and subtle differences in the musical material.

Unlike a lot of collaborations, this exchange has taken place over distance: I’ve not yet been to San Diego, and I’ve not yet met the ensemble in person. So ours has been a purely musical communication! It is, however, one that I am grateful for and I hope that what I’ve described in this post is a small example of how such unexpected meetings can yield results that are both musically fruitful and opportunities to think differently about your own approach. The next step for this piece will be to work on it as part of the Music and/as Process Conference at ICMP this year. This event is a workshop day focused on collaboration and open scores, and in my proposal I wrote that I was particularly interested in trying the notation with performers of non-melody instruments and focusing on the non-melodic elements. Having heard Figmentum’s performance, I now have all sorts of other ideas that I would like to explore in that workshop too. So, in this case, the performing musicians really changed my perception of and ideas about the piece in the most positive way: many thanks to them!

#new music #figmentum #toy piano #composition

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nathanhsantos · 5 years

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Miles Makes the Boomer Connection

Every jazz musician acknowledges that Kind of Blue represents the pinnacle of the respect paid to Jazz as an art form and no longer a street music or popular dance style. Higher education began legitimizing Jazz at this time by offering formal Jazz Studies in the curriculum. The unfortunate consequence of this though was the continuing commercial decline, as these artists representing The New Thing, or Free Jazz explored abstract textures, formless collective improvisation, and could only find audiences in smaller venues and the college campus. But as the first wave of Baby Boomers entered college in 1964, everything immediately changed.

Muddy Waters’ performance at the 1960 Newport Jazz Festival, Columbia’s reissue of Blues legend Robert Johnson’s Faustian 1936-37 recordings, and Bob Dylan’s inaugural recording were all signals of a revived interest in folk or pre-modern music. Driving the revival of these primitive sounds were the youthful, outspoken children of the returning GIs following the war.

“The Boomers,” as they would be called (born between 1943-1960), were demanding the freedom to speak their opinions, to “to turn on, tune in, drop out,” and to protest anything that challenged their awakened philosophies. Their numbers were legion and their gatherings were becoming epic. Dr. King’s 1963 Washington D.C. speech, Monterey in 1967 and Woodstock in 1969 were among the most prominent indicators that their voices were not going to be ignored. Miles Davis knew this and was becoming frustrated playing in small clubs. He wanted in.

Electricity has long fascinated the imagination of artists as a symbol of progress and awesome power. Mary Shelley portrayed it as giving life to a monster, Stephen King describes with gruesome detail “Old Sparky” the chair that denied life, and even Miles describes defibrillators to justify the advancement of life due to the harnessing of this power. In the Aquarian era where purity and nature were revered, Bob Dylan’s decision to use an electric guitar at the 1965 Newport Folk Festival was viewed as a betrayal.

But Dylan’s chosen instrument in 1965, the invention of Les Paul and Leo Fender, became THE icon of the youth. Dylan’s electric voice of protest took hold nonetheless, and procession of louder and more distorted sounds accompanied The Byrds on Pete Seeger’s “Turn! Turn! Turn!,” The Who’s “My Generation,” and The Beatles “Revolution,” culminating with the emergence of the most transforming figure of the lot, Jimi Hendrix.

Trading his military armaments for a Fender Stratocaster, Hendrix’s introduction as Counterculture Messiah came at the 1967 Monterey Pop Festival. His chosen wardrobe, supplied by Stella Benabou and Colette Mimram who owned a shop at 321 East Ninth in the East Village in New York, became as imitated as his amped up style of Blues music.

But his cultural importance was permanently established as he headlined the three-day music festival in 1969 on a dairy farm in the Catskill Mountains when he interpreted “The Star-Spangled Banner” with copious amounts of feedback and distortion, sending a clear message of disapproval for the unraveling war in Vietnam.

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Miles Davis was sufficiently impressed by Hendrix’s appeal that he believed he also could connect with large audiences by crossing the Rubicon into the modern world of electricity.

In 1967, Miles met a young model named Betty Mabry. Nineteen years her senior, he was reinvigorated by her energy, and in turn she introduced him to the music of her friends, Jimi Hendrix and Sly Stone. Their relationship moved quickly to marriage and he started shopping for clothes from Benabou and Mimram, frequenting new circles of younger crowds, and replacing his band instruments with the newest technology. The musicians who arrived to record the day after Hendrix’s climactic early morning performance at Woodstock had no idea what Miles had in store for them.

Davis’ sidemen, pianists Herbie Hancock and Chick Corea, had never used electric keyboards before Miles insisted on their inclusion. Also new to the ensemble were musicians who played electric bass and the Hendrix-inspired electric guitar. Miles himself began experimenting with sending his trumpet through a wah pedal, creating the similar sonic effect as Hendrix’s guitar. The collective experimentation that occurred over the next three days known as Bitches Brew (suggested by Mabry) erased his amassed debt with Columbia Records, became the progenitor of jazz-rock fusion, and provided him with the desired entrée to the youth-dominated audience that he so desired to reach. Released in March of 1970, the reaction was profound, even landing him a coveted slot four months later at the Isle of Wight festival in England attended by upwards of 600,000 people—by far the largest audience ever for a Jazz musician.

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Venues normally hosting popular acts such as the Fillmore East and Fillmore West billed Miles opening for Santana, the Grateful Dead, Neil Young and Crazy Horse and even his former sideman, Herbie Hancock and his Headhunters. Miles was once again leading the way into unexplored terrain.

#Miles Davis #Jimi Hendrix #Baby Boomers #Isle of Wight #Fender Stratocaster #Jazz History #Bitches Brew

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jazzdailyblog · 8 months

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Kenny Wheeler's Masterpiece: "Music for Large & Small Ensembles"

Introduction: In the realm of jazz composition, few names command as much respect and admiration as Kenny Wheeler. Released in 1990 by ECM Records, “Music for Large & Small Ensembles” stands as a monumental testament to Wheeler’s prowess as a trumpeter, flugelhorn player, and, above all, a brilliant composer. At its core lies “The Sweet Time Suite,” a composition of extraordinary depth and…

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#Anthony Braxton #Classic Albums #Dave Holland #Derek Watkins #Duncan Lamont #Evan Parker #Gil Evans #Henry Lowther #Jazz History #John Abercrombie #John Taylor #Julian Argüelles #Kenny Wheeler #Music for Large & Small Ensembles #Norma Winstone #Oliver Nelson #Peter Erskine #Ray Warleigh #Stan Sulzmann

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jessicakmatt · 7 years

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What Is Reverb?: The Complete Guide to Mixing’s Most Useful Effect

What Is Reverb?: The Complete Guide to Mixing’s Most Useful Effect: via LANDR Blog

So what is reverb? Well, reverberation is all around us all the time.

It’s the natural result of sound waves interacting with every surface—hard, soft, tall, short and everything in between.

Every sound we hear is informed by the space it is heard in. In fact, our ears are used to it… Without that sense of space sounds often seem unnatural, thin, or hollow.

However, when recording in a studio environment, you use specific techniques and tools to reduce as much of the external acoustics as possible in order to capture the purest sound.

It’s good practice because you want your mixes clean to maximize your ability to edit and enhance them during the mixing phase. Cleaner sounds mean a better mix, and a better mix means a better master, so it all counts.

But if our ears are accustomed to sounds in space, don’t you want some room sound on your tracks? Great question…

The simple answer is yes! After you’ve cleaned your tracks, balanced the levels, and assembled your mix, you need that sense of space.

That’s where your reverbs comes in.

Why do you need reverb?

A strong understanding of reverb will help you become a better mix engineer and get better mixes.

Reverb is one of the most versatile effects in mixing because it’s applicable as a utility and creative tool. It provides that intangible sense of depth, fatness, and intrigue that immerses listeners and glues your mixes together.

Reverb provides that intangible sense of depth, fatness, and intrigue that immerses listeners and glues your mixes together.

But reverb is a huge subject, so there’s a lot to learn. In this guide I’ll show you how to control this powerful effect and use it to get your best possible mix.

What is reverb?

Reverberation is the effect where millions decaying reflections of sounds off of multiple surfaces heard after the initial sound source.

What does reverb do?

How reverb works can get into a whole bunch of math that’s super fascinating but I won’t cover it here.

What is important to know right now is what reverb can do for you!

Reverb provides space and depth to your mix, but it also gives the listener important clues about where the sound is taking place and where the listener is in relation to the sound.

Reverb lets you transport a listener to a concert hall, a cave, a cathedral, or an intimate performance space.

It also allows for natural (or added) harmonics of a sound source to shine through and gives your mix extra warmth and space.

Here’s a simple loop without and reverb reverb (dry):

https://blog.landr.com/wp-content/uploads/2017/10/Loop_No_Reverb.wav

Now listen to the same loop with reverb (wet):

https://blog.landr.com/wp-content/uploads/2017/10/Loop_With_Reverb.wav

As you can hear, the wet loop has overall better feel and texture than the dry loop. The synth line is smoother and flows together better and the overall mix gives off a nice sense of space. This is all thanks to reverb!

Nowadays, we almost exclusively use digital audio effects and VSTs to process sound. But the classic aesthetics of analog reverb are still what our digital versions try to recreate, so understanding analog and digital techniques are vital!

Reverb types and how to mix with them

Below are a list of common reverb types with audio examples. I’ll use the same sample of a conga drum to show you how each reverb type works:

Here’s a dry (no reverb) conga sample:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_No_Reverb.wav

Now let’s apply each different type of reverb to our conga sample to hear how it reacts.

Hall Reverb:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Hall.wav

Hall reverb simulates the acoustics of a concert hall or other large reverberant space. This is the most classic reverb. It’s great for classical, pop, and more traditional musical genres.

Use it on an entire mix or buss to glue tracks together or put a grouping of instruments in the same sound space.

Chamber Reverb:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Chamber.wav

Chamber reverb simulates the acoustics of an echo chamber or physical space made for analog reverb recordings.

It can also sound very neutral while still filling out the frequency range of a mix. Chamber reverb works best with small ensembles, classical music, and pop music. It’s useful in other mix situations as well, so trust your ears and experiment.

Trust your ears and experiment.

Room Reverb:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Room.wav

Room reverb simulates the acoustics of a mid-to-large-sized room and gives your tracks clarity.

Room works well for solo instruments—especially drums, acoustic guitars, piano, strings, and vocals.

Overall, room reverb lets you make individual instruments stand out in the mix making it great for any genre.

Live or Stage Reverb:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Stage.wav

Live reverb simulates the acoustics of a performance stage. It’s a classic choice for rock and pop music or any mix that needs to keep some of that live feel to it.

Stage or live reverb works well for individual instruments or for gluing an entire mix together.

Church or Cathedral Reverb:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Cathedral.wav

Cathedral reverb simulates the acoustics of a large, stone space with high ceilings.

It’s a fantastic choice for choirs, string ensembles, organs, epic leads or any other sound you want to put in a large, reflective space.

Spring Reverb:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Spring.wav

Spring reverb simulates the acoustics of an analog spring reverb device still commonly found in guitar amps.

It sounds great on rock, jazz, blues, and metal as well as electric guitar and rock organs. Spring reverb is one of the most common types of reverb because of its many applications across genres.

Spring reverb gives instruments that signature metallic “boingyness” that brings tracks to life.

Plate Reverb:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Plate.wav

Plate reverb simulates the acoustics of an analog plate reverb device. It’s a great choice for pop music, especially for instrument sections like percussion, brass, reeds, and vocals.

Like spring reverb, plate has been in use for decades because of its many applications across mixing styles.

Gated Reverb:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_GatedVerb.wav

Gated reverb cuts off the decay trail of a reverb using a noise gate. Gated reverb was especially popular in the 80’s in rock and pop ballads.

It gives a distinct “explosive” echo, providing powerful emphasis to any sound. Use gated reverb on drums, bass, guitar, synths, and vocals to get that distinct reverb pop.

Convolution Reverb:

Convolution reverb uses a digital file of a recording in an actual space to simulate that specific space’s acoustic properties.

It lets you approach your reverbs with a DIY attitude—record any space’s reverberation qualities and apply them to your track!

For example: Here’s what my congas would sound like in my bathroom:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Bathroom.wav

So now that you understand how each reverb types sounds, it’s time to put them to use. Applying reverb properly starts with understanding your reverb parameters.

Here’s a breakdown of what to tweak on your ‘verbs.

Reverb Parameters

Understanding your parameters is vital for applying reverb correctly in your mix. In most cases ‘parameters’ is just a fancy word for knobs.

This list will breakdown some of the more common reverb parameters, but if you don’t see a certain parameter here, check your manual!

Common Reverb Parameters:

Type

Type refers to the previously mentioned types of digital reverb, but there are many more as well.

Type can normally be found on multi-effects processors or reverbs that include different types of reverb on one unit.

Size

Often referred to as depth or room size, size indicates the size of the room you’ll be putting your sound in with your reverb effect. The larger the size, the longer your reverb reflections will get.

Decay

Also known as reverb time or RT60, Decay refers to the amount of time it takes for the reflections of your signal to run out of energy and stop.

Understanding your parameters is vital for applying reverb correctly in your mix.

Pre-Delay

The distance, or time, between your initial sound source and the first early reflections.

Early Reflections

Sometimes called initial reflections or pre-echoes, Early Reflections settings determine the level of the very first reverb reflections you’ll hear.

Early Reflections act independently of the rest of your reverb, so being able to distinguish between the two is important.

Here’s what early reflection sound like on our conga loop:

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Early_Reflections.wav

Diffusion

Diffusion, also known as shape, represents the complexity of the room the reverb takes place in.

More complex rooms mean more surfaces to bounce off of and thus more diffusion. Diffusion also controls the density of the amount of reverbs, allowing you to create a more washy effect or have many distinct echoes.

Mix

Mix, also known as wet/dry mix, controls how much of your wet signal (signal with reverb) is mixed into your dry signal (without reverb).

The mix parameter is necessary because reverbs will be patched side-chained.

How to use Reverb to make your mixes soar

There are few hard rules for using reverbs, but the execution is ultimately up to you and what your mix needs. A good rule of thumb for reverb is always: less is more.

Too much reverb will give you a muddy and unintelligible mix, especially through loss of contrast in your low-end frequencies.

A good rule of thumb for reverb is always: less is more.

Hot Tip: never record with reverb—always add it later. Removing reverb is a tough process, but adding more is always an option.

If you ever need to remove reverb from a recording, read our guide on using noise gates to get started.

Ultimately, finding the sweet spot in the type of reverb that suits your track is key: Reverb will give your tracks the warmth, depth, and immersive character that will instantly add a professional-level quality and coherence to your mix.

Here’s how to setup a reverb in 8 simple steps:

How to use reverb in 8 steps

1: Patch sidechain

Create a separate return track and patch your reverb inline on this track. Use the sends from the track that you want reverb on, to send the dry, un-effected signal to the track that has the reverb patched inline.

You should now hear your reverb! If you need a quick refresher on sends and returns, read our sends and returns guide.

2: Select your reverb type

If your particular reverb has preset types, test all of them that it has available—It could be one, none, or it could be several depending on your reverb—and get a feel for their unique characteristics.

Ask yourself: where is the ideal space I want my sound in?

Select the type that best suits the general needs of your mix or individual instrument. Ask yourself: where is the ideal space I want my sound in? What extra quality will make this instrument/mix gel in a cohesive way?

My Ableton reverb doesn’t have preset types, so I’ll be setting the parameters manually! I’m going to add some reverb to my conga drums to help thicken them up and give a sense of space.

3: Set your size

The Size parameter (selected above) allows you to control the size of the space the listener will perceive your sound in.

The bigger the size, the longer the reverb will take to occur, and vice versa for smaller size.

The bigger the size, the longer the reverb will take to occur.

Size also affects the stereo image, with larger rooms usually giving a wider stereo image. Thus, the size parameter allows you to scale from longer, more expansive sounding reverb down to shorter, more intimate, and narrow reflections.

Setting your Size parameter in relation to your Decay (see Step 6) is the key combo with reverb, so prepare to fiddle with these two steps a bit.

4: Set your decay

Decay is the most important part of your reverb because it sets the amount of time it takes your reverb to return to silence.

Setting it too long leads to most of the problems associated with reverb and muddy mixes. When the reverb continues for too long, all the many iterations blend together and you can’t tell one sound from another—this is when you’ll know your reverb has gone too far.

https://blog.landr.com/wp-content/uploads/2017/10/Conga_Crazy_Decay.wav

As I mentioned before, Decay is traditionally scaled in relation to Size: larger rooms tend to have longer decays, so setting a large size with a long decay or a small size with a short decay is typical.

Most presets will likely do this automatically. But adjusting the two independently can create some really cool effects. So don’t be shy to go against conventional wisdom.

Set your decay time inversely to the amount of wet reverb signal you’ll add to your mix.

Reverbs with shorter decays have more freedom to be very loud because they will end quickly and not stick around muddying your mix. Reverbs with longer decays should be kept at a lower volume, otherwise your mix can sound like it’s lost in the grand canyon.

Reverbs with longer decays should be kept at a lower volume, otherwise your mix can sound like it’s lost in the grand canyon.

Hot Tip: For busy arrangements, use reverbs with shorter decays on individual instruments in order to keep their unique qualities crisp and clear.

5: Set your pre-delay

Pre-Delay gives you some space between your dry signal and the wet reverb signal.

A lower pre-delay time will give little or no time between dry signal and your reverb—thus simulating a small room—but can make your reverb messier.

Be careful, echoes can interfere with the rhythm, tempo or groove of a musical piece.

Mid-sized pre-delays will give a slight delay to your reverb, simulating a larger space and keeping the dry signal and reverb clear of each other, removing muddiness.

6: Set your early reflections level

Early reflections (represented above as the yellow circle in the Spin section) tend to sound more like echoes than normal reverb so treat them as such—if you want to create an echo or doubling effect, louder early reflections are excellent for this.

But be careful, echoes can interfere with the rhythm, tempo or groove of a musical piece. Stick to a lower volume to allow for easier blending.

7: Set your diffusion level

Diffusion allows you to add (or remove) texture from your reverb. In the example above, diffusion levels are represented in the diffusion network section of the reverb.

Higher diffusion levels simulate a more complex space with many obstructions (think of a packed concert venue). It also creates a smoother, warmer, more coloured sound.

Reverb gives a soul to your mix,

Lower diffusion levels simulate a basic shape with unobstructed, flat, reflective surfaces (think of an empty garage).

Lower levels create a clear, bright, less coloured sound. Diffusion can also affect the Decay time of the reverb, so this gives you another option to smooth out your reverb tails.

Hot Tip: Use a high diffusion settings to remove metallic clangs from percussion instruments.

8: Set your mix level

Your mix level (wet/dry) is overall your most important parameter.

It determines how your reverb is going to interact with the other elements of your mix and how much of your effect you’re folding back into your session.

Adjust the wet/dry mix level to add a little more or a little less reverb until it suits your mix perfectly. Always let your mix guide you for how much effected signal.

Hot Tip: Reverb tails are often more noticeable after mastering, so make sure to mix reference your track throughout to check your tails.

Because your reverb is patched side-chain, you can have multiple different instruments sending different amount of dry signal to your reverb return.

https://blog.landr.com/wp-content/uploads/2017/10/Conga_With_Reverb.wav

And here it is back in the mix!

https://blog.landr.com/wp-content/uploads/2017/10/Loop_Final.wav

Wrap it up

Reverb gives a soul to your mix. It takes your sound out of the vacuum and into the real world while still finding the perfect fit in your mix.

Reverb is easily and often overdone, but with the strong understanding you now have, reverb will allow you to bring your fans inside your mixes, and tell the sound story you were dreaming about when you first sat down in the studio.

In the end, applying reverb is always all about what sound best to you! So trust your ears!

The post What Is Reverb?: The Complete Guide to Mixing’s Most Useful Effect appeared first on LANDR Blog.

from LANDR Blog https://blog.landr.com/what-is-reverb/ via https://www.youtube.com/user/corporatethief/playlists from Steve Hart https://stevehartcom.tumblr.com/post/166050272504

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sonicwaterloo-blog · 7 years

Photo

Sound & Poetry in Granby Place, Lower Marsh Granby Place, SE1 7AE, Sat 8 July, 3-5PM

We are proud to present a series of afternoon sound and poetry performances, featuring Rie Nakajima, Sue Lynch, Douglas Benford, Adam Bohman, Sharon Gal, Virna Teixeira & Albert Pellicer. Please note that this performance will be conducted out of doors. Part of the SONIC Waterloo sound art festival. | Free entry, Facebook event link. | All welcome | Image : Dawid Laskowski Rie Nakajima // rienakajima.com Rie Nakajima is a Japanese artist working with installations and performances that produce sound. Her works are most often composed in direct response to unique architectural spaces using a combination of kinetic devices and found objects. She has exhibited and performed widely both in the UK and overseas and has produced ‘Sculpture’ with David Toop since 2013. With Keiko Yamamoto she has a music project 'O YAMA O' which explores music with no genre. She also has a collaborative project ‘Dead Plants/Living Objects’ with Pierre Berthet. Sue Lynch // suelynch.wordpress.com Sue Lynch is a composer and multi-instrumentalist working in the improvised music tradition. Lynch currently runs The Horse Music Club at I K L E C T I K with Adam Bohman and Hutch Demouilpied. She studied Fine Art at Coventry College of Art and in the 1980’s toured with The Happy End Big Band. She is also a band leader/arranger for Hogcallin (Mingus) and performs with ‘The Remote Viewers' (Petts, Edwards,Sanders,Kraabel and Northover),‘The Custodians of The Realm’ (text collages and improvisation) and Helen McDonald’ sounds of the seventies ‘Future Groove’. In 2015 she performed with The Cambodian Space Project and with Maria Vatentina’s opera ‘Mannequin’. In 2016, she was part of an ensemble of improvisers as part of Tarek Atoui’s ‘Reverse Collection’ at the Tate Modern. Douglas Benford // douglasbenford.org.uk Douglas Benford, composer and sound artist, has performed at institutions in the UK (Bristol’s Arnolfini, London’s Science Museum, Tate Modern, The Roundhouse, ICA and Glasgow’s CCA), festivals worldwide and has had installation work in numerous UK galleries. He focuses on acoustic improvisation using field recordings, classical instruments, objects, vocals and children’s toys. His regular collaborators include poet Tamar Yoseloff, Angharad Davies, Lina Lapelyte, Jem Finer and sculptor Rob Olins. He also co-curated, with Iris Garrelfs, Sprawl audio events in London. Adam Bohman // adambohman.bandcamp.com Adam Bohman has been operating on the outer fringes of underground music for decades. Working with home-built instruments, found objects, tape cut-ups, collages, ink drawings and graphic scores. Favouring acoustic sounds over electronics, he explores the minute tendrils of sounds coaxed from any number of non-musical instruments and objects. He is a member of British experimental groups, Morphogenesis, The Bohman Brothers, Secluded Bronte, and The London Improvisers Orchestra. Adam's music is unique and experimental, incorporating Fluxus japery, musique concrete, sound poetry and free improvisation. Sharon Gal // sharon-gal.com Sharon Gal is an interdisciplinary artist, performer, experimental vocalist and composer. Her work relates to sound, architecture, live performance, free improvisation and participatory art, exploring the psychology of sound and its relationship with space. Sharon performs solo and in collaborations with David Toop, Steve Beresford and Phil Minton. She also directs participatory large group compositions, examining the inter-relations between people and place. She is a co-founder of Resonance104.4 FM. Her music was released by various labels and she performed in the UK & internationally including; The V&A, Science Museum, Whitechapel Gallery, Tate Modern & Tate Britain. Virna Teixeira // vimeo.com/user562285 Virna Teixeira was born in Fortaleza, Brazil. She is a poet, translator, neurologist, and works in psychiatric hospitals in London. Her poetry books and poetry pamphlets were published in Brazil, Lisbon, Mexico, Argentina and UK. Her poems appeared in Datableed, The Projectionist Playground, and she recently co-edited a Brazilian issue of the magazine Alba Londres. Virna has recently been experimenting with film-poems, and runs a small press (Carnaval Press), specialising in Brazilian poetry in translation. Albert Pellicer // http://bit.ly/2qYc5ai Albert Pellicer writes in English, Catalan and Spanish. His poetry explores ‘the unheard’ and timbre within the margins of text. He has collaborated with sound artist Ximena Alarcón, The Fumigation Of La Luna and worked with composer Francisco Coll in Óxido: First Repetition; premiered at Wigmore Hall, 2010; published by Faber & Faber Music. The film Breath of Sense by Helen Petts, is based on the translation of his poem into the whistled language of La Gomera - Canary Islands. He has also collaborated with visual poet Márton Koppány in Asylum; Iklectik, London 2017 and has two books published: El Lector de Núvols and Fennec. Supported by the Arts Council England. Curated by IKLECTIK & Unpredictable Series.

#sonicwaterloo #soundartmatters #unpredictableseries #iklectik #wearewaterloo

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musescore-com · 6 years

Text

MuseScorer of the month: Mike Magatagan

Yes, this project was supposed to be closed in December 2017, but as we’ve discovered more and more great composers and arrangers on MuseScore who really deserve to be featured, we decided to relaunch “MuseScorer of the month”! So, please meet Mike Magatagan - the MuseScorer of March 2018.

Mike is a software engineer by trade, living in Arizona (USA) with his wonderful and musically talented family. His kids can play all kinds of saxophones, and his wife plays handbells.

“Basically, I’m a computer geek who loves to solve problems. I have been developing software for the last 25+ years but have recently rekindled my love of music. I am relearning the piano and my first love - the pipe organ. I recently rediscovered the Viola (which I played for about 7 years in my youth) after about 35+ years.” That’s what he says about his musicianship.

Mike makes wonderful arrangements of baroque music for strings and other ensembles. Here is an interview with Mike Magatagan (M.M.) conducted by our staff member Alexander T. (A.T.):

A.T.: Why baroque? I mean, why did you choose that particular style/period for making scores?

M.M.: Baroque is a very meaningful genre for me. It just makes sense mathematically, stylistically and rhythmically. It is complex but not pretentious. I love the fluidity and forcefulness; it seems to cross so many arbitrary genre lines and gives so much insight into the development of other music forms.

A.T.: I’ve noticed that you uploaded a lot of great arrangements mostly for strings during this March. How did you manage to make such a large amount of scores (more than 40) during just one month and what was your purpose/motivation for making them?

M.M.: There is no magic here. I do have thousands of scores, consisting of arrangements, transcriptions and original compositions online at MuseScore.com, and I have several thousands of scores on my local computer that I have not yet published. This body of work is the culmination of many (many) years of effort using other (not MuseScore) music notation software. Since I discovered MuseScore (and the online site), I made it a goal to share at least one score a day and I have continued ever since. I didn’t initially develop scores for strings mainly because of the weak and cartoonish string SoundFont used by early versions of MuseScore. MuseScore’s sound quality has come a long way and feels more realistic in its depth and warmth. I favor strings probably from my early youth, when I played Violin and later Viola in a youth symphony. Many of my friends are string players, and I receive a disproportionate number of requests for string arrangements.

A.T.: Have you ever performed yourself, alone or with some ensemble, the arrangements you’ve made?

M.M.: This is a great question! Many of my arrangements were made just for me or for me in conjunction with my Church. My composition “Hallowed be Thy Name” was created specifically for a Church special-music ensemble where I played Piano and others played flute. Many of My Viola (2-part) pieces were created for myself (on Viola) and others on Harp or Piano. I intentionally “dumbed-down” the Viola to match my proficiency at that particular time in my learning timeline. MuseScore is an invaluable resource to allow a budding performer to practice alongside simulated instruments/orchestras. I use this capability often!

A.T.: Nice to hear that. What about some other musical groups playing your scores?

M.M.: I receive requests for arrangements daily. Competing projects don’t allow me to support all the requests but I have a special place in my heart for Church groups, school groups, non-profit support groups that provide music to hospitals, senior centers, etc… I have created mainly Piano, Organ, Handbell, and small ensemble (string quartet/quintet, woodwind & brass) arrangements for these groups. I don’t do this for profit and I have never accepted a cent for my work. Music belongs to the world, and I like to believe I am a willing participant in that co-op.

A.T.: Oh, I see, sounds great! Here is another question: you were talking about “many years of effort using other music notation software” before discovering MuseScore. So what made you stop searching for software and stick to MuseScore?

M.M.: When I first discovered MuseScore (I believe it was 1.2 or 1.3), it was as if a door opened and what was once difficult, became painless. Namely the ease with which I could pen a note and hear the effect. Having an online resource like MuseScore.com allowed me to share my creations with others in a way that I wanted it to be heard, and receive feedback in a collaborative way.

A.T.: Wow. It’s a great pleasure for the MuseScore staff members to know that. Ok…now, could you please tell me something about your composing/arranging workflow?

M.M.: My workflow is rather mechanical and is therefore easier to schedule and accomplish. The overall sound is of utmost importance to me, and I try never to sacrifice timbre for ease of performance or for specific instrumentation. I use a MIDI keyboard as well as the IMSLP (and other) paper sources. I believe I am able to notate in MuseScore rather quickly now, and have discovered many shortcuts in the software (keyboard, plug-ins,…) that facilitate rapid entry. Once a score is entered into MuseScore, I use my ear to (hopefully) validate the score, and then I begin on the arrangement. The unusual aspect about myself is that no matter how music is played, I hear something different; a voice becomes an instrument, a subtle melody becomes a solo part, a subdued rhythm becomes a main theme. I always hear something different in a piece and I try to expose what I hear. MuseScore is the tool that allows me to do that in a way that others can experience.

A.T.:Thanks for sharing your experience, Mike. And, concerning sharing, our traditional “MuseScorer of the month question” for you is: what have you shared on MuseScore.com that you’re most proud of ?

M.M.: Strangely enough, the pieces that I love the most or reflect the most effort on my part, are typically the least listened or favorited by others! People love what people love and sometimes the first few notes, if not immediately captivating, result in a miss. I have created some works that I enjoy as much as others do. Of note is my “Point of No Return” for Flute & Harp, a “Debussyesque” manifestation that I carried in my head for quite some time. MuseScore allowed me to hear it and tweak it in interesting ways:

“Point Of No Return” by Mike Magatagan

The three other scores I’d like to put a spotlight on are:

“Hallowed be Thy Name” for Piano & Flutes,

“Toccata & Fugue in D Minor” (BWV 565) for String Quintet, and

“Dixit Dominus” (HWV 232) for Winds & Strings.

Mike Magatagan has completed his goal to create an arrangement and/or transcription of every single composition of J.S. Bach and has published many (but not all yet) of those works on the MuseScore online site. He is currently working on arrangements of G.F. Handel and has been publishing them as well at the request of a follower. Mike has also been recently “driven to rearrange pieces specifically aimed at highlighting the warm compassionate tone of the viola.” Check out his MuseScore page for his arrangements and original compositions, and watch for our next MuseScorer of the month in May!

P.S. Here are two Mike's arrangements posted in March, which I particularly like (both pieces were composed by G.F.Handel).

Yours, Alexander T.

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graciedroweuk · 7 years

Text

Cara Delevingne shaved hair reveals head tattoo

Getty

DECLARATION: Cara dropped teeth when she dared to-go braless within this skin-blinking gown

The girl might have retired her acting gigs towards her future performing profession, but she nevertheless understands just how to present a surprise for that cameras up.

Cara guaranteed all-eyes were on her behalf when she arrived in La on Sunday at the Music Prizes.

The 24- year old happily flaunted her fresh buzz-cut that is crazy, but her simple mind was not the one thing she unveiled.

As she dared to-go braless on her large second adopting a physique assured mindset, Cara revealed her chest belongings.

Cara Delevingne sexiest launches

Cara Delevingne in her most sexy photoshoots.

Puma/LadyGarden

Cara Delevingneis sexiest photoshoots

Getty

LOOK-A-BOOB: The celebrity risked displaying significantly more than she bargained for within the cut out style

Never someone to shy from a skin-blinking search, the Destruction Team celebrity rocked a dark mini-dress that highlighted a cut-out within the bosom style.

Apparently unfazed from the proven fact that she risked an nipslip- clothing failure that was associated, her material strutted about the carpeting that was dark.

Overlooking thighs guideline or the breasts, her long-legs were flaunted by Cara within the small ensemble that was sinfully.

Amping the sex-appeal up, the appearance was finished by her having a set of thigh-high velvet shoes that were.

Getty

TIT FOR TATT: Cara confirmed off this fresh physique printer about the back of her mind

As the Birmingham-created celebrity might not have gained something in the service, she had the night’s very best item because of her tattoo that is brand-spanking.

In addition to her longtime inkings on her throat, a brand new body-art style paraded about the back of her mind.

The printer that was brand new required four mathematical shapes’ shape in a sparkle color that was gray.

Star nipslips, sideboobs & underboobs

They might be well-known and wealthy, but these superstars are not resistant from flashing.

Getty

WOMAN TEAM: The Brit girl registered forces with London and Millie as she mingled with other visitors

It isn’t recognized if it was just a short-term style in honor of the awards-show, or if Carais tattoo is everlasting.

In either case, it is secure to express the design-switched-celebrity as she created her way in to the superstar most surely turned brains -loaded occasion.

And as she was described spending some time with rising-star London Jackson Cara appeared to acquire two new followers about the evening.

Source

http://dailystar.co.uk/showbiz/612269/Cara-Delevingne-boobs-dress-buzz-cut-new-tattoo

from network 4 http://www.201mainstreettattoo.com/cara-delevingne-shaved-hair-reveals-head-tattoo/

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mavwrekmarketing · 7 years

Link

It was musics biggest night as the Recording Academy honored the best the industry has to offer at the 59th annual Grammy Awards.

The competition this year was fierce to say the least, but Adele was the clear winner of the night. The British singer took home five awards, including Album of the Year, Record of the Year and Song of the Year. David Bowie posthumously won five awards, including Best Rock Album andBeyoncwon two awards as well.

While all the big names were nominated, Justin Bieber,Drake and Kanye West are decided toskip the awards.

Sunday nights show also featured animpressive lineup of performers including Adele, Beyonc, John Legend, Bruno Mars, Metallica and Lady Gaga. Additionally, Maren Morris performed with Alicia Keys,Anderson Paak joined A Tribe Called Quest and Dave Grohl onstage, and The Weeknd teamed up with Daft Punk.

Check out the full list of 2017 Grammy winners:

Album Of The Year: 25 Adele Lemonade Beyonc Purpose Justin Bieber Views Drake A Sailors Guide To Earth Sturgill Simpson

Song Of The Year: Formation Khalif Brown, Asheton Hogan, Beyonc Knowles, Michael L. Williams II, songwriters (Beyonc) Hello Adele Adkins & Greg Kurstin, songwriters (Adele) I Took A Pill In Ibiza Mike Posner, songwriter (Mike Posner) Love Yourself Justin Bieber, Benjamin Levin, Ed Sheeran, songwriters (Justin Bieber) 7 Years Lukas Forchhammer, Stefan Forrest, Morten &Morten Ristorp, songwriters (Lukas Graham)

Record of the Year: HelloAdele Formation Beyonc 7 Years Lukas Graham Work Rihanna Featuring Drake Stressed Out Twenty One Pilots

Best New Artist: Kelsea Ballerini The Chainsmokers Chance The Rapper Maren Morris Anderson .Paak

Best Pop Solo Performance: Hello Adele Hold Up Beyonc Love Yourself Justin Bieber Piece By Piece (Idol Version) Kelly Clarkson Dangerous Woman Ariana Grande

Best Pop Duo/Group Performance: Closer The Chainsmokers Featuring Halsey 7 Years Lukas Graham WorkRihanna Featuring Drake Cheap ThrillsSia Featuring Sean Paul Stressed Out Twenty One Pilots

Best Traditional Pop Vocal Album: Cinema Andrea Bocelli Fallen Angels Bob Dylan Stages Live Josh Groban Summertime: Willie Nelson Sings Gershwin Willie Nelson Encore: Movie Partners Sing Broadway

Best Pop Vocal Album: 25 Adele Purpose Justin Bieber Dangerous Woman Ariana Grande Confident Demi Lovato This Is Acting Sia

Best Dance Recording: Tearing Me Up Bob Moses Dont Let Me Down The Chainsmokers Featuring Daya Never Be Like You Flume Featuring Kai Rinse & Repeat Riton Featuring Kah-Lo Drinkee Sofi Tukker

Best Dance/Electronic Album: Skin Flume Electronica 1: The Time Machine Jean-Michel Jarre Epoch Tycho Barbara Barbara, We Face A Shining Future Underworld Louie Vega StarringXXVIII Louie Vega

Best Contemporary Instrumental Album: Human Nature Herb Alpert When You Wish Upon A Star Bill Frisell Way Back Home Live From Rochester, NYSteve Gadd Band Unspoken Chuck Loeb Culcha Vulcha Snarky Puppy

Best Rock Performance: Joe (Live From Austin City Limits) Alabama Shakes Dont Hurt Yourself Beyonc Featuring Jack White Blackstar David Bowie The Sound Of Silence (Live On Conan) Disturbed Heathens Twenty One Pilots

Best Metal Performance: Shock Me Baroness Silvera Gojira Rotting In Vain Korn Dystopia Megadeth The Price Is Wrong Periphery

Best Rock Song: Blackstar David Bowie, songwriter (David Bowie) Burn The Witch Radiohead, songwriters (Radiohead) HardwiredJames Hetfield &Lars Ulrich, songwriters (Metallica) HeathensTyler Joseph, songwriter (Twenty One Pilots) My Name Is Human Rich Meyer, Ryan Meyer & Johnny Stevens, songwriters (Highly Suspect)

Best Rock Album: California Blink-182 Tell Me Im Pretty Cage The Elephant Magma Gojira Death Of A Bachelor Panic! At The Disco Weezer Weezer

Best Alternative Music Album: 22, A Million Bon Iver BlackstarDavid Bowie The Hope Six Demolition Project PJ Harvey Post Pop Depression Iggy Pop A Moon Shaped PoolRadiohead

Best R&B Performance: Turnin Me Up BJ The Chicago Kid PermissionRo James I DoMusiq Soulchild Needed Me Rihanna Cranes In The SkySolange

Best Traditional R&B Performance: The Three Of Me William Bell Womans World BJ The Chicago Kid Sleeping With The One I Love Fantasia Angel Lalah Hathaway Cant Wait Jill Scott

Best R&B Song: Come See Me J. Brathwaite, Aubrey Graham &Noah Shebib, songwriters (PartyNextDoor Featuring Drake) Exchange Michael Hernandez & Bryson Tiller, songwriters (Bryson Tiller) Kiss It BetterJeff Bhasker, Robyn Fenty, John-Nathan Glass & Natalia Noemi, songwriters (Rihanna) Lake By The Ocean Hod David & Musze, songwriters (Maxwell) LuvMagnus August Hiberg, Benjamin Levin & Daystar Peterson, songwriters (Tory Lanez)

Best Urban Contemporary Album: Lemonade Beyonc Ology Gallant We Are King KING Malibu Anderson .Paak Anti Rihanna

Best R&B Album: In My Mind BJ The Chicago Kid Lalah Hathaway Live Lalah Hathaway Velvet Portraits Terrace Martin Healing Season Mint Condition Smoove Jones Mya

Best Rap/Sung Performance: Freedom Beyonc Featuring Kendrick Lamar Hotline Bling Drake BroccoliD.R.A.M. Featuring Lil Yachty Ultralight BeamKanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin&The-Dream FamousKanye West Featuring Rihanna

Best Rap Song: All The Way Up Joseph Cartagena, Edward Davadi, Shandel Green, Karim Kharbouch, Andre Christopher Lyon, Reminisce Mackie & Marcello Valenzano, songwriters (Fat Joe & Remy Ma Featuring French Montana & Infared) Famous Chancelor Bennett, Ross Birchard, Ernest Brown, Andrew Dawson, Kasseem Dean, Mike Dean, Noah Goldstein, Kejuan Muchita, Patrick Reynolds, Kanye West & Cydel Young, songwriters (Kanye West Featuring Rihanna) Hotline Bling Aubrey Graham & Paul Jefferies, songwriters (Drake) No Problem Chancelor Bennett, Dwayne Carter &Tauheed Epps, songwriters (Chance The Rapper Featuring Lil Wayne & 2 Chainz) Ultralight Beam Chancelor Bennett, Kasseem Dean, Mike Dean, Kirk Franklin, Noah Goldstein, Samuel Griesemer, Terius Nash, Jerome Potter, Kelly Price, Nico Donnie Trumpet Segal, Derek Watkins, Kanye West & Cydel Young, songwriters (Kanye West Featuring Chance The Rapper, Kelly Price, Kirk Franklin & The-Dream)

Best Rap Album: Coloring Book Chance The Rapper And The Anonymous Nobody De La Soul Major Key DJ Khaled Views Drake Blank Face LP ScHoolboy Q The Life Of Pablo Kanye West

Best Country Solo Performance: Love Can Go To Hell Brandy Clark Vice Miranda Lambert My Church Maren Morris Church Bells Carrie Underwood Blue Aint Your Color Keith Urban

Best Country Duo/Group Performance: Different For Girls Dierks Bentley Featuring Elle King 21 SummerBrothers Osborne Setting The World On FireKenny Chesney & P!nk Jolene Pentatonix Featuring Dolly Parton Think Of You Chris Young With Cassadee Pope

Best Country Song: Blue Aint Your Color Clint Lagerberg, Hillary Lindsey & Steven Lee Olsen, songwriters (Keith Urban) Die A Happy ManSean Douglas, Thomas Rhett & Joe Spargur, songwriters (Thomas Rhett) Humble And KindLori McKenna, songwriter (Tim McGraw) My Church busbee & Maren Morris, songwriters (Maren Morris) ViceMiranda Lambert, Shane McAnally & Josh Osborne, songwriters (Miranda Lambert)

Best Country Album: Big Day In A Small Town Brandy Clark Full Circle Loretta Lynn Hero Maren Morris A Sailors Guide To Earth Sturgill Simpson Ripcord Keith Urban

Best New Age Album: Orogen John Burke Dark Sky Island Enya Inner Passion Peter Kater & Tina Guo Rosetta Vangelis White Sun II White Sun

Best Improvised Jazz Solo: Countdown Joey Alexander, soloist In Movement Ravi Coltrane, soloist We SeeFred Hersch, soloist I Concentrate On You Brad Mehldau, soloist Im So Lonesome I Could Cry John Scofield, soloist

Best Jazz Vocal Album: Sound Of Red Ren Marie Upward Spiral Branford Marsalis Quartet With Special Guest Kurt Elling Take Me To The Alley Gregory Porter Harlem On My Mind Catherine Russell The Sting Variations The Tierney Sutton Band

Best Jazz Instrumental Album: Book Of Intuition Kenny Barron Trio Dr. Um Peter Erskine Sunday Night At The Vanguard The Fred Hersch Trio Nearness Joshua Redman & Brad Mehldau Country For Old Men John Scofield

Best Large Jazz Ensemble Album: Real Enemies Darcy James Argues Secret Society Presents Monkestra, Vol. 1 John Beasley Kaleidoscope Eyes: Music Of The Beatles John Daversa All L.A. Band Bob Mintzer Presidential Suite: Eight Variations On Freedom Ted Nash Big Band

Best Latin Jazz Album Entre Colegas Andy Gonzlez Madera Latino: A Latin Jazz Perspective On The Music Of Woody Shaw Brian Lynch & Various Artists Canto Amrica Michael Spiro/Wayne Wallace La Orquesta Sinfonietta 30 Trio Da Paz Tribute To Irakere: Live In Marciac Chucho Valds

Best Gospel Performance/Song: Its Alright, Its Ok Shirley Caesar Featuring Anthony Hamilton Youre Bigger [Live] Jekalyn Carr Made A Way [Live] Travis Greene God ProvidesTamela Mann BetterHezekiah Walker

Best Contemporary Christian Music Performance/Song Trust In YouLauren Daigle PricelessFor King & Country King Of The World Natalie Grant Thy WillHillary Scott & The Scott Family Chain Breaker Zach Williams

Best Gospel Album: Listen Tim Bowman Jr. Fill This House Shirley Caesar A Worshippers Heart [Live] Todd Dulaney Losing My Religion Kirk Franklin Demonstrate [Live]William Murphy

Best Contemporary Christian Music Album: Poets & SaintsAll Sons & Daughters American ProdigalCrowder Be OneNatalie Grant Youth Revival [Live] Hillsong Young & Free Love Remains Hillary Scott &The Scott Family

Best Roots Gospel Album: Better Together Gaither Vocal Band Natures Symphony In 432 The Isaacs Hymns Joey+Rory Hymns And Songs Of Inspiration Gordon Mote God Dont Never Change: The Songs Of Blind Willie Johnson (Various Artists)

Best Latin Pop Album: Un Besito Mas Jesse & Joy Ilusin Gaby Moreno SimilaresLaura Pausini Seguir Latiendo Sanalejo Buena Vida Diego Torres

Best Latin Rock, Urban or Alternative Album: ilevitableile L.H.O.N. (La Humanidad O Nosotros) Illya Kuryaki & The Valderamas Buenaventura La Santa Cecilia Los RakasLos Rakas Amor Supremo Carla Morrison

Best Regional Mexican Music Album (Including Tejano): Races Banda El Recodo De Cruz Lizrraga Hecho A Mano Joss Favela Un Azteca En El Azteca, Vol. 1 (En Vivo) Vicente Fernndez Generacin Maquinaria Est. 2006. La Maquinaria Nortea Tributo A Joan Sebastian Y Rigoberto Alfaro Mariachi Divas De Cindy Shea

Best Tropical Latin Album: Conexin Fonseca La Fantasia Homenaje A Juan Formell Formell Y Los Van Van 35 Aniversario Grupo Niche La Sonora Santanera En Su 60 Aniversario La Sonora Santanera Donde Estn? Jose Lugo & Guasbara Combo

Best American Roots Performance: Aint No Man The Avett Brothers Mothers Children Have A Hard Time Blind Boys Of Alabama Factory Girl Rhiannon Giddens House Of Mercy Sarah Jarosz Wreck YouLori McKenna

Best American Roots Song: Alabama At Night Robbie Fulks City Lights Jack White Gulfstream Roddie Romero And The Hub City All-Stars Kid Sister The Time Jumpers Wreck You Lori McKenna

Best Americana Album: True Sadness The Avett Brothers This Is Where I Live William Bell The Cedar Creek Sessions Kris Kristofferson The Bird & The Rifle Lori McKenna Kid Sister The Time Jumpers

Best Bluegrass Album: Original Traditional Blue Highway Burden Bearer Doyle Lawson & Quicksilver The Hazel And Alice Sessions Laurie Lewis & The Right Hands North By South Claire Lynch Coming Home OConnor Band With Mark OConnor

Best Traditional Blues Album: Cant Shake This Feeling Lurrie Bell Live At The Greek Theatre Joe Bonamassa Blues & Ballads Luther Dickinson The Soul Of Jimmie Rodgers Vasti Jackson Porcupine Meat Bobby Rush

Best Contemporary Blues Album: The Last Days Of Oakland Fantastic Negrito Love Wins Again Janiva Magness Bloodline Kenny Neal Give It Back To You The Record Company Everybody Wants A Piece Joe Louis Walker

Best Folk Album: Silver Skies Blue Judy Collins & Ari Hest Upland Stories Robbie Fulks Factory Girl Rhiannon Giddens Weighted Mind Sierra Hull Undercurrent Sarah Jarosz

Best Regional Roots Music Album: Broken Promised Land Barry Jean Ancelet & Sam Broussard Its A Cree Thing Northern Cree E Walea Kalani Pea Gulfstream Roddie Romero And The Hub City All-Stars I Wanna Sing Right: Rediscovering Lomax In The Evangeline Country (Various Artists)

Best Reggae Album: Sly & Robbie Presents Reggae For Her Devin Di Dakta & J.L Rose Petals J Boog Ziggy Marley Ziggy Marley Everlasting Raging Fyah Falling Into Place Rebelution SOJA: Live In Virginia SOJA

Best World Music Album: Destiny Celtic Woman Walking In The Footsteps Of Our Fathers Ladysmith Black Mambazo Sing Me Home Yo-Yo Ma & The Silk Road Ensemble Land Of Gold Anoushka Shankar Dois Amigos, Um Sculo De Msica: Multishow Live Caetano Veloso & Gilberto Gil

Best Childrens Album: Explorer Of The World Frances England Infinity Plus One Secret Agent 23 Skidoo Novelties Recess Monkey Press Play Brady Rymer And The Little Band That Could Saddle Up The Okee Dokee Brothers

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling): The Girl With The Lower Back Tattoo Amy Schumer In Such Good Company: Eleven Years Of Laughter, Mayhem, And Fun In The Sandbox Carol Burnett M Train Patti Smith Under The Big Black Sun: A Personal History Of L.A. Punk (John Doe With Tom Desavia) (Various Artists) Unfaithful Music & Disappearing Ink Elvis Costello

Best Comedy Album: AmericaGreat David Cross American Myth Margaret Cho Boyish Girl Interrupted Tig Notaro Live At The Apollo Amy Schumer Talking For Clapping Patton Oswalt

Best Musical Theater Album: Bright Star Carmen Cusack, principal soloist; Jay Alix, Peter Asher & Una mJackman, producers; Steve Martin, composer; Edie Brickell, composer &lyricist (Original Broadway Cast) The Color Purple Danielle Brooks, Cynthia Erivo & Jennifer Hudson, principal soloists; Stephen Bray, Van Dean, Frank Filipetti, Roy Furman, Scott Sanders & Jhett Tolentino, producers (Stephen Bray, Brenda Russell &Allee Willis, composers/lyricists) (New Broadway Cast) Fiddler On The Roof Danny Burstein, principal soloist; Louise Gund, David Lai & Ted Sperling, producers (Jerry Bock, composer; Sheldon Harnick, lyricist) (2016 Broadway Cast) Kinky Boots Killian Donnelly & Matt Henry, principal soloists; Sammy James, Jr., Cyndi Lauper, Stephen Oremus & William Wittman, producers (Cyndi Lauper, composer & lyricist) (Original West End Cast) Waitress Jessie Mueller, principal soloist; Neal Avron, Sara Bareilles & Nadia DiGiallonardo, producers; Sara Bareilles, composer & lyricist

Best Compilation Soundtrack For Visual Media: Amy (Various Artists) Miles Ahead (Miles Davis & Various Artists) Straight Outta Compton (Various Artists) Suicide Squad (Collectors Edition) (Various Artists) Vinyl: The Essentials Season 1 (Various Artists)

Best Score Soundtrack For Visual Media: Bridge Of Spies Thomas Newman, composer Quentin Tarantinos The Hateful Eight Ennio Morricone, composer The Revenant Alva Noto & Ryuichi Sakamoto, composers Star Wars: The Force Awakens John Williams, composer Stranger Things Volume 1 Kyle Dixon & Michael Stein, composers Stranger Things Volume 2 Kyle Dixon & Michael Stein, composers

Best Song Written For Visual Media: Cant Stop The Feeling! Max Martin, Shellback & Justin Timberlake, songwriters (Justin Timberlake, Anna Kendrick, Gwen Stefani, James Corden, Zooey Deschanel) Heathens Tyler Joseph, songwriter (Twenty One Pilots) Just Like FireOscar Holter, Max Martin, P!nk & Shellback, songwriters (P!nk) Purple Lamborghini Shamann Cooke, Sonny Moore & William Roberts, songwriters (Skrillex &Rick Ross) Try Everything Mikkel S. Eriksen, Sia Furler & Tor Erik Hermansen, songwriters (Shakira) The Veil Peter Gabriel, songwriter (Peter Gabriel)

Best Instrumental Composition: Bridge Of Spies (End Title) Thomas Newman, composer (Thomas Newman) The Expensive Train Set (An Epic Sarahnade For Double Big Band) Tim Davies, composer (Tim Davies Big Band) FlowAlan Ferber, composer (Alan Ferber Nonet) LUltima Diligenza Di Red Rock Versione Integrale Ennio Morricone, composer (Ennio Morricone) Spoken At Midnight Ted Nash, composer (Ted Nash Big Band)

Best Arrangement, Instrumental or A Cappella: Ask Me Now John Beasley, arranger (John Beasley) Good Swing WenceslasSammy Nestico, arranger (The Count Basie Orchestra) Linus & Lucy Christian Jacob, arranger (The Phil Norman Tentet) Lucy In The Sky With Diamonds John Daversa, arranger (John Daversa) We Three KingsTed Nash, arranger (Jazz At Lincoln Center Orchestra With Wynton Marsalis) You And IJacob Collier, arranger (Jacob Collier)

Best Arrangement, Instruments and Vocals: Do You Hear What I Hear? Gordon Goodwin, arranger (Gordon Goodwins Big Phat Band Featuring Take 6) Do You Want To Know A Secret John Daversa, arranger (John Daversa Featuring Renee Olstead) Flintstones Jacob Collier, arranger (Jacob Collier) Im A Fool To Want You Alan Broadbent, arranger (Kristin Chenoweth) Somewhere (Dirty Blvd) (Extended Version) Billy Childs & Larry Klein, arrangers (Lang Lang Featuring Lisa Fischer & Jeffrey Wright)

Best Recording Package: AntiCiarra Pardo & Robyn Fenty, art directors (Rihanna) Blackstar Jonathan Barnbrook, art director (David Bowie) Human Performance Andrew Savage, art director (Parquet Courts) Sunset Motel Sarah Dodds & Shauna Dodds, art directors (Reckless Kelly) 22, A Million Eric Timothy Carlson, art director (Bon Iver)

Best Boxed Or Special Limited Edition Package: Edith Piaf 1915-2015 Grard Lo Monaco, art director (Edith Piaf) 401 Days Jonathan Dagan & Mathias Hst Normark, art directors (J.Views) I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It (Box Set) Samuel Burgess-Johnson & Matthew Healy, art directors (The 1975) Paper Wheels (Deluxe Limited Edition) Matt Taylor, art director (Trey Anastasio) Tug Of War (Deluxe Edition) Simon Earith & James Musgrave, art directors (Paul McCartney)

Best Album Notes: The Complete Monument & Columbia Albums Collection Mikal Gilmore, album notes writer (Kris Kristofferson) The Knoxville Sessions, 1929-1930: Knox County Stomp Ted Olson & Tony Russell, album notes writers (Various Artists) Ork Records: New York, New York Rob Sevier & Ken Shipley, album notes writers (Various Artists) Sissle And Blake Sing Shuffle Along Ken Bloom & Richard Carlin, album notes writers (Eubie Blake &Noble Sissle) Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1900 Richard Martin, album notes writer (Various Artists)

Best Historical Album: The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collectors Edition) Steve Berkowitz & Jeff Rosen, compilation producers; Mark Wilder, mastering engineer (Bob Dylan) Music Of Morocco From The Library Of Congress: Recorded By Paul Bowles, 1959 April G. Ledbetter, Steven Lance Ledbetter, Bill Nowlin & Philip D. Schuyler, compilation producers; Rick Fisher & Michael Graves, mastering engineers (Various Artists) Ork Records: New York, New York Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers (Various Artists) Vladimir Horowitz: The Unreleased Live Recordings 1966-1983 Bernard Horowitz, Andreas K. Meyer &Robert Russ, compilation producers; Andreas K. Meyer & Jeanne Montalvo, mastering engineers (Vladimir Horowitz) Waxing The Gospel: Mass Evangelism & The Phonograph, 1890-1900 Michael Devecka, Meagan Hennessey & Richard Martin, compilation producers; Michael Devecka, David Giovannoni, Michael Khanchalian & Richard Martin, mastering engineers (Various Artists)

Best Engineered Album, Non-Classical: Are You Serious Tchad Blake & David Boucher, engineers; Bob Ludwig, mastering engineer (Andrew Bird) Blackstar David Bowie, Tom Elmhirst, Kevin Killen & Tony Visconti, engineers; Joe LaPorta, mastering engineer (David Bowie) Dig In Deep Ryan Freeland, engineer; Kim Rosen, mastering engineer (Bonnie Raitt) Hit N Run Phase Two Booker T., Dylan Dresdow, Chris James, Prince & Justin Stanley, engineers; Dylan Dresdow, mastering engineer (Prince) Undercurrent Shani Gandhi & Gary Paczosa, engineers; Paul Blakemore, mastering engineer (Sarah Jarosz)

Producer Of The Year, Non-Classical: Benny Blanco Greg Kurstin Max Martin Nineteen85 Ricky Reed

Best Remixed Recording, Non-Classical: Cali Coast (Psionics Remix) Josh Williams, remixer (Soul Pacific) Heavy Star Movin (staRo Remix) staRo, remixer (The Silver Lake Chorus) Nineteen Hundred Eighty-Five (Timo Maas & James Teej Remix) Timo Maas & James Teej, remixers (Paul McCartney & Wings) Only (Kaskade x Lipless Remix) Ryan Raddon, remixer (Ry X) Tearing Me Up (RAC Remix) Andr Allen Anjos, remixer (Bob Moses) Wide Open (Joe Goddard Remix) Joe Goddard, remixer (The Chemical Brothers)

Best Surround Sound Album: Dutilleux: Sur Le Mme Accord; Les Citations; Mystre De Linstant & Timbres, Espace, Mouvement Alexander Lipay & Dmitriy Lipay, surround mix engineers; Dmitriy Lipay, surround mastering engineer; Dmitriy Lipay, surround producer (Ludovic Morlot & Seattle Symphony) Johnson: Considering Matthew Shepard Brad Michel, surround mix engineer; Brad Michel, surround mastering engineer; Robina G. Young, surround producer (Craig Hella Johnson & Conspirare) Maja S.K. Ratkje: And Sing Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Maja S.K. Ratkje, Cikada & Oslo Sinfonietta) Primus & The Chocolate Factory (5.1 Surround Sound Edition) Les Claypool, surround mix engineer; Stephen Marcussen, surround mastering engineer; Les Claypool, surround producer (Primus) Reflections Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (yvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)

Best Engineered Album, Classical: Corigliano: The Ghosts Of Versailles Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra) Dutilleux: Sur Le Mme Accord; Les Citations; Mystre De LInstant & Timbres, Espace, Mouvement Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot & Seattle Symphony) Reflections Morten Lindberg, engineer (yvind Gimse, Geir Inge Lotsberg & Trondheimsolistene) Shadow Of Sirius Silas Brown & David Frost, engineers; Silas Brown, mastering engineer (Jerry F. Junkin & The University Of Texas Wind Ensemble) Shostakovich: Under Stalins Shadow Symphonies Nos. 5, 8 & 9 Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

Producer Of The Year, Classical: Blanton Alspaugh David Frost Marina A. Ledin, Victor Ledin Judith Sherman Robina G. Young

Best Orchestral Performance: Bates: Works For Orchestra Michael Tilson Thomas, conductor (San Francisco Symphony) Ibert: Orchestral Works Neeme Jrvi, conductor (Orchestre De La Suisse Romande) Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100 Mariss Jansons, conductor (Royal Concertgebouw Orchestra) Rouse: Odna Zhizn; Symphonies 3 & 4; Prosperos Rooms Alan Gilbert, conductor (New York Philharmonic) Shostakovich: Under Stalins Shadow Symphonies Nos. 5, 8 & 9 Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording: Corigliano: The Ghosts Of Versailles James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus) Handel: Giulio Cesare Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico) Higdon: Cold Mountain Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program For Singers) Mozart: Le Nozze Di Figaro Yannick Nzet-Sguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra Of Europe; Vocalensemble Rastatt) Szymanowski: Krl Roger Antonio Pappano, conductor; Georgia Jarman, Mariusz Kwiecie & Saimir Pirgu; Jonathan Allen, producer (Orchestra Of The Royal Opera House; Royal Opera Chorus)

Best Choral Performance: Himmelrand Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble) Janek: Glagolitic Mass Edward Gardner, conductor; Hkon Matti Skrede, chorus master (Susan Bickley, Gbor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir Of Collegium Musicum & Edvard Grieg Kor) Lloyd: Bonhoeffer Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; The Crossing) Penderecki Conducts Penderecki, Volume 1 Krzysztof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir) Steinberg: Passion Week Steven Fox, conductor (The Clarion Choir)

Best Chamber Music/Small Ensemble Performance: Fitelberg: Chamber Works ARC Ensemble Reflections yvind Gimse, Geir Inge Lotsberg & Trondheimsolistene Serious Business Spektral Quartet Steve Reich Third Coast Percussion Trios From Our Homelands Lincoln Trio

Best Classical Instrumental Solo: Adams, J.: Scheherazade.2 Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony) Daugherty: Tales Of Hemingway Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony) Track from: Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle Dvok: Violin Concerto & Romance; Suk: Fantasy Christian Tetzlaff; John Storgrds, conductor (Helsinki Philharmonic Orchestra) Mozart: Keyboard Music, Vols. 8 & 9 Kristian Bezuidenhout 1930s Violin Concertos, Vol. 2 Gil Shaham; Stphane Denve, conductor (The Knights & Stuttgart Radio Symphony Orchestra)

Best Classical Solo Vocal Album: Monteverdi Magdalena Koen; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel) Mozart: The Weber Sisters Sabine Devieilhe; Raphal Pichon, conductor (Pygmalion) Schumann & Berg Dorothea Rschmann; Mitsuko Uchida, accompanist (TIE) Shakespeare Songs Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker) (TIE) Verismo Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro DellAccademia Nazionale Di Santa Cecilia; Orchestra Dell Accademia Nazionale Di Santa Cecilia)

Best Classical Compendium: Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle Giancarlo Guerrero, conductor; Tim Handley, producer Gesualdo Tnu Kaljuste, conductor; Manfred Eicher, producer Vaughan Williams: Discoveries Martyn Brabbins, conductor; Andrew Walton, producer Wolfgang: Passing Through Judith Farmer & Gernot Wolfgang, producers; (Various Artists) Zappa: 200 Motels The Suites Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers

Best Contemporary Classical Composition: Bates: Anthology Of Fantastic Zoology Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra) Daugherty: Tales Of Hemingway Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony) Higdon: Cold Mountain Jennifer Higdon, composer; Gene Scheer, librettist (Miguel Harth- Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & The Santa Fe Opera) Theofanidis: Bassoon Concerto Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky &Northwest Sinfonia) Winger: Conversations With Nijinsky C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)

Best Music Video: Formation Beyonc River Leon Bridges Up & Up Coldplay Gosh Jamie XX Upside Down& Inside Out OK Go

Best Music Film: Ill Sleep When Im Dead Steve Aoki The Beatles: Eight Days A Week The Touring Years (The Beatles) Lemonade Beyonc The Music Of Strangers Yo-Yo Ma & The Silk Road Ensemble American Saturday Night: Live From The Grand Ole Opry (Various Artists)

Best Rap Performance

No Problem Chance The Rapper Panda Desiigner Pop Style Drake Featuring The Throne (Jay Z, Kanye West) All The Way Up Fat Joe & Remy Ma Featuring French Montana & Infared That Part ScHoolboy Q Featuring Kanye West