PRIVATE LESSONS | Music

Live Performance | PRIVATELESSONS.com Photos

2013-12-14T18:48:00.001-05:00

Live Performance | PRIVATELESSONS.com Photos

Live Performance

Students jam out a Stevie Wonder classic!

Categories:

Group Music Lessons, Join a band, school of rock

Red Pelican Music - Music Lessons in Los Angeles | PRIVATELESSONS.com Photos

2013-12-14T18:47:00.001-05:00

Red Pelican Music - Music Lessons in Los Angeles | PRIVATELESSONS.com Photos

Red Pelican Music - Guitar Lessons in Los Angeles

Adult Vocal Performance Workshop | PRIVATELESSONS.com Events

2013-12-14T18:45:00.001-05:00

Adult Vocal Performance Workshop | PRIVATELESSONS.com Events

dult Vocal Performance Workshop

Laurie Lee Cosby

Submitted: Thursday, September 26, 2013 - 5:32pm

Studio Bella Voce's, Bella Victoria (Houston Victorian Caroling Group)

Saturday, December 21, 2013 - 9:00am

Orchestra Hall, Fort Worth, TX

Come join Studio Bella Voce and bring some Christmas sheet music for a fun critique with Instructors, Laurie Lee Cosby and guests, Donna Hinds Sawyers and accompanist Young Kwon Llerna. The workshop is $65 and you must reserve a spot. The workshop lasts 2 hours. There will be an informal recital and party following at noon. It is optional. Contact Laurie Lee Cosby for details!

The Billy Newman Quintet | PRIVATELESSONS.com Events

2013-12-14T18:44:00.001-05:00

The Billy Newman Quintet | PRIVATELESSONS.com Events

The Billy Newman Quintet

Billy Newman

Submitted: Monday, December 2, 2013 - 8:19am

Sunday, December 15, 2013 -6:30pm to 9:00pm

Cornelia Street Cafe 29 Cornelia Street between Bleecker and West 4th Street NY NY

I'm doing a show as part of my Brazilian Perspectives Curation at Cornelia Street Cafe
on December 15 2013, a beautiful combination of Brazilian and American musicians.
Doors open 8:30pm 10 cover 10 minimum The Billy Newman Quintet
If you haven't checked out the series at Cornelia Street Cafe (29 Cornelia Street NY NY, Come down and support these ongoing musical events. This City needs more space for Brazilian Instrumental and creative Brazilian Improvisers, to increase the presence of of Brazil's unique musical genres and styles of playing outside of the mainstream. I've been providing you with a taste for over 3 years Mini festival will happen January 29-31 ..
the group is Eric Schugren - Tenor and Soprano Sax Bruce Williamson - alto sax, flute and clarinet
Leco Reis- Bass Vanderlei Pereira - drums Billy Newman -Nylon String guitar and Compositions.
I'm really looking forward to playing this new music for you with an excellent combo of Brazilian and American musicians.

Nothing is better than the gig | PRIVATELESSONS.com Photos

2013-12-14T18:43:00.001-05:00

Nothing is better than the gig | PRIVATELESSONS.com Photos

Nothing is better than the gig

Work together and start your own band at Swift Music in Saint Paul

Categories:

Live Performance, gigging, rock band

Music & Concert Photos | PRIVATELESSONS.com

2013-12-14T18:42:00.001-05:00

Music & Concert Photos | PRIVATELESSONS.com

Red Pelican Music - Music Lessons in Los Angeles

Red Pelican Music - Piano Lessons, Voice Lessons in Los Angeles

Viva Verdi 2013 Concert | PRIVATELESSONS.com Photos

2013-10-30T08:57:00.001-05:00

Viva Verdi 2013 Concert

Categories:

Voice Training

Marje Palmieri singing Donizetti

2013-10-30T08:55:00.001-05:00

Marje Palmieri

Marje Palmieri singing Donizetti

Categories:

learn to sing voice

How to play, understand and figure out all scales - Part XXXIV | PRIVATELESSONS.com Music Lesson Tips

2013-10-30T08:54:00.001-05:00

How to play, understand and figure out all scales - Part XXXIV

Vince Lauria

Submitted: Tuesday, October 29, 2013 - 6:16pm

C Harmonic Major Pentatonic Scale #2. (HMaj Pent #2) Also called Dorian b5 Pentatonic Scale.

Buy "Grab It" by Vince Lauria the key to soloing and song writing:
http://www.amazon.com/GRAB-IT-Vince-Lauria/dp/1478714476

C Harmonic Major Pentatonic Scale #2. (HMaj Pent #2)
Also called Dorian b5 Pentatonic Scale.

ALL scales repeat the same pattern up and down in tone. C major scale: C, D, E, F, G, A, B and C. Numbers are given to correspond to the major scale degrees or positions.
C Major Scale: C=1/Root, D=2nd, E=3rd, F=4th, G=5th, A=6th, B=7th, C=8th/octave.

C Harmonic Major Pentatonic Scale #2: C=1/Root, D=2nd, F=4th, Gb=b5th, Bb=b7th, C=1/8 octave.

Memorize the C Harmonic Major Pentatonic Scale #2 note names and number formula.
C HMaj Pentatonic #2 - note names= C, D, F, Gb, Bb, and C
C HMaj Pentatonic #2 - number formula= 1/R, 2nd, 4th, b5th, b7th, and root/8.

C, D, F, Gb, Bb, C

1, 2, 4, b5, b7, 8/1.

Using the note name chart below - play the C HMaj Pentatonic #2 scale starting from low thick E string 1st fret up neck, then back down neck. Repeat this same process for each string. Remember to say note names out loud as you play each note up and then down in tone. Repeat this process for all 6 strings: Low E, then A, D, G, B and thin E string. The underlined fret number indicates dot positions:
open 1 3, 5, 7, 9, 12, 15, 17 19, 21, 24

Now play and say out loud as you play the C harmonic major pentatonic scale #2 pentatonic scale. Play the C note twice ascending and descending to memorize root note positions.

The note to note intervals are the same. This applies to any string, octave, position, instrument or Key. Repeat this same process for bass, piano and any other instrument.

All materials for personal use only.
Copyright © 2013 Sun and Earth Music
'Any unauthorized broadcasting; public performance, copying or re-recording
will constitute an infringement of copyright. All rights reserved

How to play, understand and figure out all scales - Part XXXIII | PRIVATELESSONS.com Music Lesson Tips

2013-10-25T08:01:00.001-05:00

How to play, understand and figure out all scales - Part XXXIII

Vince Lauria

Submitted: Thursday, October 24, 2013 - 12:26pm

Harmonic Major Pentatonic Scale #1

C Harmonic Major Pentatonic Scale #1. (HMaj Pent #1) Also called Ionian b6 Pentatonic Scale.

C Harmonic Major Pentatonic Scale #1: C=1/Root, D=2nd, 3=3rd, G=5th, Ab=b6th, C=1/8 octave.

Memorize the C Harmonic Major Pentatonic Scale #1 note names and number formula.
C HMaj Pentatonic #1 - note names= C, D, E, G, Ab, and C
C HMaj Pentatonic #1 - number formula= 1/R, 2nd, 3rd, 5th, b6th, and root/8.

C, D, E, G, Ab, C

1, 2, 3, 5, b6, 8/1.

Using the note name chart below - play the C HMaj Pentatonic #1 scale starting from low thick E string 1st fret up neck, then back down neck. Repeat this same process for each string. Remember to say note names out loud as you play each note up and then down in tone. Repeat this process for all 6 strings: Low E, then A, D, G, B and thin E string. The underlined fret number indicates dot positions:
open 1 3, 5, 7, 9, 12, 15, 17 19, 21, 24

Now play and say out loud as you play the C harmonic major pentatonic scale #1 pentatonic scale. Play the C note twice ascending and descending to memorize root note positions.

The note to note intervals are the same. This applies to any string, octave, position, instrument or Key. Repeat this same process for bass, piano and any other instrument.

Instruments:

All instruments

Music Genres:

ALL GENRES

How To Stand When You Are Singing | PRIVATELESSONS.com Music Lesson Tips

2013-10-22T17:24:00.001-05:00

How To Stand When You Are Singing

Eve Soto

Submitted: Friday, May 17, 2013 - 10:57am

ReadyToSing Voice Lessons- Eve Soto

The purpose of singing posture, is to insure that singers do not restrict their breathing,

When learning vocal techniques that may involve very specific and detailed instruction, it is to your benefit to keep in mind, what is the goal of these instructions, and how will you be using your singing. One area in particular that receives a lot of attention is posture. Students often spend much time practicing difficult techniques that are nearly impossible to apply while singing. “Keep your chin up, chest out, shoulders back, feet together, stomach in and lifted ". What is the goal? And can I do this while I am singing. Unless you intend to be stationary during your performance, you must modify these techniques, and understand why you were using them in the first place. The purpose of singing posture, in my opinion, is to insure that singers do not restrict their breathing, which is a very crucial part of singing. When performing, whether you are recording, sitting, or working the stage, do not slouch, or position your body in a way that directly restricts your diaphragm. Sometimes when students are having trouble breathing at a specific point in a song, I have them throw a punch to help them retrieve and release more air. The momentum of the punch allows them to breathe out with more impact. The result is a stronger note. Look for other movements that will assist better breathing. Go ahead use your body.
Eve Soto (Your Vocal Coach)

http://www.readytosing.net/vlcddownld.html

Instruments:

diaghragm

Music Genres:

Pop, R&B, Gospel, Rock

Quick Pro Tips for Credible Youtube Clips | PRIVATELESSONS.com Articles

2013-10-22T17:23:00.001-05:00

Quick Pro Tips for Credible Youtube Clips

NEY MELLO

Submitted: Thursday, August 1, 2013 - 2:43am

I recommend this excelent video on proper lighting -Ney Mello

Here are some basic and essential film and music industry tips for producing Youtube clips of credible level to the desired discerning viewer

What makes the difference between typical household-made Youtube videos and credible quality videos is the following series of sometimes very subtle factors. It is affordable to follow all these criteria. The expense escalades as the production value goes up, but actual video credibility is not synonymous with Hollywood standards in production values, but with relevance, care, and simple aesthetics.

-Recording the sound separate from the camera.

-Special Lighting.

-Non-distracting background.

-No room/ location background noise.

AUDIO and FILM

Recording sound is done via any type of recorder that can be positioned to capture the sound where it sounds best in the room. The camera microphone is not a good location because it is too far from the source and captures way too much room sound.

Camera mics lead non-professionals to incorrectly think that they should be used for video clip production.

Sound and image are NOT the same and do not get captured in the same way. Camera mics are a forced convenience for purely utilitarian lowest quality reference documentation. It is not how film or video audio tracks are made.

Once the shoot is done the audio from the recorder is synched to the camera video via a DAW software program such as Presonus Studio One Pro, or Logic Pro.

For the film editing, simple programs like iMovie are often used. Final cut pro, which was used by the film production company to edit my "Maximum Speed Picking with Ney Mello" DVD is a top pro standard but not a necessity for producing a good clip for Youtube.

The camera audio track is used for reference synching the real audio tracks to the video and then discarded.

SPECIAL LIGHTING

Special lighting is covered in a very succinct and detailed manner in this wonderful video by Anders from Norway:

http://www.youtube.com/watch?v=NVIbirzZn0M&feature=c4-overview&list=UUSP...

BACKGROUND

The back ground is everything. That is so because it always determines if the viewer is going to watch your clip or skip it as a non-credible or low credibility effort.

It makes sense to not have a typical messy room background or cluttered shelves and irrelevant objects in the background. They signal that you don't care; That you are very inexperienced; and are not very discerning or organized, which makes people think that you are also not very authoritative or credible either...about anything you may be covering on the video clip.

Avoid small items and piles of paper or books (unless there are very many in a shelf , which act as a texture rather than as distracting items). Avoid beds, bedroom furniture, basement storage backgrounds.

Avoid decorative small objects. A recording studio equipment rack is fine and cool factor because it reads as texture.. A large painting or mosaics in a wall read as high level sophisticated texture. A few small decorative items on a table or behind the speaker, read as distractions and are viewed as careless presentation...

A professional recording studio environment, (private or public) is a very good background because the general public does not have the experience and commitment to afford that very expensive equipment. Prosumer equipment and typical bedroom "home studio" background should be avoided.

Having some good gear is not the same as having real professional gear in a room that is treated for recording or mixing. Inexperienced people can afford good recording gear and typical acoustic foam wall applications but not actual high end.studio equipment and room treatment.

Low cost recording gear in the background signals lack of experience and credibility, as an experienced source of information, and should be avoided if the author desires to be treated as a knowledgeable source of information by the viewer.

A quality viewer has a sense of what is real studio and what they have at home so, it is best to avoid a background that looks like their home studio!.. Go to to a studio to shoot real studio background or use a different type of background.

A warehouse background has cool factor . An old dilapidated house has cool factor ..A typical basement or garage setting does not. Everyone has one, which eliminates the clip's credibility, and it is full of clutter and claustrophobic low ceilings.

ROOM NOISE

Room Noise is a video clip signals lack of credibility, unless the clip is produced, by a world known author, or already established name in the field,answering questions for example about his books or a known professional musician answering questions. Answering fan questions is not the same as producing a specific topic video. The requirements are very different for each type of video, for public acceptance.

Only news clips or documentary films allow for back ground noises to intrude

Have fun with your video shoot!

As one can see it takes a lot specific detail work. to produce a simple youtube clip that is taken seriously. The viewer knows that anyone can do a video, but not anyone can do a credible video that represents something of actual value and real use for the the viewer. And what we call "production value" in the film and music industry is precisely what defines whether the Youtube clip is of interest or not.

There is no need to spend tens of thousands of $ or Euros, but one has to be very selective and precise with all the factors above to avoid the typical signs of bad video production. The attention to all these details is what production value means!

It can be done with very small budgets, but completely following the detail work is crucial.

Instruments:

Guitar, Bass Guitar, Drums, Piano, Voice, Saxophone, Jazz Guitar, Rock Guitar, teaching

Music Genres:

Jazz, calssical, Rock, film, soundtrack, Blues, filk, hip-hop.

Preparing a Performance | PRIVATELESSONS.com Music Lesson Tips

2013-10-22T17:22:00.001-05:00

Preparing a Performance

Beverly Holt Guth

Submitted: Monday, May 20, 2013 - 11:37pm

The quality of a performance depends primarily on the way you've prepared. How to check your practice habits to build the strongest-possible performance.

There are way too many myths about making music for an audience! Most performers seem to think
that a profound performance came about by luck. I don't think so!
We should always plan adequate time to prepare for a recital. This starts with KNOWING YOURSELF: how long will it take me to get this piece to the top of my game? One reason great artists seem to be so consistently marvelous, is that they don't play before they're ready. They have learned to plan ahead and do not program works that are not thoroughly studied, memorized and mastered.
Frank Sinatra would never perform a song for anyone - not even a close friend - until he had sung it 100 times by memory. If you play your piece three times a day by memory, it will take a little over a month to reach this point. We now know that the brain wraps myelin around the nerve fibers that carry messages or encode skills. The more layers of memory, the more myelin, the more likely you will be able to play at your very best and communicate the true message of the the piece. We are talking about deep-memorizing - knowing the piece "inside-and-out". Frank probably didn't know about myelin, but he instinctively knew that he was a different performer when he really "owned" a piece.
Preparation obviously starts with the reading level - getting to know the notes, the melodies, the rhythms. But this is only Phase One of numerous phases of mastering a great work. I believe that a musician must research the piece, the composer, the period. In today's age it is so easy to learn about the music we are studying! There is really no reason why a person should be playing a mazurka and not know what a mazurka is, for example.
Listening to recordings can stimulate your imagination and help you to realize the possibilities with a piece. Dig in and know where your sections are, key changes, interludes. Take the time to do this very early in your study, and it will pay big dividends as your understanding grows.
How much do you sing as you practice? Singing the melody, the countermelody or the bass line will deepen your memory work significantly and quickly. When you have physically sung a section a number of times, it will be easy to "silently sing" as you play. Do play sections of various lengths, constantly tweaking and noticing details.
It certainly helps to have several "small" performances before a "big" one. Corral a friend, neighbor or family member and accustom yourself to playing this piece for others. For me, each piece needs a chance to "harden" under the fire of performance.
It also helps to think of a performance as a chance to share a marvelous work of art with others. Point your audience to the music, not to yourself. This view will help you to put self-consciousness at a minimum.
Once a piece is well-learned, play all the way through it at slowish-medium, medium, quick and full-tempo speeds daily. Your physical and mental reflexes develop and strengthen each time.
Just as you know your way around your house - even if you come in through the back door - you want to know your performance work so thoroughly that you can hear it, think it and create it coming from any direction. When you have mastered your piece technically, intellectually understand its makeup and have hardened it through many play-throughs, you will be able to go out and focus on your message. And your listeners will be able to ride with you through the experience! For that is what music is - an experience.

Instruments:

Piano

Music Genres:

Classical

The Dance Band Guys | PRIVATELESSONS.com Photos

2013-10-22T17:21:00.003-05:00

The Dance Band Guys

A few guys from my dance band. Playing at venues on the westside!

Demystifying Musical Genius Basics | PRIVATELESSONS.com Music Lesson Tips

2013-10-22T17:21:00.001-05:00

Demystifying Musical Genius Basics

NEY MELLO

Submitted: Tuesday, May 28, 2013 - 10:37pm

Few really stop to feel and think about what a fantastic bass line is supposed to accomplish and how to approach it from the "genius level".

"Demystifying Musical genius basics: Playing bass fantastically means the bass does NOT stay in the lower register all the time, neither is it a high register solo instrument when in a song context...Neither does one play roots fifths and thirds all the time!

Listen to the iconic 70s example below by Nucleus noted for it's killer bass lines..but do not stop there!..Listen to all the great Reggae bass lines and Bebop walking bass lines....They all follow this principle even Jack Bruce, Jaco Pastorius, Stanley Clarke.. and Sir Paul McCartney, one of the greatest bassists ever..." -NEY MELLO

Rhythm ans time are more important to a bassist than to a drummer, this may escape the inexperienced musician, but the vast acoustic energy power of the bass is so devastating that any deviation from solid time, and any shaky rhythm can destroy the entire ensemble immediately.

https://www.youtube.com/watch?feature=player_embedded&v=ZFubFMyjQps#!

Instruments:

Bass, Bass Guitar, ELECTRIC BASS

Music Genres:

Jazz, Pop, Rock, Blues, REGGAE

The Mechanics of Singing | PRIVATELESSONS.com Articles

2013-10-22T17:20:00.003-05:00

The Mechanics of Singing

Ruben Ramos

Submitted: Thursday, August 1, 2013 - 12:35pm

Diagram of the vocal fold

My method I've developed over the years to facilitate more sound and endurance for vocal performance. Below is an overview of what is required to achieve your goal of a richer singing voice.

I started singing around the age of 12. Although I had musical training since the age of 9 on guitar with great success, those formative years of attempting to sing were difficult for me. Mainly because I had asked someone at a local music store, "How do I learn to sing?" He just answered "Just sing." I said, "What?" and again he answered, "Just sing." I walked away shaking my head thinking I would get some pivotal information to light my path. In the later years that Zen moment made sense to me on what he was trying to do. He knew I would probably stick with it and never stop. He was right.

So I did "just sing." An entire year of singing along to Cheap Trick, Led Zeppelin, and Santana tunes on vinyl with a replacement album from time to time. But Jr High kids can be cruel as we all know. I was mocked and made fun of my bad singing. I had a band that motivated this and they encouraged me to keep it up. I was passionate about it and realize that was the key. I'll refer to "passion" later in the article and why it's a key component.

By the time I was in high school, I had become a good vocalist with power and stamina. Even the Jr High kids would apologize for making fun a few years back. They saw how far I had come. Yet, I was still in the dark on why my voice would not perform well at times but I accepted it as part of being a singer.

My first year in college I took a voice class with Mary Maude Moore, a fantastic opera trained vocalist. But being one of 20 students never gave me the individual attention I needed to excel. I sang in choirs for years getting better at reading, theory, and musicianship. But I was still lacking the elements to achieve what I wanted to do.

It wasn't until I came upon my voice teacher, who was found by accident, I received the essential fundamentals. The one and only, the late and great Dr. Maurice Allard. Maurice was one of the best vocal coaches in the world. He taught at Julliard and the French Conservatory but his knowledge of how to produce the sound needed to have the best possible voice was unsurpassed by anyone I was aware of.

To be fair, Maurice wasn't the only one I drew knowledge from. It was when I studied with him, it all came together since I had already possessed the skills he coined as a gift or a great talent. I call it "passion in action." I had made most of the key work before I met Maurice. I believe that you have to have innate talent to be a great singer is BS. Yes, some may posses better skills in some areas and training at a young age does develop better synaptic engrams. But internal passion and drive can overcome most obstacles. Mindset is also crucial so as not to be in a state of stress when practicing and/or performing. Stress blocks learning but it also inhibits natural resonances your body creates. Relaxing is not just for saving your vocal chords from injury. It's also to maximize your sound while performing proper vocalizing mechanics.

So what are the mechanics of singing and/or vocalizing? Whether you are a vocalist or public speaker it's not complicated. But what's challenging is committing to a routine to develop effective skills. My lessons outline the exercises in great detail. This is simply an overview.

There are 3 stages or areas of your body to be mindful of.

1. The vocal chords (Creating more vibration with less effort)
2. Lungs (Breathing and capacity)
3. Diaphragm muscle groups (Support and tone production)

First is learning how to focus your vocal chords or more specifically, the vocal fold. The chords must connect more often rather than being apart. When they are apart, that is what we hear as a "breathy" or an "airy" sound. Pavarotti referred to making a "cry of the baby" sound to learn how to connect the vocal chords better.

Second is learning to inhale properly. Breathing is done from your lower abdomen not from your upper chest. One way to see this in action is watch someone sleeping and observe how the whole body inflates. This is natural breathing.

Third is another Pavarotti quote where he describes proper diaphragm support as having a bowel movement. The muscles that control this also control lung inflation. This can mean the difference between a thin sound to a huge and rich tone people will ask you to sing softer and not drown everyone out. :)

When the 3 elements are working in unison, you will achieve a bigger and fuller tone. With training, you will also increase your endurance and allow you to explore more musically challenging music.

Instruments:

Voice . Singing

Music Genres:

All

Music of the Century: The Modern Piano Project | PRIVATELESSONS.com Articles

2013-10-22T17:20:00.001-05:00

Music of the Century: The Modern Piano Project

Tania Stavreva

Submitted: Saturday, August 3, 2013 - 7:51pm

Tania Stavreva at the Roulette, Review by Harry Rolnick ConcertoNet.com

New Yorkers looking for mainstream music last night would have been frustrated. Up in Symphony Space, players of the New York Philharmonic were playing new works by Sam Shepherd and Matthias Pinscher. Down in Carnegie Hall, Louis Andriessen and Bang On A Can were going to present more contemporary music. Unfortunately, the composer of the Divine Comedy opera suffered a Divinely-Generated Tragedy. Iceland’s volcanic ash prevented his associates were flying back, and the concert was canceled.

Even further downtown, the 26-year-old pianist Tania Stavreva was giving an exceptional concert of 20th and 21st Century music with names mostly unknown. I hadn’t heard Ms. Stavreva before, but her outstanding reputation preceded her. Not only numerous prizes from her native Bulgaria, but as a student of Michael Lewin at the Boston Conservatory, Ms. Stravreva had won the Chamber Music Honors Competition, the Piano Honors Competition and other awards. After these, her numerous performances in America and Europe have received excellent reviews.

Most attractively, this pianist has never played music to win audience popularity. Crowds do not stand on long lines to hear Ginastera, Scriabin and her countryman Alexander Vladigerov, but she has no hesitation in programing rare music–and let the devil take the hindmost.

Down at the Roulette, a hall near Canal Street better known for rock and jazz, Ms. Stavreva sat down at a less-than-pristine Steinway, and let her finger fly over music for the younger audience, mainly of composers and pianists themselves. And while Ms. Stavreva did have names like Debussy and Barber, the major portion of the hour-long recital was devoted to other favorites.

Neither the piano (whose soft tones were not quite audible) nor the hall (with curtains masking diverse pianistic colors) were especially conducive to great playing. But her fingers overcame those difficulties in the most difficult works.

For some reason, Ms. Stavreva opted for two of Debussy’s less taxing Preludes, possibly to give a chance for us to relax. But both “Heather” and the ultra-familiar “Girl with the Flaxen Hair” showed nicely practiced fluidity.

The other relatively familiar work, Ginastera’s First Sonata was, for this listener, the highlight of the recital. It takes a real technician to essay the Presto, and to bring out those mysterious folkish melodies in the beginning. But the slow movement of this Sonata starting like that Scarlatti “Cat’s fugue” but developing into the most delicate tapestry, was played with a personal sensitivity difficult to find elsewhere.

The other fugue was the finale of Samuel Barber’s E flat Sonata, and was played with a jaunty almost rollicking sense. To finish off, the pianist played Prokofiev’s “Suggestion Diabolique”, which I had heard but 48 hours before in a Bronfman encore. He had the right piano, the right Carnegie Hall setting and the right strength. Ms. Stavreva played it with a bounce. But diabolic it was not.

Of the new works, one, Mark Rossi’s Dream Catcher was written for Ms. Stavreva (quite a gift for the young artist). At first, the rhythmic motifs were interesting, but not exactly accessible. At that point, Ms. Stavreva did what every recitalist should do with a new work. She repeated it.

Repetition should be the rule. Once in Hong Kong, conductor David Atherton played Webern’s Six Pieces for a totally uncomprehending audiences. On the spur of the movement, he turned to the grouchy listeners and announced that they would be repeated. The audience, recognizing at least some of the structures, actually began to smile a bit, to remember.

When Ms. Stavreva played the Rossi work, the opening rhythmic motif at the start and some other little measures began to fit together, to make sense even in its arcane structure. A third reading some time will give even a better feeling.

The first work was dedicated to the great Alan Lomax, the American equivalent of Béla Bartók in rooting out our folk music. But Mason Bates’ White Lies for Lomax, was reaching for jazz more than blues, the James Johnson ‘stretch’ piano, a bit cleaned up. The sounds at the end of Lomax actually coaxing some Mississippi blues was the real thing.

Australian Carl Vine contributed two pieces. The first, Rash used more electronic sound, sometimes imitating the pianist, sometimes playing different music entirely. This was fun, entrancing, very clever.

The second work, his First Sonata had textures made for Ms. Stavreva. Her hand stretch is frankly not those of a Rachmaninov, but the rhythm and drive she gives to all her pieces can’t be denied. This work was not only rhythmically driving, but the sounds and textures piled on one another, the octave runs were extremely difficult, and it seemed to have two different rhythms for left and right hands.

Like the other pieces, Ms. Stavreva worked the piano hard, played with intensity and obvious pleasure. Like Dream Catcher, nobody would have objected to a repeat of the music, but even one performance was satisfying.

Harry Rolnick

http://www.concertonet.com/scripts/review.php?ID_review=6464

Instruments:

Piano

Music Genres:

Classical

DAMTA Student Musicale | PRIVATELESSONS.com Events

2013-10-22T17:19:00.003-05:00

DAMTA Student Musicale

Nancy E. Harris

Submitted: Wednesday, July 17, 2013 - 8:52am

Sunday, January 19, 2014 - 2:00pm

Schmitt Music, 155 W Hampden Ave, Englewood, CO--FREE

Students perform, both piano and voice; open to public

Ella Fitzgerald sings "Summertime" -- A Master Class in Authenticity | PRIVATELESSONS.com Music Lesson Tips

2013-10-22T17:19:00.001-05:00

Ella Fitzgerald sings "Summertime" -- A Master Class in Authenticity

Ghenady Meirson

Submitted: Saturday, July 13, 2013 - 8:09am

Photo: Ella Fitzgerald in 1968 (Courtesy Fraser MacPherson)

Greatness lives and shines in live performances. I am a fan of "live" both in concerts and recorded live.

The word 'authenticity' is big and overused. Without getting philosophical, it is a huge part of how artists differentiate one from another, particularly when it comes to iconic standards.

In music genres based on improvisational structure, interpretations of standards vary widely and take on a new life.

In the classical word, where the notated page is the 'law', differentiation is more complicated and is a subject for another article.

Either way, a mark of a great artist is the ability to take ownership of an interpretation, boldly and convincingly, and with no worry about differentiation. That's authenticity.

Today, I am learning from Ella Fitzgerald and I am very grateful for her wonderfully documented work.

Watching the video of Ella singing "Summertime" I feel completely embraced by her world in a very profound way.

Artistry at its best. The end.

Instruments:

Voice, Singing, Vocal, Guitar, Piano,Drums, Bass, Upright Bass, Double Bass

Music Genres:

Jazz, Pop, Rock, Classical, Folk,Broadway, Musical Theater, Musical Theatre, Opera

Adults students of mine also like to perform | PRIVATELESSONS.com Photos

2013-10-22T17:18:00.001-05:00

Adults students of mine also like to perform

An adult student of mine who loves performing. My adult students don't get nervous. There are special technics how to overcome stage fright and performance anxiety.

Categories:

Live Performance Adult Student Piano Concert Tania Stavreva Piano Instructor Bulgaria New York

Why even learn music theory? | PRIVATELESSONS.com Articles

2013-10-22T17:17:00.003-05:00

Why even learn music theory?

Vince Lauria

Submitted: Sunday, August 4, 2013 - 2:07pm

Vince Lauria Composer / Instructor

Learn to Burn

Many times when writing a song or piece the initial idea is not enough. To extend this idea music theory give options and techniques for expanding the idea/melody.

This next series of lessons will cover techniques using chord progressions, scales and harmonic principles.

1. A
Diatonic scale and diatonic chord progressions:
Take one scale / mode at a time, play it's family of chords and all its diatonic substitutions.
Example D minor, G seventh and C major chords - ii, V, I of the C major scale.
Dm7 //// G7 /// Cmaj7 ///

Substitute all seven diatonic chords with the 5, 6 and 7 notes harmonized extensions.
Dm9 //// G9 //// Cmaj9 ////
Dm11 //// G11 //// Cmaj11 ////
Dm13 //// G13 //// Cmaj13
Refer to chart with all diatonic chord extensions.

1. B
Create a melody or solo idea using the C major scale. Use two to six notes at a time.
Also play all chords arpeggio style for melody ideas.
Assignment record ii, V, I (later for all twenty eight modes covered).
Then create a melody or solo idea using the diatonic scale (mode).
Use two to five notes within one octave.

2.
Another way to view a minor chord:
When you see a minor or minor seventh chord it usually can be thought of as the following:
A minor as the the vi chord of C major - play C major scale, Am as the ii chord of G major - play G major scale. And Am as the iii chord of F major - play F major scale. Experiment using these three scales!
This is sometimes called multiplicity. The C major scale played over the A minor chord is the Aeolian mode.The G major scale played over the A minor chord is the Dorian mode and the F major scale played over the A minor chord is the Phrygian mode. Then figure out the 3, 4, 5, 6 and 7 note diatonic chords and their arpeggios for each of the three keys for the minor chord.
Later do this for all keys: Bbm, Bm, Cm, C#m, Dm, Ebm, Fm, F#m, Gm, Abm.
Remember there are three major scales for each minor chord.

Assignment record the A minor chord (using quarter note strums) for twenty minutes and then play each of the three major scales for the one minor chord. As always use quarter then eighth notes with a metronome when playing the three major scales. (if you do not own a metronome go to: metronome on line.com. and download one free)
Listen to how each scale brings out a different feel (mode) over the same minor chord.

3.
The next technique is when the root note of a chord is within the family of chords but the rest is the chord is not. Example given in the key of C major:

Regular diatonic chord progression - Dm7 //// G7 //// C //// Am7 //// (ii7, V7, I, vi7)
Diatonic root non diatonic chord - Dm7 //// G7 //// C //// A7 //// (ii7, V7, I, VI7)
The Am chord is the sixth of C major. The A dominant seventh is not within the
C major scale. This is sometimes called a Partial Diatonic chord. That means the lower tones of the chord in this case A and E are the same as within Am or Am7. The top part of chord C sharp is non diatonic or not within the key of C major. This is a common technique for giving a temporary lift to a progression. Also called tonicization.

The dominant seventh - A7 is the V7 of D major not C major. This is also called a secondary dominant, or the dominant from a second key. The dominant chord is always the fifth chord from any major scale root. When we play the A dominant seventh chord we temporarily go in the key of D major.
(the Beatles used this technique many times in there song writing).
When on the A7 chord play the D Major Scale. Play the C major scale until the A7 chord. On A7 play the D major scale - then return to the C major scale.

3a.
Another technique is to play C major scale starting on the A note then when the chord is A7 play the D major scale starting on the A note. You have to learn to change to each new key playing the closest scale note of the new key.
So you will have to be aware of where the new note or notes are in relation to the notes of the original key.

3b.
Assignment record the following chord progressions from the C major family of chords and practice temporally going into the new major scale key and then back to the original scale key.

Am7 //// E7 //// F //// G7 //// (on the E seventh chord you play the A major scale for one bar)
(vi, III7, IV, V7)

Am //// F7 //// C //// G //// (on the F seventh chord you play the B flat major scale for one bar)
(vi, IV7, I, V)

Em //// Am //// F //// B7 //// (on the B seventh chord you play the E major scale for one bar)
(iii, vi, IV, VII7)

Remember to transpose to all keys, at least one new key a week.

Now transpose all examples to each position (register) of your instrument, then to all 15 keys.

All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music

Instruments:

Guitar

Music Genres:

Rock

AVA: Pique Dame - Opening Night | PRIVATELESSONS.com Events

2013-10-22T17:17:00.001-05:00

AVA: Pique Dame - Opening Night

Ghenady Meirson

Submitted: Sunday, August 11, 2013 - 8:42am

AVAopera.org - Tchaikovsky "Pique Dame" - January 18, 21, 23 & 25, 2014

Saturday, January 18, 2014 - 5:30pm

Helen Corning Warden Theater, Philadelphia

Ghenady Meirson, Music Director

Tchaikovsky - a master of illuminating the human condition - explores obsession in this Russian drama, based on the story by Alexander Pushkin.

An army officer desperate to learn the "secret behind three winning cards" jeopardizes his love, possessions, and ultimately his own life.

Sung in Russian with English supertitiles

Sponsored by Walter and Alice Strine, Esqs

For tickets: http://www.avaopera.com/tickets/

Music News..Fall at St. Matthew's UMC , Valley Forge | PRIVATELESSONS.com Articles

2013-10-22T17:16:00.003-05:00

Music News..Fall at St. Matthew's UMC , Valley Forge

Janellen Farmer

Submitted: Thursday, August 15, 2013 - 1:49pm

Dear Friends,

I just wanted to update you in all things musical for the coming Fall at St. Matthew's.

Chancel Choir will resume on Sunday, September 8th, rehearsal at 9:30 followed by service
at 10:45. I am looking forward to another wonderful year of music making. Among the
things I have planned are:
1. I would like to encourage a soloist once a month, not to replace the choir, but to add
to our beautiful choral ministry. Please let me know if you would be interested in doing
a solo, or, if you know of someone who might have an interest..This is not limited to
singers, but instrumentalists as well. Kim Trolier is on tap for September!

2.Mark your calendars now: our annual Messiah concert will take place on Sunday evening,
December 22 at 7PM. I intend to ask neighboring church choirs/choristers to join us.

3. During my time at Oxford University this Summer I had the privilege of meeting and
working with composer James Whitbourn. His Son of God Mass for choir, organ and jazz sax
is one of my favorites, and he has agreed to mentor me/us through the local premiere of
this incredible work, It will be our Lenten concert this coming Spring. James will skype
with us to talk about his journey in creating this Mass. It can be found on allmusic.com.

3. Renee Schulz and I are looking into another Little Farm Players production to benefit
music at St. Matthew's this Fall. Will keep you posted on this!

Chancel Ringers will resume on Sunday September 15. We will have an organizational
session to determine who will ring with us this season, how often we prefer to ring, etc.
I am looking forward to seeing you all!

Praise band: I would like to meet with Praise band members, parents and leaders on
Sunday, Sept. 8th immediately following the 10:45 service. It has become apparent that we
need to find a more convenient time for rehearsals, and to set our calendars with the
Fall schedule as soon as possible. I would like to have the praise band play once a
month, and I would love to see it grow! I will propose that rehearsals take place on
Sundays from noon to 1 twice a month..if not more often. Please consider this change, and
we will discuss it when we meet on the 8th.

This Summer has been one of huge growth for me as a musician, singer and person. I have
faced fears on many levels, and have come out with a stronger desire to make beautiful
music, in HIs name, whenever and wherever I may. I hope you will support me, and, join me
in this effort.

I am taking my vacation form August 17- Sept 1, and October 5-12. (These dates were
booked long before the excitement of this year was known)..I am reachable via email..or,
ONLY IN AN EMERGENCY via cell phone 610-306-5189.

I ask for your good thoughts and prayers as I take my much needed respite...

Much love to you all..
Janellen

Instruments:

ORGAN, Sax and Choir

Music Genres:

Sacred

Tania Stavreva New York Recital Debut@Carnegie Hall | PRIVATELESSONS.com Articles

2013-10-22T17:16:00.001-05:00

Tania Stavreva New York Recital Debut@Carnegie Hall

Tania Stavreva

Submitted: Saturday, August 3, 2013 - 7:55pm

Carnegie Hall Debut

Tania Stavreva Plays Scriabin

Tania Stavreva New York Recital Debut@Carnegie Hall Review by Harris Goldsmith Tania Stavreva, Piano Weill Recital Hall at Carnegie Hall

Tania Stavreva, a 25-year-old pianist, made a deep impression with her Weill Hall debut as a recipient of Artists International's Special Presentation Series. Ms. Stavreva is a graduate of the Dubrin Petkov Music School in her native Bulgaria, where she studied with Rositsa Ivancheva for fourteen years.

Her demanding and diversified program began with a bold, dynamic performance of Alberto Ginastera's 1952 First Sonata, Op.22. Her reading of the Allegro marcato first movement immediately showed architecture, rhythmic swagger and the huge dynamic range whose brilliance never once became harsh or percussive. The Presto misterioso, with its scary unison between top and bottom of the keyboard, went with unlimited virtuosity and seeming effortlessness. Ms. Stavreva evoked a crouching inwardness in the Adagio molto appasionato slow movement and finished with a supercharged, almost overpowering version on the Ravido ed ostinato finale. I had almost forgotten just how fine a work this Ginastera Sonata was (it used to be heard frequently in concerts, but these days most pianists opt for the late composer's lesser Argentinian Dances). Ms. Stavreva deserves gratitude for her magnificent revival.

Also, noteworthy was a US Premiere of Gil Shohat's "Sparks from the Beyond" (1996-1997) The short pieces of Shohat's composition are entitled "Sparks from Infinity"; "Sparks of Existence"; "Sparks of Motion"; "Sparks of Material"; "Sparks of Faith"; "Sparks of Beauty" and "Sparks of Love." Ms. Stavreva's con amore performance evoked all the requisite rapt intensity, love, motion and beauty.

Scriabin's "Vers la flame", Op.72 continued along the lines of Ms. Stavreva's thematic programming. Her magnificent interpretation commenced with a delicacy that made the flesh creep, and then it ignited and built to an immense power which reminded me of those unforgettable Horowitz recordings and concert performances from the 1960s and 1970s.

The Sonata No.1 by the Australian composer Carl Vine first came to my attention when I was a judge at the 1995 Cleveland International Piano Competition. Interestingly, the unisons in the Sonata's second movement have much in common with the aforementioned second movement of the Ginastera Sonata. Ms. Stavreva obviously finds this particular genre of pianism made to order for her superior technical abilities; she played the Vine and the Ginastera outstandingly well.

Two Debussy Preludes, "Les sons et les parfums tournent dans l'air du soir" from Book I and "Bruyeres" from Book II, were elegantly recreated with pulse and atmosphere, and the concert ended with the Variations on a Bulgarian Folk Song "Dilmano Dilbero" Op. 2 by the late Alexander Vladigerov (1933-1993).

- Harris Goldsmith

Instruments:

Piano

Music Genres:

Classical

Singing the National Anthem at a Broncos Game | PRIVATELESSONS.com Photos

2013-10-22T17:15:00.001-05:00

Singing the National Anthem at a Broncos Game