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The Minnesota Orchestra Composer Institute is way up there! That is the biggest, most ambitious work I have created to date. What have you been listening to lately? What are some of the joys or challenges that women composers experience today in the classical music industry? All one has to do is look at the statistics around representation of female composers in classical music to see that this is not and has never been a welcoming field for us.

While there are many male allies who have supported me and my female peers, when the majority of decision-makers are male, the majority of composers are usually male as well. So, I think that in addition to hiring more women who can act as role models in positions of power, we need to really encourage very young women to enter the field by offering special support to them when they are 14, 15 and 16 years old.

We provide mentorship, performances and networking opportunities to female composers ages 13 through But I also find composing itself to be very fun! I actually started out as a performer, playing second horn in the Montreal Symphony. I stayed only a few years, then jumped the stage and found life much easier on the other side. Since my professional training on the horn was at the highest level, that meant critical listening was at the heart of my work, and I eventually found my way into music criticism.

Alongside my work as a music critic and journalist, I began writing program notes for the Montreal Symphony. One thing led to another, and I eventually became the only person living in Canada who makes a decent income just from writing program notes for orchestras, festivals and concert organizations across North America. Good question. You need good writing skills, of course, and a solid background in music history for starters. Ideally you also know something about world history, art, theater, dance, film, literature, architecture and religions.

Passing familiarity with German, French and Italian is also highly useful. Meticulous attention to detail is another essential. Names of composers and performers are so easily misspelled. I myself misspelled the famous Juilliard School for years until someone corrected me. Keeping up with the latest research is important too. For example, when was Prokofiev born? The composer himself claimed April 23, so why not believe him? Well, he was wrong! Going by his birth certificate, only recently discovered, the true date is April I also like to engage readers when possible—challenge them with a question, throw them a red herring, set up an obvious explanation and then prove it false, etc.

Granted, not every composer is as comfortable communicating in words as in music, and there have been rare cases when what the composer provides is not useful for general audiences, or when the composer prefers to let the music speak for itself. Challenges of another sort arise when different sources claim different things. Which one to believe? Generally speaking, the newer the source, the more likely it is to be trustworthy. Both are essential. How can you describe the music, or even know what to say about it, without knowing how it sounds?

Obviously this writer had not listened to the piece. Modern music is a sticking point with many concertgoers, but there is some excellent new music out there. I love color, so tending a large flower garden in the summer takes my mind off music for a while. I read a lot, watch a lot of movies, attend informal wine-tastings with friends, and travel often to Asian countries in pursuit of musical excellence.

We hear so little in the U. I read somewhere that some new theaters have opened in Asia just during the past 30 years. Previously I spent a lot of time sending faxes and calling publishers in search of information that is now all online, or available via email correspondence. In Europe to this day, the foundations of classical music seem to lie exposed here and there. Rooms that once were homes for the living are now museums to the long-dead.

But we can stand in them still, calculating the elapsed years, struggling to imagine the moments the music created there was vibrantly, vitally new. Somehow sacralized by the very passage of years, they have come to stand motionless, outside of time—things that somehow must always have been. American classical music is not an old-growth forest. There are no ancient Sequoias. The dense musical wood we now roam with joy was a prairie a handful of generations ago, only sparsely dotted by saplings. A sense of vibrant, vital newness still clings to nearly all that has grown there.

To be sure, some of the small-scale musical creations that sprang up in abundance in pre-Civil War America are still with us. And only in the early decades of the 20th century—the era of Charles Ives, George Gershwin , Aaron Copland and Samuel Barber—did it become unequivocally clear the classical music of the United States had found its voice. Haydn and Mozart differed in the stories they had to tell us, but spoke a common tongue; no one who adores the music of one will be mystified by the other.

American composition came of age at a moment when any such notion of consensus was a distant memory. A spirit of discovery, a celebration of brave individualism, an understanding that inherited rule books are never more than optional reading—these have marked the world of American classical music from its first maturity. Being the young, adventurous enterprise that it is, American classical music has always been a hospitable home to young, adventurous composers.

And never more so than now.

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Today, some of these newer voices can be found joining in conversation with the robust, wide legacy of the concert music that has long sustained symphony orchestras, such as the Minnesota Orchestra, which is showcasing American music throughout its season. And today, Twin Cities rapper-singer-songwriter Dessa —who has brought to hip-hop a creative voice equally striking in its intellectual groundedness and its creative adventurousness—finds welcome on the stage at Orchestra Hall. But modern composers like sometime-DJ Mason Bates have abundantly demonstrated that the concert hall has nothing to fear from the throbbing, technologized world of modern Electronic Dance Music, nor from the open physicality of its expressive vocabulary.

Speaking with their vibrant, vital newness, the voices of such young adventurers serve as a constant reminder that the concert hall was never meant to become a museum to the long-dead, however exuberantly their rich legacy is sustained and celebrated there. It has always been, and joyously remains, a home for the living. Peter Mercer-Taylor is a Professor of Musicology at the University of Minnesota , where he writes and teaches about 19 th -century music and rock-era popular song.

He is the author of The Life of Mendelssohn Cambridge University Press, and the editor of The Cambridge Companion to Mendelssohn , and is completing a book on the role of tunes culled from European classical music in 19th-century American hymnody. Preview some of our favorite Swingles tunes, hear from two of the group's vocalists and then get your tickets!

The Swingles present a musical retrospective in celebration of their late, great founder Ward Swingle. Moving through the singer-songwriters of the s and 70s right up to the current British favorites, the group brings the retro sound of the classic Swingle Singers alive as well as bringing a fresh approach on original songs from their newer releases.

This gala evening of music, dining, dancing and good company is for a great cause: your Minnesota Orchestra. As we started planning, we wanted to pull a theme directly from our community in a way that represents Minnesota and resonates with our audience. The Northern Lights theme is a perfect way to celebrate the excellence of the Minnesota Orchestra and the impact it has on the Bold North.

Attendees can expect light and sound to take center stage in adventurous new ways as the night moves from the ethereal to electric, transforming Orchestra Hall and the Hilton into the night sky. The lights will wow and the musician-curated program, including a special guest artist, will inspire and enliven the Hall.

Symphony Ball is a premier event for many reasons. It combines multiple venues, an auction with musical experiences no one else can offer, creative collaborations between local musicians, dancing, an Orchestra performance—and the list goes on! You can experience the Northern Lights for a complete evening that includes dinner with Orchestra musicians and a one-of-a-kind live auction at the Hilton—or you can join the party at Orchestra Hall with a champagne hour before the musician-curated concert, featuring an exciting guest artist.

Orchestra Hall will then be transformed with light as the night continues with dancing, music, drinks and desserts. What makes the Orchestra special enough to you to serve as Symphony Ball Chairs?


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The Minnesota Orchestra is so important to our community. It is not only a world-class organization that contributes a unique style and sound on the world orchestral stage, but it also elevates the Twin Cities as a thriving and culturally rich destination. The Minnesota Orchestra serves our community with music that uplifts, inspires, heals and unlocks creativity in a unique way that brings together the musicians, organization and community across the cities and the state.

Tickets for Symphony Ball go on sale in late February. It is the first time the Orchestra has performed the piece. I was searching for a way to conjure the quicksilver, mechanistic euphoria inside the garages of Silicon Valley. How do you suggest that listeners approach a new piece of music? I encourage listeners to remember that a lot of new music uses texture and rhythm in place of melody.

Those elements undergo transformations, like melodies. It's just a different kind of foreground. Classical music is evolving more than folks realize, and it's thanks to imaginative conductors, artistic administrators and symphonic musicians. These are the folks who give a chance to young composers. We still need more orchestras to program a higher percentage of American music. It's the world's greatest synthesizer.

I'm fascinated by Janecek at the moment. He has such vivid symphonic music, and it always surprises. I'm in the early stages of a concerto for orchestra and animated film called World's Greatest Synth: The Making of the Orchestra. It's a kind of Young Person's Guide to the Orchestra from the perspective of instrument engineering. Trying to be a better surfer. Do you have any special connections to Minnesota? I know many Minnesotans! And I love their seriousness of purpose and funky way of talking.

There are so many people who have been good to me over the years, it's impossible to name one. At the basic level, there's no one who has been more supportive than my parents. I grew up in a Southern family with no musical emphasis, so it continues to amaze me that they never questioned my direction. I feel very lucky that doors kept opening to give me opportunities to continue learning and developing as a musician through college and beyond. Louis Symphony before I joined the Minnesota Orchestra. Are you part of a musical family? My parents both play instruments, but not professionally.

My dad plays the banjo and my mom plays the piano and guitar. I think what is most challenging about our jobs is the nonstop nature of the schedule. It requires planning and diligence to stay on top of the programs. This is challenging, but also very rewarding.

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Do you have any advice for aspiring musicians? Try to always think about your practice, and always have a goal during a practice session, listen to and learn from your peers, and never give up! Tell us about a proud moment during your career: A recent proud moment was performing at the Regina Mundi church in Soweto during our tour in South Africa. To me, this was one of those special moments where we all could feel that we were a part of something that was greater than ourselves.

I always have music for upcoming Minnesota Orchestra programs on my stand. My husband Richard and I have a one-and-a-half-year-old son named Finn, who is the joy of our lives. The week of collaboration started off at the Martin Luther King, Jr. Holiday Breakfast at the Armory. Minnesota Orchestra musicians joined the MacPhail Northside Youth Orchestra bucket drummers for a special performance. A panel of judges narrowed the field from 18 to eight to four and then the final two competed in a three-round final battle to determine the winner. Dancers found new challenges and inspirations in the live music selections, and the musicians took home exciting, new perspectives of pieces they've found familiar for their entire careers.

I looked up and I had a tear. You guys really moved us. Thank you. Orchestra musicians spent much of the day on Tuesday immersed in classrooms throughout the community, sharing their love of music with students of all ages. A woodwind quintet performed for nearly elementary school students at Bethune Community School. The students in this class will soon be selecting their first instruments for band and orchestra, so the Orchestra musicians shared important tips about how the instruments are played and what sounds they produce, plus some insider tips—like how to make spooky sounds with multi-phonics, funny instrument mishaps and the value of practicing music no matter what you want to be when you grow up.

Voices were soaring and no one in the building could keep from dancing along. Arnstein and Violist Richard Marshall are here to demonstrate, inspire and encourage students. The students seem to feel the progress as they move their bows together in unison. A trio of Orchestra musicians performed a concert at Homewood Studios on Wednesday evening, while surrounded by vivid photographs from 13 local artists who are members of the Homewood Photo Collective.

A few of the featured and resident artists were in attendance at the performance, along with members of the local neighborhood and other musicians of the Orchestra. The evening began with a delightful trio by Schubert before switching gears to a series of twentieth-century music that invited the audience members to sit up in their chairs and listen to a variety of new textures and soundscapes. At the very active Sumner Library, students were busy reading and playing on computers, but when Pamela Arnstein and Brian Jensen started their violin and horn Mozart duet, a crowd approached to hear what was going on.

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With a new group of interested students gathered around, Arnstein and Jensen introduced themselves and their instruments. To demonstrate how to make a sound on the horn, Jensen buzzed his lips and then brought the instrument up to play a note. They were here to listen to and play with six young string players who participate in the MacPhail-led program.

After a performance from the students led by instructor Joe Kaiser, Bruya and Nettleman shared some of their favorite bass duets before demonstrating the role the bass plays in the Orchestra. The event wrapped up with everyone rehearsing together and a discussion on how it feels to play with a group of musicians. Marley, who plays the cello, said he enjoys watching his fellow musicians to stay in sync.

Before sharing his work, George Roberts, a retired teacher and year Northside resident, shared that he was grateful the Orchestra was investing in North Minneapolis. But in each reading, it was clear there is a deep love for the people, places and spirit of North Minneapolis. All the threads of this Common Chords week came together on Saturday night in a culminating concert at North High School. Howell, Jr. Howell was one of the individuals who laid the foundation for the Common Chords experience when he invited the Orchestra to perform at his church, Shiloh Temple International Ministries, in It felt right when the MacPhail Northside Youth Orchestra, comprised of instrumentalists in grades 7 through 12 and led by Tamara Gonzalez, took the stage to showcase their emerging skills with Beethoven —-and when LA Buckner led 30 young bucket drummers in a high-spirited arrangement of We Shall Overcome that featured Orchestra brass and percussion players.

For audiences who wanted just a little more, Orchestra Board member Yvonne Cheek promised that Orchestra musicians had more in store on Sunday at local churches and the Capri Theater. To conclude a jam-packed week with our North Minneapolis neighbors, three members of the Minnesota Orchestra shared the stage with more than thirty musicians of the Capri Big Band for a Sunday afternoon jazz concert at the Capri Theater.

Zamora also played the bass clarinet, an instrument not typically found in the big band setting. Thirsty Whale Bakery provided cookies and coffee for a post-concert reception, where musicians and guests greeted each other and recounted all of the wonderful events and music they experienced throughout the week!


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  6. When Sarah Hicks and I started the Inside the Classics series all the way back in , we made two rules for ourselves. The second was that we wanted to send our audiences out the door in a state of total euphoria; the educational component of the series was important, yes, but our main goal was to have a lot of fun and take everyone in the room along for the ride. Beyond its place in the historical timeline, though, Petrushka stands apart from all other music that was being written at the time. Where other composers commissioned to write for the ballet would think first of the dancers themselves and the limitations of the human body, Stravinsky penned driving, earthbound themes and rhythms so complex that the ballet masters would have to stand in the wings shouting the beats at the dancers during the performance.

    What separates Stravinsky is that he was utterly convinced that he was writing music for the next generation of musicians and listeners, rather than his own — and he was exactly right. Free ticket offer is good for two tickets to select Minnesota Orchestra Classical concerts through June The Minnesota Orchestra announced today that furloughed federal government employees are eligible for two complimentary tickets to attend a Minnesota Orchestra concert of their choice. Concerts included in the offer are all Classical, Symphony in 60 and Inside the Classics concerts through June subject to availability.

    A government issued ID is required when picking up tickets at the Box Office. As part of the American Expressions festival, we are celebrating how our Orchestra and community have been enriched by people with roots all over the world. We asked the musicians to share more about their heritage and invite you to read on to discover more about their family histories. What made you decide to move to the U. To join the Minnesota Orchestra.

    How has your heritage influenced your artistry? My family instilled a hard work ethic and a deep love of music. Fun heritage facts : I do not enjoy vegemite, but I do sometimes relish kimchi with my avocado toast. Countries of origin: Ancestors from Eastern Russia and Germany. When did your family move to the U. To the best of my knowledge, all of my great-grandparents emigrated to the U.

    My maternal grandfather was an attorney who played the violin. One of my maternal great-grandfathers, Jacob Katz, was an obstetrician who delivered Jacob Javits, who represented New York in both houses of Congress between and Why did you move to Minnesota? Latin music is full of subdivisions that help you learn rhythms. Having a Hispanic background lends a greater understanding to romance languages and the musical styles that originated in those countries. Countries of origin: Ancestors from Italy, Germany and England.

    When did you move to Minnesota? In , to join the Minnesota Orchestra. When did you move to the U. To Minnesota? I immigrated to the states in , moved to Minnesota in , and became a citizen in When did you and your family move to the U. I was 8 years old. What made your family decide to move to the U. Why Minnesota specifically? My dad wanted a better life for our family. They still live in California along with both of my brothers. I moved to Minnesota when I won this job on my very first audition after studying at Juilliard and the Curtis Institute of Music. Having moved here when I was eight, I feel I can draw from the best of both worlds…between a strict upbringing in Taiwan and the freedom of the Western culture.

    Countries of origin: Ancestors from Denmark, Scotland and England. My ancestors immigrated here in the first half of the s. My family came to the U. What made you decide to move to Minnesota? Has your heritage influenced your artistry? If so, how? I learned the skills of dedication, sacrifice and diligent work toward a worthy goal passed down through generations of ancestors. All of these skills were necessary in preparing myself to perform at the level required by this orchestra. He came from Glasgow, Scotland. The great violinist Paganini was traveling through town when his carriage broke down.

    When the townspeople learned who he was, they wanted to hear him play.

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    They refused to fix his carriage until he had played them a concert. My ancestor wrote a short review of this in the newspaper. What a neat experience it was for me to read that biography while the orchestra was on tour in Scotland several years ago. I even got to see a park where my ancestor, John Lyon, had played as a child.

    A few years ago the orchestra toured also in Copenhagen, Denmark. For me the experience was profound. I knew I had lots of ancestors who had come from Denmark, but I was unprepared for the kinship I felt toward the people of that country. When I got off the plane, it was as if I had stepped right into a family reunion. So many young men looked like me. So many girls in the pastry shops resembled my sisters.

    I felt like I was one of them, like I was home. I wanted to take the feeling back to Minnesota. Knowing that was not possible, I did the best I could and brought home as much Danish pastry as I could carry. I look forward to returning someday to research and explore more. When did you first start learning the bass? Age I played the violin and tuba before that. My mother played and taught violin and piano.

    Fun heritage fact: My paternal grandparents were from Sweden. They settled in Boston, where there was a large Swedish community. When did you first start learning the trombone? I originally wanted to be a drummer, but there were already too many of them in the band. The band director had an extra baritone horn, so I decided to play that because more than anything, I just wanted to play in the band. Like many of my colleagues, it was the Orchestra that brought me to Minnesota. I grew up down south and was rather afraid of the Minnesota winters when we first moved here.

    But once I learned how to cross-country ski and tried some of the other fun outdoor activities that we have here both in the winter and in the summer , I fell in love with the place. I found out about my Mayflower roots only this year. He is my great x14 grandfather. He was a boot maker and came here to make and sell shoes. He did not survive here for long, but his daughter Priscilla did and she had 20 children with her husband, John Alden.

    I came from this line. The scene: Saturday morning. What to do with your tickets? Thanks to a generous and simple policy, you have options! Hate fees? We get it. You can even sign in with your Facebook account. Remember, signing in is the quickest and easiest way to find out if you already have a credit on your account. We understand. Now you can easily redeem your Easy Passes online! All you have to do is sign in to your account and browse our concert calendar. After you choose a concert, click the BUY button. After you select the pass type, you'll see the savings reflected in your cart. Simply check out and you're good to go.

    Attend six concerts by yourself, attend three concerts with a friend, or redeem four of them and give away two as a gift. Many of the events and performances of this Common Chords week are free and open to the public. Concert details for the two full-Orchestra concerts as well as a complete schedule of events are below. Sanctuary Covenant Church. Attendees will share a meal with community members and musicians, have the opportunity to try bucket drumming, and then join a sing-along featuring well-known songs and spirituals.

    North High School. Minneapolis Armory — 29th Annual Dr. Martin Luther King, Jr.

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    Homewood Studios Plymouth Ave N. String trio. Broadway Ave. John B. Yoga with Live Music, arrive early and bring own mat. Original readings plus a string duo. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund. When did you know you would make a career in music? When I won my first job. Why did you choose the oboe? I chose the oboe because my older brother—who played sax in the band—said I could get in the band because they needed oboes.

    Tell us about your professional journey thus far. I was very fortunate to get my first job here in Minnesota in the St. Paul Chamber Orchestra at age 22, and I played there for 36 years. Then I had a tremendous opportunity to move over to the Minnesota Orchestra. I love the great music-making and the positive culture that exists here. I feel support from everyone. What is one of your career highlights?

    Standing up there next to his energy and tremendous chamber music-making was a thrill I will never forget. It almost felt like he was playing my part, too, and encouraging me to go with him. It is hard to describe. My advice for aspiring musicians is that you really have to love doing this in order to put in the amount of work and personal sacrifice it takes to play at a professional level.

    There are a lot of ups and downs in this profession, but if you love it you will always be successful, no matter how your career develops. Kathryn Greenbank center playing principal oboe at the Season Opening concerts in September , with oboist Julie Gramolini Williams. What is your favorite oboe solo in the orchestral repertoire? There are so many beautiful oboe solos!

    Do you have any advice for new audience members? My advice for anyone is to not have any expectations about listening. Just let the music come to you and embrace you. But the more you expose yourself to listening, the more you hear. Do you have other performances coming up outside of Minnesota Orchestra? I am just enjoying playing the new repertoire here with the Minnesota Orchestra. Many pieces I am playing now are for the first time. It is a challenge, but I am loving it. What are some of your hobbies? I also love to hike both in the mountains and on walks with my dog in the woods.

    I love crossword puzzles and coffee. If the weather is good, I like to cross country ski. I am really terrible at it, but it feels so good when I make that turn right before the tree that is in front of me. My mind wandered down to my rusting subcompact car parked at an expired meter, the festive red and white envelope surely flapping on the windshield by now. I disliked these wallpaper gigs, squandered sing-along opportunities as far as I was concerned. Every so often I lobbed mild musical provocations in the direction of the bar and waited for a response.

    Jingle Bell Rock. Merry Christmas War Is Over. Continued distant merriment. Blue Christmas. Melekalikimaka …. Eventually a plaid cummerbund and bow tie crossed over to the piano. Then on to Wilson Pickett. And the Beatles. By the time we got to the Big Chill soundtrack, the entire shimmering mirage had coalesced around the piano, drinks in hand. The next few hours are a blur. I remember someone asked my name. I remember someone swapped my club soda for something much smoother with a long, buttery finish. I remember how tuxes and gowns gradually took on faces, faces acquired voices and names and stories.

    For two brief shining hours we were a single noisy clan, the Wailing Doughboys. Walking out to my car, smiling and looking up past the 25th floor and into the winter sky, I mused about our shared lot on this earth and about our craving for certain universal and utterly ordinary comforts. The company of loved ones at the end of the day. The old familiar stories with the old ridiculous embellishments. Simple, timeless comforts. May we practice them often. Every December finds him performing with Kevin Kling at the Guthrie Theater and hosting an annual community show in Lanesboro.

    Among his commitments early in are co-hosting St. For more information, visit danchouinard. I especially enjoy watching the percussionists as they go from instrument to instrument. They meet frequently to walk, bike, eat or visit. Barb also enjoys reading—especially mysteries. But she also reads to bond with her nine-year-old granddaughter, who is reading the Keeper of the Lost Cities. So Barb is reading that, too, and appreciating the opportunities to share insights with her granddaughter. Barb has eight grandchildren in all. In the realm of jobs Barb has held, she vividly recalls her college summer job: cracking eggs for eight hours a day at a poultry company near Pipestone.

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    Four people stood around a big barrel for shells. We cracked the eggs on a sharp blade fastened to a tray. I was not a neat egg cracker. Mom did a lot of laundry! We all do what we can to put food on the table and pay the mortgage. Near Phoenix, Barb volunteers at a food shelf warehouse where she inspects and sorts canned foods.

    So she looks forward to her return to the Hall in the spring. Have fun this winter, Barb, and thanks for all you do for all of us! Take a moment to get to know each of them including their favorite superheroes , then mark your calendar to hear their magnificent music at Orchestra Hall!

    At the annual meeting, major news was shared on two fronts. The season, his final as music director, will mark his 19th year at the helm of the Minnesota Orchestra, capping what is widely considered one of the great musical partnerships in Minnesota Orchestra history. Thank you to our audiences and donors for their wholehearted support which has made the achievements of the past season possible!

    One holiday Mary and I went to our niece's violin recital. There are only two whole note scales. Those are cool and you can throw them in for good effect when done tastefully. It is what all music is built upon. A fascinateing theory and concept that is as true as any law of physics. Originally Posted by VIbes. Okay, after practicing the C major scale, the next key to get started with is the D major scale worry about C major a little later, guys. The D major will also be an introduction as to why there are the 'accidentals' the 'black keys'.

    D Major Scale Start with D with the left mallet: E with the right mallet: sorry about the blurred image D Major Scale Cont. Now play A with the left mallet: B with the right mallet: Move the left mallet to the right and up again to play C thus Way before the invention of the piano in the 17th century and it's predecessors, the harpsichord and clavichord , from the medieval times stretching right back to ancient Greece, simpler plucked and wind instruments were based roughly more or less on what we now know as the C major scale.

    Well, if you only had one scale to play in, you would run out of tunes pretty quickly, right? So what the Greeks and other ancients came across were different ways Really, the island of Lesbos Lesvos in Greek was where the scale supposed to have originated, however, the idea of calling it the 'Lesbian' scale and yes, a native from the island is really called one would not have deemed to have been proper during those more socially restricted times, lol.

    And no, I didn't make that up, I really was told that in a music theory class by a teacher! You're doing a great job Drumbledore, and VIbes. For a minute there, I thought my head was going to explode, but you are drawing it together very well, and at a time when I have become very interested in music theory. Quoting gonefishin: Just have some bacon with ya when you go pick her up In the key of C Now go to the next That means you can start on any key and acheive the theory.

    I am going to print out a copy so I can Remember. Thanks Drumbledore. Drumbledore ,whole tone scale. You are correct on the first one. Complete opposites. Drumbledore and Vibes, this thread got me back working on my vibes. An old set of Deagan model made in Thanks When I used practiced scales, I would start in C and then progress through the circle of 5ths until I got back to C.

    That way I covered all the keys It works going down the circle of 4ths. Bongobill, could you post a pic of those Deagan Vibes? I would love to see them. VIbes, Here it is:. Wow Bongobill! She's a real beauty. I don't know over there in the States, but a set of Deagan vibes here would be pretty damn expensive. Is that company still making them? Wouldn't know the price right off the top of my head, but I'm sure I could get a price quote from the guys at Optimum Percussion in Burwood, Sydney.

    They're pretty the guys that deal with all the mallet percussion over here in town. Keep the pics and advice rolling in guys. Spread the love! Originally Posted by bongobill. Deagan went out of business quite awhile ago. The designs were purchased by Yamaha. I am not sure, but I think only the orchestra bells are still being produced. Anybody else aware of other models still being produced?

    Those are nice bongobill! Those Marimba look to be in excellent condition Drumbledor. Here is my Musser M55 Pro Vibe. I have had it 36 years. On Dealspotr, real people like you update our coupons. You're 4 times more likely to find a working promo code for over , stores on Dealspotr than any other coupon site see the data. No browser extension required. Just come to dealspotr.

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