“Indian classical music is a genre of South Asian music.It has two major traditions: the North Indian classical music tradition is called Hindustani, while the South Indian expression is called Carnatic.”
Indian classical music has two foundational elements, raga and tala. The raga forms the fabric of a melodic structure, while the tala measures the time cycle.
Indian classical music is a genre of South Asian music.It has two major traditions: the North Indian classical music tradition is called Hindustani, while the South Indian expression is called Carnatic.
The raga gives an artist a palette to build the melody from sounds, while the tala provides them with a creative framework for rhythmic improvisation using time.
There is no concept of harmony in Indian classical music.
Here Debdeep Misra performs raga YAMAN……WHICH IS INDIAN CLASSICAL RAGA. Yaman emerged from the parent musical style of Kalyan Vilambit bandish ” kahe sakhi kayse ke ka kariye”
My mother Grew up outside of Beirut, Lebanon, and I had listened to a lot of Arabic music growing up. I started playing euphonium in school and loved it so much that I focused on that for a while. I heard Ibrahim Maalouf on the radio and it resonated with me so much that I looked him up, and got in touch with his father on Facebook.
Nassim his father studied at the Paris Conservatory under Maurice Andre, and invented the Arabic trumpet. after passing some recordings back and forth, he helped guide me how to play the style properly.
This fall I have presented a lecture on how to modify all low brass instruments to be able to play the quarter-tone system, lectured at conferences, and have given masterclasses all over the US on the subject. I should have my first CD out this summer.
B i o g r a p h y
Dr. Richard Demy is an international award winning musician who has performed all over the world. He graduated from the University of North Texas with his DMA under Dr. Brian Bowman, including other notable teachers – Dr Joseph Skillen, Don Palmire, and others.
Richard won the 2012 Leonard Falcone Euphonium Artist Solo Competition. He was a finalist in the National Symphony Orchestra Concerto Competition and the International Tuba Euphonium Conference Euphonium Artist Division.
He performed a solo recital at the Kennedy Center as well as with with wind bands across the United States and Europe. He has performed with symphonies and given over 100 recitals and master classes in many states in the USA
“My passion is to teach masterclasses and workshops on brass. I focus on practice habits, with an emphasis on teaching technical elements from a musical paradigm. Send me an email to discuss how I can assist your program ”
Richard has worked hard to expand performance opportunities on the euphonium by publishing articles promoting lesser known genres featuring the euphonium, presenting recitals on historical instruments, and performing modern compositions with audience biofeedback.
He currently performs with the Lone Star Wind Orchestra based in Dallas, Texas and released his first album in June 2016. You can read more about upcoming performances at DemyMusic.com. Richard plays exclusively on a WILLSON 2900TA Euphonium.
Queen’s mega-hit has been interpreted countless times. But who did it first?
Three years ago,we celebrated the 40th anniversary of the Queen classic “Bohemian Rhapsody,” complete with a reissue of the single’s original artwork for Record Store Day’s Black Friday and a Queen-endorsed brew, aptly named “Bohemian Lager,” made in — where else? — the Bohemia region of the Czech Republic.
Over the years, the Freddie Mercury-penned song has evolved from a radio staple to competition showcase for melismatic singers everywhere to something akin to public domain. There’s countless parodies: “Bohemian Carsody,” a car-themed parody by the all-female comedian troupe SketchShe, has racked up almost 30 million hits. There’s also ascience-themed “Bohemian Gravity,” College Humor’s “Bro-hemian Rhapsody,” “Bohemian Momsody,” the Minecraft-themed “Bohemian Craftsody,” and “Nintendohian Rhapsody.” And that’s just scratching the surface.
Interpretations of “Bohemian Rhapsody” also abound. Ukulele master Jake Shimabukuro’s TED Talk cover from 2010 has nine million views and counting. American Idol’s Adam Lambert’s rendition of “Bo Rhap” led to a job playing Mercury himself in a biopic set to release this year. Kanye West, the supremely self-confident rap artist and provocateur, opened his headlining set at Glastonbury Music Festival with a “Mama” heard ‘round the world in a performance that could charitably be described as pitch-imperfect. Remember Robert Wilkison? Arrested for driving while intoxicated in Alberta, Canada, he proclaimed his innocence with a full-throated “Bohemian Rhapsody” from the back of a squad car. He racked up 11 million hits. They did not let him go.
But who made the very first “Bohemian Rhapsody” cover?
Or maybe the 1987 cover by Bad News, the comedy metal band?
Good guesses, but both are wrong.
The very first “Bohemian Rhapsody” cover was recorded for a Top of The Popscompilation volume and released in December 1975, three months after the original song was released on the airwaves. Not to be confused with the television show by the same name, the Top of The Pops series were budget-priced compilations that featured studio musicians and singers recreating chart-toppers, and usually featured a scantily clad model as the album art. We’re talking everyone from the Supremes to the Sex Pistols. Found on Top of The Pops #49, the “Bohemian Rhapsody” cover was recorded at De Lane Lea Studios, next to Wembley Stadium, where — it might be noted — Queen recorded early demos for tracks like “Keep Yourself Alive.”
Recently I tracked down Tony Rivers, one of the four Top of The Pops singers who recorded that first “Bohemian Rhapsody” cover. He was also the vocal arranger on the sessions, a thankless task for which he was well-prepared: Rivers’ long and varied career includes working on tracks from early 60s vocal groups Harmony Grass and the Castaways, recordings with Pink Floyd and INXS, and singing backup for Cliff Richard and Elton John — all of which he’s written about in his book, I’m Nearly Famous: The Tales of a Likely Lad.
Rivers was kind enough to let me pick his brain over email about the original “Bohemian Rhapsody” cover.
This interview has been lightly edited and condensed for clarity.
Everyone covers or parodies “Bohemian Rhapsody” these days — from the Muppets, Phish, Flaming Lips, William Shatner, Zac Brown Band, Kanye West — everyone climbs Bo Rhap Mountain, it seems.
Well, not many could manage to put this together, least of all Kanye West!
But you were the first.
I have always assumed that [it was], mainly because harmony wasn’t many singers’ strong point at that time, and it was the most complicated arrangement to learn in a few days and record.
A few days? The original famously took three, four weeks.
There were very few around who could have done it that quickly. It was a bit easier for us four, all coming up with vocal group backgrounds. All four of us sang on “Bohemian Rhapsody.” We usually took a day to lay down lead and backing vocal tracks, and would be on our way home by 11pm. Not this time!
So it wasn’t easy to do, then.
No. With due modesty it was difficult for us because of the time restriction — maybe two or three days to live with it (once the committee had chosen it).
By “committee” you mean the people at Top of The Pops?
A small group of Hallmark employees, along with producer Bruce Baxter, would sit down prior to the planned sessions and choose the potential hits. That, of course, was the secret to the label’s success. I have no idea what their thoughts were in choosing “Bohemian Rhapsody” other than “what an amazing record!”
The cover is pretty much perfect, note-for-note. How did you pull that off?
As usual, I had the job of sorting out the vocal arrangement. I had to listen and memorize the parts. John Perry and Ken Gold were also listening and were both assigned lead lines that suited their voices, which they did brilliantly I think. Oh, and let’s not forget the late Stu Calver, who was the very high voice on the Roger Taylor parts — the “Gallileo”’s and so on.
Normally this wouldn’t be too big a deal, but with this song, I had to sit for hours at home listening, making notes, and memorizing vocal lines — apart from the other tracks we had to do that day!
The time-consuming job of layering track after track of vocals ’til we got the sound and the voicing right seemed to take forever. But in the end, it had been a great opportunity to find out how that song was put together.
I’m still trying to wrap my head around you doing all of this in a few days, to be honest.
The harmony parts were obviously part of the problem, but they are not difficult harmonies. The problem was lack of familiarity with the whole thing. We could copy sections, piece by piece. The other problem was the time needed to achieve a similar “sound.” That kind of mass tracking takes time, and wasn’t usually available in big lumps. This was something with many lumps!
We were helped greatly by the fact that all three of us had good range in our voices with JP and Stu blessed with fantastic falsetto range.
I believe we spent the early part and the rest of the day, singing whatever vocals or harmonies needed on the other songs that had been selected.
You worked on other songs at the same time?
Memory tells me at around 7pm we started on Bo Rhap, bit by bit, until each section sounded good, and added voices until it did. We finished and hit the A406 [a main London road] around 7 the next morning in a daze, in rush hour traffic, with “Gallileo”s running round our heads.
I have nothing but admiration for the man who created it: Freddie Mercury. What a record.
A bit different from something like [The Sweet’s] “Little Willie!”
The original version made a splash, of course, but the TOTP version made headlines as well. Kenny Everett, who famously played the test pressing of the original track, also played your cover.
Kenny Everett was a big name at that time , and decided to see if the listeners could tell which version had taken months and a fortune to record, and which was done in a few hours on a budget album! He played our version and Queen’s, cutting between the two, asking “Can you tell which one’s the ten-bob version, and which one cost six million quid to make?”
Did you ever hear from the Queen camp regarding your cover? I know you worked with Cliff Richard for quite some time, and Freddie Mercury and he were friends.
Ken Gold was introduced to Freddie whilst on an Elton John tour of the USA. Ken decided to ask Freddie what he thought about “that cover.” He looked pensive, then added, “Hmm, an interesting version!”
I did meet Brian May once. He said, “Hi, Tony! Roger and I used to go to see you live at Loughborough Uni/College, and you were a very big influence on our harmonies!” Not bad, eh?
Earlier this week I posted some thoughts about the Sex Pistols on my Facebook page. I’d been thinking a lot about the band’s appearance on the Today show hosted by Bill Grundy in 1976.
If you don’t know what I’m talking about, it’s worth a look. The Sex Pistols had already caused an uproar with the release of their debut single, “Anarchy in the UK.”
The Sex Pistols didn’t invent punk rock. They weren’t even the first band in the UK to release a punk rock single. (That honor goes to The Damned.) But the Sex Pistols were a lightning rod for criticism: their appearance, their attitude, their troubling disregard for authority were an affront to Englishness. Then along came Bill Grundy.
During the show, Grundy goaded guitarist Steve Jones into calling the host a “fucking rotter” among other things on live TV. All of Britain was scandalized by what would be by today’s standard’s a fairly tame Twitter exchange. The headlines in the papers the next day proclaimed “Filth and Fury,” which the Sex Pistols brilliantly co-opted.
But here’s the thing: Jones wasn’t wrong. Grundy was a drunk who took advantage of his fame. When it comes to the Sex Pistols there was plenty of manufactured outrage, but in this incident Jones doesn’t go off on Grundy until the host starts making lewd remarks to Siouxsie Sioux. Grundy had it coming. Two months later he would be out of a job.
In my post earlier this week, I suggested the Parkland kids were approaching a Bill Grundy moment with a vocal conservative minority laying into these young men and women, David Hogg in particular, for having the temerity to express themselves in a way they found disagreeable.
That was before Iowa Congressman Steve King and conservative media personality Laura Ingraham launched ad hominem attacks on Emma Gonzalez and David Hogg, respectively. The blowback was astonishing.
King is now being investigated by the House Ethics Committee and a growing list of corporations have pulled their ads from Ingraham’s show, which leads me to my original question: Are the Parkland kids seizing the moment the way the Sex Pistols seized theirs? Are we looking at a watershed moment in American culture where media savvy teenagers upend the status quo?
Punk rockers of the late ’70s seldom provided answers to the problems they faced. They’d witnessed the hippies try to change the world with peace, love and alternative approaches to entertainment. That message failed. The message of punk rock was rejection. They didn’t have the answers to society’s ills nor did they pretend to, but they had the tools to reject, to refute, to tear it all down.
The Parkland kids are in a similar position. The survivors of the massacre at Marjory Stoneman Douglas High School are not the first to call for an end to the NRA-sactioned madness. But they have galvanized the public’s imagination in a way that no one could have predicted.
The failure of our leaders to protect children from gun violence has sparked something tremendous in this country. And stern warnings and scare tactics aren’t going to put the genie back in the bottle.
These kids are coming. Their moment is now a movement. And the dirty fuckers in charge won’t be for much longer.
A recent study shows that studying music can boost a child’s brainpower and academic ability.
In a study of 147 primary school children, pupils were given music lessons and tested for memory and vocabulary.
The study, by VU University Amsterdam and ArtEZ Institute of the Arts at Zwolle in the Netherlands, found that school children who had music lessons were more competent in other subject areas as a result.
Lead author Dr Artur Jaschke told the Daily Mail: “Children who received music lessons showed improved language-based reasoning and the ability to plan, organise and complete tasks, as well as improved academic achievement.
“This suggests that the cognitive skills developed during music lessons can influence children’s cognitive abilities in completely unrelated subjects, leading to overall improved academic performance.”
The children who received music lessons were also better at planning and controlling their behaviour than children who didn’t have music lessons.
The report, published in the journal Frontiers in Neuroscience, claims that when reading music, children use parts of their brain involved in memory and attention, which prepares them for other life skills.
“Even though not everybody is a professional musician in the beginning, practising an instrument and the discipline it takes can increase brain function,” said Dr Artur Jaschke.
In the study, children with an average age of six were divided into four groups. Over a period of two and a half years, the first group was given school music lessons, the second school and private music lessons, the third no lessons, and the fourth group were given art lessons only.
Regardless of musical ability, the groups who had either school or private music lessons showed greater memory and vocabulary capabilities.
Their memory was tested by remembering dots in a grid on a screen, and their vocabulary by naming similarities between objects, like a cat and a dog.
The research also found art lessons had a notably positive effect on children’s visual and spatial memory.
Long before raves and EDM, free love and inclusiveness were stayin’ alive on the dance floor.
Emerging from its urban working-class origins in the early 1970s, disco got real big real quick. By mid-decade, Barry White and Donna Summer songs were topping the charts, supplanting rock on the airwaves, infuriating judgmental fathers to no end, and eliciting antipathy from midwesterners — and then from a nationwide cohort — that to many felt like dog-whistle racism and homophobia. In 1977, John Travolta edged a version of disco into the mainstream with his depiction of a Bay Ridge working boy turned club king in Saturday Night Fever. Despite its whitewashed cast and competitive dance-off plotline, the film got one thing right: disco was as New York as pizza and buybacks. Manhattan was the pulsing, throbbing hub of the music’s infernal energy, and clubs like Studio 54 and Le Jardin were its proving grounds.
But the high didn’t last long. By the early eighties a backlash was forming. The record industry was slumping, and many blamed disco for the downturn. Meanwhile, a Reagan-era resurgence of conservatism and the rise of the religious right paralleled criticism of the hedonism associated with discotheque culture.
These visceral photos by Waring Abbott are a testament to the transgressive momentum of a genre born to die. And maybe that’s okay. After all, culture always looks better in hindsight. In the moment, in the mix, one might have an inkling of what’s cool, but it’s not until nostalgia kicks in that we truly realize what we had (or missed out on). If disco lives today, it’s in the legacy of electronic dance music, which emerged in the eighties as a similarly safe space for inclusive notions of community, dance, and indulgence. “Psychologically I reach a climax,” said a DJ in a 1976 UPI report on the spread of disco, echoing the music’s function as similar to that of modern-day EDM. Another told UPI, “To get 2,000 people into one mood, it’s just tremendous.”
People that boast how many days they’ve gone without sleep in hopes of proving their dedication to their craft are missing the point.
Practice is an art — it is not a simple “plug and chug” of hours in and skill level out. And in order to actually make the time you spend practicing meaningful, you have to bring a heightened level of awareness.
You have to know what to look for, what to fix, and ultimately, how to enter your “zone.”
1. It’s not about just “practicing.”
Going through the motions isn’t enough.
You have to be present and aware while you practice, and actively looking for all the things you still need to improve upon.
2. Your schedule and your practice times go together.
If you are practicing in the morning some days, evening other days, and afternoons at random, you are not as effective as the person who practices at the same time, every day.
Your schedule needs to be based around your practice hours — not the other way around.
3. Consistency is the most important part.
Rome doesn’t get built in a day.
You can’t go 5 days without practicing and then try to pull a 12-hour marathon to make up for lost time. Practicing a little bit each day is far more effective than day-long sprints.
4. The “sweet spot” for practice is 3–4 hours.
Reason being, that first hour you are still warming up, and that last hour you are entering “burn out.”
So in reality, a 4 hour practice session is really only 2 hours of truly quality practice — which means it is exceedingly important that you are “mentally present” during those middle 2 hours.
5. Don’t practice what you’re already good at.
Competition inherently looks for weaknesses.
If you are a master of one thing but a total newbie at another, then all someone has to do is target your weaknesses. Make it a point to practice what you’re not good at, so that you are more well-rounded.
6. Reflect after each practice session.
Ask yourself, “What did I improve upon today? Did I learn something new? Did I challenge myself? What can I work on next?”
You want to constantly be asking yourself questions so that you know what to improve upon next.
7. It’s not about “getting it done.”
It’s about getting it done “right.”
If you are the type of person who times how long you’ve been practicing, you’re already starting off on the wrong foot. It’s not about practicing for the sake of “just practicing.” You have to have a vision, something you are working toward.
Then, it no longer becomes about time. It’s about skill.
8. Study yourself.
The ability to watch and learn from yourself is also extremely undervalued.
If you are an athlete, record yourself playing your game. If you are a gamer, record your screen as you play. If you are a writer, go back through your work with a pen and look for improvement areas. If you are a musician, record yourself and listen to yourself play.
You will never be able to see your mistakes while you’re in the moment of practicing. So separate the two.
9. Watch other people.
If you can learn how to record and learn from your own practice sessions, you will have a better eye for watching how your competition operates as well.
You will be able to pick apart what it is they are doing, and then steal their strategies.
This learning then becomes an inherent part of you — your process.
10. Always be growing.
Always be looking for how you can improve.
Always be focusing on your weaknesses, not your strengths. Always be searching for new competition. It’s a journey and on you to stay moving forward at a consistent pace.
…a virtuoso was, originally, a highly accomplished musician, but by the nineteenth century the term had become restricted to performers, both vocal and instrumental, whose technical accomplishments were so pronounced as to dazzle the public.
In recent years, the term virtuoso has been overused and downgraded to include any artist who has command over their instrument. The word ‘proficient’ should suffice when describing most accomplished performers however, once in a while, a musician will come along who goes way beyond just proficient. I am reminded of the likes of Paganini, Pavarotti and Jacqueline du Pre when looking to fit this bill.
Alexander Hrustevich fits the description perfectly. There is nobody more proficient at playing the accordion than Alexander.
Ukrainian-born Alexander Hrustevich is one of the best bayanists in the world. Mr. Hrustevich is constantly invited to perform in many countries, including Poland, Austria, Germany, Italy, Spain, Russia, Serbia, Brazil and many others. Just recently, he performed with legendary musician and composer, winner of several Grammy awards Bobby McFerrin in a sold out, three thousand audience arena in Kiev.
The very first notes will take your breath away… Alexader Hrustevich is able to play the most complicated transcriptions of violin, piano and orchestra pieces with the bayan; starting with Tchaikovsky’s Concerto for Violin and Orchestra and finishing with a fragment from Antonio Vivaldi’s “The Four Seasons.” Using his ten fingers at the same time, he is able to easily play both orchestra and violin parts. For these extraordinary abilities people and critics call Mr. Hrustevich – “the man orchestra“.
As prof. David Yearsley writes about Mr. Hrustevich’s recording, which he saw on Youtube: “The small stage on which Hrustevich demonstrates his art is festooned with yellow and orange balloons and fake flower garlands. The camera is hand-held, but despite all of this, you can feel how great are this virtuoso’s gifts.” The professor also compares his interpretations of Bach Passacaglia with a pianist: “Tricky passages that the pianist divided between the two hands, Hrustevich manages with one. He revels in the virtuosic spectacle of fingers flying and sliding and contorting over buttons and in the same time picking almost every note cleanly. It’s rather like playing the Bach Passacaglia on a travel typewriter, only harder.”(The Musical Patriot).
Born in 1983, Alexander Hrustevich started to play the bayan by the age of 6. He graduated Ukraines National Academy of Music as a student of prof. Besfamilnov. Apart from his solo activity, he is also a member of the National Academy Orchestra.
I provide music department INSET focussing on the impact of growth and fixed mindsets, teaching for metacognition, cultivating an intrinsically motivated department, and the teaching of music practice. I’m presently taking bookings for my UK tour this September and October.
I tour each year from Australia, and have provided for numerous schools and music services throughout the UK. I am the author of ‘Learning Strategies for Musical Success’ and ‘Bumblebee! Rounds & Warm-ups for Choirs’.
Music and Mindset: Elephants in the Classroom!
From the ancient world through the Renaissance, artistic skill was viewed as an intuitive gift rather than the result of effort. Even today, musical ability is more often considered innately derived than any other ability or human faculty.
Indeed, 75 per cent of music educators subscribe to this theory that superior achievement in music is due to genetic endowment. To what end? Mindsets powerfully impact learning behaviour. Learners with a growth mindset work harder, embrace challenge, persist for longer and learn from criticism, whereas the fixed mindset gives up more readily and ultimately achieves less.
Teacher mindsets result in teacher expectations impacting student achievement. Mindset is the most important precept in music education today. It is that important that every music teacher understands the impact their beliefs, words and actions have on cultivating the learning disposition of students. Sticks and stones may break my bones but words can cause irreparable damage.
The Magic of Musical Metacognition
Metacognitive teaching has the greatest impact on learning. It is that wonderful learning stage when the learner drives the learning. An umbrella term, metacognition means “thinking about our thinking”. It includes planning, questioning, monitoring, memorisation, self-reflection, self-knowledge about our learning strengths and weaknesses, and self-evaluation. It involves understanding our motivations, setting goals, knowing which practice strategies to implement, and being able to exercise self-discipline. It’s about knowing when and how to use practice strategies for maximum learning.
Metacognition enhances autonomy, powerfully impacting intrinsic motivation. How is this maximised in music teaching? Supported by the work of John Hattie and Gary McPherson, and specifically for music teachers, a tripartite model for fostering metacognition will be presented.
Deliberate Practice: Expanding Musical Potential
Many teachers focus instruction on what to practise, but the how of practise is the most important concern. Children who are unable to motivate themselves to apply deliberate practice strategies will lack real progress. Progress is the great motivator. If students do not think they are making progress, they quit trying. The best predictor of musical progress is the quality and quantity of practise time.
Types of repetition, chunking, and slow practise must be core. Engaging music students in metacognitive practice processes is the most effective means of guaranteeing progress. What is required is not just that students engage in the proper practise strategies, but that they know what they are, and are consciously aware of using them. How is this taught explicitly, and how can we be certain that students really understand practice?
Or have all three topics as part of a whole day of INSET. Return email for more. Independent teachers welcome to attend.
“Wonderfully inspiring – still on a high.” Guildhall School of Music, London
“So much information that is backed by research. Great advice and I’m inspired to try a new mindset in my teaching.” R Tombs, NSW
“I had a great day learning about how students are motivated by progress. We were taught all about how to determine progress and how to instil a growth mindset in our students. I then took what we learnt back to the classroom and my students are more motivated in their music practice.” J Goodwin, NSW
“Brilliant! Just what I needed to get back in the groove!!” – Hampshire Music Service, UK
“This was a first-class talk by a high calibre, international speaker. What a great start to a new school year. Red Maids, Bristol An excellent talk this evening. Michael is a superb speaker and delivered key messages in such an engaging way.” Headmaster, King’s High School, Warwick UK
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