Nice bit of Taverner Senior from the Tallis Scholars...who I had the pleasure of seeing at the Proms last year....They're like an 8th wonder of the world when you here them live...quite an experience


Taverner: Missa Gloria Tibi Trinitas: Sanctus & B…: http://youtu.be/m2NLYzsYSzc

Spin some phallic harpsicord for us Bop!

Lovely stuff, one of my fav first 30 secs of music..tales off a bit but I could have that first bit on loop

Byrd comes good on this one early one by him

Miserere mihi, Domine: https://youtu.be/IGSc1-Mq_QE

Last edited by Bop (2015-04-08 11:14:45)

Happy to hear someone besides me and the Early Music Department at my school appreciate this kind of stuff. Of course, I'm a fan of most types of classical music.

As a matter of fact, I'm recomposing/arranging a piece by Heinrich Isaac in a jazz big band format as part of a composition project I'm undertaking this summer:
https://www.youtube.com/watch?v=hpMIwuUg81E

I do not believe I have. What lectures are you referring to? I'd love to check them out.

When I finish the project (it's a six movement jazz suite, essentially) and get it recorded, I'll happily share the results with anyone who's interested here!

Very interested in this lecture and the other info you've shared; I'll have a better chance to look into it when I get back home tonight.

This autumn, I'm applying for Phd programs in Music Theory, my primary interest being a bridge between so-called "classical" and "jazz" styles. The performance practice is quite different, especially in later classical music where strict interpretation of written music is the norm, but the theoretical and compositional techniques are more related than many realize. At least, that's what I intend to argue. I have a few copies somewhere of Bach pieces whose melodies would sound at home in a Webern composition, for example. Not to mention Bach's style is essentially bebop.

It's a deep well but I think the main disconnect between Jazz and European Classical music styles is merely of terminology. For example, my jazz composition professor wrote a piece with a three part chorale (trombone, F horn, and flügelhorn I think) and it was constructed of stacked fourths interspersed with 016 trichords (the so-called "Viennese" trichords). Anyway, this chorale, out of context, looked like an exercise on Schoenberg. But when I asked the professor about it, he told me that in the 80s, when he wrote the piece, he hadn't even heard of Viennese trichords (or at least, hadn't studied them). He was grouping sets of three notes based on subsets of the harmonies that appear later in the piece. Essentially, he produced a chorale exactly like one you'd find in post-tonal classical music, but he came about it via a completely different compositional method.

I was a little preoccupied while typing this, so hopefully it makes some sense. My point is jazz composers (intentionally or unintentionally) use similar harmonic and melodic techniques as various European "classical" music composers, from Bach to Bartók. ... It'll read better when I put it in a thesis.

Also, my apologies for highjacking this thread with young people's music. Here's some Josquin to make up for it:
https://www.youtube.com/watch?v=nfVnqU8hyxU

Last edited by Joey (2015-06-22 08:39:42)

This is a good read Joey explaining a lot about harmony etc..and interestingly for me from a color point of view the diagrams they move around in order to make the chords...are the standard relationships we use for color theory.. I before reading this adopted these musical relationships over the color wheel to get these new intervals in terms of color theory..but this short essay is all based on music.
http://www.integermusic.com/?p=79

Last edited by Bop (2015-06-30 11:38:17)

Run yourself a deep bath and slap this on....beautiful piece of music


https://youtu.be/J6McIK8ULrk