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Nikhil Hogan Show
92 minutes | Jun 20, 2022
138: Nicholas Baragwanath
0:00 Start 1:34 How has the book, "The Solfeggio Tradition", been received? 6:43 Italian solfeggio explained in 4 minutes 11:41 Should children delay singing solfeggio until their voice has broken? 14:15 Did 18th-century plainsong sound more like galant music rather than medieval music? 16:10 What about Palestrina? 19:35 An example of a lesson in Italian solfeggio 22:33 How do you learn to accompany a melody line by sight with the correct harmony? 28:00 How do you follow the rules of counterpoint when switching between hexachords? 32:33 How do you know when there is a change of syllable vs a continuation of a melisma? 34:57 Does the appoggiatura take the target note's syllable or have its own? 36:20 Up 4th Down 5th Bass Motion in Italian Solfeggio 37:19 Mozart improvisation solfeggio lesson (K. 545) 41:19 Notation is the curse of the modern musician 48:02 Did Mozart know Italian solfeggio? 51:10 Why did the Germans complain about the Italians keeping solfeggio as a trade secret? 53:11 Were violinists like Paganini, Corelli and Vivaldi familiar with Italian solfeggio? 57:11 Did the Italian Maestros abandon teaching solfeggio syllables if the students struggled with pitch? 59:11 Did Italian solfeggio completely die out in the 19th-century? 1:00:49 Did Italian musicians think of the bass in terms of solfeggio syllables? 1:05:56 What was the 18th-century Italian understanding of Keys and Tonality? 1:09:02 What are good solfeggio manuscripts to practice to with and how much proportion of time is spent worrying about syllable placement vs actual singing? 1:12:10 Do we have access to 18th-century plainchant that doesn't sound like medieval music? 1:17:19 Is there any value to practicing solfeggi exercises with "Ah" even if we don't know which syllables to use? 1:18:45 What are your favorite solfeggi collections? 1:19:46 What's your opinion on Johann Fux and his method of teaching counterpoint? 1:21:19 What do you think of Nicola Sala's counterpoint treatise? 1:22:39 How does your solfeggio expertise inform the way you would teach partimento? 1:25:08 Are those manuals of singing by maestros who changed to Fixed Do still useful for learning diminution? 1:25:57 What's the state of Italian solfeggio research today?
89 minutes | Apr 5, 2022
137 - Derek Remes
0:00 Intro 0:36 Start 1:58 What made you want to analyze Bach's 48 preludes? 4:26 Every prelude in the book has been transposed to C or Am 6:22 Is there one perfect analysis of Bach's compositions? 8:30 "The Walled Park of Closely Related Keys" 12:11 Would Bach go from C major directly to E minor? 12:42 Bach's use of closely related keys in the preludes 14:35 Looking at an example from the book 17:23 Talking about the nature of modulations in the 18th-century 22:02 Is Bach a galant musician, old school, or a transitional figure? 25:30 Do Heinichen and CPE Bach share any similarities in their systems of thoroughbass? 35:42 What is Bach's typical behavior in employing satzmodelle (schema theory)? 40:31 Is there anything controversial about your analysis of these preludes? 42:57 What would you say to someone who analyzes music with roman numerals and harmonic function theory about your book? 47:23 Which of the 48 preludes was the hardest to analyze? 58:23 What's the best way to realizing figures correctly? 1:04:40 How do you memorize all these rules of thoroughbass? 1:09:54 Reading Furno and learning that music is composed of consonances and dissonances 1:11:53 Does your interpretation of repertoire change from knowing thoroughbass? 1:16:24 What is the state of music theory in music education, how has it changed? 1:22:17 What future research would be good for thoroughbass?
84 minutes | Dec 14, 2021
136: Peter Schubert
Professor Peter Schubert from McGill University returns to the show to discuss the republication of a new edition of his book, "Baroque Counterpoint."
73 minutes | Sep 30, 2021
135: Eric Boaro
My guest today is Eric Boaro. He is the author of a very interesting article in Eighteenth-Century Music, called Evidence of the Practical Application of Solfeggio Patterns in the Manuscript for the 1707 Neapolitan Performance of La Fede Tradita E Vendicata by Gasparini and Vignola.
98 minutes | Sep 24, 2021
134: Robert Gjerdingen and Giorgio Sanguinetti
I’m very excited to welcome two very special guests to the program, Professor Robert Gjerdingen and Professor Giorgio Sanguinetti. Professor Gjerdingen is the author of Music in the Galant Style and Child Composers, while Professor Sanguinetti is the author of The Art of Partimento”. They join me today for a group table discussion on partimento, music education, music history, and much more.
115 minutes | Sep 9, 2021
133: Patrick Ayrton
My guest today is conductor, harpsichordist, and organist, Professor Patrick Ayrton. He currently teaches thoroughbass, chamber music, and improvisation at the Royal Conservatory of the Hague.
95 minutes | Aug 30, 2021
132: Jonathan Salamon
Harpsichordist and Composer, Jonathan Salamon, joins the show to discuss his article on the Leo Schema.
90 minutes | Aug 30, 2021
131: Johannes Menke
Professor Johannes Menke joins the podcast to discuss the French Baroque Style, Satzmodelle in 17th-century French music, and more.
80 minutes | Jul 29, 2021
130: Rossano Sportiello
I’m extremely thrilled to introduce my guest today, Jazz pianist, educator, composer and arranger, Rossano Sportiello! He is one of the world's leading jazz piano players on the scene today, specializing in styles from Harlem Stride Piano to Bebop to Contemporary Jazz. Jazz piano legend Barry Harris said of Rossano, “Rossano is the most fabulous piano player I ever heard in my life; indeed, a master of his craft. Hear him once and you’ll know what I mean”. 0:00 Start 0:53 Background 5:18 Did you improvise or compose when young? 7:00 How did you learn jazz in your teenage years? 9:02 You started out as a dixie land pianist 10:45 Did you study harmony and counterpoint in the conservatory? 14:25 How do you think about chord symbols as your theoretical framework in jazz? 17:34 Classical improvisation 20:17 The great classical composers were like jazz musicians 21:40 What’s your opinion of modern jazz theory? 23:21 Jazz as the continuation of classical music 28:22 Barry Harris saying we should study figured bass 31:48 Can you technically explain your horizontal thought process of chords in jazz 34:10 How do you teach jazz that is different from modern jazz theory? 36:49 Do you think of chord to chord, or key area to key area? 38:16 The “A” section of Rhythm changes 40:56 Do you think of superimposed chord structures on top of other chords or purely in intervals? 44:54 What is your conception of right hand improvisation? 50:19 Do you transcribe entire solos, or parts of solos that you like? 58:03 What’s your advice on playing fast, up-tempo tunes? 1:00:59 Walking with the left hand and improvising with the right hand at the same time 1:07:38 Do you hum or sing, externally or internally as you improvise? 1:08:35 If you play with any 3 jazz musicians in history, who would they be? 1:09:37 What is your proudest musical moment? 1:11:44 Hardest tune for you to play? 1:13:04 What 3 albums would you recommend for a brand new listener of yours? 1:15:28 Wrapping Up
62 minutes | Jun 11, 2021
129: Nicole DiPaolo
I’m very happy to introduce my guest today, Pianist, Composer, Teacher, and Music Scholar, Nicole DiPaolo! She is an online Adjunct Lecturer in Music at Indiana University, a faculty member at a Cleveland-area multi-teacher music studio, the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school, and a sought-after online instructor of piano, music theory, and composition.
86 minutes | May 29, 2021
128: Adem Merter Birson
My guest today is Musicologist and Music Theorist, Professor Adem Merter Birson! He is an adjunct assistant professor of music at Hofstra University. His primary research deals with the relationship between chromaticism and form in the string quartets of Joseph Haydn. We will talk about Haydn, partimento, sonata form and even get a little into some classical Turkish music.
55 minutes | May 19, 2021
127: Alex de Grassi
I’m extremely thrilled to introduce my guest today, Grammy-nominated master fingerstyle guitarist Alex de Grassi. He has recorded 19 albums and in 1998, he was nominated for a Grammy for his album “The Water Garden”. The Wall Street Journal has called his playing “flawless” and Billboard hails his “intricate finger-picking technique with an uncanny gift for melodic invention.” His most recent album is 2020’s The Bridge, with Tropo Records. The Bridge is Alex’s first solo guitar recording in 17 years since Now and Then: Folk Songs for the 21st Century. 0:00 Start 0:49 Grandfather’s advice 2:10 Did your grandfather improvise and compose? 4:41 Did you have a musical childhood? 6:40 How did you transcribe fingerstyle arrangements by ear? 8:11 Did your grandfather’s technique inspire you to translate that philosophy to the guitar? 10:07 When did you write your first compositions? 11:23 How did you find yourself performing in London as a street musician? 13:27 Did you meet any famous future folk stars back then? 15:29 When did you decide to be a solo fingerstyle guitarist? 19:04 How do you create your sound? 20:06 What specific examples of guitar pieces steered your direction? 23:14 When you are composing, which comes first, rhythmic ideas, melodic ideas or harmonic ideas? 24:23 How long does it take to compose a piece? 24:52 What’s an example of a song you’ve written very quickly? 28:13 What’s your opinion of the metronome? 30:35 What are the easiest and hardest songs for you to play in concert? 33:11 Do you use music theory when you compose? 34:00 Did you study formal counterpoint? 35:51 Does your music require physical aids like acrylic nails to play? 38:04 Did you ever meet Leo Kottke and has he heard your music? 39:28 What about Bert Jansch? 41:15 Top 3 acoustic guitarists? 42:41 Top 3 jazz improvisers? 44:03 Top 3 classical composers? 44:34 What is your proudest musical moment? 47:11 What is your biggest musical regret? 48:04 When did your grandfather pass away? Did he get to hear your music? 48:24 What about your father? 49:38 What would surprise your fans about your music? 50:51 Which album or tracks would you give to a new listener to introduce them to your music? 51:42 Wrapping Up
89 minutes | May 12, 2021
126: Robert Gjerdingen
I have the huge honor to welcome back to the program, the esteemed Professor Robert Gjerdingen, he is the author of the groundbreaking 2007 “Music in the Galant Style” which won the Wallace Berry award from the Society of Music Theory in 2009. He followed up that book with the excellent 2020 book “Child Composers in the Old Conservatories” and he frequently updates the great website partimenti.org which if you are interested in partimento, need to have that website bookmarked because it has a ton of great material and is constantly being updated.
63 minutes | Apr 30, 2021
125: Riccardo Castagnetti
I’m so happy to introduce my guest today, Musicologist and musician, Riccardo Castagnetti. We are going to be talking about his research in 18th-century music education pedagogy, focusing on the methods of Andrea Basili.
92 minutes | Apr 29, 2021
124: Massimiliano Guido
I’m delighted to introduce my guest today, Professor Massimiliano Guido, he is an expert in the fields of historical performance practice and improvisation. He is the editor of the book "Studies in Historical Improvisation: From Cantare Super Librum to Partimento" and he is going to talk to me today about a wide range of topics including counterpoint, partimento, music theory, music history, and much more! 0:43 What is your background? 2:46 Did you improvise at the beginning? 6:06 Did you learn any theory on the way to being a performer? 7:36 When did you switch to more historically informed methods? 9:01 What was the theoretical basis to Professor Bellotti’s approach? 10:51 Girolamo Diruta 15:04 Claudio Merulo 18:46 How did think about keys, modes and tonality back then? 23:17 Is it fixed that certain modes fit to certain points in the Catholic Mass? 28:20 The massive amount of melodies in the Liber Usualis 29:46 What is a vesper? 30:48 What do you mean by Seicento? 33:17 How have these older, historical methods of counterpoint instructed affected your students? 38:20 How difficult did the counterpoint go in terms of singing? 39:40 What skills do you get out of learning these older methods that can be applied to today? 41:48 H.A.B. Crawford’s trenchant quote 44:23 How would free composition been taught historically? 48:26 What are steps someone should take toward learning to improvise canons and fugues? 52:34 Do I have to know the terms like Tenorizans and Cantizans? 53:24 Bernardo Pasquini 54:22 What do you mean by Frescobaldi pushing the system to it’s limits 57:41 William Porter 1:00:34 Giorgio Sanguinetti and Partimento 1:02:17 Do these traditional methods stem out of the Catholic Church rather than Nationalism? 1:04:26 How did the Reformation and Counter-reformation affect the music of the period? 1:08:23 Who are your favorite composers for keyboard and organ from the late Renaissance? 1:12:25 Are there any composers that have been unjustly ignored but should be really known better? 1:16:41 Who are some historically informed performers that you like? 1:19:36 What tuning and temperaments do you feel are appropriate for the late Renaissance? 1:22:17 What do you make of Tonal Harmony, Chordal invertibility, Roman Numerals and function theory? 1:26:10 Future Projects 1:27:59 Wrapping Up
101 minutes | Apr 23, 2021
123: Terry Gibbs
It’s a real thrill to introduce my guest today, the great jazz master of the vibraphone, Terry Gibbs! At 96 years old, Terry has worked with all the greats like Charlie Parker, Bud Powell, Dizzy Gillespie, Benny Goodman, Woody Herman, Buddy Rich.. just too many to mention! We discuss his excellent autobiography "Good Vibes", deep dive into Bebop and talk about a wide range of fascinating topics over his amazing career.
90 minutes | Mar 29, 2021
122: Nicola Pignatiello
I’m very thrilled to speak to my guest today, guitarist, Nicola Pignatiello. He teaches at the Liceo Giordano Bruno in Rome and also at CESMI. This is the episode that all my guitarist audience members have been waiting for, and we will be diving deep into the topic of partimento on the guitar. He has recorded some really beautiful partimento realizations on the guitar that have received very positive responses from the partimento community and we will talk further about realizing partimenti on the guitar. 0:46 Background 1:41 Did you start with Classical Guitar? 2:07 Joining the conservatory at 15 3:08 What were your musical influences while growing up? 4:10 Was it 10 years of Conservatory? 4:25 Did you see yourself as a concert artist? 5:04 When did you discover Partimento? 5:50 Why did you take lessons with Enrico Baiano? 6:39 What recordings of Baiano did you like? 7:13 What happened in the lessons with Enrico Baiano? 8:01 What year was it when you discovered Partimento? 8:52 What made you think about combining partimento with the guitar? 10:53 How did you begin your development in partimento in 2005-2012? 13:47 When did people start playing 6-string guitars? 15:15 When in the 18th century did the 6-string guitar appear? 15:56 Fernando Sor, Mauro Giuliani and Ferdinando Carulli as representative of the 18th century style 17:35 What are the similarities between the Lute and the Guitar? 19:31 Were people realizing basso continuo on the baroque guitar or lute with strumming? 20:37 Why did you pick Giuliani and Carulli as models for partimento? 22:25 Solfeggi 22:48 What was in Giuliani’s style that had traces of the partimento lineage? 24:38 Mauro Giuliani outselling Beethoven’s piano sonatas 26:57 Does counterpoint easy to realize on the guitar? 28:41 Do you have to compensate when doing the Rule of the Octave on guitar? 30:15 How should someone start learning partimento on the guitar? 31:24 How similar are the different Rule of Octave versions among the 18th century guitar treatises 32:12 On having to transpose partimenti into more guitaristic keys 33:29 How do you prevent bad counterpoint on the guitar? 34:25 Cadences on the guitar? 36:14 When realizing figured bass, did the baroque guitar strum or using 3 voice textures? 36:51 Is that the same on the Classical guitar? 37:15 Learning with chord symbols on the guitar 39:00 Where Chord symbols originated from 40:26 Did they tolerate parallelism in guitar-type instruments because of the way they are constructed? 42:04 Did Fernando Sor have a method book? 42:52 What about dissonances on the guitar in partimento? 43:58 Bass Motions on the guitar 45:29 Nicola plays more Bass Motion examples 46:19 Bass Motions - Up a 4th down a 5th 47:06 Why is the guitar notated in treble clef? 48:00 What are some good treatises and manuscripts that would be relevant for partimento on the guitar? 48:43 Should we keep it to 2 voices on the guitar? 50:27 Is it heresy to try all these things on a non-classical guitar? 51:14 Can partimento be improvised on the guitar? 52:46 Free improvisation and composition on the guitar 53:52 How would you teach a young kid in the partimento-style of music education on guitar? 55:23 What about reading chords on the guitar in terms of Figured bass? 56:35 What about improvising on a very simple bass, how does that sound on the guitar? 59:24 How many ways can I color a simple progression on the guitar? 1:00:40 How do you development diminution on the guitar? 1:02:58 On the partimento bass lines being too difficult to realize on the guitar 1:04:41 How have your classical guitar colleagues reacted to your partimento realizations on the guitar? 1:05:51 What do you make of the rise in popularity in partimento over the last 2 years? 1:06:52 What do you think about South American classical guitar? 1:09:20 How do you analyze classical guitar literature? 1:10:59 Do you write figures or arabic numerals in circles when analyzing? 1:11:16 On the lack of historic models in realizing partimento on the guitar unlike the keyboard and the general difficulty 1:13:21 Felix Horetzky 1:13:57 Can you recommend any historically-informed classical guitarists? 1:15:47 On the passing of Julian Bream 1:17:06 Flamenco Guitar 1:18:21 Discussing Chord symbols and their related hand shapes 1:25:03 Wrapping Up
78 minutes | Mar 23, 2021
121: Jon Raney
My guest today is jazz pianist, Jon Raney, he is the son of the jazz guitar great Jimmy Raney, and brother to Doug Raney. I am very excited to talk about his father's approach to jazz improvisation, opinions on music, music education pedagogy, and much more!
62 minutes | Mar 19, 2021
120: Davey Yarborough
Davey Yarborough is a native of The District of Columbia who has been performing, and teaching for over 30 years. He is a flautist and saxophonist as well as a distinguished composer, arranger, bandleader, and teacher. He studied saxophone with the great Sonny Stitt for 2 years, and is the co-founder and Artistic director of the Washington Jazz Arts Institute. 0:49 How did you meet Sonny Stitt? 2:05 Why did Sonny ask those intimidating questions? 2:58 How old were you when you met him? 5:25 Do you remember your first lesson with him? 6:40 Are you supposed to learn the melody from a record or sheet music? 7:51 What did Sonny Stitt think of the Real book? 10:06 The lessons that Sonny would write down for Davey 12:06 Did he explain how he navigated through chord changes? 13:36 Were you supposed to memorize solos off solos? 14:45 How does he play so many notes? 16:52 How do we embellish the melody with more notes? 18:26 What does it mean to transcend the octave? 19:49 Did his curriculum evolve over the 2 years? 21:57 What do you think of the different modern jazz education methods? 23:38 What was Sonny Stitt’s system? 24:42 On not thinking about theory when playing 24:56 Thinking in terms of chords and 2-5s 26:04 Did he ever talk about his relationship with Charlie Parker or Bud Powell? 26:51 Did he know a lot of solos himself? 28:35 How would Sonny Stitt have discussed chords and harmony? 29:27 How do you play chord changes in jazz? 32:11 What is your definition of the basics? 33:29 What do you emphasize when teaching theory? 34:36 Billy Taylor 36:07 Do you remember your last lesson with Sonny Stitt? 36:46 Was Sonny Stitt a mean guy? 39:28 What did he respond to positively in lessons? 40:12 Did he have any rules in improvisation? 40:42 Did he identify himself as a bebop musician or jazz musician? 41:37 On Sonny giving him the freedom to develop his style 42:06 Who did Sonny Stitt like? 42:50 What could educators learn from your lessons with Sonny Stitt? 43:44 What were the most challenging parts of the lessons with Sonny? 44:08 Was there classical music influences? 45:23 Was he an opiniated person on music and did he share any opinions? 45:42 Did he teach composition? 46:21 Did he play the piano? 46:33 On teaching lessons without accompaniment 46:56 Washington Jazz Arts Institute 52:48 What is your proudest musical moment? 55:47 If you could go back in time and meet any musician who would it be? 56:38 Scariest or most nervewracking performance? 58:03 Final reflections on Sonny Stitt 59:53 Wrapping Up
97 minutes | Mar 8, 2021
119: Noam Sivan
My guest today is Pianist, Improviser, and Composer, Professor Noam Sivan! He is Professor of Piano Improvisation at the HMDK Stuttgart, and we will talk about his remarkable journey, his method to his improvisational craft, his new exciting Master’s degree programme in classical piano improvisation that he has created, and much more! 0:35 What’s your musical background? 1:21 Did you naturally improvise as a child? 1:56 Mother’s influence on creativity 3:25 Tell me about your formal music training in university 4:10 The influence of formal composition study in your undergraduate studies 6:16 Examples of apply a compositional technique in different musical languages 8:26 Did you face any pressure to become a modernist composer 10:00 What was your dream, to be a composer or performing pianist? 13:00 Masters degree 15:27 Studying with Carl Schachter 16:39 An example of Carl Schacter’s lessons in improvisation 17:42 What did your professors and peers think of improvisation during your student years? 20:25 Improvising cadenzas 21:06 Meeting Robert Levin 21:31 What did Robert Levin say about your improvising at the time? 23:17 What were the technical things that you worked on to take your improvisation to the next level? 26:30 What is your operating system behind your method of improvisation? 28:18 How did you choose the notes for your right hand improvisation? 30:03 How do you make sure your right hand is not creating contrapuntal mistakes when improvising? 32:55 What’s a good way to learn figured bass? 34:35 Do you need to study modern harmony to do what you are doing? 37:24 Studying with Milton Babbitt 40:34 Was the culture at Juilliard supportive of improvisation in Classical music? 41:24 Were the students you taught at the time completely new to classical improvisation? 42:33 What did Milton Babbitt think of improvisation and what you were doing? 43:37 Anecdotes of responses to your improvisations and classes in the early days 45:33 Did you receive negative feedback to improvisation? 48:17 Does being a composer and improviser give you an additional insight into interpretation of repertoire 50:03 Do you any comment on academic or competition style interpretations of repertoire? 52:47 When you have change your system of improvisation to accomodate more modern or contemporary styles of improvisation? 54:34 Do you still maintain the consonance/dissonance framework in a contemporary setting? 56:52 What is anchoring your contemporary improvisations, is it keys or the progression? 58:00 Are you thinking of intervals? 58:19 What tips can you give to more traditional improvisers to broaden their tonal palette into modern music? 1:01:43 Vincent Persichetti’s 20th Century Harmony textbook 1:03:44 How does a music educator grade student musical improvisations? 1:08:43 Professor Sivan’s new Masters degree programme on classical piano improvisation 1:11:19 How’s the reception to the Masters programme? 1:13:07 Do you require incoming students to have a background in improvisation? 1:14:38 How has the culture around classical improvisation now changed compared to when you began? 1:17:49 Professor’s Sivan album “Ambiro’s Journey” 1:18:48 What’s a good ratio for a modern performer’s recital pieces for improvised music, original compositions and traditional repertoire? 1:21:30 A memorable experience from your solo improvised piano recitals 1:24:21 Up to this point, what has been your proudest musical moment? 1:27:11 How are you different as an improviser today vs 10 years ago and how do you see yourself grow in the next 10 years? 1:31:31 Wrapping Up
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