Written on July 4, 2009. Original Composition by Scott Crothers featuring Quarter-Tone Piano, Bass Clarinet, Snare & Bass Drums.

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Chris Isaak's 1989 tune performed by Diesel Bodine: Vocals, Guitar & Arrangement.

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Thank-you Suze, and Friends, for your support and appreciation of my musical offerings.
Thank You was written by Page and Plant.
Diesel Bodine: Vocals and Guitar

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Directed by Lasse Gjertsen
Copyrights: Casa Musicale Sonzogno, Milan, 2007

This is a music video for the italian cellist Giovanni Sollima, on two of his compositions; "Terra Aria" and "Concerto Rotondo". Enjoy!

www.sonzogno.it

So this is the project I've been working on for the last 5 months, and heres how part 1 of it is made:

On the six arms parts, which by the way took most of the time to make, I filmed Sollima playing the different layers of cello after each other. I then edited the video frame by frame in Photoshop (remember, it's 25 frames per second of video), cutting his arms out from the other layers and pasting it on top, matching the movement of the cello. This was done ca 4000 times, by myself.

The clouds were actually filmed in my backyard, sped up 1250 times. The birds we're filmed in my town, Larvik, Norway on clear blue sky, so that I could use blue screen keying to put them on top of the clouds. It's hard to notice, but the birds are moving in half speed slow motion. I also had to stabilize the motion of the birds, since I filmed it with handhelt camcorder. The sequence was cut together using After Effects and Premiere.

The forest, river sequence was photographed in a forest in Arona, Italy. I took a picture ca. every five meters, and morphed the images together using WinMorph, matching the pace of the music.

The zooming sequence is very hard to explain. Basically, the first 8 seconds after it starts zooming and when you see Mr Sollima's face is real photos. The rest inbetween are "painted" in Photoshop by me.

The rest of this part is merely editing in Premiere and After Effects. Allright!

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A great Standard my teacher always liked to play and now I understand why,some real tricky changes in this baby, hope you enjoy my version, Vic.

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A short bassoon solo ...

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Playing an old song on the guitar and segueing into my studio arrangement of the song with willow tree visuals... photos without any mention of copyright ownership from their sources... 47 MB (better have a cable modem, etc.)

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Playing "Misty," an old Jazz standard, for you.

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Here's a Jobim song. I'm playing the guitars, bass, conga, etc. and singing lead and harmony vocals. I arranged the music and made this recording a few years ago.

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a wren

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check my profile for new tunes...
http://www.youtube.com/useryug .
- Just gone midnight here in London.
Started the predecessor to this at 9 o'clock this morning. - did six hours' editing, then the bass player decided he didn't like his part. So this is brand new - me again, all by myself! - about six or seven hours for 2.5 mins footage - I really should try to go quicker!
Music done on Quartz Studio, imported as a wav to windows movie maker, where the editin's done.
This may be just the raw beginning, and I may edit further. - Then again, I may not,
'till next time,
Barry

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red spotted newt
central, PA

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We'll take a brief look at the Octatonic Scale. Another video will follow on some other applications of this scale, i.e. playing over the Circle of Ascending 4ths / Descending 5ths, especially useful with altered chords.

The Octatonic Scale, Variation 1:
(using Whole and Half Tones)

Whole, Half, Whole, Half, Whole, Half, Whole, Half
Root, 2, b3, 4, b5, #5, 6, 7

The Octatonic Scale, Variation 2:
(using Half and Whole Tones)

Half, Whole, Half, Whole, Half, Whole, Half, Whole
Root, b2, b3, 3, #4, 5, 6, b7

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We'll look at playing the Octatonic Scale, Triads, and Arpeggios over a Circle of 5ths progression in the key of Bb, using Inverted Altered Chords of m7b9/b5 for the Dominant 7 chords of the progression. We'll discuss the Substitution Dominant 7th Chords that the m7b9/b5 Chords imply that give us a Chromatic Bass line from the Dm7 Chord down to the Bb Major Chord.

Basic Chord Progression:
Dm7, G7, Cm7, F7, BbM7

Adding Inverted/Altered Chords:
Dm7, G7b9/Db, Cm7, F7b9/Cb, BbM7

Sounds like:
Dm7, Db7, Cm7, B7, BbM7

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In ''The Modes - Part 1.'' we'll look at playing the Modes and how each Mode corresponds to the chord progression that aligns itself sequentially with the notes of the Major Scale.

The Modes:

Mode 1. The Ionian Mode (Major Scale)
Mode 2. The Dorian Mode
Mode 3. The Phrygian Mode
Mode 4. The Lydian Mode
Mode 5. The Mixolydian Mode
Mode 6. The Æolian Mode
Mode 7. The Locrian Mode

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