January 16, 2013

Gore records with pals in L.A. | Articles

Cliff Brodsky
Submitted: Wednesday, January 16, 2013 - 9:21pm
Gore records with pals
Cliff played keyboards with Brentley Gore and some VERY well known studio musicians. Producer Bill Pfordresher hired Cliff for keyboards and string arrangements. On guitar: Michael Thompson, Drums: Greg Bissonette, Bass: Matt Bissonette.
Here's an article in Music Connection Magazine with Cliff playing keyboards on a record for Brentley Gore; Produced by Bill Pfordresher and Greg Lawley, for Lawman Productions.
Cliff was super lucky to be hired to play with some of the worlds finest studio musicians on this session. The guitar player was Michael Thompson and he's played with Eric Clapton and hundreds of other famous musicians. On bass and drums are the Bissonette brothers, Matt and Greg. They have played with everyone from Ringo Starr to David Lee Roth!
This was a great experience and an honor to play with such world renowned studio musicians!
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Rose Rossi Project | Articles

Cliff Brodsky
Submitted: Wednesday, January 16, 2013 - 8:01pm
Cliff Brodsky producing recording artist Rose Rossi
Hello To You
Cliff produced Rose Rossi for Brodsky Entertainment and also for his Publishing Company. Rose is a very talented, gifted and unique singer/songwriter with a distinct sound. She writes catchy songs and is very sexy and sultry on stage, and sounds that way!
Cliff Brodsky pictured here with his recording artist Rose Rossi and her band. She is a singer/songwriter signed to Cliff's Music Company Brodsky Entertainment and Publishing Company. This was an article in Music Connection Magazine covering the story of Cliff and Rose recording at the SandBox in Hollywood California. The SandBox was a great recording studio for many years owned and operated by Producer/Engineer Rick Parker.
On Keyboards and acting as Music Director and Producer is Cliff Brodsky. On bass guitar: Paul ill, Drums: Nathan Wetherington, Guitars: Ricky Z, and on the mixing board and head engineer: Rick Parker.
Rick was also an amazing guitar player and record producer and has toured the world (and elsewhere) with his lovely wife Miranda Richards, who was signed to Virgin Records.
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January 12, 2013

The Essence of Teaching the Piano: Balancing Technique, Intellect, & Expression

Tara Hofmeister
Submitted: Saturday, January 12, 2013 - 4:25pm
There are so many aspects to learning music and the piano. Balancing all these aspects is essential for students to develop properly and fully. Technique, expression, listening, music theory and history are all crucial to everyone learning the piano, both students on the professional track and those learning on a less serious level.
Physical technique is essential in order to allow musicians to have the freedom to completely and comfortably speak through their instruments. Music is another language and students learn that they can express themselves through not only words, but also through their music. In fact, people often feel more comfortable expressing themselves through music and some also feel that they can play music when there are no words to express their feelings.
Truly listening to oneself while playing takes an amazing amount of concentration! Besides physically playing…using both hands and all fingers in their individual ways and using both feet on the three pedals…pianists must also listen to gauge the sound that they are actually creating and adjust themselves accordingly. They need to listen intensely in order to ensure that all of the dynamics, phrasing, articulation, and expression are really coming through their instruments the way they intend. Pianists especially must listen with great care since they are always playing on a different instrument. And every musician must adjust when playing in a different room.
Music theory allows students to deeply understand a composer’s meaning behind the music they wrote and know how they wished it to be expressed. Understanding the musical language in each melodic note, each harmony, each phrase, each section, and every little marking describes exactly how to play the music behind the notes and understand what the composer was thinking and feeling while writing the piece.
Music history helps musicians better comprehend where the composer was in their life and what was happening in the world around them while writing a particular piece. It also helps students understand the instrument that the composer had at the time. All of this helps musicians interpret the music in the way the composer heard it their own heart.
All of this takes discipline and patience, two of the most valuable traits that are needed, not only in piano training, but in all aspects of life. The best teachers require students to work to their greatest potential all of the time and the bar must be constantly raised as each student progresses. But the best teachers also share their love for the art of music with every student they come across.

January 05, 2013

1000 word intro to Yoga for the Voice!! | Music Lesson Tips

1000 word intro to Yoga for the Voice!!

gfire mayo
Submitted: Friday, January 4, 2013 - 6:10pm
gfire's current promo photo!!
gfire sings her original "blue light" on TV!!
When I first began my professional singing career, still in my teens, I was extremely dissatisfied with the explanations I had been given for how and why the singing voice works. I just couldn’t make my voice do the things I wanted it to. Admittedly, I had pretty high expectations.
Fortunately, I went to my public library and happened on a copy of “Science and Singing” by the late, great Ernest George White of London, England. After decades of scientific research, White discovered how the voice and vocal tone actually originate in the four sets of sinus cavities in the head, not in the throat/vocal cords, as was previously believed. White taught people to speak who had had their vocal cords surgically removed – just by training them in controlling the air in their sinus cavities.
He explains in his book that the air vibrating in an enclosed space (the head) acts as a musical instrument, similar to a flute or a recorder or even air moving through a keyhole and producing sound. He felt that the vocal cords, or vocal folds as he preferred to call them, merely aided in regulating the flow of breath from the lungs up to the head, where the sound was actually produced.
Unfortunately for me, White had already passed away in 1940, so I began my own attempts at playing with the air in my sinus cavities. After many months of study, pretty much by trial and error, I found that I was actually a first soprano, not a second soprano, as I had thought. I found that it took much less air – and a lot of control – to maintain my high notes, but that I now HAD control. And I really began to develop my own unique singing voice, after years of trying to sound like everyone else that I admired. Wow – even my high expectations had been reached.....
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Santana performance Dec 6th 2012 | Photos

Santana performance Dec 6th 2012

Rehearsing with Santana and Orianti(the guitar Queen).

AVA Alums in Metropolitan Opera Live in HD | Articles

AVA Alums in Metropolitan Opera Live in HD

Ghenady Meirson
Submitted: Saturday, January 5, 2013 - 9:47am
From left to right tenors Stephen Costello, Michael Fabiano and Bryan Hymel and AVA Russian repertoire coach Ghenady Meirson on January 2, 2013.
Metropolitan Opera began transmitting live performances to movie theaters in 2006. I attended one performance at the Met to see a former student. Cameras were everywhere, including unobtrusive moving camera the kind that is used in sporting events.
This is a wonderful innovation that offers an opportunity to opera lovers around the word to experience live performance in high definition in their local movie theater. The verdicts is in and the public loves it.
This week, after my rehearsal of Eugene Onegin at AVA in Philadelphia, I ran into three tenors, all AVA alums. Each sings at the Met each has done HD. Click on each name to read New York Times write-ups. In the photo from left to right are tenors Stephen Costello, Michael Fabiano, Bryan Hymel and, yours truly, AVA Russian repertoire coach Ghenady Meirson.
Other AVA alumnae singing at the Met include Joyce DiDonato, Angela Meade and Latonia Moore.
It is a source of great pride to know that so much wonderful talent graduates AVA and goes on to win the hearts of opera loves worldwide. All these artists are here to stay for a very long time.
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Mary Poppins - Broadway Tour | Events

Mary Poppins - Broadway Tour

Alexia M. Jowers
Submitted: Monday, December 31, 2012 - 8:26am
Tuesday, January 8, 2013 - 8:00pm to Sunday, January 13, 2013 - 8:00pm
Bob Carr - downtown, Orlando
Based on P.I. Travers cherished stories and the classic 1964 Walt Disney film, Mary Poppins features the Sherman brothers original Academy Award-winning songs.
The show has been created, in collaboration with Cameron Mackintosh, by Academy Award-winning screenwriter Julian Fellowes, who has written the book, and the Olivier Award-winning team of George Stiles and Anthony Drewe, who have composed new songs and additional music and lyrics.
Mary Poppins marks the first collaboration between Disney, producer of acclaimed The Lion King and Cameron Mackintosh, legendary producer of the record-breaking The Phantom of the Opera, Cats and Les Miserables. The result is a musical so extraordinarily enchanting that, like the critics, you'll have just one word for it: Supercalifragilisticexpialidocious!

Staging Eugene Onegin 2013 at AVA Opera | Photos

Staging Eugene Onegin 2013 at AVA Opera

Stage director Marc Verzatt is staging Tatyana's birthday scene in Tchaikovsky's "Eugene Onegin" - AVAOpera 2013

January 02, 2013

Banjo Player in "Lady Be Good" NY Times

Banjo Player in "Lady Be Good" NY Times

Richard Stillman
Submitted: Wednesday, January 2, 2013 - 6:59am
Published: July 29, 1987
MIDWAY through the first act of ''Lady, Be Good!,'' the 1924 Gershwin musical being revived by the Goodspeed Opera House, in East Haddam, Conn., Richard Stillman, an actor and dancer, strolls onto the stage with a banjo and begins to strum and sing an easygoing music-hall rendition of ''Fascinating Rhythm.''
Like a pied piper, Mr. Stillman draws the ensemble from the wings, and soon a dozen pairs of itchy feet begin to tap out the rhythms of the song's syncopated chorus. As the music accelerates, the orchestra chimes in and the stage becomes a flurry of angular, gyrating limbs kicking and swinging and tapping in a Charleston whose kinetic exuberance escalates to an explosive pinnacle.
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