Comments for Tom Myron http://www.sequenza21.com/myron Mon, 14 Nov 2011 06:27:05 +0000 hourly 1 http://wordpress.org/?v=3.0 Comment on Idiot’s Guide by Tom Myron http://www.sequenza21.com/myron/?p=251&cpage=1#comment-318 Tom Myron Mon, 14 Nov 2011 06:27:05 +0000 http://www.sequenza21.com/myron/?p=251#comment-318 Yeah, thanks T.R.- I caught that in a Google search right after I responded to his/her post! Yeah, thanks T.R.- I caught that in a Google search right after I responded to his/her post!

]]> Comment on Idiot’s Guide by T. Robbins http://www.sequenza21.com/myron/?p=251&cpage=1#comment-317 T. Robbins Wed, 09 Nov 2011 17:01:54 +0000 http://www.sequenza21.com/myron/?p=251#comment-317 I am looking forward to reading this book. I am a bit intrigued by the comments left by "Stephen O. Jones" sincie Stephen O. Jones was a Broadway orchestrator that worked in the 1920s and 1930s. Is this Stephen O. Jones any relation to the original Stephen O. Jones? I am looking forward to reading this book. I am a bit intrigued by the comments left by “Stephen O. Jones” sincie Stephen O. Jones was a Broadway orchestrator that worked in the 1920s and 1930s. Is this Stephen O. Jones any relation to the original Stephen O. Jones?

]]> Comment on Idiot’s Guide by Tom Myron http://www.sequenza21.com/myron/?p=251&cpage=1#comment-261 Tom Myron Mon, 15 Aug 2011 22:59:22 +0000 http://www.sequenza21.com/myron/?p=251#comment-261 Thanks for your great comments Stephen. I think your right: the more you know about how the whole process works the more you'll get out of what R.R.B. is saying. And I just can't say enough good things about this: http://www.oup.com/us/catalog/general/subject/Music/MusicHistoryWestern/TwentiethCentury/?view=usa&ci=9780195309478 For the TRULY hard core! Thanks for your great comments Stephen. I think your right: the more you know about how the whole process works the more you’ll get out of what R.R.B. is saying. And I just can’t say enough good things about this:

http://www.oup.com/us/catalog/general/subject/Music/MusicHistoryWestern/TwentiethCentury/?view=usa&ci=9780195309478

For the TRULY hard core!

]]> Comment on Idiot’s Guide by Stephen O. Jones http://www.sequenza21.com/myron/?p=251&cpage=1#comment-256 Stephen O. Jones Fri, 12 Aug 2011 04:30:58 +0000 http://www.sequenza21.com/myron/?p=251#comment-256 p.s. And, oh yes, the vast majority of his commercial arranging (as well as his original works, of course) was designed for entirely "acoustic" balances, not something dependent upon body- or headset- mics and a sound engineer in the back of the hall......... p.s. And, oh yes, the vast majority of his commercial arranging (as well as his original works, of course) was designed for entirely “acoustic” balances, not something dependent upon body- or headset- mics and a sound engineer in the back of the hall………

]]> Comment on Idiot’s Guide by Stephen O. Jones http://www.sequenza21.com/myron/?p=251&cpage=1#comment-255 Stephen O. Jones Fri, 12 Aug 2011 04:27:39 +0000 http://www.sequenza21.com/myron/?p=251#comment-255 Ah, "Instrumentally Speaking," a distillation of Russell Bennett's liftetime of "providing whatever the composer left out," as he once put it. I can understand why some readers were disappointed with its brevity when it came out in the 1970s, but it can be read on many levels; the more you know about the kinds of thinking and decision-making arrangers have to do, the more you realize he's saying, however concisely. Still, there's nothing like looking at his own scores, whether his original works or arrangements. Even the "stock" arr's he was doing in the 1910s and 1920s were models of their kind, repaying careful study. What did he say was the most valuable study he'd done in preparation for his commercial arranging? _Counterpoint_. Oh, yes, and there's the matter of him doing all that under pressing deadlines, in ink, while not going to a piano (much less a computer-scoring program) at all. Long live Russell! Ah, “Instrumentally Speaking,” a distillation of Russell Bennett’s liftetime of “providing whatever the composer left out,” as he once put it. I can understand why some readers were disappointed with its brevity when it came out in the 1970s, but it can be read on many levels; the more you know about the kinds of thinking and decision-making arrangers have to do, the more you realize he’s saying, however concisely. Still, there’s nothing like looking at his own scores, whether his original works or arrangements. Even the “stock” arr’s he was doing in the 1910s and 1920s were models of their kind, repaying careful study.

What did he say was the most valuable study he’d done in preparation for his commercial arranging? _Counterpoint_.

Oh, yes, and there’s the matter of him doing all that under pressing deadlines, in ink, while not going to a piano (much less a computer-scoring program) at all. Long live Russell!

]]> Comment on New CD: Traditional Symphonic Folk Fusion Crossover LIVE! by Chris Becker http://www.sequenza21.com/myron/?p=279&cpage=1#comment-166 Chris Becker Wed, 17 Nov 2010 02:38:19 +0000 http://www.sequenza21.com/myron/?p=279#comment-166 Congrats! What I've heard from this concert is wonderful. Congrats! What I’ve heard from this concert is wonderful.

]]> Comment on Get Up and Dance by Chris Becker http://www.sequenza21.com/myron/?p=243&cpage=1#comment-26 Chris Becker Fri, 16 Apr 2010 13:16:15 +0000 http://www.sequenza21.com/myron/?p=243#comment-26 Tom, I showed some of the concert video to my step father yesterday while bragging that 1.) you were a friend of mine and 2.) that you had insisted I buy Sibelius for my notational needs (my step dad is a computer gear freak so I was showing him the various kinds of music software I use). Take care - oh, yes - and all props to Arlo (who is also a fine music writer/critic). Tom, I showed some of the concert video to my step father yesterday while bragging that 1.) you were a friend of mine and 2.) that you had insisted I buy Sibelius for my notational needs (my step dad is a computer gear freak so I was showing him the various kinds of music software I use). Take care – oh, yes – and all props to Arlo (who is also a fine music writer/critic).

]]> Comment on Where do they teach this stuff? by christian http://www.sequenza21.com/myron/?p=238&cpage=1#comment-21 christian Sun, 04 Apr 2010 22:52:11 +0000 http://www.sequenza21.com/myron/?p=238#comment-21 Tom, What ticks me off is how often I've been taken to task for NOT snarking more. I always respond that there are plenty of other critics who will fulfil that 'need' for you. I'm more interested in getting a positive discussion, or at least a constructive one, about the MUSIC going. We live in strange times Tom. C Tom,

What ticks me off is how often I’ve been taken to task for NOT snarking more. I always respond that there are plenty of other critics who will fulfil that ‘need’ for you. I’m more interested in getting a positive discussion, or at least a constructive one, about the MUSIC going. We live in strange times Tom.

C

]]> Comment on Heavy Vibes by principal percussionist http://www.sequenza21.com/myron/?p=224&cpage=1#comment-20 principal percussionist Sat, 03 Apr 2010 15:58:21 +0000 http://www.sequenza21.com/myron/?p=224#comment-20 [...] (required) Mail (will not be published) (required) Website © 2008 Contrast Magazine LLC ...Tom Myron Heavy VibesHe works regularly as an arranger for the New York Pops at Carnegie Hall, writing for ... the NY [...] [...] (required) Mail (will not be published) (required) Website © 2008 Contrast Magazine LLC …Tom Myron Heavy VibesHe works regularly as an arranger for the New York Pops at Carnegie Hall, writing for … the NY [...]

]]> Comment on Where do they teach this stuff? by Tom Izzo http://www.sequenza21.com/myron/?p=238&cpage=1#comment-18 Tom Izzo Thu, 01 Apr 2010 15:31:27 +0000 http://www.sequenza21.com/myron/?p=238#comment-18 Amen. Amen.

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