I'm Brian Krock, a Brooklyn-based composer, multi-instrumentalist, and music teacher. Most people know me as the bandleader of the behemoth 19-piece large ensemble Big Heart Machine. I've been working in the New York area for ten years, doing whatever I can to learn and get better at music. I've toured the world playing with artists like Ethan Iverson, the Mark Morris Dance Group, Bette Smith, Olli Hirvonen, and Miho Hazama, to name a few. I've worked as a professional sheet music engraver. I've arranged music for artists like the Metropole Orkest, Lalah Hathaway, Keio Light Music Society, Jared Schonig, Clinton Curtis, Adam Bellard, and others. I've released two albums, with two more coming out this year. I've played Broadway shows. I've taught everyone from fourth graders to octogenarians.
And now, I'm sharing it with you, via my new web series "SCORE STUDY." I hope you enjoy listening and learning with me!
As someone who was and will forever be obsessed not just with Elliott smith but the neoclassical writing style, I felt so cliche when you said “secondary dominant”.
I have always liked Philip Glass starting from 80's. Of cause he has he's hallmark melody which never changes, but if it gives you feelings then that is good.
How the hell did you get so good at understanding music theory? I have severe ADHD and have never even been able to sit still long enough to even fully learn the pentatonic scale LMAO...but I wish I could learn to understand it this well, I feel like I'd be unstoppable haha
I love this video, but I believe that NO ONE cares about you're opinion on "music" - it's bad...that's me back there...but ffs, would have been great if I didn't think you were very proud of your teeth.
LOVE Philip Glass. I fell in love with his music when I was at a University in the late 1980s. I first discovered his music while watching a TV special on avant garde art (I tuned into see something about Salvador Dali). They were playing the video of "Act III" from "The Photographer." They had the (now, rudimentary) spinning geometric shapes, and that, combined with the music - fast and somewhat repetitive, entranced me. At school, I was taking a music history class and heard a bit of his "Glassworks." I went to the school library, got the album, and sequestered myself in one of the listening rooms. The opening (actually called "Opening") was one of the most beautifully serene pieces I've heard. It sounded to me like rippling water, but with a melody. You want to hear some melodies, listen to his "Metamorphosis" piano pieces, as well as some of the soundtracks. Try listening to Helen's theme from "Candyman."
I don’t want to impose but there has been a house band from the Netherlands (Groningen) that had a song called tommy’s theme. This song - I believe - used the same cord progression as Britell’s melody. Here it is: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jjbiMXfe2NU.htmlsi=yScRrz4e2Vn0SKKm
I swear nobody knows the true potential of the low clarinet family. They have such a great sound and it can add a lot of tension to music. Same with bassoons, both go unrecognized unless your a super nerd like me. But by god, the sound sticks with you.
I hear blah blah blah... Watched it to the end because I love Reborn from Hereditary OST... Understood in some way as i would a brain surgeon explain his procedure but subconsciously understood the nuance to create the music for horror... Subbed for more blah blah blah and that is not a contumelious remark but only on my severe lack of education in the music arts... Ignoramus buffoon who pretends to be sophisticated as a old grown man eats his salad at his parent's house 😂 Dont judge, be happy...
I played a concert of Glass, and a knowledgeable audience member said "It was like I was constantly waiting for a tonic or resolution, it never resolves" and I couldnt help but think that Glass should not be analyzed by the kind of Western Theory you find at universities. I would call it 'Post-Harmony'... a new kind of harmony that, while relating to traditional harmony loosely, exists in a world after all of the 2nd viennese experiments. He has his own personal and unique harmony, and traditional harmonic analysis falls short
Gil was also a sweetheart of a man. I used to go hear his band most Monday nights when I was studying classical composition at a conservatory in NYC. I would grab brief moments with him between sets to talk to him and show him a few things I was working on. He was so gracious with his time and comments on my work.
I don’t know if you’ll be interested in this, but I had a similar slow-down-speed-up idea quite a while back, and I created an electronic track that does that, called Geometric Rhythm. No live musicians at all though, and I wouldn’t have any idea how to notate it for live musicians. Anyway, I accomplished my tempo experiment using pitch-and-tempo bends (in Macromedia Soundedit 16! I’m old). I created a track that was just a bunch of minor chord arpeggios, and then I used a pitch bend on each measure that slowed it down and lowered the pitch, and then I used another pitch/tempo bend on the whole track to speed it way up and increase the pitch significantly. I’m proud of it, even if it is pretty simplistic (I’m no great composer. I play around and I publish what I make for free for anyone who wants it. I’ve been learning a lot from RU-vid to improve my actual musicianship, but I haven’t applied what I’ve learned much yet. Perhaps I will sometime. I actually got really distracted from some stuff I was working on several years ago and never picked it back up. It’s sad.) Anyway, if you are interested in hearing what I’ve just described, here’s a link: antmanmusic.bandcamp.com/track/geometric-rhythm Enjoy, and thank you for the great videos. I dig your style.
Great interview thanks... I can't get enough of Pino... You should check out a project called plumb...There on JMI label.... Totally mind blowing.... Ray Angry,Questlove and David Murray.... There's a lot of great music on JMI
