In celebration of the life and music of Mahler, the University of Surrey are hosting a 3-day event of concerts, talks and artistic events.

I’ll be there tweeting the Late Romantic/Modernist hell out of it.  Here are the details:

Gustav Mahler Centenary Conference

A 3-day celebration of the music and culture of the Austrian composer Gustav Mahler (1860-1911)

A conference investigating Mahler’s musical works, cultural environment and legacy for our own times.

When? Thursday 7 July 2011 to Saturday 9 July 2011

Where? University of Surrey Lecture Theatre M, PATS Studio 1, and Hatchlands,Clandon

Open to: Public, Staff, Students

Keynote speaker: Professor Julian Johnson (Royal Holloway, London)

See the full programme with links to all the artists, concerts and associated activities here:

Admission information and Registration details at:

Starts on Mahler’s birthday, and his favorite pudding will be on the lunch menu (apricot dumplings)

Conference includes five concerts:

Two free concerts:

Friday 8 July, 1.15pm, PATS Studio 1, Tetra Guitar Quartet plays the world premiere of Stephen Goss’s ‘Mahler Lieder’, and music by Kurt Weill and Erik Satie

Saturday 9 July, 1.15, PATS Studio 1, Emilie Capulet plays piano works in the Viennese tradition, by Mozart, Beethoven and Liszt/Schubert

Three ticketed concerts:

Thursday 7 July, 8.30pm, Hatchlands, Clandon, Maureen Galea (piano) and Michelle Castelletti (soprano), perform songs by Mahler (using a piano once owned by Mahler), and piano music from Bohemia

Friday 8 July, 8.00pm, Studio 1 PATS, world-renowned improviser and composer, Uri Caine, plays jazz re-workings of Mahler’s music

Saturday 9 July, 8.00pm. PATS Studio 1, the Endymion Ensemble plays works by Mahler, Korngold, Shostakovich and Schnittke

Tickets for evening concerts can be purchased separately from the University box office: [email protected]; tel. 01483 686876

Free exhibition of Mahler-inspired paintings by Caroline Tate accompanied by specially commissioned sound installation by Matthew Sansom derived from Mahler’s music, in the Lewis Elton gallery

Conference organiser Jeremy Barham:

[email protected]; tel.: 01483 686549/505309

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Following on from the challenge in the last post – developing ii-V-I vocabulary all over the fingerboard –  the following study takes a similar approach for minor ii-V-i patterns, for example Dm7(b5) – G7alt – Cm7. This will greatly enhance useful vocabulary. Furthermore all of the G7alt material may be readily used in a major ii-V context, and as ever these ideas can be broken up, restructured, shuffled, edited, sequenced and recombined for further editing. As a child I preferred Lego and Meccano to Playmobile and ActionMan. This is because Lego and Meccano had smaller and endlessly interconnectable units far more was possible, and the creative imagination had far freer scope, and partly because my ActionMan had missing fingers and only one of his eyes moved.

One should adopt a Lego approach here, but just make sure you put them away when you’re finished.

Minor ii-V-I lines CAGED

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The following short document uses an approach that provides 40 useful ii-V-I lines in every position of the guitar fingerboard, greatly aiding fluency of long improvised lines through jazz harmony. Hard work, but big returns. As ever, enjoy the process of practising and earn the resulting creative freedom. Yeah.

ii-V-I lines CAGED

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