🌌 The Dizzy Rock Journey: The Story of Dizzy O’Brian’s Alternative Rock Revolution Music has always had the power to tell stories. But in today’s world of streaming singles and quick playlists, the art of weaving a grand musical journey often gets lost. Enter Dizzy O’Brian —composer, songwriter, and the creator of a new genre called Dizzy Rock . Dizzy Rock is not just alternative rock. It’s an experimental fusion of indie rock, classical depth, and cinematic storytelling. Each release is a chapter in a larger narrative, forming a new way of experiencing music. Here’s the unfolding journey so far: Chapter 1: Secrets of the Heart 🎶 Listen on SoundCloud It all begins with Secrets of the Heart , a six-movement suite that lays the foundation for Dizzy Rock. Four of the six movements are available now on SoundCloud, each blending rock energy with classical structure and experimental textures. This work serves as the manifesto of Dizzy Rock : expansive, emotional, and unapologetically amb...
Traditionally Speaking
Leopold Auer was a great violin teacher in the late eighteen
hundreds who trained such stellar artists on the instrument as Mischa Elman,
Jascha Heifetz and Efrem Zimbalist, so he must have known a little something
about music.
He wrote a small book called ‘Violin Playing As I Teach It.’
This little book contains a wealth of useful information about violin technique
and music in general. As to the subject of tradition, he had the following to
say;
“Tradition in reality weighs down the living spirit of the present
with the dead formalism of the past…. Beauty we must have, tradition we can
dispense with.
How is a violinist to conceive the meaning of an older work
which he may be studying if his own musical instinct, his freedom of
conception, are obfuscated by the dictum: ‘This must be played in such and such
a manner, because so and so played it that way two hundred years ago?’ “
He is talking about interpretation here and he makes it
clear that any attempt at phrasing or interpretation will fall on its face without
a solid technical support.
Too many, in the recent past, have tried to use the idea of
breaking with tradition as an excuse to not have the discipline to learn the
technique required for what they want to do. These end up simply frustrated.
But now, let’s look at how this view applies to creating. In
conservatories, in the composition department, you run into the same things
being said; ‘You must write in such and such a manner because so and so wrote
this way a hundred years ago, or so and so is writing this way now.’
Tradition accrues pretty darned fast in the arts. I daresay
that pop music has been around long enough for it to have its own traditions.
Certainly there exists a whole school of guitar technique for pop music with
its pentatonic scales and blues chords.
Granted this is the solid technique that I spoke of that you
need and should have in playing pop music.
But there are four other chords in a scale and as many other
types of scale that you could shake a stick at. There are also quite a number
of other meters besides 4/4.
Just take a look in The Beatles or Frank Zappa.
Break from tradition with Dizzy O'Brian's alternative rock
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