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GRAMMY Museum® and GRAMMY Foundation® Merging to Become Leading Educational Institution



The GRAMMY Museum® and GRAMMY Foundation® have announced that the two organizations are merging to become the leading educational institution dedicated to broadening the historical and cultural significance of music.

Combining the strengths of the highly complementary organizations, the newly expanded GRAMMY Museum Foundation will offer the best of each organization’s initiatives in preservation, education, exhibitions, and public programming. The integration was approved earlier this year by The Recording Academy® and AEG, under which the Museum was developed as a joint partnership in 2008, as well as by the respective Boards of each organization.

“Both the GRAMMY Museum and GRAMMY Foundation have done such truly remarkable work as individual organizations that we started to think about what we could achieve together,” said Neil Portnow, President/CEO of The Recording Academy. “This integration will allow us to combine our resources and the expertise of our dedicated staffs to increase the impact of our shared vision: to cultivate a greater understanding of the history and cultural significance of music, inspire its appreciation, and advance its future.”

To help fulfill its commitment of providing the best in preservation, education, exhibitions, and public programming, the GRAMMY Museum has expanded its executive team. Scott Goldman, previously Vice President of the GRAMMY Foundation and MusiCares, has been appointed Executive Director of the newly expanded GRAMMY Museum, overseeing development, programming, curatorial services, and strategic planning. Bob Santelli, the Museum’s original and previous Executive Director, will transition into the newly created position of Founding Executive Director, and will focus on the pursuit of domestic and international market expansions, development of business alliances and strategies, and opportunities for further growth and evolution of the GRAMMY Museum and its missions.

“We are all very proud of the incredible work that the GRAMMY Museum and the GRAMMY Foundation have done to advance the role of music in our culture,” said Dan Beckerman, President and CEO of AEG. “By joining together, they will have an even greater ability to create innovative exhibits and programs that tell important stories and engage new audiences. We would like to thank Bob Santelli and his team for their hard work over the past 10 years in making the GRAMMY Museum a world-class institution and we welcome Scott Goldman to the Museum as it begins this important new chapter in its history.”

In addition, the Museum’s Deputy Executive Director, Rita George, has been promoted to Chief Operating Officer, working to ensure the Museum’s excellence in exhibits and programs, overseeing acquisitions, and managing domestic and international projects. Under this new management structure, Wayne Zahner will serve as Chief Financial Officer and Michael Sticka will serve as Controller for the GRAMMY Museum Foundation.

“For 10 years, I have had the unique and exciting opportunity to run what began as a one-of-a-kind 21st century Museum,” said Santelli. “Together with my stellar staff, we’ve created interactive exhibits that have traveled the country and the world. And now, with footprints in the south via GRAMMY Museum Mississippi and our GRAMMY Museum Gallery® at Musicians Hall of Fame in Nashville along with our recently announced projects in New Jersey and China, I couldn’t be more excited to continue the expansion of the GRAMMY Museum brand.”

“Both the GRAMMY Museum and GRAMMY Foundation were born out of the need to preserve music and advance its future, especially among the young people of today,” said Goldman. “By bringing together these two organizations that have already made a lasting impact as individual entities, we stand to achieve tremendous gains as well as scale our efforts. I’m thrilled to lead the newly expanded GRAMMY Museum and look forward to bringing more resources and scale to our programs as we continue to use music as a gateway to learning.”

Over the past year, the GRAMMY Foundation has provided 20 grants, totaling $300,000, to facilitate a wide range of research, archiving, and preservation projects. Since 2010, the Foundation has awarded more than $1,000,000 in cash grants to more than 600 schools around the country. Since opening, the Museum has curated more than 60 exhibits, including more than 20 that have toured other cultural institutions across the world, and hosted more than 650 public programs, featuring artist interviews, live performances, film screenings, lectures, and continuing education classes. This past year, the GRAMMY Museum and GRAMMY Foundation collectively served nearly 100,000 students through local and national education initiatives.

In 2017, the newly expanded GRAMMY Museum plans to broaden and strengthen its portfolio of programs by including those that were previously under the GRAMMY Foundation umbrella. Moving forward, the Museum will place a stronger emphasis on expanding its education and curriculum-based initiatives in an effort to narrow the accessibility gap created by pared-down music education programming in schools nationwide.

The GRAMMY Foundation was established in 1988 to cultivate the understanding, appreciation and advancement of the contribution of recorded music to American culture — from the artistic and technical legends of the past to the still unimagined musical breakthroughs of future generations of music professionals. The Foundation accomplished this mission through programs and activities that engage the music industry and cultural community as well as the general public. The Foundation worked in partnership year-round with The Recording Academy to bring national attention to important issues such as the value and impact of music and arts education and the urgency of preserving our rich cultural heritage.

The GRAMMY Museum is an independent, 501(c)(3) non-profit organization created in 2008 as a partnership  between The Recording Academy and AEG. Paying tribute to music’s rich cultural history, the 21st century Museum explores and celebrates the enduring legacies of all forms of music, the creative process, the art and technology of the recording process, and the history of the premier recognition of excellence in recorded music. The GRAMMY Museum features 30,000 square feet of interactive permanent and traveling exhibits, with four floors of dynamic and engaging multimedia presentations, and is located within L.A. LIVE, the downtown Los Angeles sports, entertainment and residential district. Through thought-provoking and dynamic public and educational programs and exhibits, guests will experience music from a never-before-seen insider perspective that only the GRAMMY Museum can deliver.

Having debuted in Los Angeles in 2008, the GRAMMY Museum has since opened a GRAMMY Museum in Cleveland, Miss., a GRAMMY Museum Gallery in Nashville, Tenn., in March 2016, and has plans to open a GRAMMY Museum Experience™ Prudential Center in Newark, N.J., in fall 2017 and its first international expansion, a GRAMMY Museum in Sanya, China, within the next three years. For more information, visit, follow @TheGRAMMYMuseum on Twitter and Instagram, and like “The GRAMMY Museum” on Facebook.

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Bass Edu

BASS LINES: Triads & Inversions Part I



Jaime David Vazquez - Lessons For Bass Guitar

Triads & Inversions Part I

Hello bass players and bass fans! In this issue, we are going to study the triads and their inversions.

It is very important for all bassists to understand and master the triads, but it is even more important to understand their different inversions.

In Part I, we are going to learn what the triad is in fundamental position.

The Formula consists of root, third and fifth.

Degrees of the Triad

Major Triad: 1 – 3 – 5
Minor Triad: 1 – b3 – 5
Diminished Triad: 1 – b3 – b5
Augmented Triad: 1 – 3 – #5

Fig.1 – The C, Cm, Cdim & Caug triads
(Fundamental Position)

BASS LINES: Triads & Inversions Part I
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Bass Edu

Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque



Premiere! Bass Playthrough With Foetal Juice's Bassist Lewis Bridges - From the Album, Grotesque

Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque

Bassist Lewis Bridges Shares…

“Gruesome’s sparse intro marks a stark contrast from the intensity of the rest of the album.  The original intention was to keep the bass simple but colourful, however as I worked on it, the lines grew more expressive and the more striking flourishes began to emerge.  The intensity builds into a harmonic minor passage that takes us into the drop — a signature death grind cacophony.  This is where Foetal Juice thrives.  You’re getting a full-on right-hand barrage to in the face to take you into a groove-laden mulch-fest.

I owe my throbbing bass tone to the Darkglass Alpha Omega pedal borrowed from our sound engineer, Chris Fielding (ex-Conan), mixed with the clarity of the tried and true Ampeg SVT CL.

As mentioned earlier, colourful basslines are important, especially in a one-guitar band. Chucking some funny intervals and odd flourishes here and there brings life into the brutality. There’s no point sounding brutal if it’s not gonna be fucking evil too!

Recording this playthrough was hard work. This was not the fault of James Goodwin (Necronautical), who was kindly filming and is ace to work with, but because in true Foetal fashion, we had stinking hangovers — and that jam room was hot!”

Follow Online

FB @FoetalJuice
TW @FoetalJuice
IG @foetaljuice
Youtube: @Foetaljuice

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Bass Edu

Bass Lines: The Circle



jaime Vazquez

Bass Lines: The Circle…

Hello bass players and fans of bass! This month we’re going to study “The Circle.”

The Circle of Fourths can also be called “The Circle of Fifths or just The Circle.

Practicing the scales, chords, and ideas in general via the circle has been a common practice routine for jazz musicians and highly recommended.

It is a disciplined way of working through all twelve keys.

Plus, many bass root movements to jazz and pop songs move through sections of the circle.

Fig. 1 – “The Circle”

See you next month for more full bass attack!

#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thecircle, #thecircleoffourths, #thecircleoffifths,#scales & #chords.

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Bass Edu

Approach Notes – Part 5



James Rosocha

Continuing our lesson of Approach Notes, Part 5…

In continuing with the concept of approach notes being applied to chord tones, this lesson approaches the root, third, fifth, and seventh degree of each arpeggio inversion by incorporating a double chromatic approach from above, and a single chromatic approach from below. 

The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and a single chromatic approach from below -before continuing to the third, fifth, seventh, double chromatic from above/ single from below to the root, continue to the third, fifth, and come back down.

The next example approaches the first inversion of G major 7th arpeggio.

A double chromatic from above/ single from below approaches the third, continue to the fifth, seventh, root, double chromatic from above/ single below to the third, continue up to the fifth and seventh, and back down.

The third example approaches a second inversion of a G major arpeggio.

A double chromatic from above/ single from below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above/ single from below to the 5th, continue to the 7th, root, and back down. 

This final example approaches a third inversion of a G major 7th arpeggio.

A double chromatic from above and below approaches the 7th, continue to the root, 3rd, 5th, double chromatic from above and below to the 7th, continue to the root, 3rd, and back down.

Be sure to pace yourself with these lessons to avoid burning out.

Being overly ambitious with your practice schedule can lead to unrealistic expectations. Try learning one approach note concept and one chord type a week. Change your practice routine as necessary and tailor it to your needs as a musician. Good luck!

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Bass Edu

BASS LINES – The Blue Notes (Minor Blues Scale)



jaime Vazquez

Hello bass players and bass fans! Happy New Year 2024!

In this issue, we are going to study the blue notes.

In blues, jazz, and rock, a blue note is a note that (for expressive purposes) is sung or played at a slightly different pitch from standard. Typically the alteration is between a quartertone and a semitone, but this varies depending on the musical context.

The blue notes are usually said to be the lowered third(b3), lowered fifth(b5) and lowered seventh(b7) scale degrees. The lowered fifth(b5) is also known as the raised fourth(#4). Though the blues scale has “an inherent minor tonality, it is commonly ‘forced’ over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities”.

Blue notes are used in many blues songs, in jazz, rock and in conventional popular songs with a “blue” feeling.


The A Minor Blues Scale

1 – b3 – 4 – (#4/b5) – 5 – b7

A – C – D – (D#/Eb) – E – Bb

The grades(blue notes):

b3, (#4/b5), b7

C, (D#/Eb), Bb

See you next month for more full bass attack!

#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thebluenotes, #minorbluesscale & #bluesscale

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