Throw a Block Party for MMNY 2015!

Each year for Make Music New York, dozens of community groups have put together musical block parties, bringing their neighbors together for Cuban jazz, electronic Gameboy music, indie rock, steel pans, hip hop, and string orchestras in streets across the city.

This year, why not your block?

Silent Barn Warper block party wide shot

Warper Party / Silent Barn block party in Bushwick

To help you throw a party on your street, we’ve put together a helpful handbook. Download it here:

Make Music New York Block Party Handbook [pdf]

Block party applications are due by March 21st to be considered for an event in June.

If you’re interested in having a block party, read the handbook and contact to get started.

Registration for MMNY 2015 is open!

Registration is now open for the ninth annual Make Music New York, returning this year on Sunday, June 21, 2015!


If you’re a musician looking for a place to play – or if you have a garden, restaurant, sidewalk, or other outdoor space and want musicians – you can sign up and find the perfect match for your Make Music New York concert.

It’s easy and it’s free.

Click here to sign up!

If you already have a fully organized event (with both artist and venue ready to go!), register as a venue, then select “Input Artist Info”.

Returning MMNY participants are able to renew their 2014 user accounts. If you missed the renewal email, or have any other questions, let us know at

(This year’s amazing poster was designed by illustrator Irene Rinaldi.)

Introducing this year’s MMNY Fellows

MMNY is thrilled to announce that our second class of MMNY Fellows are joining our team from February to June to work on the Ninth Annual Make Music New York!

There’s Julie, a theater professional and train enthusiast who sings with the Young New Yorkers Chorus and whose musical taste runs from bluegrass to bachata; Theo who founded the Hoover Dam Collective, an arts collective dedicated to producing interdisciplinary shows, and has a background in dance, and Rodania, a native Bostonian who plays a plethora of instruments and volunteers with foster kids in her free time.

You can read more about each of these Fellows, what they’ve done, and what brings them to MMNY, over on the staff page. And if you’re interested in becoming an MMNY Fellow yourself, applications for 2016 will open this fall.

For now, join us in welcoming (L-R) Julie, Theo and Rodania!






Make Music Winter 2014 Photo Recap

December 21 dawned sunny and cold this year — a perfect winter solstice and lovely day to make music. Here’s a round up of photos from this year’s Make Music Winter. Thanks to everyone for sending in images!

2014 Winterize Supertitles

This year, we worked with Italian illustrator Irene Rinaldi to create twenty-four gorgeous German-English supertitles for Winterize, our Make Music Winter parade at the Brooklyn Botanic Garden. If you missed the live performance with Christopher Dylan Herbert — and the debut of these illustrations — we’ve shared them below.

title card winterize_25





Make Music Winter in the News!

Associated Press,NYC Event Marks Winter Solstice With Music Parades,” by Deepti Hajela, December 19, 2014

Wall Street Journal, In SoHo, the Buildings Become Drums,” by Andy Battaglia, December 19, 2014

New York Times,Opera and Classical Music Listings: Make Music Winter,” by Vivien Schweitzer, December 19, 2014

News 12 The Bronx, “BX Celebrates Parranda Con Paranda,” December 21, 2014

NY1, “Your Weekend Starts Now: Make Music NY,” by Stephanie Simon, December 18, 2014

The New Yorker,Goings on About Town: Celebrating the Holidays,” December 1, 2014

Time Out New York, Make Music Winter,” December 2, 2014

Time Out New York Kids,Kids Can Get Their Jingle Bell On at Make Music Winter,” by Hannah Doolin, December 11, 2014

The Star Ledger,Arts Events,” by Ronni Reich, December 17, 2014

Brooklyn Daily,Parade Will Bring Appalachian Dancing to Flatbush Avenue,” by Matthew Perlman, December 19, 2014

Brooklyn Daily,Other Brooklyn Events at Make Music Winter,” December 19, 2014

Brooklyn Rail, Highly Selective Musical Events,” December 18, 2014

Brooklyn Magazine,Five Best Free Things To Do in Brooklyn this Weekend,” by Kristin Iversen, December 19, 2014

The Villager, Just Do Art: The Winterfresh Edition,” by Scott Stiffler, December 18, 2014

New York Family, Free Family Events This Weekend,” December 18, 2014

Brownstoner, “Closing Bell: Make Music New York Comes to Flatbush Avenue this Weekend,” December 16, 2014

Winter Spotlight: Flat Foot Flatbush


The last in a series of posts highlighting new and re-imagined parades for the 2014 Make Music Winter festival, coming up on Sunday December 21. 

Spotlight on: Flat Foot Flatbush

In June, Nick Horner & co. gathered the Old Time / Americana / Bluegrass community for an epic performance that became Porch Stomp. This winter, he’s calling upon this community once again. We sat down with Nick and his co-producer, Katie Cohen to talk about their Winter plans for Flat Foot Flatbush.

When did you first come across flat footing, and what drew you to this genre? Who are your favorite people / biggest influences in the scene?

Katie Cohen:  Growing up in West Virginia, I was always aware of flatfooting.  Old-time string band music was played informally at people’s houses, and there was a weekly jam at the local brewing company. I started playing fiddle when I was six years old, but I didn’t know anyone who called themselves a flatfooter. I’d see folks do a couple steps here and there, and performers gave demonstrations in elementary school assemblies. I even remember in high school, during an AP Government class, watching a video of Jesco White dancing (aka The Dancing Outlaw). What that had to do with the US Senate is anyone’s guess…

This past summer, I had the opportunity to spend time with some great dancers, including Charlie Burton and Ira Bernstein, at Clifftop String Band Festival, an old-time music festival held in West Virginia. We’d spend 6-7 hours a day dancing. All the while, older dancers would be telling stories–about great dancers they learned from, how their daddy did this or that step, about performing with Bascom Lamar Lunsford. These stories are just as much a part of the tradition as the steps; they tell us not only about the dance, but about how people used to live, work and play, where our traditions come from and how they’ve been passed down. Whether it’s steps or stories, this sense of sharing is intrinsic to flatfooting, and one of the reasons I love it.

Charlie Burton is a big influence for me. I’ve learned a lot from him while dancing and assisting him with workshops at festivals similar to Clifftop. Not only is he a good dancer, but he also has an incredibly deep knowledge of mountain dance.The geography of Appalachia makes it difficult for people to move around much — there’s a big difference in the distance as the crow flies and driving time through the hills. Each of these isolated areas developed their own flavor. Say there’s a really good dancer from Boone County, WV, like D.Ray White, then a lot of the dancers from around that area will share a similar style. Someone like Charlie, who has travelled around and visited a lot of these people at their homes, can tell you what step he learned from whom, and you can trace certain characteristics to where people came from before they immigrated to Appalachia, whether that’s the Deep South or Ireland. 

Nick Horner: I actually first experienced flatfooting at the Brooklyn Folk Festival while watching Anna Roberts-Gevalt performing in duo with Anna Laprelle. I remember being taken aback by both the physicality of the dance and the richness of the sound. Unlike traditional tap dancing, flatfooting just seemed a little more natural to me, and I thought it merited further exploration.  However, it wasn’t until I was watching some videos of jazz drummers tap dancing in duo each other that I got the idea to seek out a stepper to work into a project as a permanent addition.

What inspired you to create a parade around this concept?

NH: I approached Katie about the idea after our first or second session making music together in Brooklyn. It was obvious we had a great musical chemistry as well as a mutual desire to bring people together through music (which is at the heart of the Old Time music tradition) and I wanted to take it a step further. Katie and I met at Clifftop while shapenote singing out in the woods.  Clifftop is such an inspiring experience; a whirl of violins buzzing through the woods from 10 in the morning until 4 the next morning for a week straight. Music everywhere you turn, and always a jam to join or a new person to meet.  It’s a reminder that community is at the heart of this tradition, and something that would extend naturally into the Make Music world.  Why not bring a little of that community to the streets of downtown Brooklyn?

What can participants expect on December 21? Why does flatfooting lend itself to the parade format?

KC: Anyone can flatfoot! If you can walk, you can dance. There’s no age limit and no experience necessary. As long as you can walk, you can dance. Once you have a few basic steps, you can create something fun and interesting. For people who come from a dance background, it’s interesting to see how you can incorporate different genres within this style- from step dancing to rhythm tap to flamenco.

NH: Flatfooting is great for this setting because it’s almost as much percussion as it is dance. In the traditional setting, the leather on wood defines the rhythmic element of the music, giving the acoustic output equal importance to the aesthetic of the dance itself. Flatfooting also makes for great parading because it’s so rooted in improvisation. Once a person has the basic steps, they’re capable of doing a lot with them just by utilizing their own creativity.  Historically, flatfooting has drawn from a number of musical traditions and continues to do so today.

KC: Yeah, at its root, flatfooting is just about the different sounds you can make and how you fit them together.

Family Close UPWhat have been the most challenging and interesting elements about working on this project?

KCOne challenge has been explaining to potential participants what exactly flatfooting is. Flatfooting, like mountain dance, mountain tap, clogging, and buck dancing, is pretty foreign to most people. People are shy to try it — but once they realize it’s just listening to music and stomping in time, we have fun!  I’m excited by the opportunity to share Appalachia’s incredible history of immigration, community organizing, and living close to the land through this project. Moreover, I’m excited to dance with my recently adopted Brooklyn community and hopefully, build new visions and stories for the future.

NH: I’ve loved thinking through the logistics of this project. Obvious issues that have come up have included how to accompany the band (for instance, how to mobilize an acoustic bass let alone make it audible out next to a busy road) and the different ways of making sure anyone can get involved, regardless of experience. But we’re figuring it out! And it’s been great to have such wonderful support for this project. Anna Roberts-Gevalt is an astounding musician and the Jalopy Theater and School of Music has been so wonderful in offering us their space to use for our after party.

Any advice for participants joining us on December 21?

NH: Dress in layers, don’t be afraid to come and have fun even if you have no clue what Flatfooting is.

KC: During the workshop, we’ll have supplies to make your own tap shoes, so bring an old pair of sneakers!





Winter Spotlight: Village in Volume Celebrates “In C”


The fifth in a series of posts highlighting new and re-imagined parades for the 2014 Make Music Winter festival, coming up on Sunday December 21. 

Spotlight on: Village in Volume Celebrates In C

Amy Garapic has been making music in Greenwich Village for Make Music Winter for three years. And folks have been performing Terry Riley’s now-iconic piece In Call over the world, for fifty. This year Amy’s back on December 21 — with an In C twist. Read on for details about a worldwide celebration of the piece with New York at the helm!

In C is one of the most iconic pieces of our musical generation. When / how did you first experience this piece?

I first experienced the piece through Eric Beach at the So Percussion Summer Institute in 2010.  There were multiple small groups that we could choose from and after learning a small amount about Terry Riley and listening to some of his drone music I was intrigued and curious to jump in and spend some time with In C.  We ended up performing the piece several times throughout the week in many different instrument combinations and time lengths and I was continuously fascinated with its ability to remain In C but become a completely different musical experience each time we played it.  It has since been one of my favorite pieces to put together!!


Be honest: how many times have you performed in a version yourself? What are the highlights?

As mentioned, we played it at least 10 times at SoSI, and I’ve probably played it another 20 times combining both performances and rehearsals/workshops in the last 4 years!

One of my most memorable performances was in Amman, Jordan where I workshopped the piece for a concert while there as a guest artist.  Most of the players in the ensemble had never heard of or seen a piece of music like this and it was a huge eye-opening and learning experience for everyone.  The group was made up of musicians from seven different countries and included Western and Middle Eastern instruments.  It was pure joy to share the stage with them. They will actually be one of the cities joining us in the Worldwide In C Celebration at, streaming live on December 21st, with over 30 other cities around the world!

Amy in Ammam, Jordan

Amy in Ammam, Jordan

What about In C makes you come back to it again and again? 

I actually did my Eastman School Masters Degree Oral Presentation/Examination on the history of In C, focusing on its educational application in teaching chamber music and improvisational skills. It is an amazing learning tool; a constant juxtaposition of musical ideas that create an ongoing conversation.  Some of these qualities include:

Western vs. Non western
Classical vs. Jazz
Improvised vs. Notated
Constrained vs. Free
Ordered vs. Open
Personal vs. Communal
and the list goes on and on!!

These dichotomies allow the piece to be reborn each time it is played, and also provide for a tremendous learning and listening experience no matter what kind of a musician you are.   Whether it is a slightly different instrumentation, tempo, or pace, each of the these factors allow the piece to feel new, fresh, and relative for both performers and listeners.

What makes this year’s version in NYC different from other versions?

This version of In C will be performed outdoors as we walk around Washington Square park.  I’m not sure that a mobile version has been done in the past, so that is a big one!  In addition, I am inviting any non-instrumentatlists or percussionists who are interested in playing to join in as pulse keepers playing 8th notes on c-tuned metal chimes normally designated to be played on piano (a distinctive characteristic of the work).

As 2014 marks the 50th anniversary of the premiere of the piece, this event will also will also coincide with a day-long celebration of In C which can be viewed all day on the 21st at  Here, musicians from around the world, in over 30 cities, will each live stream their own versions of the piece. From Thailand to LA, Russian to Argentina and many stops in between, In C lovers will join together to show their appreciation for this iconic global composition.

How did you come up with this idea? 

In 2012 I launched a similar initiative for Make Music New York “A Worldwide Day of Vexations” celebrating Erik Satie’s monumental work.  I gathered a community of vibraphone players from all over the globe who live streamed their 18-hour performances of the piece on June 21st.  The outpouring of support and excitement throughout organizing that event was so tremendous that I knew it would just be the beginning of many more worldwide events to come.  My deep love for In C made it a no brainer to include on the list of future global projects and the 50th anniversary seemed an especially perfect time to go for it!  It also makes for a great parade piece as you are only playing and repeating one cell at a time and our poster cells will help move the group both through the piece as well as along their path around the park.  My Make Music Winter parade Village in Volume has traditionally used tuned metal pipes in years past and these were a perfect addition for our pulses since a parading piano would not be possible.

You’re no stranger to performing music in unusual spaces. What’s interesting or challenging about this particular space?

One challenge about these outdoor parade events are intersections and street crossings!  Luckily, our path around the park is devoid of both which will help us keep our band safe and together.  Additionally, it can be tough to hear and enjoy the collective whole of a parading ensemble as members tend to spread out single file or two-by-two behind each other.  Because In C is really all about the collective sound of many cells in time, we will be processing more than parading, moving very slowly around the sidewalk allowing the musicians to really live in each cell that they are playing.

Any advice for participants joining us on December 21?

I would advise anyone who is interested in participating to take a listen to a variety of recordings and performances (like this awesome, interactive video with the Tate Modern and Africa Express!) that are available on the web and elsewhere.  Time and pulse are the most important thing to consider in keeping the band together and playing along with a recording is incredibly useful!

How to participate:

To sign up and receive more information for the performance please visit NYC Worldwide In C Sign Up.

Anyone wishing to mount their own performance in another city as a part of the worldwide stream should email Amy at



Winter Spotlight: Lightmotif


The fourth in a series of posts highlighting new and re-imagined parades for the 2014 Make Music Winter festival, coming up on Sunday December 21. 

Spotlight on: Lightmotif

This year, Make Music Winter is heading to Queens to make music with the sun, inspired by the Long Island City sundial. Below, composer Hiroya Miura, whose previous Make Music Winter parades included projects with carillons, takes us through his 2014 idea – Lightmotif.

I love the introduction you give to winter – fuyu – and solstice traditions in Japan. What are your own earliest memories of these traditions?

The earliest memory that I have with solstice traditions actually has to do with food. Pumpkins (kabocha) are cooked and eaten on the solstice day in Japan.  Pumpkins are associated with fall traditions like Halloween and Thanksgiving in North America; but in the pre-modern times in Japan, there were not very many vegetables that could be harvested during the winter, so the people stored pumpkins for winter.  The other solstice tradition I remember is taking bath in water scented with Yuzu.  Yuzu is a fragrant citrus fruit primarily used for cooking in Japan, but its strong scent was believed to cleanse your spirit –as well as your body– in the beginning of the new solstice cycle.

What inspired you to write a piece based on the sun? 

As a composer, I think a lot about how I can go about organizing time in music.  The natural cycle of the sun is one of the most fundamental ways for humans to be aware of the passage of time, and learning about the Long Island City Sundial inspired me to create a musical structure based on the solar movement.

What is it about brass instruments that works for this piece? Do you often write for brass?

One quick answer is a practical one: brass instruments can cut through the street noises of New York.  Considering the history of brass instruments, I am intrigued by their associations with technology.  The history of brass instruments is perhaps shorter than other types of modern instruments, because the technology of casting brass is more complex than working with wood, strings, or skin.  It is no surprise that brass instruments were also used in battlefields, not only because they can be heard across the field, but also as a sign of technological prowess against the enemy.  As the ability to measure time was a sign of civilization, I think brass instruments –being the high-tech instruments– were naturally used to mark time in many cultures and traditions.

What is it like composing music for an outdoor parade — performed in the cold? Challenges? Opportunities? 

When I worked on Recordare, the piece I created for Make Music Winter in 2012, I initially thought that the noise level was an obstacle.  However, Lightmotif is a meditation on the environment – not only with regards to the changing of light and shadows – but also to the changing of the of sonic environment.  The two groups of musicians will be required to listen attentively while maintaining the distance over which they can hear each other.  Using this idea of maintaining the threshold of listening / physical distance in tandem with noise level, I am hoping to encourage participants to be aware of their surroundings.  About the cold weather, I am currently working on the route plan which would keep the musicians moving so that they can keep warm.  I will also bring portable heating pads for participants!

Any advice for participants joining us on December 21?

The music will be played from a set of simple prompts – it can be played by musicians at any skill level.  The only requirement is the open mind, and willingness to listen and react!

Winter Spotlight: Prelude


The third in a series of posts highlighting new and re-imagined parades for the 2014 Make Music Winter festival, coming up on Sunday December 21. 

Spotlight on: Prelude

Composer James Holt has been a fixture on the Make Music Winter scene since the festival’s debut in 2011. In its first three years, he hosted Thru Line — a tag-team performance of the famous Prelude from J.S. Bach’s Cello Suite No. 1 in G major…on the G train. This year, Bach is back — but in a new form. Read on for the backstory on James’ new parade for 2014, Prelude

What will Prelude participants experience on December 21?

When you participate in “Prelude” your experience will be like performing inside a harmonic wash of sound. The pitches and harmonies are drawn from the prelude movement of Bach’s first Cello Suite in G-major, but you don’t need to know that to be part of this performance – in fact, there’s no need to practice or even know how to read music! All you need is an instrument that can be played outside, a mobile device, and headphones. You’ll be told which pitch to play and when to play it, just follow the instructions from the app.

How did you come up with the format of this parade?

When I was asked to think of a new version of  Thru-Line (which was performed on the NYC subway system), I loved the chance to evolve it into something that was much more participatory and accessible to anyone who wanted to be involved. I’ve been a fan of pieces which have been stretched out to super-long lengths of time while still retaining their pitch, like Brian Eno’s Music for Airports stretched to 6-hours, and Beethoven’s 9th Symphony stretched to 24(!) hours. I thought it would be interesting to take the Bach prelude movement, which normally only lasts about two or three minutes in performance, and stretch it out to thirty minutes, and invite any group of voices or instruments to perform it live. The result isn’t something purely digital, this is live and physical, and different every time depending on who shows up to play.

You’ve been working with Bach’s Prelude for a long time now — what keeps you coming back? 

When I originally started working on this project in 2011, it was important to me that the music be immediately recognizable to people even if they had no idea that it was Bach. This piece is so well known it was even used in a credit card commercial a few years ago. Since “Prelude” is really an evolution of that project it only made sense to continue using it as the “thru-line” even if the piece is no longer called that.

You’re no stranger to composing music for unusual spaces. What’s interesting or challenging about this particular space?

Actually I feel like composing in this way is still new and challenging to me. Working with musicians on actual subway platforms and trains was a certain kind of challenge but, in previous years, the musicians were personally invited to participate and they mostly got to perform in a single location (and they had to practice the music!). This year, I’m asking people to walk and play at the same time, as well as opening it up to anyone with an instrument or a voice. I have a terrible voice, but I’ll be there playing along this year on my Melodica!

Is there anyway we can hear what this might sound like?

We did a kind of test-run earlier this year, here’s a short 2-minute excerpt that might give you an idea (but imagine there being many more people!).