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Glass Armonica (Working Replica, 37 Bowls)

My most beautiful invention. 37 glass bowls mounted on a spindle, turned by a foot pedal, played with wet fingers. Mozart and Beethoven both composed for it. The sound is unearthly -- people fainted at performances. Some thought it caused madness. It doesn't. It causes wonder. Handle with extreme care.

Violin (German Make, 1920s, Concert Quality)

My violin. Well, a replica of my favorite one. I named the original Lina. Mozart and Bach -- that's what I play when I'm stuck on a physics problem. The music reorganizes my thinking. If you can play, borrow it. If you can't, I'll give you a beginner lesson. Badly. I'm a better physicist than violinist.

Organ Concert & Music Lesson (Beginner)

I was the organist at the Church of Saint-Nicolas-des-Champs in Paris. I also developed Braille music notation so blind musicians could read scores. This lesson covers basic organ technique and an introduction to reading music by touch.

Bass Guitar (Fender Jazz Bass, Sunburst)

My Fender Jazz Bass from the Dogstar days. I'm not a great bassist -- I'm an enthusiastic one. Sometimes enthusiasm is enough. Borrow it, start a band, play badly with joy. Tip: The bass holds everything together. Like kindness.

Jazz Piano Session -- Improvisation and Film Scoring

I've composed scores for many of my own films. Jazz is conversation -- you listen, you respond, you leave space. We work on basic piano improvisation over blues and jazz standards. No sheet music. Tip: The notes you DON'T play are just as important as the ones you do. Same in acting. Same in life.

Film Music Composition Workshop -- Scoring Your Own Film

I composed the music for my later films because nobody else could hear what I heard. Indian classical ragas, Western orchestration, and folk melodies -- all serving the image. We study the sitar-and-flute scoring of the Apu Trilogy and learn to write music that enhances without overpowering. Tip: The best film music makes you forget it's there.

Singing Coaching -- Finding Your Breathy Best

I sang Happy Birthday to a president and Diamonds Are a Girl's Best Friend to the world. My voice wasn't perfect -- it was MINE. I teach you to stop imitating and start expressing. We work on breath control, phrasing, and emotional delivery. You don't need range. You need truth.

Film Score Analysis Workshop -- Music as Fear

Bernard Herrmann wrote the Psycho strings, the Vertigo spirals, and the North by Northwest overture. Without his music, my films are half as terrifying. We study how music creates dread, release, and the false sense of safety. Tip: The scariest sound in cinema is silence followed by a single note.

Opera Singing for Actors -- Voice as Instrument

I studied opera before acting. Vocal training teaches breath control, projection, and emotional range that transforms film performances. We warm up with scales, work on one aria, and apply the techniques to spoken text. You don't need to be a singer. You need to be a breather.

Singing for Non-Singers -- Charm Over Range

Irving Berlin, Cole Porter, and the Gershwins all wrote songs specifically for my voice -- and I had barely one octave. The trick isn't range. It's phrasing, charm, and meaning every word. We work on selling a song with personality instead of power. Tip: If you can speak it convincingly, you can sing it.

Music Composition Masterclass -- From Melody to Symphony

I'll teach you what my father taught me: start with a melody that a child can hum. Then build. Harmony, counterpoint, orchestration. A symphony is just a melody that grew up. No prior theory needed -- if you can sing, you can compose.

Rock Guitar Riff Workshop -- The Foundations

I invented the rock guitar riff. I'll teach you the first ten. By the end of the session you'll play Johnny B. Goode, Roll Over Beethoven, and Rock and Roll Music. These are the DNA of every rock song that followed.