In Listen to This, Alex Ross, the music critic for The New Yorker, looks both backward and forward in time, capturing essential figures and ideas in classical-music history, as well as giving an alternative view of recent pop music that emphasizes the power of the individual musical voice in whatever genre. Ross combines a selection of his New Yorker essays with new material that will serve as an introduction to some basic classical-music concepts and figures and will give an alternative view of recent pop music. It will demonstrate the essential equality of great musical creators in whatever genre. It begins with 'Listen to This', his most famous New Yorker essay, an autobiographical account of his early passion for classical music and belated discovery of pop music in college. It sets forth the themes of the book as a whole: how classical music can become a vital part of wider contemporary culture, how it can survive and even prosper in the face of proclamations of its decline. There follows a new essay tracing the history of the chaconne, a dance form based on a descending bass line, which originated as an erotic Afro-Caribbean dance in the 16th century, then migrated to Europe and inspired such Baroque masterpieces as Bach's Chaconne in D minor, and later found echoes in the bass lines both of 20th-century classical masterpieces and African-American blues. Led Zeppelin's 'Dazed and Confused' and Bob Dylan's 'Simple Twist of Fate', among other songs, extend the principle. This chapter develops, in a less personal way, the themes of 'Listen to This', and serves as a kind of whirlwind tour of five centuries of music history. Third in the introductory section is 'The Record Effect', an account of technology's impact on pop and classical music. 1. Language: English. Narrator: Alex Ross. Audio sample: http://samples.audible.de/bk/hcuk/000680/bk_hcuk_000680_sample.mp3. Digital audiobook in aax.
Game-Soundtrack für DYAD. Für Fans von Daniel Lopatin / Oneohtrix Point NevernnGame-Soundtrack für DYAD. Für Fans von Daniel Lopatin / Oneohtrix Point Never, Planet Mu, experimenteller Elektronika David Kanaga's maximalist score for the video game 'DYAD' fuses a breakneck array of sound events to rich, ambient segues of layered harmonies and melodic color. Like the ceaseless forward movement of the game itself, where the protagonist particle encounters cascades of oncoming enemies, the elements of the music also shift in concert with the events of the game. Kanaga casts a wide net stylistically, a kaleidoscope of influences ranging from from acid-fried happy hardcore, to jungle and drum-n-bass rhythms to re-applied fragments of Top 40 production tropes, not to mention more than several sublime passages of hazy, cosmic coloring. Importantly, even with this stylistic range, the soundtrack never veers from referencing the particular intensities of the events in play. The frenetic music shifts in accordance with the game's own digital psychedelia, becoming on its own a kind of virtual stand-in for the game itself. Extensive liner notes include notations, schematics and game instructions hand penned by Kanaga himself as well as snippets of the code behind the music. Kanaga is continuing to explore interactive possibilities of music in games and other dynamic environments with a prolific stream of projects forthcoming. DYAD is an essential node in today's expanding base of trailblazing game music by one of the brightest minds in the field. TRACKS: 1. Start/Break 2. Dyadic 3. Fo 4. Surf/Ks/Pumpkin 5. Michael Brown 6. Just Take a Pinch7. Space OX 8. Peking Duck (Eye Edit) 9. Miss You Jack/18 Triads 10. Match Sprint 1. Lineup 12. Chargers 13. Water Mantra 14. Magic Circle 15. Virtuosos 16. Perpetuation 17. Orol 18. Jupiter 19. Raga 2 20. Judgement/Swarm 21. Start/Break/Slow 22. Triads 23. Ziplines 24. Peking Duck 2 pt. I 25. Peking Duck 2 pt. II 26. Peking Duck 2 pt. III 27. Peking Duck 2 pt. IV 28. End Mush 29. Start Mush
Engineered to Win: LS25 eSports Gaming Headset Crystal-Clear Voice Chat and Exceptional Audio Quality Prove Ideal for Tournament and Competitive Gaming The new LS25 has been developed for the eSports and competitive PC gaming community, concentrating on the features essential to provide superior performance during tournament play. DESIGNED FOR ESPORTS Whether you're gaming online or at a tournament, the LS25 is tuned for competition, with an over-ear design offering immersive sound isolation and impressive acoustics. LucidSound and Quake Champions LucidSound is dedicated to creating the best eSports products by working with top teams and game developers. Comfort Designed for long play-sessions, the LS25 uses advanced memory foam ear cushions and a breathable cloth liner that conform to the individual user and offer superior comfort. INTUITIVE CONTROL SYSTEM Rotate outer ring to control volume Quick-access volume and mute controls are integrated into the earcups. CRYSTAL-CLEAR CHAT WITH DUAL MICS Dual microphone design offers a flexible boom mic for gaming online and talking to your team. Remove the boom mic and use the integrated mic for mobile. Boom mic includes optional windsock and new unidirectional design for reduced background noise in competitive eSports environments. SOUND QUALITY Custom tuned 50mm speakers with state-of-the-art neodymium magnets provide deep bass and clear highs. Immerse yourself in the expertly crafted, signature LucidSound audio acoustics. VERSATILE DUAL CABLE DESIGN Works out of the box with all major gaming devices. The package includes a 1.2m, 3.5mm cable for mobile, console and laptop use and a second 3m cable with PC splitter for PCs with separate mic and headphone jacks. DURABLE AND PORTABLE Many gaming headsets are too fragile to take on the road. The LS25’s versatility and rugged design means you can bring it to your friend’s house, play Nintendo Switch on the plane, listen to music with your mobile device and take calls using either the detachable boom mic or integrated mic.
Daniel Schnyder's 'Music for Four Guitars' reflects on various aspects of guitar music. The composition superimposes modern rhythms of South American provenience with European forms and compositional techniques. The fusion of these elements creates new music which at the same time sounds familiar. The combining of the two different worlds of music illuminates the diversity of today's music and it's beautiful possibilities on infinite new combinations. 'Unveiling of a Canon' is build on a canon, hidden behind rich ornamentations and melodic embellishments. The canon gradually unfolds as the piece develops. At the end of the movement the canon presents itself in its original form. The canon is the strictest musical form. The art of embellishments over a canon is rarely heard today. Jazz and jazz related music concentrate on improvising over chord structures - vertical structures - rather than improvsing over polyphonic patterns which by definition develop horizontally in a musical texture. Switching from the strict canon to embellishments creates tension between freedom and the strict hidden order. We know that very well from the music of J.S. Bach or Bela Bartok. 'Fairytale' is the pragmatic juxtaposition of a completely different way of musical thinking. The movement is based on harmonic and rhythmic fundamentals derived from Brazilian music. Basically the four guitars play on three different layers which rhythmically interact with each other: bass melody, rhythm with complimentary rhythm, and melody. For classically trained musicians the hidden African color of the music may be unusual, new and sophisticated. The accents are delayed to the off-beats. 'Fairytale' combines classical and non-European musical influences in a natural and sophisticated way. In spite of the unusual rhythmic approach, the audience will find this dance-like movement very accessible. 'Coding Against Memory' transforms the musical material from the canon, unweiled in the first movement, in a different way. Single elements of the canon have been isolated and consequently alongated, turned upside down, etc. These techniques are very fundamental and essential in the tradition of European art music but not really common in jazz and other non-written music. The third movement relates to movement one and reflects on the European roots and tradition. 'Dancing With My Lady' corresponds with the dance-like African quality of the second movement but with an emphasis on the inexaustible rhythmic vocabulary of South America, especially the energy-giving, high-spirited Samba. The whole piece therefore is written in a loose thematic ABAB form. This work was originally commissioned by the EOS Guitar Quartet and performed in numerous concerts. Instrumentation: 4 guitars
Over 600 chords and voicings for all 12 keys!Alfred's Mini Music Guides provide essential information in a convenient size. Take these books anywhere you want to go. With 600 unique chords and chord voicings for all 12 keys, Piano Chord Dictionary is the most useful compact piano chord dictionary available. Features:Easy-to-follow reference guide for all pianists and keyboard players* Clear diagrams, fingerings, and note names for all chords* Music theory review, covering chord construction, inversions, advanced voicings, and more* Standard notation in bass and treble clefs* Section on voice leading and voicing for the melody* Enharmonic spellings for all sharp and flat keys* All the essential chords in root position and inversions
Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music. Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs&#8212;some new to this edition&#8212;an appendix on graphic notation, and a bibliography. NEW TO THE THIRD EDITION * Makes more frequent reference to the principles of strict counterpoint introduced in Chapter 2 * Provides enhanced discussions of harmonic structure and of the imaginary continuo as a tool for analysis (Chapter 3) * Places greater emphasis throughout Part 2 on Schenker's ideas on musical form * Reorders Chapter 9 to present the typical formal structures for binary form in a way that parallels Schenker's ideas about form and structure * Includes a new analysis of a Brahms Intermezzo (a composite ternary form) in Chapter 10 * Features a completely revised concluding chapter that discusses Schenker's ideas on form in relation to common tonal patterns (i.e., structural 'paradigms') The third edition is supplemented by a thoroughly revised Student Workbook that guides students systematically through the process of analysis.
Finally, the essential theory training today's bass player needs from one of the world's leading contemporary music schools. This easy-to-use, step-by-step method will prepare you to play bass in any musical style. Beginning with a review of the fretboard and reading standard notation in the bass clef, lessons progress in a logical order through scales, intervals, chords, and progressions including tritone substitutions, secondary chords and modulations. Test your knowledge with 25 worksheets and check your work against the answer keys. Theory of the Contemporary Bassistis the ultimate, must-own resource for the advancing bassist.
How to Play Bass explains areas such as technique, fret-board layout and theory in detail with over 150 photographic examples, illustrations and purpose made diagrams. Music theory is explained in terms of the bass guitar fret-board and a system categorizing the all-important major scale into three basic shapes is used from which further scales and arpeggios can be understood. The basic foundation of most bass lines is playing the notes from chords separately, known as an arpeggio. Learn to play bass arpeggios from the basic major and minors to 7th type arpeggios and play them over musical pieces that are kept rhythmically simple for you to develop an awareness of the intervals (an essential skill for creating your own bass lines). The modes of the major scale are explained in order to open up the basics of how chords, and therefore bass arpeggios, are arranged within music. The rhythmical aspect of conventional notation is covered so you can use it in conjunction with tablature. How to Play Bass includes 60 downloadable audio tracks in various styles with a demo and backing track for each and includes information on how to string a bass guitar, how to practise and an introduction to further bass guitar techniques such as slap n' pop and harmonics.