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Alive AG This Time Last Year 30 cm
14,18 € *
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Die Ambient & Elektronika 90er Legende mit dem ersten Album seit 15 Jahren! 1xLP, 180gr Vinyl, Cover in drei Pantone-Farben, incl free MP3 downloadnnDie Ambient & Elektronika 90er Legende mit dem ersten Album seit 15 Jahren! This Time Last Year is the sixth album by UK electronic duo ULTRAMARINE (Ian Cooper & Paul Hammond), and their first full-length release for 15 years. Featuring all-new material and recorded in the band's isolated studio on the edge of the Essex marshes, the album ebbs and flows in mood like the nearby Blackwater estuary. Working with a palette of vintage drum machines, analogue synths, textural samples, acoustic recordings, electric bass & heavily treated guitar, the songs were born out of captured live studio performances. Cooper & Hammond then rewired their initial sketches through a series of hands-on, lo-fi effects chains, blurring the edges between acoustic & electronic elements. The result is an organic, playful feel, leaving the music room to breathe and carrying distinct echoes of the band's previous work. BIOGRAPHY Ultramarine are the London/Essex-based duo of Ian Cooper & Paul Hammond. Formed in 1989, the band's early records were released by the seminal Belgian label Les Disques du Crépuscule. Ultramarine released five albums during the 1990s including the highly-acclaimed ambient techno/house classic Every Man And Woman Is A Star (Rough Trade, 1992), United Kingdoms (Blanco Y Negro, 1993), featuring writing collaborations with Robert Wyatt, and Bel Air (Blanco Y Negro, 1995). After a prolific decade, including full American and European tours with Björk and Orbital, Ultramarine went on a long sabbatical following the release of their fifth album A User's Guide (New Electronica, 1998). After a 13-year absence they resurfaced with two new singles in late 2011 on Real Soon and WNCL Recordings, fully rested and ready for action. TRACKS: A1 / 1 Technique A2 / 2 Find My Way A3 / 3 Dugout A4 / 4 Eye Contact A5 / 5 Decoy Point B1 / 6 Within Reach B2 / 7 Passwords B3 / 8 Sidetracked B4 / 9 Even Then B5 / 10 Imaginary Letters

Anbieter: Dodax
Stand: 06.06.2020
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Bassline
39,00 € *
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A bassline is the term used in many styles of popular music, such as jazz, blues, funk, dub and electronic music for the low-pitched instrumental part or line played by a rhythm section instrument such as the electric bass, double bass or keyboard. Basslines in popular music often use "riffs" or "grooves", which are usually simple, appealing musical motifs or phrases that are repeated, with variation, throughout the song. Bassline riffs usually emphasize the chord tones of each chord which helps to define a song's key. At the same time, basslines work along with the drum part and the other rhythm instruments to create a clear rhythmic pulse. The type of rhythmic pulse used in basslines varies widely in different types of music. In swing jazz and jump blues, basslines are often created from a continuous sequence of quarter notes in a mostly scalar, stepwise part called a "walking bass line." In latin, salsa music, jazz fusion, reggae, electronica, and some types of rock and metal, basslines may be very rhythmically complex and syncopated. In bluegrass and traditional country music, basslines often emphasize the root and fifth of each chord

Anbieter: Dodax
Stand: 06.06.2020
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Baritone Guitar
49,00 € *
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High Quality Content by WIKIPEDIA articles! The baritone guitar is a variation on the standard guitar, with a longer scale length that allows it to be tuned to a lower range. It first appeared in the classical music realm. The Danelectro Company was the first to introduce the electric baritone guitar in the late 1950s. Shortly after, Fender released the Bass VI which can be described as either a baritone guitar, or a bass guitar. The baritone guitar was not originally popular with players or listeners. However, the instrument began to appear in surf music, as well as background music for many movie soundtracks, especially spaghetti westerns. In more recent history, the baritone guitar has found use within rock and metal. Baritone guitars also have the capacity to be used as a bass guitar if strung correctly. A standard guitar's standard tuning is E A D G B E. Baritone guitars are usually tuned a perfect fifth lower , a perfect fourth lower, a major third lower or an octave lower. Gretsch, Fender, Gibson, Danelectro, Jerry Jones, Burns London and many other companies have produced baritone guitars since the 1960s, although always in small numbers due to low popularity.

Anbieter: Dodax
Stand: 06.06.2020
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The Lost Trailers
39,00 € *
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. The Lost Trailers is an American country music band. Established in 2000, the band comprises Ryder Lee (lead vocals), Manny Medina (bass guitar), Andrew Nielson (keyboards), Stokes Nielson (vocals, lead guitar), and Jeff Potter (drums). Originally known as Stokes Nielson and The Lost Trailers, the band made its debut at a Fourth of July picnic held by country singer Willie Nelson. That year, The Lost Trailers self-released its debut album Story of the New Age Cowboy, followed in 2002 by Trailer Trash, followed by 2004''s Welcome to the Woods on Universal/Republic. After switching to BNA Records in 2006, the band issued a self-titled effort, which produced the singles "Call Me Crazy" and "Why Me", both of which entered the Billboard Hot Country Songs charts. A fifth album, Holler Back, was released in August 2008, producing a Top Ten country hit in its title track and a Top 20 in "How ''Bout You Don''t".

Anbieter: Dodax
Stand: 06.06.2020
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Alive AG This Time Last Year House Musik CD Ult...
11,64 € *
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Die Ambient & Elektronika 90er Legende mit dem ersten Album seit 15 Jahren!nnDie Ambient & Elektronika 90er Legende mit dem ersten Album seit 15 Jahren! This Time Last Year is the sixth album by UK electronic duo ULTRAMARINE (Ian Cooper & Paul Hammond), and their first full-length release for 15 years. Featuring all-new material and recorded in the band's isolated studio on the edge of the Essex marshes, the album ebbs and flows in mood like the nearby Blackwater estuary. Working with a palette of vintage drum machines, analogue synths, textural samples, acoustic recordings, electric bass & heavily treated guitar, the songs were born out of captured live studio performances. Cooper & Hammond then rewired their initial sketches through a series of hands-on, lo-fi effects chains, blurring the edges between acoustic & electronic elements. The result is an organic, playful feel, leaving the music room to breathe and carrying distinct echoes of the band's previous work. BIOGRAPHY Ultramarine are the London/Essex-based duo of Ian Cooper & Paul Hammond. Formed in 1989, the band's early records were released by the seminal Belgian label Les Disques du Crépuscule. Ultramarine released five albums during the 1990s including the highly-acclaimed ambient techno/house classic Every Man And Woman Is A Star (Rough Trade, 1992), United Kingdoms (Blanco Y Negro, 1993), featuring writing collaborations with Robert Wyatt, and Bel Air (Blanco Y Negro, 1995). After a prolific decade, including full American and European tours with Björk and Orbital, Ultramarine went on a long sabbatical following the release of their fifth album A User's Guide (New Electronica, 1998). After a 13-year absence they resurfaced with two new singles in late 2011 on Real Soon and WNCL Recordings, fully rested and ready for action. TRACKS: A1 / 1 Technique A2 / 2 Find My Way A3 / 3 Dugout A4 / 4 Eye Contact A5 / 5 Decoy Point B1 / 6 Within Reach B2 / 7 Passwords B3 / 8 Sidetracked B4 / 9 Even Then B5 / 10 Imaginary Letters

Anbieter: Dodax
Stand: 06.06.2020
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Rossi, M: Kwazulu Zam
42,90 CHF *
ggf. zzgl. Versand

As an American jazz artist and educator based in South Africa since 1999, this is one in a set of pieces that reflect my musical and other experiences in this fascinating country. Kwazulu Zam was composed using a traditional South African song form called mbaquanga. Mbaquanga is a characteristic South African musical form that utilises a repeated (cyclical) 2 or 4-measure harmonic structure based on I - IV - V - I and I - IV - 1 6/4 - V - I. These progressions are the backbone of South African jazz much like the blues and its variants is to American jazz. The piece is performed in the kwela style which is based on a strong swing feel. The original meaning for kwela during less fortunate times was “kwela–kwela; hurry, hurry, the police are on the way.” Much like early jazz and throughout the swing period, the use of riff based playing and soloing was common. Bennie Moten’s and Count Basie’s early bands come to mind, and are just two examples of great riff based ensembles with exciting riff based soloing. Performance Tips The melodies or riffs in Kwazulu Zam must swing. Play them with a loose, relaxed feel. Really dip or slide into the notes that are marked. Intervals of a fifth or larger marked with slides should really be scooped and vocal in nature. Please note that African music and particularly South African jazz, is vocal and organic in nature. This tune is written in the Kwela/Swing style. It can also be played on a more traditional Mbaqango style. To get to know Kwela you can listen to recordings by Hugh Masekela, Darius Brubeck and Afro Cool Concept; also Paul Simon’s “Graceland,” for a better understanding of Mbaqango. Notes on Soloing Pay attention to the rhythm of the themes; play off rhythms found in the piece as well as playing rhythmically. The solo improvisation section at letter C should pay particular attention to the use of, and drawing from the three themes of the piece. Backgrounds and interludes can be very flexible. For example, B and C can be cued by signaling the number 1 for the background at letter B. Signal 2 for the background at C or 3 for both B and C. A closed fist indicates the last time when repeated more than once. Letters B & C can be played between solos or as a background building to the next soloist or just optionally letter C between solos. The solo background at letter C also has the option of being repeated more than once if your soloist is cooking and your rhythm section is grooving! Experiment too with dynamic shapes during repeated backgrounds that will add excitement to the background and influence the soloist. Even experiment with interchanging letters B & C as solo backgrounds. It is important to note that playing contemporary jazz phrases or licks really doesn’t work and is out of context or style of the piece. Play in the style, play rhythmically, use material from the three themes to develop and build your solo. Most importantly have fun!!! Mike Rossi Instrumentation: 3 melody instruments, piano, guitar, double bass, percussion

Anbieter: Orell Fuessli CH
Stand: 06.06.2020
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Triosonate V in C-Dur
23,90 CHF *
zzgl. 3,50 CHF Versand

Bach composed the six Trio Sonatas for Organ BWV 525 - 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or lute). It is assumed that during his time in Köthen (1717 - 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d'amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. Sonata V is the only one that could be considered a three movement Concerto. The first movement Allegro with its chamber music vocabulary is an excellent example for speculations that the organ sonatas might have had instrumental predecessors. Its style could easily be associated with a sonata for two flutes or two violins and continuo. The formal layout is highly complex. The three-part architecture is strictly symmetrical and this principal not only applies to smaller formal units but also to the composition of thematic material. Despite the complexity, the movement never sounds rigid or dull, the instrumental dialogue freely unfolds and melodic development is always relaxed and playful. The Largo in a-minor has a three-part Da capo aria form with elements of a fugue. The lyrical, expressive melody is answered on the fifth by the second part, while the first continues with a chromatic counter-subject. The middle section opens and closes with two slightly more playful interludes (bars 13 + 33) with the main theme in their center, this time in the parallel of C-major, avoiding chromaticism. After the Da capo the movement closes with a phrygian half cadence (IV6 - V) and leads into the last movement. In comparison with the more ‚modern' theme of the first movement, the fugue theme of the Allegro appears a bit conventional. But the motivic development and the organisation of the two-part form are not any less sophisticated. In bar 29 a new theme is introduced, that is combined with the first in the coda (bars 51 + 141). As in most of the final movements of the trio sonatas, the bass is actively involved in the development of the themes, especially in motivic sequences. Due to the range (theme of the first movement in the Alto part) the sonata was transposed a halfstep above the original key. This also allows playing the bass line with a baritone saxophone without low A. Olaf Mühlenhardt, December 2008 Instrumentation: 3 saxophones (SABar/SAT) BWV 529

Anbieter: Orell Fuessli CH
Stand: 06.06.2020
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Triosonate V in C-Dur
20,60 € *
ggf. zzgl. Versand

Bach composed the six Trio Sonatas for Organ BWV 525 - 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or lute). It is assumed that during his time in Köthen (1717 - 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d'amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. Sonata V is the only one that could be considered a three movement Concerto. The first movement Allegro with its chamber music vocabulary is an excellent example for speculations that the organ sonatas might have had instrumental predecessors. Its style could easily be associated with a sonata for two flutes or two violins and continuo. The formal layout is highly complex. The three-part architecture is strictly symmetrical and this principal not only applies to smaller formal units but also to the composition of thematic material. Despite the complexity, the movement never sounds rigid or dull, the instrumental dialogue freely unfolds and melodic development is always relaxed and playful. The Largo in a-minor has a three-part Da capo aria form with elements of a fugue. The lyrical, expressive melody is answered on the fifth by the second part, while the first continues with a chromatic counter-subject. The middle section opens and closes with two slightly more playful interludes (bars 13 + 33) with the main theme in their center, this time in the parallel of C-major, avoiding chromaticism. After the Da capo the movement closes with a phrygian half cadence (IV6 - V) and leads into the last movement. In comparison with the more ‚modern' theme of the first movement, the fugue theme of the Allegro appears a bit conventional. But the motivic development and the organisation of the two-part form are not any less sophisticated. In bar 29 a new theme is introduced, that is combined with the first in the coda (bars 51 + 141). As in most of the final movements of the trio sonatas, the bass is actively involved in the development of the themes, especially in motivic sequences. Due to the range (theme of the first movement in the Alto part) the sonata was transposed a halfstep above the original key. This also allows playing the bass line with a baritone saxophone without low A. Olaf Mühlenhardt, December 2008 Instrumentation: 3 saxophones (SABar/SAT) BWV 529

Anbieter: Thalia AT
Stand: 06.06.2020
Zum Angebot
Rossi, M: Kwazulu Zam
31,90 € *
ggf. zzgl. Versand

As an American jazz artist and educator based in South Africa since 1999, this is one in a set of pieces that reflect my musical and other experiences in this fascinating country. Kwazulu Zam was composed using a traditional South African song form called mbaquanga. Mbaquanga is a characteristic South African musical form that utilises a repeated (cyclical) 2 or 4-measure harmonic structure based on I - IV - V - I and I - IV - 1 6/4 - V - I. These progressions are the backbone of South African jazz much like the blues and its variants is to American jazz. The piece is performed in the kwela style which is based on a strong swing feel. The original meaning for kwela during less fortunate times was “kwela–kwela; hurry, hurry, the police are on the way.” Much like early jazz and throughout the swing period, the use of riff based playing and soloing was common. Bennie Moten’s and Count Basie’s early bands come to mind, and are just two examples of great riff based ensembles with exciting riff based soloing. Performance Tips The melodies or riffs in Kwazulu Zam must swing. Play them with a loose, relaxed feel. Really dip or slide into the notes that are marked. Intervals of a fifth or larger marked with slides should really be scooped and vocal in nature. Please note that African music and particularly South African jazz, is vocal and organic in nature. This tune is written in the Kwela/Swing style. It can also be played on a more traditional Mbaqango style. To get to know Kwela you can listen to recordings by Hugh Masekela, Darius Brubeck and Afro Cool Concept; also Paul Simon’s “Graceland,” for a better understanding of Mbaqango. Notes on Soloing Pay attention to the rhythm of the themes; play off rhythms found in the piece as well as playing rhythmically. The solo improvisation section at letter C should pay particular attention to the use of, and drawing from the three themes of the piece. Backgrounds and interludes can be very flexible. For example, B and C can be cued by signaling the number 1 for the background at letter B. Signal 2 for the background at C or 3 for both B and C. A closed fist indicates the last time when repeated more than once. Letters B & C can be played between solos or as a background building to the next soloist or just optionally letter C between solos. The solo background at letter C also has the option of being repeated more than once if your soloist is cooking and your rhythm section is grooving! Experiment too with dynamic shapes during repeated backgrounds that will add excitement to the background and influence the soloist. Even experiment with interchanging letters B & C as solo backgrounds. It is important to note that playing contemporary jazz phrases or licks really doesn’t work and is out of context or style of the piece. Play in the style, play rhythmically, use material from the three themes to develop and build your solo. Most importantly have fun!!! Mike Rossi Instrumentation: 3 melody instruments, piano, guitar, double bass, percussion

Anbieter: Thalia AT
Stand: 06.06.2020
Zum Angebot