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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: 02.04.2020
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Gymnopedie No. 3 for Piano and Double Bass - Pu...
4,90 CHF *
ggf. zzgl. Versand

Composed in 1888 by Erik Satie, the Gymnopedies are considered with their atmospheric mood a very important inspiration to modern ambient music. Dedicated to Charles Levade it embodys the spirit of French impressionism and has been featured in many film sound tracks like Louis Malle's film My Dinner with Andre and The Fire Within by the same director. Satie was inspired by reading Gustave Flaubert's novel Salammbo and the composers first attempt at cutting himself loose from the conventional 19th century salon music Sheet Music for Double Bass accompanied by Piano arranged by Lars Christian Lundholm. Gymnopedie No. 3 is also known by alternative title: Trois Gymnopedies, Lent et grave. - Instrumentation: Piano and Double Bass - Level: Easy - Score Type: Score and 1 Part - Tempo: Slow - Genre: Impressionistic - Composer: Erik Satie - Year Composed: 1888 - Pages (approximate): 7

Anbieter: Orell Fuessli CH
Stand: 02.04.2020
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Gymnopedie No. 1 for Piano and Double Bass - Pu...
4,90 CHF *
ggf. zzgl. Versand

Composed in 1888 by Erik Satie, the Gymnopedies are considered with their atmospheric mood a very important inspiration to modern ambient music. Dedicated to Mlle. Jean de Bret it embodys the spirit of French impressionism and has been featured in many film sound tracks like Louis Malle's film My Dinner with Andre and The Fire Within by the same director. Satie was inspired by reading Gustave Flaubert's novel Salammbo and the composers first attempt at cutting himself loose from the conventional 19th century salon music Sheet Music for Double Bass accompanied by Piano arranged by Lars Christian Lundholm. Gymnopedie No. 1 is also known by alternative title: Trois Gymnopedies, Lent et douloureux. - Instrumentation: Piano and Double Bass - Level: Easy - Score Type: Score and 1 Part - Tempo: Slow - Genre: Impressionistic - Composer: Erik Satie - Year Composed: 1888 - Pages (approximate): 9

Anbieter: Orell Fuessli CH
Stand: 02.04.2020
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Gymnopedie No. 2 for Piano and Double Bass - Pu...
4,90 CHF *
ggf. zzgl. Versand

Composed in 1888 by Erik Satie, the Gymnopedies are considered with their atmospheric mood a very important inspiration to modern ambient music. Dedicated to Conrad Satie it embodys the spirit of French impressionism and has been featured in many film sound tracks like Louis Malle's film My Dinner with Andre and The Fire Within by the same director. Satie was inspired by reading Gustave Flaubert's novel Salammbo and the composers first attempt at cutting himself loose from the conventional 19th century salon music Sheet Music for Double Bass accompanied by Piano arranged by Lars Christian Lundholm. Gymnopedie No. 2 is also known by alternative title: Trois Gymnopedies, Lent et triste. - Instrumentation: Piano and Double Bass - Level: Easy - Score Type: Score and 1 Part - Tempo: Slow - Genre: Impressionistic - Composer: Erik Satie - Year Composed: 1888 - Pages (approximate): 8

Anbieter: Orell Fuessli CH
Stand: 02.04.2020
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Drum Along - 10 Black Music Songs
15,40 € *
zzgl. 3,00 € Versand

Die Drum Along-Serie von Bosworth erfreut sich aufgrund der einfachen, schnell erfassbaren Notation und der hohen Qualität der Play Along-Tracks großer Beliebtheit. Die Songs sind jeweils notiert als Leadsheet mit den verschiedenen Songteilen und den entsprechenden Drumbeats. Dadurch lässt sich der Ablauf des jeweiligen Songs wesentlich schneller lernen und man kann sich ganz auf die Drumparts und aufs Schlagzeugspielen konzentrieren – darum geht es ja schließlich. Die Backing Tracks sind von hoher Soundqualität mit einem - für Drummer essentiell – ausgeprägtem Bass. Auf der CD ist jeder Song als Vollversion mit Gesang und als Play Along-Version ohne Schlagzeug (und mit Clicktrack) enthalten. Der Text ist zweisprachig Deutsch und Englisch. Dieser Band kommt mit 10 Songs aus Black Music & Soul zum mitgrooven. Inhalt: Get down on it - Kool and the Gang; We don't need another hero - Tina Turner; Unchain my heart - Ray Charles; Yeah right - Dionne Bromfield; Ain't no sunshine - Bill Withers; Son of a preacher man - Dusty Springfield; I say a little prayer - Aretha Franklin; Lovely Day - Bill Withers; Doo Wop (that thing) - Lauryn Hill; Give it up or turn it a loose - James Brown.

Anbieter: Thalia AT
Stand: 02.04.2020
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Schnyder, D: Music for four Guitars
35,50 € *
ggf. zzgl. Versand

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

Anbieter: Thalia AT
Stand: 02.04.2020
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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: 02.04.2020
Zum Angebot
Gymnopedie No. 3 for Piano and Double Bass - Pu...
3,99 € *
ggf. zzgl. Versand

Composed in 1888 by Erik Satie, the Gymnopedies are considered with their atmospheric mood a very important inspiration to modern ambient music. Dedicated to Charles Levade it embodys the spirit of French impressionism and has been featured in many film sound tracks like Louis Malle's film My Dinner with Andre and The Fire Within by the same director. Satie was inspired by reading Gustave Flaubert's novel Salammbo and the composers first attempt at cutting himself loose from the conventional 19th century salon music Sheet Music for Double Bass accompanied by Piano arranged by Lars Christian Lundholm. Gymnopedie No. 3 is also known by alternative title: Trois Gymnopedies, Lent et grave. - Instrumentation: Piano and Double Bass - Level: Easy - Score Type: Score and 1 Part - Tempo: Slow - Genre: Impressionistic - Composer: Erik Satie - Year Composed: 1888 - Pages (approximate): 7

Anbieter: Thalia AT
Stand: 02.04.2020
Zum Angebot
Gymnopedie No. 2 for Piano and Double Bass - Pu...
3,99 € *
ggf. zzgl. Versand

Composed in 1888 by Erik Satie, the Gymnopedies are considered with their atmospheric mood a very important inspiration to modern ambient music. Dedicated to Conrad Satie it embodys the spirit of French impressionism and has been featured in many film sound tracks like Louis Malle's film My Dinner with Andre and The Fire Within by the same director. Satie was inspired by reading Gustave Flaubert's novel Salammbo and the composers first attempt at cutting himself loose from the conventional 19th century salon music Sheet Music for Double Bass accompanied by Piano arranged by Lars Christian Lundholm. Gymnopedie No. 2 is also known by alternative title: Trois Gymnopedies, Lent et triste. - Instrumentation: Piano and Double Bass - Level: Easy - Score Type: Score and 1 Part - Tempo: Slow - Genre: Impressionistic - Composer: Erik Satie - Year Composed: 1888 - Pages (approximate): 8

Anbieter: Thalia AT
Stand: 02.04.2020
Zum Angebot