Mixmag - Feature & review: Album Of The Month. Technimatic sind die Referenz für reichhaltigen, gefühlvollen und musikalischen Drum`nBassnnShogun Audio hat sich zwar im Laufe der Zeit auch stark verändert, steht aber nach wie vor als Label für vielseitigen, sowohl kommerziellen als auch experimentellen Drum & Bass. Dieses Jahr wurde das hundertste Release veröffentlicht und nach dem 10 Years Of Shogun Audio Sampler erneut ein Blick zurück geworfen. Peter Rogers und Andy Powell sind die beiden Köpfe hinter Technimatic. Seit sie sich in 2007 zusammenfanden, haben sie die Drum`nBass-Szene mit ihren Veröffentlichungen auf Labels wie Technique, Viper, Critical, Hospital und Spearhead aufgemischt, sich dann 2012 dazu entschieden, ihren derben Kram exklusiv auf Shogun Audio herauszubringen dem Label von DJ Friction und K-Tee. Seitdem wurden sie zu einer Referenz für reichhaltigen, gefühlvollen und musikalischen Drum`nBass, wie er in ihrem Debütalbum Desire Paths so wunderbar verkörpert wird. Dieses Album war eines der Top10 Dance Albums bei Mixmag und wurde bei den National Drum`nBass Awards 2014 zum Best Album gekürt. Erst im Sommer diesen Jahres veröffentlichten die beiden mit Flashbulb eine EP auf Shogun, mit der sie die Szene erneut verzückten. Described by Mixmag as 'the best drum & bass album in years' and earning a place in their top 10 LP's of 2014, Technimatic's debut 'Desire Paths' was a triumph in musically rich, fresh and eclectic drum & bass that saw them receiving support from the likes of BBC Radio 1, 6 Music, 1Xtra, Thump (Vice), DJ Mag, Resident Advisor and many more. TRACKS: 1) Introduction) Better Perspective (ft. Jinadu), 3) Parallel (ft. Zara Kershaw), 4) Clockwise, 5) Out Of Reach (ft. Lucy Kitchen)?6) Antihero, 7) Foreshadow (interlude), 8) Problems (ft. Maiday), 9) Leave It Unsaid, 10) We Look For Patterns?11) The Stage (interlude), 12) Trigger Warning, 13) Cold Shoulder, 14) Hold On A While (ft. Jono McCleery) 15) It Must Be?
Following the very successful piano method published in two volumes between 1958 and 1962, the three-volume 'European Piano Method' represents a new textbook which takes into account the development of modern piano pedagogy. 7 Winning Features of the Emonts Method: 1 Songs from many European countries 2 Pupils begin to play without music notation 3 Improvisation and playing on the black keys 4 Development of listening skills and aural awareness 5 Simple and logical learning structure 6 Lots of duets 7 Attractive full-colour illustrations Volume 3 The third volume of 'The European Piano Method' is not strictly speaking a piano method, but rather a collection of meterial and suggestions for the advanced tution of now slightly older players. The author has therefore concentrated on selecting pieces from the vast wealth of the piano repertoire and grouping them according to specific structural criteria. With this approach, technical aspects (playing chord, thirds, sixths and other intervals) go hand in hand with musical themes (expressive touch, extending rhythmic awareness, cantabile playing with pedal). These developmental processes should suffuse each other: in the technical procedures, on the one hand, control over quality of tone, clarity and articulation should not falter; the pieces from the piano repertoire, on the other hand, should gain creative power through ever-increasing technical skills. The appendix of Volume 3 contains further 'yellow pages' with ideas for improvisation. the subjects are: Ostinato Bass Patterns, Song Accompaniement, Completing Melodies, Improvising over Chord Progressions, Seventh Chords, Introduction to Jazz Harmony. Instrumentation: piano
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
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.
Block Rockin Beats has tons of cool grooves and fills for the intermediate to advanced drummer. This book reflects recent musical trends by focusing on funky rock, hip hop, jungle and drum n bass influenced patterns for the drum kit. As time marches on, popular music continues to evolve and change. Block Rockin Beats is designed to give the drummer more ideas and tools to help function in a musical environment that was not only influenced by jazz, blues, gospel, country, soul, latin and funk styles but also shaped by D.J.s, samplers and electronic music. Drummers are often called upon now to replace or ad to programmed drums in the recording studio. For live shows, live drumming might be melded together with electronic elements or D.J.s, or both Rock and popular music are incorporating so many different elements and styles at this point, its hard to keep track! Update your rhythmic vocabulary with some Block Rockin Beats.
Written exercises-The Second Edition includes new exercises for each chapter that reflect changes in the text, in particular changes in the chapters on fundamentals and diatonic harmony. Exercises require students to fill in short harmonic progressions, complete sequential patterns, realize figured basses, harmonize melodies, analyze excerpts from music literature, and compose original music. Keyboard exercises-Professor Gauldin's keyboard exercises help students make the transition from theory to ear training and performance. Students learn to hear various intervals, chords, and harmonic progressions and to master transposition, figured bass, and melody harmonization. All keyboard exercises have been collected in a separate section at the end of the text.
Intermediate drummers can learn more drumming techniques, including double bass drum techniques, shuffle grooves, ride patterns, time feels, and more - all using the music of Metallica! Dozens of Metallica riffs are included as examples. Songs include: Better Than You * Creeping Death * Damage, Inc. * Enter Sandman * Eye of the Beholder * Fade to Black * For Whom the Bell Tolls * Master of Puppets * Ride the Lightning * Seek & Destroy * Slither * Welcome Home (Sanitarium) * and more. The CD includes demos of most of the examples.
From the very first lessons in Book 1, students are making music as they explore the piano keyboard through fun improvisation pieces called My Own Song. The beginning of the book introduces finger numbers, the black-key and white-key groups, and basic rhythm patterns. Directional reading is taught first by finger number, then by note name, and then by interval (stop, skip, and repeat). Once the students are introduced to the staff, they learn reading guides Bass F and Treble G and read by interval in several different hand positions.
''One of the best, most useful and well-written drum instruction books I've seen in years...a worthy must'' - Rick Corwin (35 Year Teaching Veteran/Vic Firth Team Drum Educator) ''After years of teaching and finding it hard to locate one good beginner book, I recently decided to start using Dan's book'' - Jeff Fite (Music Workshop, Illinois). Dan Britt has been hailed one of the most forward-thinking drummers and educators. Britt dedicated the last year to creating the best possible drum book he can. Drumopedia is the result. Considered ''a must have for the forward-thinking drummer'' by drumming innovator/great, Mike Clark (Herbie Hancock), in the new 23 chapter study by DrumTVShow Publications, Britt takes you one step at a time through basic notation, common stickings and rudiments, popular rock/pop beats and fills, double bass, fun patterns, and some funk, latin, ambidextrous and linear drumming!