Die erste EP aus dem vierten Album enthält 4 Tracks mit dem Qualitäts-Siegel engineered, mixed and mastered by Steve Albini.nnDie erste EP aus dem vierten Album enthält 4 Tracks mit dem Qualitäts-Siegel engineered, mixed and mastered by Steve Albini. First ep from their fourth album Off the Map, H-Burns' Six Years contains 4 tracks labeled engineered, mixed and mastered by Steve Albini. And that means: these four extracts suggest a tight album and strong album (as the slogan hammered by Albini feature it, or fuck it), engraved in eight days, with five members (drums, guitars, keyboards , bass), without ever leaving the studio. But that does not tell the whole qualities of the record. After the success of We go way back and his recent collaboration with Chris Bailey of the legendary Australian band The Saints (Album Bailey / Burns), H-Burns continues to make their music evolve in a way less harsh, more ample. H-Burns dropped the plaid shirts. Now here's a great classy band who knows no borders. Off the Map evokes a world with maps and territories which are the cement of the lyrics in total symbiosis with the music: brass performed by the musicians who played on last Wilco's albums, a drummer who hits on a snare drum dating from the 30s, keyboard parts played on vintage instruments that sound as if they had not been practiced for years. Sometimes electric guitar sounds as storm like Crazy Horse used to do it. The voice is a bit broken but lucid, similar to Jason Molina, Will Oldham or Hamilton Leithauser from the Walkmen. A voice that sings as if it wanted something, as if she had lost the way. A voice that tells us we're always near to be off the map. H-Burns new album is also the first release of the label Vietnam, created by So Foot, the monthly soccer magazine that Vox Pop described as a punk magazine that speaks about soccer because it is the real world of contemporary pop. Why did they start a label? Because what really matters is the trip. With or without a map. TRACKS: 1. SIX YEARS 2. APPROACHING 3. MIDWEST 4. CHASE YOU DOWN THE OPEN ROAD
High Quality Content by WIKIPEDIA articles! Snare rush is a term often used in intelligent dance music culture to refer to impossibly fast rolls. A snare rush can vary in tempo considerably, from 16th notes to even 2048th notes. At that sort of speed, the effect is a buzzing sound, but with a detectable pitch, so some artists vary the repeat rate, and can even play a tune. One example of this would be the last 18 seconds of Ghetto Body Buddy by Venetian Snares, where the theme from Sesame Street is played using only extremely fast snare rushes. The defining characteristic of a snare rush, as opposed to a roll, is the sheer virtuosity it takes for a physical drummer to play a successful one. As such, almost all snare rushes are computer programmed and can be used with bass drums, tom-toms and cymbals to intensify the effect. They are often used as fills, alongside complex programmed breakbeats. Snare rushes are also often run through analog or dsp effects together with variations in volume, such as a filters or pitch shifting. They are probably most common in trance music, hard techno, gabber music, oldschool jungle, IDM, drill 'n bass, breakcore and glitch music.
High Quality Content by WIKIPEDIA articles! Dubstep is a genre of electronic dance music that has its roots in London's early 2000s UK garage scene. Musically, dubstep is distinguished by its 2-step rhythm, or use of snare sounds similar to 2step garage and grime, and an emphasis on bass, often producing "dark" sounds, but just as frequently producing sounds reminiscent of dub reggae or funky US garage. Dubstep tracks are generally produced at a tempo of around 140 beats per minute and in recent years have developed signature half time rhythms, often heavily shuffled or syncopated, and usually, though not exclusively, including only one snare drum hit per bar, often on the third beat. Such factors make dubstep rhythms markedly different from four-to-the-floor rhythms used in other styles of electronic dance music such as house music, which usually have two snare hits accompanying the second and fourth kick drum. Often, the sense of rhythm in dubstep is propelled more by the bassline than by the percussive content.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. SIRSY (pronounced "sir - see") is a female-fronted award-winning pop-rock group from Albany, New York founded in 1999. The band''s current members are Melanie Krahmer on vocals, drums, flute, and "bass with a stick" and Rich Libutti on guitar, bass, and "snare and bass with his feet". Sirsy is most notable for touring continuously throughout North America - over 250 shows every year for several years - and for background music for several television shows and independent films. Their relentless touring has gained them a cult following.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Le Castle Vania is the alias of Dylan Eiland, an electronic dance music producer and DJ based in Atlanta, Georgia. Eiland began DJing drum and bass at warehouse parties and raves in Atlanta at age 15. After receiving some attention for his remix of Atlanta-based band Snowden, Le Castle Vania rose to success and has since gained a sense of notoriety in the electro dance scene. His sound is said to blend indie and punk rock sounds with electronic-based disco and electro sounds. Many of his original tracks include a distorted bassline and a heavy kick and snare sequence. Eiland uses a simple setup, including Serato, a mixer, and two turntables. He writes his songs on his laptop, often while traveling on airplanes, and prefers to play a larger number of his original work compared to his remixes.
Advanced Groove Concepts is a collection of intermediate to advanced level grooves and patterns applicable to all modern styles of music. The focus of the book is to develop the ability to play varied and sometimes complex patterns between the hands while keeping a solid groove, reminiscent of some of the legendary funk and fusion drummers, all while building the weaker hand into a groove-creating engine. Starting with repetitive hi-hat/ride patterns, the book progresses through various ghost notes variations and then combines non-repetitive riding patterns with varied snare drum combinations containing accents and ghost notes. These grooves are practiced with various bass drum combinations. The book can be practiced by right-handed and left-handed drummers, and it can also be played with an open-handed approach. Included is a data disc containing seven videos and 159 audio examples performed by the author, including a bonus performance video!
Claudio S. Grafulla (1810-1880) was born on the Spanish island of Minorca, and immigrated to the United States in 1838. He joined the well-known Lothier's New York Brass Band attached to the 7th Regiment of the New York National Guard, and within a short time became leader of the band. After a brief sojourn back in Europe he returned to the United States in 1859 after he was asked to form a new 7th Regiment Band. During the next twenty years Grafulla re-organized and expanded the band to become one of the most popular and respected bands in the United States. He increased the size of the band from 38 to over 50 musicians, mainly by adding woodwinds, and expanded their repertoire. Although Grafulla is mainly known today as an arranger, he composed a substantial number of band pieces as well as solo instrumental works. His most well-known work 'Washington Grays' (also sometimes called Washington Greys) was written in 1861, very early in his tenure with the 7th Regiment Band. The march was composed for the 8th Regiment, New York State Militia, based at the Kingsbridge Armory in the Bronx, and 'grays' refers to the color of the regimental uniforms. Originally scored for brass band, the march gained in popularity after the 1905 publication of an arrangement for military band by Louis-Phillipe Laurendeau, using the pseudonym G.W. Reeves. It has been called a march masterpiece, although technically an extremely challenging one, and has become a band classic. This new edition by Richard W. Sargeant Jr. is based on Laurendeau's 1905 orchestration for a Sousa-era ensemble featuring extended woodwinds, SATB saxophones, brass, snare drum, cymbals, and bass drum, and its clear and improved layout makes it a welcome addition to the concert band music library.
The legendary American bandmaster Patrick Sarsfield Gilmore (1829-1892) was born in Ballygar, County Galway, in Ireland, and emigrated to the United States in 1848. He settled in Boston, and soon established himself in the area as a virtuoso cornet player and bandleader, directing the Suffolk, Boston Brigade and Salem bands. In 1858 he founded 'Gilmore's Grand Boston Band' and rapidly earned a reputation as one of the foremost bandmasters in the nation, leading his band on several tours across the country. At the start of the Civil War he enlisted his band in the Union Army with the 24th Massachusetts Volunteers, and shortly afterwards Governor Andrews tasked him with training and organizing all of the Massachusetts Militia bands. After the war, General Banks asked him to organize a peace celebration. Gilmore relished his new role as an impresario, staging the large-scale National Peace Jubilee in New Orleans (1869). He went on to present an even larger-scale World Peace Jubilee in Boston in 1872, an 18-day extravaganza celebrating the end of the Franco-Prussian War and featuring 20,000 chorus members and 2000 instrumentalists, including a number of famous orchestras and bands from Europe. He moved to New York in 1873 to become the bandmaster of the acclaimed 22nd Regiment Band, a position he held for the rest of his life. Gilmore continued to organize and present concerts on a grandiose scale, performing at the dedication of the Statue of Liberty in 1886 and initiating the first 'Promenade Concert in America' - the forerunner of the Boston Pops. In 1888 he and the 22nd Regiment Band started the tradition of the annual New Year's celebrations in Times Square. John Philip Sousa called Gilmore 'the Father of the American Band.' His major contributions to American band music include expansion of band instrumentation, new repertoire, and the popularization of the concert band. Up to the 1850s American bands had been primarily brass marching bands, but with the 1858 founding of his own band, Gilmore began to follow the trend of European bands by adding woodwinds. By the time he and his band toured Europe in 1878 he had expanded his band to 66 members, with 1/3 clarinets, 1/3 other woodwinds and 1/3 brasses, laying the foundation for the present-day American concert band. He also expanded the repertoire by arranging standard classical works for band. Gilmore wrote a number of marches, most under the pseudonym of Louis Lambert. Today his two most popular works are 'When Johnny Comes Marching Home', written after the Battle of Gettysburg, and the the present work. The 'Famous 22nd Regiment March' was written in 1874, the second year of Gilmore's 22 year tenure with the 22nd Regimental Band, and was first published by Carl Fischer in 1882. Later editions were published with amended instrumentation, but in this welcome new edition Richard Sargeant pays tribute to Gilmore's original instrumentation, scoring it for piccolo, flute, oboe, 3 B-flat clarinets plus E-flat and B-flat bass clarinet, bassoon, SATB saxophones, 4 cornets, 4 horns, 2 trombones and bass trombone, euphonium, basses, snare drum, cymbals and bass drum.
Born in Cincinnati, Ohio, John Nicolas Klohr (1869-1956) was a close friend of the celebrated march composer Henry Fillmore. Klohr began his career as a trombonist, playing for vaudeville shows and several local organizations, and for fifty years played with the Syrian Temple Shrine Band of Cincinnati. Klohr also served as editor and head of the band and orchestra department of the Cincinnati music publishing company John Church Company, later absorbed by the Theodore Presser. Although Fillmore's publishing company was also based in Cincinnati, Klohr understandably published his own works through the John Church Company. He wrote 39 known marches, mainly for less advanced players. The Billboard March was composed in 1901 and dedicated to 'the General Amusement Paper, The Billboard' - today is known as Billboard Magazine and still a major magazine in the entertainment industry. The Billboard March became well-known as a circus march, often used for clown walk-arounds, and also for short 'playoffs' to end acts. It remains Klohr's most popular work, and has been published in five different editions to date. This new edition by Richard W. Sargeant Jr. returns to Klohr's original orchestration with extended woodwind section, SATB saxophones, a rich, full brass section, glockenspiel, snare drum, cymbals and bass drum, and is a welcome addition to the intermediate level band repertoire.