Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. The discography of At the Drive-In, an El Paso, Texas-based post-hardcore band active from 1994 to 2001, consists of three studio albums, one compilation album, five EPs, six singles, and three music videos. At the Drive-In formed in 1994 with an initial lineup of Cedric Bixler-Zavala (lead vocals), Jim Ward (guitar and backing vocals), Jarrett Wrenn (guitar), Kenny Hopper (bass guitar), and Bernie Rincon (drums). This lineup released the band''s debut EP, Hell Paso, through their own imprint Western Breed Records that November. Rincon was replaced by Davy Simmons for their second EP, 1995''s ¡Alfaro Vive, Carajo!. Further lineup changes saw Wrenn replaced by Adam Amparan, Hopper by Omar Rodríguez-López, and Simmons by Ryan Sawyer. The band''s debut album, Acrobatic Tenement, was released in July 1996 through Flipside Records.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Primal Scream are a Scottish alternative rock group formed in 1982 in Glasgow by Bobby Gillespie (vocals) and Jim Beattie. The current lineup consists of Gillespie, Andrew Innes (guitar), Martin Duffy (keyboards), Gary "Mani" Mounfield (bass), and Darrin Mooney (drums). Barrie Cadogan toured with the band in 2006 as a temporary replacement after the departure of guitarist Robert "Throb" Young. Young''s permanent replacement has not yet been announced. They have sold 10 million albums to date. The band performed throughout 1982-1984, but their career didn''t especially take off until Gillespie left his position as drummer of The Jesus and Mary Chain. The band were a key part of the mid-1980s indie pop scene, but eventually moved away from their more jangly sound, taking on more psychedelic and then garage rock influences, before incorporating a dance music element to their sound. Their 1991 album Screamadelica broke the band into the mainstream. Despite multiple lineup changes, the band has remained commercially successful and continues to tour and record to this day.
High Quality Content by WIKIPEDIA articles! Partibrejkers is a prominent Serbian rock group from Belgrade, as well as an acclaimed act of the former Yugoslav rock scene. The band were formed in 1982 and released their debut album in 1985 in a two guitars, drums and vocal set (no bass), produced by Du an "Koja" Koji of Disciplina Ki me. Their influences are diverse, such as the Stooges, MC5, early Rolling Stones and New York Dolls combined with blues, rhythm-and-blues, rockabilly and classic rocknroll. Until today they have experienced numerous line-up changes. The mainstay of the band are Zoran "Cane" Kosti (vocals) and Neboj a "Anton" Antonijevi (guitar). They have received steady critical acclaim over the years and are well received by audiences all over former Yugoslavia, not only because of their music, but also due to their anti-war activism with the Rimtutituki project.
Bach composed the six Trio Sonatas for Organ BWV 525 &#8211; 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 &#8211; 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&#8217;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. The sixth Trio Sonata might be the only one that Bach explicitly composed for this collection. The particularly high number of changes in the manuscript might indicate that he was still working on it when he copied the Sonata into the collection. The first movement Vivace has a certain resemblance with the first movement of Bach&#8217;s Italian Concerto for harpsichord. It is a concerto movement, but the solo and tutti passages are often ambiguous. The unison in the beginning is unparalleled in the Trio Sonatas and emphasizes the concerto character of this movement. The first theme returns in modified forms: syncopated (bar 53), in sequence (bar 73) and embellished in minor (101). Extended arpeggios in the interludes (T 37 &#8211; 52, 85 &#8211; 100 und 137 &#8211; 152) and a remarkably active bass (bar 101) effectively contrast the homophone main theme. The declamatory character and its rhythmically and melodically independent solo parts make the Lento sound more like an aria from Bach&#8217;s cantatas with obligato (violin, flute or oboe) than a chamber sonata. There are elements of the Siciliano (esp. the dotted 6/8 rhythms) and the bass gets involved in the thematic development. Like in Sonatas BWV 526, 528, und 529 the bass is also involved in the development of the fugue subject in the last movement Allegro. While the first theme only employs one and a half bars, the second theme in the parallel minor stretches over four bars and dominates the middle section with motivic sequences and frequent modulations. Due to the range (first theme soprano) the Sonata was transposed a half-step above the original key. For the same reason, the upper parts were switched in bars 156 &#8211; 160. The alto part was transposed an octave down in bars 21 and 22 (with two eight notes pickup). The 8va in the third movement can be performed as written. Instrumentation: 3 saxophones (SABar/SAT) and cello ad lib BWV 530
&#8220;Recuerdo de una Jornada&#8221; was composed for, and dedicated to, the Cuban saxophonist Jorge Luis Almeida and the Havana-based saxophone quartet &#8220;Habana Sax&#8221;. Jorge L. Almeida graduated from Cuba&#8217;s National School of Arts in 1975 and from the Instituto Superior de Arte in Havana in 1987; under the tutelage of professor Daniel Deffayet, he completed two courses of studies at the Conservatoire National Supérieur de Musique et de Danse de Paris in France &#8220;with distinction&#8221; in the years 1987 and 1990. In 1987, Almeida founded the saxophone quartet &#8220;Cuarteto de Saxofones de La Habana&#8221; and later on, in 1991, &#8220;Habana Sax&#8221;. The repertoire of the latter, which is one of the most important ensembles of its kind in Cuba, ranges from classical to contemporary music. Infl uences of Cuban popular music as well as jazz can be felt in many of the ensemble&#8217;s works, and often a percussionist is added to the group&#8217;s lineup. Throughout the years, the quartet has presented itself at festivals and in the most famous concert halls all over the world. Various technical particularities that represent quite a challenge in the execution of Cuban music manifest themselves in this composition, such as syncopations, off-beats, the &#8220;cinquillo cubano&#8221; and, as its most prominent aspect, the &#8220;clave&#8221;. It is the &#8220;son clave&#8221; (2-3) that marks the beginning of the piece and is, for instance, picked up by the four saxophones in measures 30 and 31. The part played by the baritone sax should especially be pointed out: One the one hand, it assumes the role of the bass building the rhythmic and harmonic basis; on the other hand, it provides further rhythmical support when executing the &#8220;tumbaos&#8221; in case an additional percussionist is added to the quartet (which, of course, is optional since the piece can be performed without any percussion instruments). In measure 32, the tempo changes and the piece switches over to a Latin jazz feel making use of a phrasing typical of this style. This feeling is maintained up to measure 54, where the tenor sax starts playing a &#8220;tumbao&#8221;, developing into a so-called &#8220;champola&#8221; (a term that refers to the layering of different &#8220;tumbaos&#8221; which, when played in conjunction, result in a &#8220;contagious&#8221; rhythmic pattern) in measure 58. Finally, in measure 72, the composition returns to tempo primo, being performed in the style of a &#8220;son&#8221;, and ends with the execution of the &#8220;son clave&#8221;. Instrumentation: 4 saxophones (SATBar) + Drum Set (opt.)
Book three is devoted exclusively to the II-V-I progression, rhythm changes and standard tunes and is intended for players of all levels who are serious about learning to play on changes. Subjects covered in this book include: VOCABULARY: The II-V-I Progression, Half-Diminished Seventh Chords, The Locrian and Locrian 2 Scales, Altered Dominant Chords, The Altered Scale, Guide Tones, Using Triads as Guide Tones, Walking Bass Lines, Major Scales with a Passing Tone, The Major Workout, Applying Major Scales with a Passing Tone to II-V-I Progressions, Applying Dominant and Major Scales with Passing Tones to II-V-I Progressions, and The Rhythm Changes. STYLE: Using Guide Tones When Soloing, Using the Melody as a Basis of Your Improvisation, Learn the Lyrics, and Learning the Melody. EAR TRAINING: Specific examples and suggestions with recorded tracks for practice. REPERTOIRE: List of Selected Jazz Compositions that Extensively Use the II-V-I Progression, Selected Standard Tunes that Extensively Use the II-V-I Progression, and Selected Compositions Based on Rhythm Changes.This improvisation method is more than just another play-along. It is a series of books and CDs that progress step by step, offering concrete suggestions and advise that shows you how and what to practice. Drawing on twenty-five years of teaching experience at the Eastman School of Music, Ramon Ricker uses text, recorded demonstrations by him and his students, and practice and play-along tracks that present the material in a clear and concise manner. Most of the play-along tracks feature the rhythm section of the 1980 Thad Jones/Mel Lewis Big Band with Harold Danko on piano, Rufus Reid on bass and the late, great Mel Lewis on drums. Since they performed and recorded together consistently over a period of several years, they played as a unit - a true jazz rhythm section. The recordings were brought up to meet todays higher CD standards and served as an inspiration for Ramon Ricker to write three entirely new books. In addition, new demonstration, ear training, and play-along tracks were added.
Rammstein is an industrial metal band from Berlin, Germany. The band was formed in 1994 and consists of Till Lindemann (lead vocals), Richard Z. Kruspe (guitar and backing vocals), Paul H. Landers (guitar, backing vocals), Oliver 'Ollie' Riedel (bass guitar), Christoph 'Doom' Schneider (drums and electronic percussion) and Christian 'Flake' Lorenz (keyboards). Their songs are usually in German, but they have also performed songs entirely or partially in other languages such as English, Spanish, French and Russian. As of 2009, they have sold over 20 million records worldwide. Rammstein's live shows are famous for their pyrotechnic performance and theatrics, earning them awards from many countries. Rammstein's entire catalogue is published by Universal Music Group. Since their formation in 1994, Rammstein has had no changes in their band line-up. The band have stated they were named after the Ramstein air-show disaster. The extra 'm' in the band's name makes it translate literally as 'ramming stone'. This book is your ultimate resource for Rammstein. Here you will find the most up-to-date information, photos, and much more. In easy to read chapters, with extensive references and links to get you to know all there is to know about Rammstein's Early life, Career and Personal life right away. A quick look inside: Rammstein, 110393 Rammstein, 2000 Baia Mare cyanide spill, Ahoi Tour, Amerika (song), Apocalyptica, Arena VFG, Armin Meiwes, Asche zu Asche, Benzin, Big Day Out, Bobo (singer), Bravo Otto, Carolus Rex (album), Christian Lorenz, Christoph Schneider, Clawfinger, Das Model, David Lynch, Deathstars, Download Festival, Du hast, Du riechst so gut, Emigrate (band), Engel (song), Family Values Tour, Feeling B, Feuer frei!, First Arsch, Haifisch, Hayseed Dixie, Heidenröslein, Heino, Herzeleid...and more pages! Contains selected content from the highest rated entries, typeset, printed and shipped, combining the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mission.
This is the first in a series of books and audio/video recordings which describe a simple and pragmatic approach to improvisation. While focusing on the jazz idiom, the techniques discussed are applicable to many styles of music and all instruments, be it rock guitar, jazz saxophone, or the solos of the fusion keyboardist. The system presented in this volume offers a tangible pathway to inside the creative imagination by getting inside harmony, inside the changes. Chord changes are included for C Concert, B flat and E flat instruments. In addition the book includes transposed examples for all instruments (C treble clef, B flat, E flat and bass clef). The accompanying recording has been designed for use in conjunction with each of the chapter assignments. There are nine tunes for you to play along with, each played at a slow and then medium tempo featuring Garry Dial on piano, Dave Santoro on bass and Alan Dawson on drums, plus 12 demonstration tracks performed by the author on piano and/or tenor saxophone. Instrumentation: melody instruments (C or Bb or Eb or bass clef)
The &#8216;Easy Concert Pieces&#8217; series presents a varied selection of easy concert pieces for double bass and piano from the Renaissance, Baroque and Classical periods through to the modern era. To facilitate choosing individual pieces for performance and auditions at music schools, competitions or examinations these pieces have been ordered according to level of musical and technical difficulty. Book 1 (ED 22551) contains pieces in half and first position. Pieces in each position and some using position changes are presented from each era. Simple techniques such as portato, staccato and legato bowing are introduced along with pizzicato, using rudimentary dynamics ranging from piano to forte, crescendo and decrescendo and simple phrasing. The pieces selected here are varied in character with memorable tunes, a few different time signatures and simple rhythms. 'A very welcome publication for beginner double bass players, this collection is right on target...Thoroughly recommended' - Cathy Elliot, ESTA ARCO Book 2 (ED 22552) in preparation Instrumentation: double bass and piano