Erscheinungsdatum: 01/2010, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: Plectrum, Titelzusatz: String Instrument, Guitar, Harpsichord, Attic Greek, Latin, Classical Music, Electric Guitar, Acoustic Guitar, Bass Guitar, Mandolin, Redaktion: Surhone, Lambert M. // Timpledon, Miriam T. // Marseken, Susan F., Verlag: Betascript Publishers, Sprache: Englisch, Rubrik: Musik // Sonstiges, Seiten: 200, Informationen: Paperback, Gewicht: 314 gr, Verkäufer: averdo
Man kann den Briten Paul Westwood als einen der gefragtesten Bassisten bezeichnen. Seine jahrzehntelangen internationalen Arbeiten und Erfahrungen mit Tom Jones, Al Jarreau, Janet Jackson, Shirley Bassey, Madonna, Joe Cocker, Gloria Estefan, dem Royal Philharmonic und dem London Symphony Orchestra, Produzenten wie Lieber & Stoller und Andrew Lloyd Webber, Komponisten wie Hans Zimmer, John Barry, und Paul McCartney, Filmmusiken und TV-Einspielungen weltweit, bilden die Grundlage für sein Buch "Bass Bible". Paul Westwood, Dozent an der Royal Academy of Music, dem King´s College und der Stowe School, schickt den Leser mit diesem Lehrwerk (280 Seiten, 2 beiliegende CDs, sic!) auf eine musikalische Reise vom Jazz in Richtung Soul/Motown, von Latin Riffs hinüber zu African Music und weiter zu Progressive Lines und Soloanleitungen. Westwood arbeitet nie im luftleeren Raum, sondern schildert sehr ausführlich die Entstehungsgeschichte und das Spielgefühl jeder vorgestellten Stilistik. Die "Bass Bible" (sowohl in deutscher als auch in englischer Ausgabe) ist innerhalb kürzester Zeit zu dem repräsentativen Bassbuch des AMA Verlages geworden.,Noten/Tab, "If a regimented jaunt through each chapter sounds overwhelming, try this: Keep the book handy, and once a week flip it open at random and start grooving. You will be inspired." Bassplayer, Dezember 1998 · Instrument: Bass · Autor: Paul Westwood · Sprache: Deutsch · Schwierigkeitsgrad: leicht · Format: 21,0 x 29,7 cm (DIN A4) · Seitenanzahl: 285 · Erscheinungsjahr: 1997 · inkl.: 2 Lehrbuch
A set of scores with jazz and Latin influence. Sheet music for two to 9 instruments. Gary Gorman is a composer with a diverse background in computer written music and electric or upright bass performance. Gary was first introduced to piano at age eight and soon began composing. Through university music school, Gary performed in rock, metal, jazz, tejano and p/w groups as a bassist. 1. Language: English. Narrator: Gary M. Gorman. Audio sample: http://samples.audible.de/bk/acx0/015786/bk_acx0_015786_sample.mp3. Digital audiobook in aax.
MODERN DRUMMING is a practical educational concept that has been proven through many years of teaching and is ideally suited for both drum lessons and self-study. Next to the motivational aspect and the fun of making music, the pedagogic and didactic aspect of truly meaningfully and effectively conveying the contents is the primary focus. Intended for drummers of all levels from beginners to advanced players, MODERN DRUMMING 1 consolidates the most important factors of modern drumming and provides an effective methodology for learning all relevant musical styles. Much value is placed on the advancement of your creativity and the development of your own style. MODERN DRUMMING 1 teaches all standard rhythms used in modern music, covering virtually all musical styles: rock, pop, hard rock, heavy metal, jazz, Latin, fusion, R&B, funk, hip-hop, jungle, house, drums 'n' bass etc. There is also a chapter on fills and licks, and double bass drum technique is covered extensively, as are the relevant rudiments. The book is conceived in such a way that you are not forced to struggle with monotonous exercises forever, but can quickly begin playing rhythms and fills on the drum set. Several drum solos, as well as play-along songs recorded by a live band, allow you to practically apply what you've learned: you begin making music right away, just like in a band. "Of all the drums books I've seen today, this drum school with CD ist the absolute top" (musicmagazine Workshop)
Jenny And The Mexicats kommen mit dem neuen Album "Fiesta Ancestral" im Herbst 2019 zum dritten Mal nach Deutschland, um ihre hiesige, stetig wachsende Fangemeinde erneut zu beglücken. Festival-Auftritte im Sommer und zahlreiche Konzerte in den USA, Latein Amerika und Spanien haben noch mehr Anhänger der (Alternative) Latin Music auf sie aufmerksam gemacht. Die Konzerthallen und Festival-Bühnen werden dabei stetig größer, denn mit ihrer einzigartigen Mischung aus (Alternative) Latin, Cumbua, Falemco, Jazz, Reggae, Rockabilly und Pop machen sie jedes Konzert zur Tanzparty. Das neue Album bietet dabei eine Erweiterung des bisherigen Mexicats-Sounds, was auch an der Zusammenarbeit mit befreundeten Künstlern liegt. Der Album Titel weist schon auf die Verknüpfung des Traditionellen mit modernen Elementen hin. Im Bereich des Traditionellen siedeln sich Songs wie "La Cumbia del Vino" und das Selena-Cover "Si una Vez" an. Neue Einflüsse sind in Songs wie "Sonido De Tu Voz" (Prince-artigeGrooves und coole Vocals), "La Oportunidad" (der Bass!), "Ancestral" (Jenny rappt und der Song könnte aus einem Soundtrack stammen) sowie "Correr" (hat was von den B52's) zu hören. Und natürlich in den Künstler-Kooperationen mit Spaniens großartiger Alternative Rockband Nr. 1, Vetusta Morla, bei der Vorab-Single "El Télon" und dem Titel "Bailando con las Farolas" mit dem populären spanischen Singer-Songwriter El Kanka. Beide Kooperationen haben der Band unter den Spaniern in aller Welt viel zusätzlich Aufmerksamkeit und Popularität verschafft.
Fire! Fever! Flame! Temperament! &#8211; these are the terms most often used to describe Latin American music. Each of us has at least once been electrified by these unmistakable rhythms, this joy of life and this &#8222;esprit&#8220;. The Latin Smile endeavours to capture the essence of this kind of music and to put its spirit down in notes. The piece consists of two themes &#8211; to be played now in unison, now in several voices &#8211; and of two interludes providing the musical setting for the themes. Rhythmical accuracy is a special qualification every musician has to fulfill to perform this composition. The complete piece is played fast and as hot as possible. Just imagine the following scenery : All the streets of the city are alive with people, everybody is singing and dancing, everywhere there is music; and never-ending is the night ... Instrumentation: 4 clarinets (3 clarinets in Bb and bass clarinet in Bb)
&#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.)
This contemporary Latin 6/4 is fun for the players as well as the audience - grooves hard! These arrangements for saxophones and rhythm section, written for the Eastman School of Music&#8217;s award winning jazz ensemble, Saxology, showcase the saxophone section in unique and interesting ways. Though originally written for saxophones most of the arrangements include optional horn parts (flügelhorn/trumpet and trombone) and work equally well with a mixed instrumentation. Instrumentation: 5 saxophones (SATTBar) with piano, guitar (ad lib), double bass, percussion
It's nineteen fifty-something, in a dark, cramped, smoke-filled room. Everyone's wearing black. And on-stage a tenor is blowing his heart out, a searching, jagged saxophone journey played out against a moody, walking bass and the swish of a drummer's brushes. To a great many listeners--from African American aficionados of the period to a whole new group of fans today--this is the very embodiment of jazz. It is also quintessential hard bop. In this, the first thorough study of the subject, jazz expert and enthusiast David H. Rosenthal vividly examines the roots, traditions, explorations and permutations, personalities and recordings of a climactic period in jazz history. Beginning with hard bop's origins as an amalgam of bebop and R&B, Rosenthal narrates the growth of a movement that embraced the heavy beat and bluesy phrasing of such popular artists as Horace Silver and Cannonball Adderley; the stark, astringent, tormented music of saxophonists Jackie McLean and Tina Brooks; the gentler, more lyrical contributions of trumpeter Art Farmer, pianists Hank Jones and Tommy Flanagan, composers Benny Golson and Gigi Gryce; and such consciously experimental and truly one-of-a-kind players and composers as Andrew Hill, Sonny Rollins, John Coltrane, Thelonious Monk, and Charles Mingus. Hard bop welcomed all influences--whether Gospel, the blues, Latin rhythms, or Debussy and Ravel--into its astonishingly creative, hard-swinging orbit. Although its emphasis on expression and downright 'badness' over technical virtuosity was unappreciated by critics, hard bop was the music of black neighborhoods and the last jazz movement to attract the most talented young black musicians. Fortunately, records were there to catch it all. The years between 1955 and 1965 are unrivaled in jazz history for the number of milestones on vinyl. Miles Davis's Kind of Blue, Charles Mingus's Mingus Ah Um, Thelonious Monk's Brilliant Corners, Horace Silver's Further Explorations--Rosenthal gives a perceptive cut-by-cut analysis of these and other jazz masterpieces, supplying an essential discography as well. For knowledgeable jazz-lovers and novices alike, Hard Bop is a lively, multi-dimensional, much-needed examination of the artists, the milieus, and above all the sounds of one of America's great musical epochs.