Angebote zu "Pleasure" (21 Treffer)

Kategorien

Shops

Proper Lenny Kravitz - Strut Fels
78,91 € *
ggf. zzgl. Versand

Special Limited Edition Deluxe Version of Lenny Kravitz's new album including:"The Miami Bedroom Rehearsals" 28-Page 12"X12" Photo BookIndividual "Dirty White Boots" Polaroid Personally Paint-Splattered By Lenny2x Silver, Red & White Splatter Gatefold Heavyweight 180-Gram Vinyl With Exclusive ArtworkFull Length CD Of "Strut" With Exclusive ArtworkFacsimile Of Lenny's Handwritten Original "Strut" Lyric Sheet2"X12" Photographic Print24x36 Psychedelic PosterHoused In A Leather-Like Foil Embossed BoxEach Box Numbered In EditionRegarded as one of the pre-eminent rock musicians of our time, Lenny Kravitz has announced the release of his tenth studio album 'Strut.' The album explores desire in all its forms, from the most physical to the most idealised. The release's twelve songs includes such titles as "New York City," "I Never Want to Let You Down" and "She's a Beast." These songs wear their heart on their sleeve, and that's the way Kravitz intended it. He's had massive hits over the years and sold nearly forty million albums. Now is a perfect time to get to the heart of the matter. "This record brought me back to a place of what I love so much about music," Lenny Kravitz says, "back to the feelings I had when I was in high school. It's a real rock & roll record - it's raw, it's got soul and it came together really quickly."As always, Kravitz plays guitar, bass, keyboards and drums and percussion on the album, and produced and arranged it as well. To provide the final defining touch on Strut, however, Kravitz called on the legendary Bob Clearmountain to mix the album (David Bowie's Let's Dance, the Rolling Stones' Tattoo You and Bruce Springsteen's Born in the U.S.A.) Lenny Kravitz has transcended genre, style, race and class into a 20-year musical career, one which revels in the rich influences of '60s and '70s soul, rock and funk. Kravitz's talents as a writer, producer and multi-instrumentalist have resonated now through ten studio albums into a timeless catalogue. He has also won four consecutive GRAMMY Awards, setting a record for the most wins in the "Best Male Rock Vocal Performance" category.TRACK LISTING — DISC 1- Sex- The Chamber- Dirty White Boots- New York City- The Pleasure And The Pain- Strut- Frankenstein- She's A Beast- I'm A Believer- Happy Birthday- I Never Want To Let You Down- Ooo Baby Baby

Anbieter: Dodax
Stand: 13.07.2020
Zum Angebot
Triosonate I in Eb
21,90 CHF *
zzgl. 3,50 CHF Versand

Bach composed the Trio Sonatas for organ BWV 525 – 530 between 1727 and 1730 when he was Thomaskantor in Leipzig. Bach’s first biographer Johannn Nikolaus Forkel states that he composed them for his son Wilhelm Friedemann, “who had to practice them in order to become the great organist he later turned into. One cannot say enough about their beauty.“ As early as the middle of the 18th century, the first arrangement for violin, violoncello and bass was written. Countless versions for other instruments followed. Mozart arranged three movements for violin, viola and violoncello. In the 20th century Bartók and Kabalevsky made versions for piano solo. 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 flute). Bach’s Sonatas for organ require highly independent hands and feet and subtle differentiation to portray the three parts as two individual instruments accompanied by a bass line. Obviously, the pedal part is not as virtuosic as it would be for the left hand of a keyboard player. And that makes it even more suitable for a less experienced tenor or baritone saxophone player in the present edition. To give those players who are not yet familiar with baroque music some ideas, I have included a few suggestions. Bach gave tempo instructions for all but the first movement. The metronome markings provide some orientation; the players should adjust the tempo according to their musical taste and capabilities. Except for the slurs at the beginning of the second movement, there are no further articulations in the manuscript. The articulations in this edition do not need to be taken literally; a slur does not always mean legato – it rather represents a musical unit; slight tonguing won’t hurt the line. Likewise, the staccato dots do not always indicate short notes – they show upbeats which are not clearly visible, syncopations which could use emphasis or simply suggest separated eight notes (like in the theme of 1st movement). In general, larger intervals should be separated more clearly ; one will have to determine if they are accompaniment figures in argeggios (as is often the case in the bass part) or melodically significant lines. As the movements progress, the articulations in parallel or simi-lar passages were left out. A lot can be learned from this sonata, not only in regard to phrasing and articulation. And it is an extraordinary pleasure to play and perform it – the movements could hardly be more diverse in mood and character. To quote Forkel again: “One cannot say enough about their beauty.“ Olaf Mühlenhardt, 3/2005 Instrumentation: 3 saxophones (SABar/SAT) BWV 525

Anbieter: Orell Fuessli CH
Stand: 13.07.2020
Zum Angebot
Yearning
47,90 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. Yearning – Ukulangazelela was first recorded on my CD Beauty and the Blues (MMC2045J) with jazz greats Billy Hart, Rufus Reid and Tom McKinley. The piece was inspired by the many great African musicians I’ve come to know from my travels to South Africa beginning in 1989. Yearning also appears on the 2007 release of Common Ground (MSRJazz1207) in duo format with pianist Micu Narunsky. Yearning – Ukulangazelela is dedicated to Barney Rachabane, one of my heroes of South African jazz who also has a very individual saxophone style. Barney has an incredible reputation as one of the most exciting, inventive and humorous (in a good way) players of township, kwela and mbaquanga based jazz. I’ve had the pleasure to play with Barney on many occasions and to also interview him regarding his approach (which is very different from my own) to playing the saxophone and jazz in general. As in all African music, the voice or vocal approach to playing and performance is a central ingredient. Outward vocal based expressions of emotion are part of African daily life. This really hit home when I asked Barney about his approach to music and the saxophone. He remarked that his approach was based on Ukulangazelela - a human cry & yearning “ ’cause (under former times) we had no gigs, no places to play, no nothing under apartheid.” Performance Tips The reverent folk-like melody at letter A is repeated at letter B a tri-tone away. It’s important to bring out the melody in Part 3 at letter C. Stylistically this arrangement is reminiscent of 3/4 modal type jazz from the Hard Bop period (mid 1950s) and of the John Coltrane Quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones. The solo background in all parts should only be played on the last chorus of each solo; be careful not to overpower the soloist. Yearning – Ukulangazelela; a cry and yearning for a better world we hope to live in. Right on Barney! Instrumentation: 3 melody instruments, piano, guitar, double bass, percussion

Anbieter: Orell Fuessli CH
Stand: 13.07.2020
Zum Angebot
Haydn, Poco Adagio Cantabile (Kaiser-Quartett) ...
28,90 CHF *
zzgl. 3,50 CHF Versand

Four-part flexible chamber music arrangements featuring a soloist Ideal for the concert programmer, these arrangements are of two much-loved classics and yet offer flexibility of instrumental line-up. This fourth volume of the series Centre Haydn, Poco Adagio Cantabile (Emperor Quartet) - Charpentier, Prelude (Te Deum) can be performed by chamber groups or, equally well, enlarged with more players to each part. These straightforward arrangements allow the soloist a chance to shine and come with a helpful but optional piano accompaniment for rehearsal or for supporting the performance. Tailor-made as concert items, these pieces will familiarize young instrumentalists with standard musical repertoire and additionally encourage them to listen attentively. Most importantly, they will experience the pleasure of music making with others. The scoring is flexible (the soloist in Part 1 for example could be for flute, oboe, violin, clarinet or alto saxophone) and whilst written for a chamber group, more players could equally well join each part. An optional piano part has been included for rehearsal or to support the performance. Instrumentation: for flexible ensemble (3 melody parts in c, bb, eb (f), bass and piano ad lib.)

Anbieter: Orell Fuessli CH
Stand: 13.07.2020
Zum Angebot
Legendary Bass Funkateer
37,90 CHF *
ggf. zzgl. Versand

With Gracious Gratitude, I am so excited that God had a plan for me at this point in my life, to have met an outstanding entertainer to write about. I never thought in my wildest dreams that I would be writing a book. I realize I can step out on faith with the courage to talk about my life. Along with the choices that I've made, which have made me very strong through most of my journey? It has taught me some of lifespans greatest lessons. You can do anything, if you put your mind to it. This is an exciting and unbelievable transition. This is a biographical novel consisting of episodes and recollections from my life as I lived it with Mark Adams, bass player and songwriter from the Funk Band, Slave. This novel is based on a combination of personal experiences, specific people, places, and events. Mark Adams was a bass playing phenomenon that truly brought the Funk to the music of the70's and 80's. Mark was born in Dayton, Ohio, where he started playing music at a young age. He also composed and wrote a great amount of songs that were performed by the Funk Group, Slave. Such as Just a Touch of Love, Watching Ladies, Slide, and Baby wait for me, to name a few. His music is currently played today on radio stations around the world, and the United States. God truly blessed him with his talent. Mark was a legend in his own time, and a good hearted man. Soon after Mark moved in with me, he told me he now sees that the best things in life are free. Most people want material things like money, cars, jewelry, etc. But it is what a person is like on the inside that matters most. Other than his music that he shares with the world, he feels that his main purpose is to change his way of living and improve his life condition. I told him that he is in the right place, and you have my full support. I know that I am not an angel, and I am far from being perfect. We all have our good points along with the bad. We are all on the journey back to our true selves in perfection of spirit in our souls. We offer you our insight to show the way for you not to go, or to go. By knowing the expected consequences, make your choices in awareness, not in ignorance. Thus, we may shine a little light on your path to enjoyment and pleasure in peace and love.

Anbieter: Orell Fuessli CH
Stand: 13.07.2020
Zum Angebot
Lucky Man
5,00 CHF *
ggf. zzgl. Versand

Greg Lake first won acclaim as lead vocalist, bass guitarist and producer when, together with Robert Fripp, he formed King Crimson. Their first album, the landmark In the Court of the Crimson King, co-produced by Greg, featured the iconic song '21st Century Schizoid Man'. King Crimson pioneered progressive rock and paved the way for many famous bands that followed, from Yes and Genesis to the Red Hot Chilli Peppers. In 1970 Greg met fellow legend Keith Emerson during a North American tour; the two shared common bonds: European musical influences and a desire to reinterpret classical works while creating a new musical genre. After being introduced to drummer Carl Palmer, they formed the first progressive rock supergroup Emerson, Lake and Palmer. To date ELP has sold over 50 million records. Lake produced Emerson, Lake & Palmer, Tarkus, Pictures at an Exhibition, Trilogy, Brain Salad Surgery, Works Vol. 1 and 2, and two different live albums. All went platinum and featured a series of hit singles, most written and all sung by Lake. The three created a unique live theatrical performance which featured Emerson attacking his keyboards with knives, Palmer playing a 2.5 ton stainless steel kit and Lake performing on a £6,000 Persian rug which had its own roadie. One of their very first performances was at the historic Isle of Wight Festival in 1970 and they went on to headline California Jam, one of the biggest concerts of the 1970s, attended by 350,000 people. Probably the voice of his generation, Greg fronted the greatest rock supergroup of the 1970s but never held with the 'progressive' tag that attached itself to both the music and the excess. Lucky Man not only charts the highs and lows of a career in rock music but also reflects on the death of Keith Emerson last year, living with terminal cancer and the end of life. Greg can best be summed up by his now-famous line: 'Material wealth is a very fleeting pleasure ... when you can buy anything you want and do anything you want, you soon discover that you actually don't want any of it.'

Anbieter: Orell Fuessli CH
Stand: 13.07.2020
Zum Angebot
Triosonate I in Eb
20,10 € *
ggf. zzgl. Versand

Bach composed the Trio Sonatas for organ BWV 525 – 530 between 1727 and 1730 when he was Thomaskantor in Leipzig. Bach’s first biographer Johannn Nikolaus Forkel states that he composed them for his son Wilhelm Friedemann, “who had to practice them in order to become the great organist he later turned into. One cannot say enough about their beauty.“ As early as the middle of the 18th century, the first arrangement for violin, violoncello and bass was written. Countless versions for other instruments followed. Mozart arranged three movements for violin, viola and violoncello. In the 20th century Bartók and Kabalevsky made versions for piano solo. 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 flute). Bach’s Sonatas for organ require highly independent hands and feet and subtle differentiation to portray the three parts as two individual instruments accompanied by a bass line. Obviously, the pedal part is not as virtuosic as it would be for the left hand of a keyboard player. And that makes it even more suitable for a less experienced tenor or baritone saxophone player in the present edition. To give those players who are not yet familiar with baroque music some ideas, I have included a few suggestions. Bach gave tempo instructions for all but the first movement. The metronome markings provide some orientation; the players should adjust the tempo according to their musical taste and capabilities. Except for the slurs at the beginning of the second movement, there are no further articulations in the manuscript. The articulations in this edition do not need to be taken literally; a slur does not always mean legato – it rather represents a musical unit; slight tonguing won’t hurt the line. Likewise, the staccato dots do not always indicate short notes – they show upbeats which are not clearly visible, syncopations which could use emphasis or simply suggest separated eight notes (like in the theme of 1st movement). In general, larger intervals should be separated more clearly ; one will have to determine if they are accompaniment figures in argeggios (as is often the case in the bass part) or melodically significant lines. As the movements progress, the articulations in parallel or simi-lar passages were left out. A lot can be learned from this sonata, not only in regard to phrasing and articulation. And it is an extraordinary pleasure to play and perform it – the movements could hardly be more diverse in mood and character. To quote Forkel again: “One cannot say enough about their beauty.“ Olaf Mühlenhardt, 3/2005 Instrumentation: 3 saxophones (SABar/SAT) BWV 525

Anbieter: Thalia AT
Stand: 13.07.2020
Zum Angebot
Haydn, Poco Adagio Cantabile (Kaiser-Quartett) ...
22,10 € *
ggf. zzgl. Versand

Four-part flexible chamber music arrangements featuring a soloist Ideal for the concert programmer, these arrangements are of two much-loved classics and yet offer flexibility of instrumental line-up. This fourth volume of the series Centre Haydn, Poco Adagio Cantabile (Emperor Quartet) - Charpentier, Prelude (Te Deum) can be performed by chamber groups or, equally well, enlarged with more players to each part. These straightforward arrangements allow the soloist a chance to shine and come with a helpful but optional piano accompaniment for rehearsal or for supporting the performance. Tailor-made as concert items, these pieces will familiarize young instrumentalists with standard musical repertoire and additionally encourage them to listen attentively. Most importantly, they will experience the pleasure of music making with others. The scoring is flexible (the soloist in Part 1 for example could be for flute, oboe, violin, clarinet or alto saxophone) and whilst written for a chamber group, more players could equally well join each part. An optional piano part has been included for rehearsal or to support the performance. Instrumentation: for flexible ensemble (3 melody parts in c, bb, eb (f), bass and piano ad lib.)

Anbieter: Thalia AT
Stand: 13.07.2020
Zum Angebot
Yearning
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. Yearning – Ukulangazelela was first recorded on my CD Beauty and the Blues (MMC2045J) with jazz greats Billy Hart, Rufus Reid and Tom McKinley. The piece was inspired by the many great African musicians I’ve come to know from my travels to South Africa beginning in 1989. Yearning also appears on the 2007 release of Common Ground (MSRJazz1207) in duo format with pianist Micu Narunsky. Yearning – Ukulangazelela is dedicated to Barney Rachabane, one of my heroes of South African jazz who also has a very individual saxophone style. Barney has an incredible reputation as one of the most exciting, inventive and humorous (in a good way) players of township, kwela and mbaquanga based jazz. I’ve had the pleasure to play with Barney on many occasions and to also interview him regarding his approach (which is very different from my own) to playing the saxophone and jazz in general. As in all African music, the voice or vocal approach to playing and performance is a central ingredient. Outward vocal based expressions of emotion are part of African daily life. This really hit home when I asked Barney about his approach to music and the saxophone. He remarked that his approach was based on Ukulangazelela - a human cry & yearning “ ’cause (under former times) we had no gigs, no places to play, no nothing under apartheid.” Performance Tips The reverent folk-like melody at letter A is repeated at letter B a tri-tone away. It’s important to bring out the melody in Part 3 at letter C. Stylistically this arrangement is reminiscent of 3/4 modal type jazz from the Hard Bop period (mid 1950s) and of the John Coltrane Quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones. The solo background in all parts should only be played on the last chorus of each solo; be careful not to overpower the soloist. Yearning – Ukulangazelela; a cry and yearning for a better world we hope to live in. Right on Barney! Instrumentation: 3 melody instruments, piano, guitar, double bass, percussion

Anbieter: Thalia AT
Stand: 13.07.2020
Zum Angebot