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Ochsenbauer, Johannes // Sokal, Harry: Bass Pla...
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Erscheinungsdatum: 03.12.2013 Medium: CD Titel: Bass Players Delight-Ochsenbauer Meets Sokal Interpret: Ochsenbauer, Johannes // Sokal, Harry Komponist: Various Hersteller: Fenn Music Service GmbH / Dassendorf Rubrik: Jazz Verkaeufer: averdo

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KZ KZ - ES3 In-ear Detachable HiFi Music Earpho...
16,35 € *
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Main Features:● Integrated 10mm dynamic unit and 90035 balanced armatures units, shocking bass and high-fidelity listening experience.● 20 - 40KHz super wide frequency range, offers board sound field and captures more abundant sound details, immersive sound effect.● Detachable design, easy to assemble and convenient to maintain, you can replace it as your need, satisfies various demands on lines.● 3.5mm gold-plated L-bend jack, compatible with the majority of electronic devices, like phones, computer, walkman, MP3 and so on.● Built-in thin iron wire in cord, you can wear it and hang on your ear so as to avoid falling or dropping while doing sports.● High definition microphone supports clear and smooth conversation.● On-cord control, easy to pause / play music, switch songs and answer / refuse call, adjust volume. Brand: KZ Function: Answering Phone,Microphone,Song Switching Material: PC Model: KZ - ES3 Type: In-Ear Compatible with: Computer,iPhone,iPod,Mobile phone,MP3,PC,Portable Media Player Connectivity: Wired Frequency response: 20 - 40KHz Driver type: Hybrid Impedance: 10ohms Plug Type: 3.5mm,L-Bend Sensitivity: 106db Package size (L x W x H): 11.50 x 8.50 x 4.50 cm / 4.53 x 3.35 x 1.77 inches Package weight: 0.095 kg Product weight: 0.069 kg Package Contents: 1 x Earphones, 2 x Pair of Standby Earbud Tips, 1 x English Manual

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Rocksmith 2014 Edition - Remastered Steam Key G...
5,80 € *
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Become a guitar godConnect your electric guitar into a system and play every day getting better and better!Learn all fret positions, scales, and chords. The game tracks your progress so you can see yourself growing. Imagine having a seasoned, old guitar teacher ready to turn on at any given moment to instill you with all of their wisdom. Learn advanced techniques like harmonics, tapping. As you progress, things improve. The game impressively scales the difficulty level. At first, try playing a song with its very effortless version. Play only some of all notes and if you’ll do it perfectly, the game will notice it right away. The next time around the easy section will be cranked up in complexity while the parts you may have flubbed will stick to basics. Rocksmith 2014 is filled with a variety of play styles so every single guitar player will find something interesting to learn.Play games & your favourite songsRocksmith 2014 Edition features a variety of games that will teach you different guitar skills. Learn the guitar basics by playing hilarious mini-games and feel proud of yourself as you progress. There are scale games, harmonic games, chord games and so much more. But that’s not even highlighting the absolute best feature of the game - songs! Nothing is better than playing your favourite songs. Learning the guitar by playing them and tracking the progress will give you tons of fun and entertainment. Rocksmith 2014 Edition perfectly detects all notes and chords from the guitar as you play them.Work hard with the lessonsLearning theory and technique is not as exciting as playing along with licensed music but is necessary to master all guitar skills. Discover the effective learning tools that serve to make playing your favourite songs even more enjoyable. The early lessons can feel like a waste of time for experienced players but they progress quickly to more complex topics. Unless you’re entering as an expert already, you’ll find plenty of lessons that will test your skill.The session modeJam with the virtual band and practice sweet solos and riffs. The session mode allows you to create a custom band with your favourite instruments and then jam with it. Build a band that includes drums, bass guitar, piano, and rhythm guitar and play a freestyle to various cool backgrounds. Choose the root note, scales that you want to practice, tempo, and the type of groove. The band will play accordingly to your style of playing. If you want to play the guitar, you owe it to yourself to pick up this game because it’s not just a game.Easily find your favourite songsSort all songs by title, artist, tuning, or search songs by typing keywords, title or artist.You can also filter songs by favourites or song lists. Song lists are the new expansion of the favourites list. There are 4 of them and you can use them as a filter and you can also use them as a non-stop play. Shuffle your songs by tuning so you no longer have to retune your guitar in a session. You can also play the song list which gives you to set up different routines like maybe you want to play all metal or all soft songs. Shuffle the paths so you can play the lead guitar, rhythm guitar or lead and rhythm with alternate arrangements mixed in.Riff repeaterChoose a small region of a song to slowly repeat if you need more practice. Easily adjust the speed, the number of repeats and everything that will make you better at playing a particular fragment of a song.Design your own toneRocksmith 2014 edition features a variety of virtual amps, that let you customize your toneand use your console as an amplifier combo. Each amp includes 6 different tone options.You can also pick up some pedals, that will provide you your favourite guitar effects. Choose between overdrives, fuzzes, delays, and choruses.

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Anleitung Zum General-bass: Mit Gestochenen Not...
45,90 CHF *
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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. br/br/ ++++br/ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: br/++++ br/br/ Anleitung Zum General-Bass: Mit Gestochenen Noten-Beyspielen In 146 Nummernbr/br/ Emanuel Aloys Foersterbr/br/ Johann Träg und Sohn, 1805br/br/ Music; Instruction & Study; Composition; Music / General; Music / Instruction & Study / Composition

Anbieter: Orell Fuessli CH
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Bach, J: Triosonate VI in G-Dur
31,90 CHF *
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Bach composed the six Trio Sonatas for Organ BWV 525 – 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 – 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’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’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 – 52, 85 – 100 und 137 – 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’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 – 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

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Recuerdo de una jornada
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“Recuerdo de una Jornada” was composed for, and dedicated to, the Cuban saxophonist Jorge Luis Almeida and the Havana-based saxophone quartet “Habana Sax”. Jorge L. Almeida graduated from Cuba’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 “with distinction” in the years 1987 and 1990. In 1987, Almeida founded the saxophone quartet “Cuarteto de Saxofones de La Habana” and later on, in 1991, “Habana Sax”. 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’s works, and often a percussionist is added to the group’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 “cinquillo cubano” and, as its most prominent aspect, the “clave”. It is the “son clave” (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 “tumbaos” 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 “tumbao”, developing into a so-called “champola” (a term that refers to the layering of different “tumbaos” which, when played in conjunction, result in a “contagious” rhythmic pattern) in measure 58. Finally, in measure 72, the composition returns to tempo primo, being performed in the style of a “son”, and ends with the execution of the “son clave”. Instrumentation: 4 saxophones (SATBar) + Drum Set (opt.)

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Cantata No.150. Nach dir, Herr, verlanget mich,...
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A newly engraved vocal score carefully edited and revised from Raphael's reduction issued in conjunction with Bach Gesellschaft edition. One of Bach's earliest extant works (dated 1708 or 1709), this cantata was likely influenced by the those of Dietrich Buxtehude. The opening string sinfonia is follwed by a short opening chorus in motet style. After a brief attractive aria (for soprano), another chorus, also in motet style, commences with an ascending scale after which the line is handed off brilliantly between the various parts. This is followed by a trio for alto, tenor and bass and another chorus featuring a fugal finale. The last movement is a choral chaconne that so impressed Johannes Brahms (one of the few original subscribers to the Bach Gesellschaft edition) that he quoted the bass line in last movement of his Symphony No.4. All in the space of a little over fifteen minutes. Matches the widely available reprint orchestral parts offered by E.F. Kalmus (A4521) and Luck's Music Library (10077). IMSLP page Wikipedia

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Schnyder, D: Music for four Guitars
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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

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Fluchtpunkte
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By the associative-metaphorical title York Höller refers to the determinants of his oeuvre. These references change in various ways and are to be understood in terms of both space (the graphic development of the serial structures on the manuscript paper, called 'tonal figures' by the composer) and time (the real tonal development of the lines, here within the framework of isometric progression) and history (moments of music history appearing as quotations – the String Trio by Arnold Schoenberg in the case of the vanishing points). Virtually developing organically from an improvisation-like beginning via sketches and breaks to emotional conclusiveness, Höller's piece charmingly scored for winds, piano and percussion is a concise summary of musical thinking. Instrumentation: flute, cor anglais, clarinet (bass clarinet), piano and percussion

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