Je débute le metal est la seule méthode de guitare métal qui propose d’apprendre aux débutants les bases du metal avec de vrais morceaux complets de groupes mythiques comme Slayer, Metallica, Sepultura, Pantera ou Lamb of God. Toutes les spécificités du genre y sont abordées dans une pédagogie agréable, qui privilégie le jeu et la musique : power chords, rythme, allers et retours, palm mute, en tablatures. L’auteur délivre ses nombreux conseils sur les effets, le choix du matos, comment trouver le bon son etc. Avec morceaux + playbacks inclus sur le CD. Bref, l’indispensable de tous les métalleux! 10 morceaux metal au programme : Walk (Pantera) To Sirius (Gojira) Over your Shoulder (Motörhead) Descending (Lamb of God) The Jester Race (In Flames) Skeletons of Society (Slayer) Resurrection (Halford) Davidian (Machine Head) Refuse/Resist (Sepultura) Seek and Destroy (Metallica)

1. EOS: The Goddess of the Dawn who travelled on the winds and sprinkled down dew upon the earth2. PAN: The God of the countryside of flocks shepherds and animals a famous player of the syrinx or pan pipes - the shepherd’s pipe.3. BOREAS: The God of the North Wind who had two faces - one facing where he was going the other from whence he came. He was the male counterpart to Eos. 4. CIRCE: The Enchantress who changed men into beasts. Ulysses was given a sprig from a certain plant by Hermes which allowed him to resist her charms.5. PANDORA: When Pandora was created by Zeus he ordered all the Gods to endow her with some of their attributes. She wasalso given a box but forbidden to open it. Her curiosity about its contents overwhelmed her - she opened it and all the evils of the world flew out. Too late she closed it but she managed to prevent the escape of Hope.6. SELENE: The Goddess of the Moon who drives across the night sky in her chariot to visit the sleeping Endymion. She was once seduced by Pan.

‘God rest ye merry Gentlemen’ is an ancient English carol. It was first published in 1833 but it can be traced as far back as the 15th century which makes it one of the oldest carols known. ‘God rest ye merry’ is a Middle English salutation. In this manner people wished one another greatness and might. In modern English the first line of this carol would read ‘May God keep you mighty gentlemen’. Andrew R. Mackereth has not kept to the original words in his up-tempo arrangement of the carol. It is still clearly recognizable but the arranger has taken a good many liberties. Sometimes a particular note is held longer at times motifs follow oneanother in various parts. If you listen carefully you may even be able to detect a motif from another well-known song.

‘God rest ye merry Gentlemen’ is an ancient English carol. It was first published in 1833 but it can be traced as far back as the 15th century which makes it one of the oldest carols known. ‘God rest ye merry’ is a Middle English salutation. In this manner people wished one another greatness and might. In modern English the first line of this carol would read ‘May God keep you mighty gentlemen’. Andrew R. Mackereth has not kept to the original words in his up-tempo arrangement of the carol. It is still clearly recognizable but the arranger has taken a good many liberties. Sometimes a particular note is held longer at times motifs follow oneanother in various parts. If you listen carefully you may even be able to detect a motif from another well-known song.

‘God rest ye merry Gentlemen’ is an ancient English carol. It was first published in 1833 but it can be traced as far back as the 15th century which makes it one of the oldest carols known. ‘God rest ye merry’ is a Middle English salutation. In this manner people wished one another greatness and might. In modern English the first line of this carol would read ‘May God keep you mighty gentlemen’. Andrew R. Mackereth has not kept to the original words in his up-tempo arrangement of the carol. It is still clearly recognizable but the arranger has taken a good many liberties. Sometimes a particular note is held longer at times motifs follow oneanother in various parts. If you listen carefully you may even be able to detect a motif from another well-known song.

Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

This work for soprano solo and SATB chorus was commissioned by the Norwich Festival of Contemporary Church Music.Tavener:'In the Orthodox Church the Lament of the Mother of God is normally sung on Holy and Great Friday. Inits full length it lasts about half and hour and it is intoned by the Priest or Bishop while the people venerate the Epitaphios (or Shroud of the Dead Christ) which is in the centre of the church and decorated withflowers.The Lament must be sung with an ikon-like stillness and great purity. It grows in intensity as it climbs in tessitura but without anything sudden or remotely melodramatic.For the Orthodox Church there is never thesense of absolute desolation felt by the Western Church on Good Friday. Hence the cry of the Mother of God 'Dost thou change my grief to gladness by thy Resurrection?' followed by the full forces: 'Rise O God and judge theearth.'Mother of God also features in the film Philomena starring Judi Dench and Steve Coogan and directed by Stephen Frears.

Incredible poetry. Beautiful music. The talents of J. Paul Williams and Joseph Martin are combined once again to create the lovely and profound God Chose Us. The wonderfully picturesque images of Williams' text examine theawesome wonders of creation and the power of the Almighty. But before all of that before the very foundation of the earth was laid before God said “Let there be light!” – we had been chosen to be His children.Think about that. It is almost unfathomable. God Chose Us – a sermon in song about divine mystery. This thought-provoking anthem must not be missed.

This work for mixed chorus with keyboard and flute (or any C instrument) takes the traditional Catherine Winkworth text and sets it to a new and vibrant melody. Of course the piece is great for Thanksgiving but would also be effective during a stewardship emphasis for the turn of the New Year or for general use.

3 Octaves of Handbells Level 3-Hal Hopson's hymn concertatos always offer plenty of performance options and flexibility. God of Grace and God of Glory is no exception. A triumphant majestic song of praise this octavo could be sung as a choir hymnanthem or with the congregation as a concertato. The handbells and soprano descant are optional but add power and might to this glorious choral.

?I asked my friend the poet Einar Askestad if he could write a poem for me about love between father and son brothers and God. I felt that these forms of love are seldom sung about. The poem moved me greatly and I have tried to put music to these words which is simple yet full of beauty. In the four movements of this suite-like piece various aspects of these relationships are conveyed?. - Mårten JanssonBiography:My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings life consists of. This has led people todescribe my music as both ?so sad that it sounds like birds who have lost their wings? and ?the happiest classical music we ever heard?. I have also always preferred beautiful music to atonal music and that is surely the reason why the most part of my music is more on the sad side but what a dream it would be to be able to create beautiful music that?s bubbling over with joy! My compositions consist of almost only sacral music. This is to express my own faith but also my appreciation and respect for the timeless texts that have been used for centuries after centuries.In 1994 I was lucky enough to start conducting the female choir Carmen and I conducted them until we decided to disunite 2010. This is of course the biggest reason why most of my compositions are for female choirs the knowledge that what I write during the night will be tested the next evening is a driving force that not so many are lucky enough to have.I work as a voice music theory and conducting teacher and conductor in Uppsala were I was born -65 and still live. My education is in short: two years of musicology at Uppsala University and a MFA in Music Education and Dalcroize Rhythmics at the Royal Academy of Music in Stockholm.- Choral works a cappella.- Sample pages for download: www.baerenreiter.com.

For SATB unaccompanied chorus edited by Patrick Russill.'This seventeen-bar miniature was according to the owner of the autograph ‘written by Dr Howells in some spare minutes before the end of a theory lesson at the Royal College of Music in June 1966’. We shall never know whether the composer himself would have wanted to see it in print but now that it is many choirs will surely rejoice and welcome it into their repertoires. Though it looks on paper barely more taxing to sing than a hymn-tune the harmonies require singers who can pitch dissonant notes with confidence and who have fairly wide ranges. The irregular metre gives the music an expressiveflexibility but this too presents challenges. It is in the final phrase that the hand of a master is revealed with an exquisite darkening of the harmony at ‘God be at mine end . . .’ and a final cadence that is quintessential Howells.'     - RSCM Reviews