Extreme Metal Bass Basse electrique [Partition + Accès audio] Hal Leonard
Essential Techniques, Concepts, and Applications for Metal Bassists. By Cannibal...(+)
Essential Techniques,
Concepts, and
Applications for Metal
Bassists. By Cannibal
Corpse. Bass Instruction.
Rock Instruction, Heavy
Metal. Softcover Audio
Online. With guitar
tablature. 64 pages.
Published by Hal Leonard
(Score Only). Composed by Johan De Meij and Ludwig van Beethoven (1770-1827). Fo...(+)
(Score Only). Composed by
Johan De Meij and Ludwig
van Beethoven
(1770-1827). For Concert
Band (Score). Amstel
Music. Grade 5. 82 pages.
Amstel Music #AM119.
Published by Amstel Music
Extreme Beethoven Orchestre d'harmonie - Intermédiaire/avancé Amstel Music
By Johan De Meij and Ludwig van Beethoven (1770-1827). For Concert Band (Score a...(+)
By Johan De Meij and
Ludwig van Beethoven
(1770-1827). For Concert
Band (Score and Parts).
Amstel Music. Grade 5.
Amstel Music #AM119.
Published by Amstel Music
By Marco Minnemann, written in collaboration with Rick Gratton. For Drum Set. Pe...(+)
By Marco Minnemann,
written in collaboration
with Rick Gratton. For
Drum Set. Percussion -
Drum Set Method or
Collection. Book and CD.
104 pages. Published by
Alfred Publishing.
Guitar SKU: BT.MUSAM957814 Composed by Joe Bennett. Tuition. Book Only. W...(+)
Guitar
SKU:
BT.MUSAM957814
Composed by Joe Bennett.
Tuition. Book Only. Wise
Publications
#MUSAM957814. Published
by Wise Publications
(BT.MUSAM957814).
ISBN
9780711982246.
English.
If you
want to come over like a
crazy stadium rocker this
is the book for you! You
won't learn much about
music theory or fancy
chords, but you will
learn how to..
Play a Fender
Statocaster with your
teeth
Executeahalf-twi
st 40-degree inverse
machine gun hold
Find
out which guitar gives
you the most realistic
'motorbike'
sound
Avoid taking the
skin off your knuckles
while performing triple
anti-clockwise
windmills
ExtremeGuitarTechniques
reveals the secrets of
gargling, dive-bombing,
tapping, banjo rolls and
amp feedback. It teaches
you weird skills like how
to play behind your head
or using an electric
drill! This is the guitar
book fortheJackass
generation!
(Extreme Technique Meets Metal Guitar). By Jared Meeker. For Guitar. Book; CD; G...(+)
(Extreme Technique Meets
Metal Guitar). By Jared
Meeker. For Guitar. Book;
CD; Guitar Method or
Supplement;
Method/Instruction.
Shredding Styles. Metal;
Rock. 64 pages. Published
by Alfred Music
Chamber Music Flute(s) SKU: PR.114419130 11 Virtuoso Etudes for Flute<...(+)
Chamber Music Flute(s)
SKU: PR.114419130
11 Virtuoso Etudes for
Flute. Composed by
Gary Schocker. 16 pages.
Duration 15 minutes.
Theodore Presser Company
#114-41913. Published by
Theodore Presser Company
(PR.114419130).
ISBN
9781491113622. 9 x 12
inches.
The
difficulty level in Gary
Schocker’s third
book of etudes inspired
the composer to title
thiscollection EXTREME
SPORTS. Each etude
targets specific
techniques, composed by a
flutist withthe knowledge
and understanding of
these particular demands.
In addition to being fine
concertfare, the etudes
will help train and
lengthen the breath,
develop speed and
fluidity, and
providebeauty as well as
challenge.
(A Funked Up Fairy Tale) Performed by Extreme. For guitar and voice. Format: gui...(+)
(A Funked Up Fairy Tale)
Performed by Extreme. For
guitar and voice. Format:
guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names,
guitar chord diagrams and
guitar tab glossary.
Metal. Series: Hal
Leonard Guitar Recorded
Versions. 116 pages. 9x12
inches. Published by Hal
Leonard.
Written by Steve Bailey, Victor Wooten. Instructional book and examples CD for b...(+)
Written by Steve Bailey,
Victor Wooten.
Instructional book and
examples CD for bass
guitar. With bass
tablature, standard
notation, chord names,
instructional text, bass
notation legend and
introductory text. 134
pages. Published by
Alfred Publishing.
Beatlemania Quatuor de Flûtes : 4 flûtes - Facile De Haske Publications
Love Me Do - Penny Lane - Ob- La-Di, Ob-La-Da. Arranged by Norah Green. De Ha...(+)
Love Me Do - Penny Lane -
Ob-
La-Di, Ob-La-Da. Arranged
by
Norah Green. De Haske
Flute
Series. Pop & Rock.
Set
(Score & Parts).
Composed
2020. De Haske
Publications
#DHP 1206106-070.
Published
by De Haske Publications
Beatlemania Quatuor de Saxophones: 4 saxophones - Facile De Haske Publications
Love Me Do - Penny Lane - Ob- La-Di, Ob-La-Da. Arranged by Norah Green. De Ha...(+)
Love Me Do - Penny Lane -
Ob-
La-Di, Ob-La-Da. Arranged
by
Norah Green. De Haske
Saxophone Series. Pop
& Rock.
Set (Score & Parts).
Composed
2020. De Haske
Publications
#DHP 1206108-070.
Published
by De Haske Publications
SKU: HL.392379 For Radically-Shaped Guitars like the Gibson Flying VÂ...(+)
SKU: HL.392379
For Radically-Shaped
Guitars like the Gibson
Flying V®, Gibson
Explore. Gator Cases.
Fretted Instrument
Accessories. Duration 210
seconds. Gator Cases
#GBE-EXTREME-1. Published
by Gator Cases
(HL.392379).
UPC:
716408507811.
18.5x48.5x0.617
inches.
The Gator
Lightweight Gig Bag for
Radically-Shaped Guitars
(GBE-EXTREME) offers the
rudimentary protection of
a softshell bag as well
as the heavy-duty
durability of a Gator
case. The rugged nylon
exterior is resistant to
rips, tears, and moisture
while a top-to-bottom
heavy-duty side zipper
enclosure allos for easy
loading and unloading.
Inside, 10mm of foam core
padding provides extra
protection. A single
exterior zipper pocket
provides ample space for
your favorite guitar
strings, picks, and
accessories. Keep your
radically-shaped guitar
safe with the Gator
GBE-EXTREME Lightweight
Gig Bag.
Beatlemania Quatuor de Clarinettes: 4 clarinettes - Facile De Haske Publications
Love Me Do - Penny Lane - Ob- La-Di, Ob-La-Da. Arranged by Norah Green. De Ha...(+)
Love Me Do - Penny Lane -
Ob-
La-Di, Ob-La-Da. Arranged
by
Norah Green. De Haske
Clarinet Series. Pop
& Rock.
Set (Score & Parts).
Composed
2020. De Haske
Publications
#DHP 1206107-070.
Published
by De Haske Publications
Beatlemania Quatuor de Cuivres - Facile De Haske Publications
Love Me Do - Penny Lane - Ob- La-Di, Ob-La-Da. Arranged by Norah Green. De Hask...(+)
Love Me Do - Penny Lane -
Ob-
La-Di, Ob-La-Da. Arranged
by
Norah Green. De Haske
Brass
Series. Pop and Rock. Set
(Score and Parts).
Composed
2020. De Haske
Publications
#DHP 1206109-070.
Published
by De Haske Publications
4-Part Flexible Ensemble and Percussion - early intermediate SKU: BT.DHP-1206...(+)
4-Part Flexible Ensemble
and Percussion - early
intermediate
SKU:
BT.DHP-1206105-070
Love Me Do - Penny
Lane - Ob-La-Di,
Ob-La-Da. Arranged by
Norah Green. Music Box.
Pop & Rock. Set (Score &
Parts). Composed 2020. De
Haske Publications #DHP
1206105-070. Published by
De Haske Publications
(BT.DHP-1206105-070).
ISBN
9789043159265.
The
term Beatlemania
was coined as the extreme
enthusiasm exhibited by
fans of the English rock
band The Beatles in the
1960s. Norah Green
compiled three of their
60s hits in an
arrangement for Four part
mixed ensemble: Love
Me Do, Penny
Lane and Ob-La-Di,
Ob-La-Da.
De
term Beatlemania
drukt het extreme
enthousiasme uit dat in
de jaren zestig van de
vorige eeuw werd
tentoongespreid door fans
van de Engelse rockband
The Beatles. Norah Green
verzamelde drie van de
hits van het viertal in
een arrangement voor
vierstemmig variabel
blazersensemble: Love
Me Do, Penny
Lane and Ob-La-Di,
Ob-La-Da.
Der
Begriff
Beatlemania
bezeichnete die extreme
Begeisterung der Fans
für die englische
Rockband The Beatles in
den 1960er-Jahren. Norah
Green hat drei ihrer Hits
aus dieser Zeit in einem
Vierstemmig variables
Bläserensemble-Arrange
ment zusammengestellt:
Love Me Do,
Penny Lane and
Ob-La-Di,
Ob-La-Da.
Piano Solo. Composed by Anton Webern (1883-1945). Edited by Ullrich Schei...(+)
Piano Solo.
Composed by Anton Webern
(1883-1945). Edited by
Ullrich Scheideler. Henle
Music Folios. Softcover.
20 pages. G. Henle
#HN1344. Published by G.
Henle (HL.51481344).
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387
Composed by Christian
Mason. Edition Breitkopf.
New music (post-2000);
Music post-1945. Set of
parts. Composed 2019.
Duration 20'. Breitkopf
and Haertel #EB 9387.
Published by Breitkopf
and Haertel (BR.EB-9387).
ISBN 9790004188576. 0
x 0
inches.
Commissione
d by the Kolner
Philharmonie (KolnMusik)
for the non bthvn projekt
2020 and the Cite de la
musique / Philharmonie de
Paris Dedicated to
Arditti Quartet Each
movement of this quartet
explores a single state,
its lights and its
shadows. Each movement,
you could say, is a
moment . And these
moments could last for
more or less time without
compromising their
essential nature. The
processes could be
extended or compressed,
repeated or reversed, but
the core ideas - if they
are ideas, but maybe they
are simply experiences? -
are what they are.
Despite this, the precise
sequence of movements
matters a great deal.
Heard together they do
articulate some kind of
linear narrative, maybe
even a metaphorical
journey (albeit a
circular one where the
arrival might, who knows,
prove to be a new
departure). One situation
gives way to another and
instrumental
relationships within the
quartet vary, but
ultimately the
imaginative impulse
behind the piece
preferences states of
unity. Whether or not
this unity is expressed
texturally - sometimes
literal unisons pervade,
but not always - there is
generally a sense that
even seemingly diverse
aspects relate to a
fundamental condition of
concord: a conscious
limitation in the pitch
structure to spectral
emanations of the root
notes E-flat and C. At
the opening this is
unambiguously audible in
the perpetual alternation
of these two notes in the
low cello register. Later
the two spectra are woven
into a micro-tonal
'double-spectral-mode'
(derived from the first
24 partials of the C and
E-flat fundamentals),
which defines the subtle
melodic inflection of the
second movement, and the
never-quite-chromatic
ascending scales of the
third. For now this feels
like a rich source of
melodic possibility, so
far only just glimpsed...
And why the insistence on
E-flat? Probably by way
of historical anecdote.
Apparently Karl Holz (a
member of the
Schuppanzigh Quartet)
said to Beethoven: We
performed your Quartet in
E-flat Op. 127 in his
[Weber's] honour; he
found the Adagio too
long; but I told him:
Beethoven also has a
longer feeling and a
longer imagination than
anyone standing or not
standing today. - Since
then, even Linke (another
member of the quartet)
can no longer stand him:
we cannot forgive him for
this. Listening again to
Op. 127, in light of
these comments, I was
struck by the opening
moment: the unfolding of
an E-flat 7th chord over
the course of a few bars.
Every time I hear it I
find myself wishing that
Beethoven would have
lingered longer there,
without resolution or
progression, just
enjoying that sonority.
And maybe - why not? -
tune the 7th naturally.
And what would it be to
stretch that moment into
an entire piece? What
would Weber think of
that?! In the end I was
not so extreme in my
self-limitation, and
other concerns took over,
but it was from these
thoughts that the
composition process
began... Lastly, about
the title: it comes from
a book called 'The Clock
of the Long Now' by
Stewart Brand, published
at the turn of the
millennium. It's about
the creation of a
thousand-year clock to
embody the aspiration to
thinking in terms of
longer time-spans than
are presently habitual.
If the music of Beethoven
embodied a 'longer'
feeling and imagination
than some of his
contemporaries were able
to appreciate, what is
our relation to time now?
Longer or shorter? Maybe
it depends who you ask...
It's probably more
extreme in both
directions: attention
spans might be
diminishing in the
digital world, but
conversely there is an
awareness of distant
pasts and potential
futures which would have
been inconceivable at the
time of Beethoven. In any
case, the interesting
thing is to ponder how
societal conditions,
assumptions and
expectations might -
whether consciously or
unconsciously - influence
the time of art, for
listeners and creators
alike. And what if time
is running out?
(Christian
Mason)
World
premiere: Paris, Cite de
la musique, January 14,
2020.
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
Cello (Cello) SKU: HL.49044838 For solo cello. Composed by Thomas ...(+)
Cello (Cello)
SKU:
HL.49044838
For
solo cello. Composed
by Thomas Larcher. This
edition: Saddle
stitching. Sheet music.
String. Vier Seiten is a
response to Ayrton
Senna's fatal car
accident, portrayed in
slow motion, as it was
repeatedly shown on
television at the time.
In this poignant work, a
violent fast section
represents the crash,
followed by a long
epilogue, reflecting the.
Softcover. Composed 1997.
8 pages. Duration 7'.
Schott Music #CB269.
Published by Schott Music
(HL.49044838).
ISBN
9790220134418. UPC:
841886027602.
9.0x12.0x0.067
inches.
Vier Seiten
for violoncello is an
attempt to present an
event that in reality
takes about two seconds
in extreme slow motion,
thus making even the
micromovements visible or
audible beyond the
straight line of
motion.When I composed
the piece, the fatal
accident of Ayrton Senna
came to my mind again and
again - an accident which
was shown on TV in slow
motion again and again
until it became
unbearable. The fast
motion of the car
immediately before the
crash into a concrete
wall, a motion which was
no longer purposeful but
out of control and which
had the car pulled to and
fro and from side to
side, was followed by
that crash. In this
extreme slow motion, it
is no longer shown as a
crash but as the fast
telescoping of carbon
fibre, metal and human
body parts.After this
crash, as a postlude so
to speak, everything
suddenly slowed down,
tyres and automotive
particles floating in the
air, the torso of the
vehicle swinging until
the motion stopped. It
was not until this moment
that I realized that the
whole presentation of the
incident had been
accompanied by paralyzing
silence.- Thomas
Larcher
Vier
Seiten is a response to
Ayrton Senna's fatal car
accident, portrayed in
slow motion, as it was
repeatedly shown on
television at the time.
In this poignant work, a
violent fast section
represents the crash,
followed by a long
epilogue, reflecting the
apparent stillness of the
immediate aftermath.