- Record Label: Sony
- Catalog#: 88697 720092
- Country Of Release: NLD
- Year Of Release: 2010
- Notes: 25 Original Albums In Noble Box

Par MANTOVANI BRUNO. After Eclair de lune for three principal snare drums, three ensembles and electronics, and after my Concerto for two violas written for Tabea Zimmermann and Antoine Tamestit, I felt compelled to compose a new work for double soloist, and ended up choosing the piano. First of all from a desire to write for Varduhi Yeritsyan and François-Frédéric Guy, but also because the confrontation between that orchestral instrument, itself duplicated, and a symphonic mass offered me infinite sound perspective options. Though the piano writing contains nothing radically innovative, the profusion of repeated notes (using both instruments and in simultaneity) creates a percussive dynamic timbre ranging from a murmur to a violent surge. Often in echo, most of the time in simultaneity, the two soloists quite simply comprise a meta-instrument, counterpoint being rather absent from this score that favours the collision between energies over the superimposition of lines. As this 22 minute voyage progresses, several thematic elements emerge (tolling in the instrument's low register, virtuosic lines with certain notes doubled and 'frozen' by the orchestra), united by an often static harmony, which imparts a sensation of continuity to this veritable rhapsody. / contemporain / Répertoire / 2 Pianos et Orchestre

The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles'the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won't kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, 'One man's remorse is another man's reminiscence.' Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bes

Alfred's Artist Series has expanded to include Don Mock: The Blues from Rock to Jazz. Don Mock is internationally recognized as a master educator, guitarist, author, recording artist, composer, and synthesizer stylist. As one of the three original founding instructors at the Guitar Institute of Technology (GIT) in Hollywood, Don has long been known and respected for his broad knowledge of the instrument. In this DVD, Don uses the basic blues progression as a vehicle to teach chords and soloing techniques found in contemporary blues and jazz fusion. He starts by guiding you through the dominant chord family, showing the basic chords and their substitutions for comping, plus scales, arpeggios and melodic ideas for improvising. Next, he covers how to solo over each chord in the 12-bar blues using secondary dominants and the turnaround. Finally, he breaks down three jazz-fusion 12-bar blues solos, with an in-depth analysis of each bar. Special features include a printable PDF booklet with note-for-note transcriptions, a bonus performance from Robben Ford's The Blues and Beyond, and a bonus lesson from The Definitive Steve Morse. / Guitare

Couverture Rigide. Par HENDRIX JIMI. Experience the genius of one of rock 'n' roll's preeminent innovators - Jimi Hendrix! This special hardcover edition comes in a purple velvet protective case and features over 1,000 pages with full scores and lyrics to all 52 songs from the albums Are You Experienced, Axis: Bold as Love, Electric Ladyland, and Band of Gypsys. Each instrument has been transcribed faithfully from the original recordings, so you can dive deep into the compositions, lyrics, solos, and sounds of Jimi and his band. Guitar and bass parts are written in both standard notation and tab. A must-have for any serious Jimi Hendrix fan and collector!/ Recueil / Full Score

This composition is in its own way meant to be a tribute dedicated to Paquito D'Rivera showing the author's appreciation for this musician as an exponent of Cuban music of the past and present century, who represents a stronghold and example for all musicians - in particular for saxophonists and clarinetists - not only in his capacity as a performer and composer but also as a cultivator of both sound worlds, the so-called classical music and its popular counterpart in its most ample interpretative spectrum. The piece consists of four movements: Allegro Moderato, Lento, Allegretto and Allegro con Fuoco. Its outstanding feature is the fusion of elements of jazz (such as the improvisation in the first and fourth movements, parts of which are accompanied by the piano with its interpretation being based on concepts characteristic of jazz or the 'tumbaos” to be found in Cuban music) and classical music. The second movement starts off with a short recitativo, followed by a mixture of phrases borrowed from contemporary music, Afro-Cuban styles and jazz, whose distinctive rhythmic cells and articulations clearly define the character of the movement and finally culminate in tempo primo. The third movement shows a certain 'casualness” and tranquility in its melody as well as in its accompaniment, including a cadenza the musician may execute at will - the movement then culminates either in an improvisation ad lib or in the mere execution of the melody as notated. The fourth movement is charged with spiritual energy. Saxophone and piano frequently trade phrases, and there is an abundance of improvised passages and jazz phrases. The movement finally ends in unison forte together with the piano. / Jazz / Recueil / Saxophone Alto ou Baryton et Piano

Sébastien Michaud / « Que quelqu un leur indique l adresse d un tailleur, et ces Depeche Mode iront loin », pouvait-on lire dans les pages de l Evening Echo, à Basildon, à la fin de l année 1980... Un quart de siècle plus tard, Martin Gore, Dave Gahan et Andrew Fletcher ont non seulement donné raison à l auteur de cette remarque, mais en ont aussi profité, au passage, pour s imposer comme un des plus grands groupes de l histoire du rock anglais, écoulant au final plus de soixante-dix millions d albums à travers le monde. Un groupe d abord exclusivement tourné vers les synthétiseurs, digne héritier des Allemands de Kraftwerk, puis s inventant, sans jamais se départir de ses valeurs de base, une identité sonore unique. Survivant tour à tour aux critiques incendiaires, aux départs de ses musiciens les plus aguerris, aux overdoses et aux conflits d ego, Depeche Mode explore sans répit depuis plus de vingt-cinq ans les chapelles électro, indus, pop, rock, folk et blues, fusionnant les genres ou les redéfinissant selon ses propres critères. Le résultat ? Un nombre impressionnant de chansons immortelles, truffées de grandes mélodies et de textes à la portée universelle.

Funk and Fusion Grooves for the Modern Styles. Par CHAFFEE GARY. Includes basic exercises for linear playing skills and the development of time feels in the linear style. This book is not about playing beats. It is about developing time feels. In the way that I think of these terms, a beat is a specific patten of events that is repeated more of less without variation. A time feel, on the other hand, is a more general statement of the time which is modified and developed as the tune progresses. In most playing situations, the arranged parts of the tune, (the head, background figures, etc. ), are fixed, and this is where playing a specific pattern is more of a necessity. However on the blowing sections, (which are by nature moreimprovisatory), you're going to want something that is flexible, and able to adapt to what's going on in the solo. The purpose of this book is to teach you how to develop such skills in the linear style. In a very real sense, the concept that's involved here is theme and variations. The theme is the basic pattern you use to establish the feel. The variations are those things you do to the pattern to enhance, color, and modify it. There are many such variations available in the linear style, and we will be working witha a number of thesse. The materials in the book have broken down into two sections: Basic exercises: The exercises in this section are designed to help in developing some of the basic technical skills necessary for linear playing, including such things as voice coordination, dynamic balance, accenting, and the like. Ideas: The second section of the book deals with the development of time feels in the linear style. A wide variety of examples will be shown, including regular 4/4 feels, feels on the set, shuffle feels, as well as feels in odd meters. It is important to understand that the purpose of these examples is to demonstrate some of the many ways in which linear feels can be developed. Although you should definitely try and master the materials in the book, the real reward will come when you can take the ideas that these materials are based upon, and make up grooves of your own. About the CD On the CD you will be hearing examples from each part of the book. / Méthode en anglais / Date parution : 1905-06-15/ Méthode / Batterie et Percussions

Le compositeur précise que ce travail est une fusion de poème symphonique et concerto pour orchestre. Le titre fait référence à une figure dans le Livre de l'Apocalypse dont l'identité exacte a été ouvert à un certain nombre d'interprétations, y compris la Vierge Marie et un symbole matriarcal pour l'Eglise. Le score a été inspiré par une série d'oeuvres d'arts visuels sur le sujet à travers les âges. / Orchestre

Hector Berlioz (Auteur), Gérard Condé (Préface) - (Français) Broché – 25 juillet 2011 - L’art musical est sans contredit celui de tous les arts qui fait naître les passions les plus étranges, les ambitions les plus saugrenues, je dirai même les monomanies les plus caractérisées. Je m’abstiendrai de parler à ce sujet des hommes de lettres, qui écrivent, soit en vers, soit en prose, sur des questions de théorie musicale dont ils n’ont pas la connaissance la plus élémentaire, en employant des mots dont ils ne comprennent pas le sens ; qui se passionnent de sang-froid pour d’anciens maîtres dont ils n’ont jamais entendu une note ; qui admirent en bloc, et avec la même effusion de coeur, deux morceaux signés du même nom, dont l’un est beau en effet, quand l’autre est absurde ; qui disent et écrivent enfin ces étonnantes bouffonneries que pas un musicien ne peut entendre citer sans rire. Il est bien évident que les gens qui s’attribuent le droit de divaguer à propos de musique sans la savoir, et qui se garderaient pourtant d’émettre leur opinion sur l’architecture, sur la statuaire, ou tout autre art à eux étranger, sont dans le cas de monomanie.

A companion to Yngwie's immensely successful REH video, this book and CD package takes you step-by-step through many of Yngwie's licks, patterns, solos, and rhythm parts. All music is transcribed in notation and tablature. A major tool for studying Yngwie's style, a fusion of neo-classical, metal, rock and blues.