sing and hear various subdivisions and groupings of subdivisions. This book can be used by any and all instrumentalists. Metric Modulation will greatly improve the student?s improvisational ability to create and respond to rhythmic musical dialogue. The book is complete with general exercises for all instrumentalists as well as specific exercises for pianists, bassists and drummers. The included DVD demonstrates of all the material from the book, including improvised examples by Ari Hoenig and Johannes Weidenmueller in duo as well as trio with Aaron Goldberg. Transcriptions on how to harmonically navigate through polyrhythm inside standard jazz forms are included. The DVD musical examples can be watched, and played along to. Standard notation.

Patterns is one of the most comprehensive drum methods available. Covering a wide range of materials, the books can be used in any order, or in any combination with one another. They are a must for developing the kinds of skills necessary for drumset performance. Rhythm and Meter Patterns introduces the student to a wide range of rhythmic and metric possibilities, including odd rhythms, mixed meters, polyrhythms, and metric modulation.

Media Type : DVD Level : Intermediate-Advanced Musical Genre : All Styles Series : Complete Number of pages : 115 Re-edited from the original masters, this companion DVD to Mel Bay's Complete Modern Drum Set Book offers challenging material for the intermediate to advanced drummer. All special effects have been removed and the sound track has been encoded in Dolby Digital stereo. Twenty-one play-along tracks, CueLinkâ?¢ and a metronome make this DVD the most valuable cutting edge educational tool for drummers on the market today. Addressing a multitude of styles such as jazz, Latin, rock, R&B, African and more, Frank Briggs presents masterful performances and concepts to guide your playing to a higher plane while improving your technique and raising your awareness of cutting edge concepts such as metric modulation, displaced beats, polyrhythms, and more. This DVD features complete performances of Red Moon, Home, Along the Mohawk, Sketch/Electric and more. It includes over 115 minutes of drumming and is the perfect companion to the Complete Modern Drum Set Book (nearly every page in the book is performed... including page headers and pattern numbers for easy reference). Most of the styles include musical examples so you can hear what the patterns sound like in context. Quick moving and packed with information, the DVD covers: The 40 International Rudiments; African beats; Polyrhythm; R&B, Funk, Rock, and Jazz; Odd Meter; Reggae, Latin, and Fusion; Shuffles and Second Line; Linear Patterns; Playing Over the Bar Line; Metric Modulation; Superimposed Meters; and more.

Canticle. Par JALBERT PIERRE. Canticle (String Quartet No. 6) was commissioned by the Chiara String Quartet. It consists of seven movements, highly contrasting in character, with movements I and VII serving as similar bookends to the overall arch of the work. The piece opens with the quartet members striking various crotales, producing bell sounds that eventually blend with the string quartet – evoking the title, Canticle. The faster, pulse-oriented music requires the players to use glass rods on their instruments and at one point quickly moves back and forth between alternating rhythmic subdivisions, producing extremely rapid metric modulations. The last movement blends the string quartet with the bowing of the crotales to produce an ethereal, other-worldly finale to the canticle. Pierre Jalbert / Niveau : Avancé / Répertoire / Quatuor à Cordes

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Par BRIGGS FRANK. This book offers challenging material for the intermediate to advanced drummer. Addressing a multitude of styles, Frank Briggs helps guide your playing to a higher plane while improving your technique and raising your awareness of cutting edge concepts such as metric modulation, displaced beats, polyrhythms, and more. Frank Briggs states, 'He believes the more you know about different styles and the inner workings of time and phrasing, the better your ability to contribute to the music at hand. The clearer you see the parallels or the common threads that tie these concepts together, the more freedom you will have to express yourself.' This package includes the companion DVD: Re-edited from the original masters, this DVD offers challenging material for the intermediate to advanced drummer. All special effects have been removed and the sound track has been encoded in Dolby Digital stereo. Twenty-one play-along tracks, CueLink(tm) and a metronome make this DVD the most valuable cutting edge educational tool for drummers on the market today. This DVD features complete performances of Red Moon, Home, Along the Mohawk, Sketch/Electric and more. It includes over 115 minutes of drumming and is the perfect companion to the Complete Modern Drum Set Book (nearly every page in the book is performed... including page headers and pattern numbers for easy reference). / Niveau : Intermédiaire à Avancé / All Styles - Methods / Méthode / Batterie

These carefully crafted grade 3-4 jazz duets utilize easy-to-hear harmonies, commonly encountered jazz rhythms, and occasional metric changes. Interesting material is provided for both musicians, and this collection is suitable for practice and performance as well. / 2 Saxophones (Alto Eb Et Ténor Bb)

'Undecim' is Latin for 'eleven,' referring both to the 'eleventh hour' (the last opportunity to get something done) and the opening metric feel of the piece (7/8 + 2/4 = 11 eighth notes). This high-energy opener is the perfect way to begin your next concert! (3:15) / Concert Band

Par BRIGGS FRANK. This book offers challenging material for the intermediate to advanced drummer. Addressing a multitude of styles, Frank Briggs helps guide your playing to a higher plane while improving your technique and raising your awareness of cutting edge concepts such as metric modulation, displaced beats, polyrhythms, and more. Frank Briggs states, 'He believes the more you know about different styles and the inner workings of time and phrasing, the better your ability to contribute to the music at hand. The clearer you see the parallels or the common threads that tie these concepts together, the more freedom you will have to express yourself.' / Niveau : Intermédiaire à Avancé / All Styles - Technic / Méthode / Batterie

for Jazz Improvisation. Par ORO XABIER. With content ranging from theory and history to practical exercises, examples, études, and play-along tracks, this book offers the most comprehensive guide ever written for this esoteric and traditionally obscure scale. Simply put, it reveals the last big secret of jazz fusion?s avant-garde.According to which music theorist believes he first discovered it, this scale has been known variously as Messiaen?s mode 3, Slonimsky?s Tcherepnin Scale (honoring his colleague), and Tcherepnin?s own name for it? the 9-note augmented or nonatonic scale.The nine notes of the double-symmetrical augmented scale have fascinated and crucially influenced legendary musicians like John Coltrane, Allan Holdsworth, Mark Turner, Kurt Rosenwinkel, Nelson Veras, Tim Miller, Gary Thomas, and Jerry Bergonzi, among many others.Coltrane?s historic composition, ?Giant Steps,? can be directly attributed to his familiarity with the nonatonic scale. With this book by Berklee College of Music honors graduate, Xabier Oró, you?ll know the secret too.Includes access to online audio. / Date parution : 2022-10-12/ Etude / Guitare

Par LYMAN STEVE. Avec une nouvelle approche pour Odd Times, Pour Drum Set: Set livre et un CD Steve Lyman donne un regard en profondeur sur la construction et l'application de signatures de temps modernes. Ce livre fantastique et CD audio est parfaite pour n'importe quel batteur qui cherchent à développer, construire et appliquer des signatures de temps plus difficiles pour leurs performances ou l'enregistrement. / Niveau : Intermédiaire / Recueil / Batterie

from Organ Dances. Par CHILCOTT BOB. Sun Dance is a slightly modified version of the fifth movement from the composer's Organ Dances. The music is for the most part celebratory in character, its spiky rhythms driven along by the pervasive alternation of 3/8 and 4/4 metrical groupings, although the composer also has fun with 7/8 and 5/8 patterns. / Classique / Répertoire / Orgue

Par FELDMANN WALTER. The viola solo courbe 2 is based on an excerpt from the viola part in the Trio for flute, viola and harp « courbes » – sequences. In the densest time curve of this piece the viola plays the leading role for a span of almost three minutes. This material is taken from the Trio, presented and divided into separate parts. courbe 2 is three times longer in duration than the Trio excerpt from which it is derived. The musical text of the individual fragments remains as it is in the original, but, “pulsating”, demarcated in seconds. Fissures emerge between the fragments, windows open: - to harmonic fields, central sounds, taken over from the reverberations, from which new tone materialis derived; the fields in turn are distorted and spacialised by the electronics - to metrical structures and pulses freed from the individual motives of the original musical text, which forms new variants in interaction with these fields. Thus in courbe 2 which, as already indicated, is three times longer in duration than the original, three musical levels are interpenetrated, whereby all three are derived from one tone, which plays an absolutely central role in most of my works. It is a reference to the French writer Anne-Marie Albiach [and to her great text « H II » linéaires], and it remains as the only tone at the end of the piece, definitively, determining everything, b = 247 Hertz. Walter Feldmann/ Répertoire / Alto et Electronique