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Michael Axen: Contemporary Drum Compositions Rhythmic Studies Hands & Feet

Michael Axen: Contemporary Drum Compositions Rhythmic Studies Hands & Feet

"This book is designed for the intermediate/advanced drummer to improve musical, technical control and reading ability, and presents several rhythmic styles, such as funk, jazz and Latin. I'm not trying to educate you on the 'correct' Cuban or Brazilian grooves, but have used this music as an inspiration for different phrashings and concepts. In the notes you can find book recommendations to explore the styles fully.Please feel free to use the material creatively, like repeating bars when you feel like it. You can also use the pieces for advanced sight reading, but I suggest that you take time to look carefully at the dynamics and stickings. All the stickings are based on a right handed player (please reverse them if you are left handed).The basic concept is to have rhythmic compositions with basic classical notation and technique, that you can play on a drumset or on a practice pad with your feet stompin' at the floor. The first part is snare and bassdrum with hi-hat foot suggestions. Later in the book hi-hat (with stick) and snarerim are added.The advantage of these concepts is that playing through these etudes is very closely related to what is going on in modern music. Especially important for players in Jazz, Rock and Latin, but also very useful for a classical percussionist who needs solid music training.The last part of this book is a few pages of technique studies and rhythmic concepts that is related to the compositions. The purpose is not to include all basic strokes and principles (there are already many great books for that) but to show you some concepts that I have found useful and special through my years of playing and teaching."                            Michael Axen

SEK 188.00
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Asbjørn Schaathun: Actions Interpolations And Analyses (Score)

Asbjørn Schaathun: Actions Interpolations And Analyses (Score)

ACTIONS, INTERPOLATIONS AND ANALYSES, symphonies for bass-clarinet and large ensemble (1987-90), is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms, it involves taking two of Schaathun's "own" type of texture (composed by means of different techniques) and letting them "rotate" around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous "frozen" chords). In the course of the piece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed, creating a dramatic flow. On a more advanced level, the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is; What is size in music? Is it possible to take a small chord(i.e. narrow register, few instruments, simple tone colours) and then blow it up (wide register, many instruments, advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate, when Schaathun composed the piece, he himself travellig into the sound, as if were viewing a texture from a distance. He then recomposed the same situation and drew closer, and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However, like all concertos, the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that nothing would ever happen if it weren't for the initiative, the Action, of the individual.

SEK 1065.00
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Asbjørn Schaathun: Musical Grafitti Nr. 2

Asbjørn Schaathun: Musical Grafitti Nr. 2

MUSICAL GRAFITTI(II)In Musical Grafitti(II), "virtuoso drawings for amplified piano, large ensemble and tape with cosmic sounds, von den herrn Asberion Ska-tune" (1983-84), Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image, and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture, which are presented in the initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON, written especially for this work by Swedish composer Bo Rydberg, governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece, the computer establishes the chordal focal points of the work, thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from "white" noise to music characterized by an "advanced" syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios "points on the curve to find..." At one point Schaathun's "curve" crosses Berios curve, and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the "coloured" noise into which the piece fades away.(+ Fransk versjon NMI)

SEK 1219.00
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