Visar resultat för..."Sting musik"

Boken behandlar hur man lägger, färgar, stämför och kombinerar ackord i jazzmusik-från traditionell till dagens jazz- samt pop/rockmusik. Detta är viktiga kunskaper för den som vill arrangera, "kompa" eller improvisera. Materialet är uppdelat i två delar: en FAKTADEL och en ÖVNINGSDEL. Grundidén är att visa hur ackord och färgningar används i jazz/popmusik och ta fram de principer som gäller. Detta sker i FAKTADELEN. Principerna praktiseras sedan på ÖVNINGSLÅTAR i ÖVNINGSDELEN. I det här avseendet skiljer sig den här boken från andra böcker i ämnet. Här får du inte bara lära dig en massa ackord och färgningar utan även hur du praktiskt kan använda dessa. En annan idé är att du får arbeta med "riktig" musik, i stället för konstruerade exempel och övningar. I faktadelen förekommer en hel del notexempel hämtade från inspelningar med betydelsefulla arrangörer/solister och i övningsdelen finns kända jazzlåtar i olika stilar. Boken är alltså inriktad på praktiskt arbete, där varje avsnitt avslutas med arbetsuppgifter med konkreta tips på hur du ska lära dig det som behandlats. Ditt ackordförråd byggs successivt upp till att så småningom omfatta mera komplicerade ackord och ackordföljder. Genom att lära in dessa på ditt ackordinstrument utvecklas också ditt gehör så att du lättare kan känna igen ackord/färgningar. Boken har utformats med tanke på: jazz- eller popmusikern/arrangören som vill utveckla sitt harmoniska kunnande för att "kompa", arrangera eller för improvisation. den som vill bredda sitt harmoniska kunnande, t. ex. studerande vid musikutbildningar som kommunala musikskolor, studieförbund, folkhögskolor, musikhögskolor. den som vill utveckla sitt ackordspel inom jazz- och popgenren.

The book contains analyses of Clifford Brown's solos with hundreds of notated examples – most of them comprising about 10 measures or more. Brown has been a model of great importance for many trumpeters but also other jazz musicians. The material also includes basic studies of music theory and jazz harmony up to 1960.

Observera att innehållet i denna bok redan finns på den DVD-rom skiva som medföljer FAKTADELEN, men finns alltså tillgänglig för den som önskar övningsdelen i bokform. Innehåller mängder av övningsuppgifter i form av harmonisering-, spel-, stämföring- och analysuppgifter med en direkt inriktning mot den klassiska repertoaren.

Boken har utformats med tanke på: nybörjaren eller den som kommit en bit på väg och på egen hand vill lära sig att ta ut ackorden till en visa eller schlager och t ex spela/sjunga till eget kompstudiecirklar, kommunala musikskolor etc där boken även kan användas för ackordspel i piano- eller gitarrundervisningenden som vill lära sig grunderna i satslära/harmonilära med moment som ackordlära, funktionslära, stämföring, två?, tre? och fyrstämmig sats etcmusikstuderande vid folkhögskolor och musikhögskolor, där boken kan användas som grundläggande material i ämnet satslära med arrangering.Materialet är baserat på vanliga ackord och ackordföijder i visor, folkvisor och schlagers. Denna harmoniska stil har sitt ursprung i 1600 –1700-talets Europeiska konstmusik, som även ligger till grund för andra genrer t ex jazz och underhållningsmusik. De principer som behandlas i boken har därför stor allmängiltighet.Materialet är uppdelat i två delar: en FAKTADEL och en ÖVNINGSDEL. Grundiden är att visa hur ackorden används i musiken och ta fram de principer som gäller. Detta sker i FAKTADELEN. Principerna praktiseras sedan på ÖVNINGSMELODIER i ÖVNINGSDELEN. En annan idé har varit att arbeta med ”riktig” musik, i stället för konstruerade exempel och övningar. I visor, folkvisor och schlagers används ackorden i ganska bestämda kombinationer, som kan omfatta ackordföljder på två eller flera ackord. Dessa vanligt förekommande ACKORDFORMLER får du lära dig att använda, samtidigt som ackorduppbyggnad, ackordläggning, stämföring etc behandlas. Genom att boken börjar med två ackord, som sedan successivt byggts ut till att omfatta alla ackordfunktioner, kan du bygga upp dina praktiska kunskaper på ackordinstrumentet parallellt med de teoretiska kunskaperna.

Boken har utformats med tanke på:nybörjaren eller den som kommit en bit på väg och som på egen hand vill lära sig harmoniläramusikstuderande vid studiecirklar, kommunala musikskolor, estetiska programmet vid gymnasieskolan, folkhögskolor och musikhögskolor, där boken kan användas som grundbok i ämnet satslära.I det här materialet får du lära dig ”klassisk” harmonilära så som den använts av de stora mästarna genom tiderna. Eftersom harmoniken varit i ständig utveckling under de tre sekler (ca 1650-1950), som den här boken är fokuserad kring, får du också lära dig stilistiska skillnader mellan epoker under denna tid, dvs barock, wienklassicism, romantik, impressionism och 1900-talets musik. Eftersom boken är tänkt som ett material att studera parallellt med min tidigare utgivna bok ”Lär av Mästarna – Arrangering för två till fem stämmor” saknas momentet fyrstämmig sats som oftast ingår i traditionella läroböcker i harmonilära. Momentet behandlas utförligt i ”Lär av Mästarna – Arrangering för två till fem stämmor”. Det ska dock framhållas att ett mycket stort antal fyrstämmiga spel- och skrivövningar ingår i materialet i syfte att öva kadensspel, läggning och stämföring. Förutom harmonisk analys, som inbegriper både funktionsanalys och användning av ackordbeteckningar, har stor vikt lagts på harmonisering – ett moment som förekommer i mycket liten utsträckning i traditionella läroböcker i harmonilära. I samband med harmonisering samt 1900-talets harmonik förekommer även kompositionsuppgifter. Även om sättet att läsa och förstå generalbasbeteckningar ingår så finns inga direkta övningar i generalbasspel. I handeln finns dock ett stort antal läroböcker för den som vill studera detta ämne.

Learn from the Masters has been developed during my years as Professor of Music Theory at the Academy of Music in Malmö, Sweden. This material has been tested over a period of years in teaching situations, both individually as well as in groups at different levels, from beginners to students with a few years of study behind them. It is intended that this book will serve as effective material, for both self study and as a textbook for students in the subject. For whom is this book written? The book has been designed with the following in mind: beginners, or those who have some basic knowledge in harmony and prefer the do-it-yourself approach. music students at secondary and tertiary level, where the book can be used as the principal textbook in the subject on harmony. What prerequisites are required? It is an advantage if you can play the piano. If not, it is recommended that you learn the piano while using the book, so that you are able to play through the exercises. As well as this, it is necessary to have some rudimentary knowledge of basic music theory ie intervals, keys and major/minor scales. What will you learn? This textbook provides training in ‘classical’ harmony, which has been used by the great composers during the ages. This book is focussed on harmony that has been developed continually for three hundred years (ca 1650-1950), so you will also learn about the stylistic differences between the musical periods ie Baroque, Classical, Romantic, Impressionistic and 20th century. As I have designed the book so that it can be used together with my previously published book ‘Learn from the Masters – Arranging for two to five parts’, I am not including the study of 4-part harmony that is normally found in traditional harmony textbooks. This is explained thoroughly in ‘Learn from the Masters – Arranging for two to five parts’. It must be emphasised that a large number of the 4-part practical and written exercises in this book include playing cadences as well as spacing and voice leading. Apart from harmonic analysis, which includes both Roman numerals and chord symbols, great importance is attached to harmonization – a topic which is rarely found in traditional harmony textbooks. There are also composition tasks in connection with harmonization and 20th century music. The reading and understanding of figured bass is included in the book, although there are no figured bass exercises as such. There are many textbooks available if you would like to study this subject in detail.

Boken har utformats med tanke på:nybörjaren eller den som kommit en bit på väg och som på egen hand vill lära sig arrangeralärare i kommunala musikskolan och i grund- och gymnasieskolan som vill lära sig skriva enkla arrangemang för elevensemblermusikstuderande vid studiecirklar, kommunala musikskolor, estetiska programmet vid gymnasieskolan, folkhögskolor och musikhögskolor, där boken kan användas som grundbok i ämnet satslära med arrangering.Bokens huvudsakliga syfte är att lära ut hur man skriver mindre arrangemang för bruksändamål. Du får lära dig att arrangera visor två?, tre- och fyrstämmigt samt att utforma ackompanjemang. Det linjära skrivandet, d.v.s. en sats där de enskilda stämmornas melodik sätts i centrum, har en framskjuten plats i framställningen. Du får därför även lära dig att skriva självständiga stämmor (enklare kontrapunkt) och att komponera melodier.I arrangeringsarbetet ingår att kunna skriva för olika instrument, t.ex. att känna till i vilket läge ett instrument klingar bäst eller hur instrumenten kan kombineras för att balansera varandra. För att få övning i detta, ingår i uppgifterna att arrangera för bestämda ensembler. Vidare får du lära dig att arbeta med form och uppbyggnad för att kunna göra varierade och intressanta arrangemang med enkla medel. Notation, i form av att skriva partitur och stämmor, kommer naturligtvis in som en viktig del av arbetet.

Learn from the Masters develops your ability to write/compose and arrange music through the study of the great masters. The book contains excellent educational material on music theory, and presents a new way of methodical thinking. Besides arranging for two to five parts and writing simple counterpoint, you will learn to compose melodies. Plenty of music examples from the works of the great masters, and exercises with a direct focus on how to write small arrangements for everyday use, make the book a unique study material. Learn from the Masters also contains an instructive chapter on score and part notation, instrumental range and technical difficulties. A DVD containing a workbook and 155 music examples is included.

Efter succe´boken ”Jazz- & Popharmonik” kommer författaren här med en ny bok som handlar om att skriva arrangemang för jazz- och rockgrupper. Som läsare får man följa en intressant och pedagogiskt upplagd kurs i olika arrangeringstekniker från tidig rock och jazz till det senaste inom genren. Transkriberade musikexempel från inspelningar med t.ex. Lennon/McCartney, Peter Gabriel och inom jazzen t.ex. Duke Ellington, Wayne Shorter och Chick Corea gör boken till ett unikt studiematerial. ”Jazz- & Rockarrangering” innehåller också ett instruktivt avsnitt om instrumentens omfång, tekniska svårigheter etc. samt notation av partitur och stämmor. Sten Ingelf är verksam som lärare vid Musikhögskolan i Malmö och har bl.a. skrivit musik till ett flertal skiv- och TV- inspelningar med Tolvan Big Band i samarbete med solister som Dave Liebman och Michael Brecker.

Sting has successfully established himself as one of the most important singer-songwriters in Western popular music over the past twenty years. His affinity for collaborative work and disparate musical styles has pushed his music into an astonishing array of contexts, but no matter what the style or who the collaborator, Sting's voice always remains distinct, and this fact has earned him success amongst a correspondingly broad audience. The Words and Music of Sting subdivides Sting's life and works into rough periods of creative activity and offers a fantastic opportunity to view Sting's many stylistic changes within a coherent general framework. After analyzing Sting's musical output album by album and song by song, author Christopher Gable sums up Sting's accomplishments and places him on the continuum of influential singer-songwriters, showing how he differs and relates to other artists of the same period. Aside from his commercial success, Sting is also interesting for the use of recurring themes in his lyrics (such as family relationships, love, war, spirituality, and work) and for his use of jazz and world music to illustrate or work against the meaning of a song. Sting's life also sheds light on his music, as his working-class roots in Newcastle, England are never far removed from his international superstardom. Throughout his life, he has been musically open-minded and inquisitive, always seeking out new styles and often incorporating them into his compositions.

'I pore over Beatles albums with the same obsessive and forensic scrutiny that I'd applied to Rodgers and Hammerstein, only now I have a guitar. I have an instrument that can reproduce the practical magic of the chord structures and the network of riffs that their songs are built on. And what songs, one after the other, album after album. I learn to play them all, confident that if I persevere, what I can't play immediately will yield its secret eventually. I will reapply the needle of the record player again and again to the bars of music that seem beyond my analysis, like a safecracker picking a lock, until the prize is mine. No school subject ever occupies as much of my time or energy. I'm not claiming that any kind of prescience about the future was at work here, but there was something in the driven and compulsive nature of this obsession that was unusual, something in the unconscious saying, "This is how you escape." "This is how you escape.'''

During the 1980s, when pop icons like Madonna, Bruce Springsteen, Michael Jackson, and U2 reigned supreme, many regarded The Police as the biggest band in the world. Yet after only five albums—and at the peak of their popularity—The Police disbanded and Sting began a solo career that made him a global pop star. Today, artists from Puff Daddy to Gwen Stefani credit The Police and Sting as major influences on their own work, reflecting that The Police were not only a popular, polished rock act, but a powerfully influential one as well.In Sting and The Police: Walking in Their Footsteps,Aaron J. West explores the cultural and musical impact of Stewart Copeland, Andy Summers, and Sting. West details the distinctive hybrid character of The Police’s musical output, which would also characterize Sting’s post-Police career. Sting’s long-lived solo career embodies the power of the artful appropriation of musical styles, while capitalizing on the modern realities of pop music consumption. The Police—and Sting in particular—were pioneers in music video, modern label marketing, global activism, and the internationalization of pop music. Sting and The Police: Walking in Their Footsteps will interest more than just fans. By placing the band within its various musical, cultural, commercial, and historic contexts, Sting and The Police: Walking in Their Footsteps will appeal to anyone interested in global popular music culture.

Born in a mainly working-class area of North Tyneside in 1951, Gordon Sumner would become one of the world’s best-selling music artists. Known professionally as Sting, he was the lead singer for the band The Police from 1977 to 1984, before launching a hugely successful solo career. The foundations of Sting’s creativity and drive for success were established in the region of his birth, with vestiges of his ‘Northern Englishness’ continuing to emerge in his music long after he left the area. Published to coincide with the 40th anniversary of the formation of The Police, this is the first book to examine the relationship between Sting’s working-class background in Newcastle and the creativity and inspiration behind his music. Focusing on the sometimes-blurry borderlines between nostalgia, facts, imagination and memories – as told by Sting, the people who knew (and know) him, and those who have written about him – Carr investigates the often complex resonance between local boy Gordon Sumner and the star the world knows as Sting. This book will be of great interest to the many fans of Sting and The Police, as well as those interested in the history of popular music.

The Godfather of New York City hardcore and founding member of Agnostic Front invites you into his lower east side pad to regale you with tales from his extraordinary life among mobsters, punk rockers, and a bevy of iconic artists and personalities—none of whom is as interesting or fascinating as the inimitable Vinnie Stigma!Born Vincent Capuccio on December 3, 1955, Vinnie Stigma—as his countless friends and fans lovingly refer to him—is the founder and guitarist of New York City’s legendary hardcore band Agnostic Front. He’s also one of the Big Apple’s earliest punk rockers, having frequented such eclectic downtown haunts as Max’s Kansas City, The Electric Circus, and of course, CBGB while it was still known as Hilly’s on the Bowery during the early 1970s. The Most Interesting Man in the World stretches from Vinnie’s upbringing in Little Italy amongst the tight-knit Italian families, as well as some prominent wiseguys, to teaming up with Cuban-born vocalist Roger Miret to carry punk’s angrier successor across the globe; from no-show jobs in his youth obtained by people who “protected” him, to lighting up some of the world’s biggest stages. However, Vinnie Stigma is not your run-of-the-mill rocker of many decades. He has dabbled in cooking, professional wrestling, acting, martial arts, yoga, and other creative disciplines. He is a father and a cancer survivor who helped pioneer skinhead and tattoo culture in America, and has mentored hundreds of fledgling musicians and artists. Vinnie insists he is an entertainer first and foremost, which he learned from his childhood idols Jimi Hendrix, Bruce Lee, and Frank Sinatra. Featuring vintage photos throughout, a handful of signature Italian recipes, even a four-page comic book and crossword puzzle, The Most Interesting Man in the World is a journey through a life unlike any other. No one sees or experiences the world quite like Vinnie Stigma.

Step up to the mic and unleash your inner host with Podcasting For Dummies Ever wonder what it takes to get your very own podcast up and running? How to get the gear you need, pick a great topic, secure fascinating guests, and assemble it all into a refined and irresistible product? Well wonder no more! Because Podcasting For Dummies has the essential guidance you need to get your brand-new podcast up and running. From selecting the right recording equipment to identifying an audience and pro-level production tips, you'll find all the killer info to help you get started on your next big idea. You'll also get: Software and hardware tips to create and produce a crystal-clear podcastInterview advice, whether you'll be seeing your guests in-person or over ZoomStrategies for choosing the perfect platform, finding sponsors, and advertising and marketing your new creationPointers for setting up a streaming account and doing live podcasting like an expertWith everyone from A-list brands to world-famous celebrities getting in on the podcast craze, it's time you took your turn on the mic. Grab Podcasting For Dummies today and turn up the volume on the practice that's transformed countless amateurs into household names!

for SATB and optional organ

for SATB (with divisions) and pianoThis joyous setting of Psalm 145 is an emphatic statement of praise. Homophonic rhythms unite the singers in their presentation of the text, while a sprightly piano accompaniment drives the music forward and leads into explorations of different tonalities.

Feasting and Fasting in Opera shows that the consumption of food and drink is an essential component of opera, both on and off stage. In this book, opera scholar Pierpaolo Polzonetti explores how convivial culture shaped the birth of opera and opera-going rituals until the mid-nineteenth century, when eating and drinking at the opera house were still common. Through analyses of convivial scenes in operas, the book also shows how the consumption of food and drink, and sharing or the refusal to do so, define characters’ identity and relationships.  Feasting and Fasting in Opera moves chronologically from around 1480 to the middle of the nineteenth century, when Wagner’s operatic reforms banished refreshments during the performance and mandated a darkened auditorium and absorbed listening. The book focuses on questions of comedy, pleasure, embodiment, and indulgence—looking at fasting, poisoning, food disorders, body types, diet, and social, ethnic, and gender identities—in both tragic and comic operas from Monteverdi to Puccini. Polzonetti also sheds new light on the diet Maria Callas underwent in preparation for her famous performance as Violetta, the consumptive heroine of Verdi’s La traviata. Neither food lovers nor opera scholars will want to miss Polzonetti’s page-turning and imaginative book.

Colonialist, nationalist, and regionalist ideologies have profoundly influenced folk music and related musical practices among the Garhwali and Kumaoni of Uttarakhand. Stefan Fiol blends historical and ethnographic approaches to unlock these influences and explore a paradox: how the œfolk designation can alternately identify a universal stage of humanity, or denote alterity and subordination. Fiol explores the lives and work of Gahrwali artists who produce folk music. These musicians create art as both a discursive idea and as a set of expressive practices across strikingly different historical and cultural settings. Juxtaposing performance contexts in Himalayan villages with Delhi recording studios, Fiol shows how the practices have emerged within and between sites of contrasting values and expectations. Throughout, Fiol presents the varying perspectives and complex lives of the upper-caste, upper-class, male performers spearheading the processes of folklorization. But he also charts their resonance with, and collision against, the perspectives of the women and hereditary musicians most affected by the processes. Expertly observed, Recasting Folk in the Himalayas offers an engaging immersion in a little-studied musical milieu.

Colonialist, nationalist, and regionalist ideologies have profoundly influenced folk music and related musical practices among the Garhwali and Kumaoni of Uttarakhand. Stefan Fiol blends historical and ethnographic approaches to unlock these influences and explore a paradox: how the œfolk designation can alternately identify a universal stage of humanity, or denote alterity and subordination. Fiol explores the lives and work of Gahrwali artists who produce folk music. These musicians create art as both a discursive idea and as a set of expressive practices across strikingly different historical and cultural settings. Juxtaposing performance contexts in Himalayan villages with Delhi recording studios, Fiol shows how the practices have emerged within and between sites of contrasting values and expectations. Throughout, Fiol presents the varying perspectives and complex lives of the upper-caste, upper-class, male performers spearheading the processes of folklorization. But he also charts their resonance with, and collision against, the perspectives of the women and hereditary musicians most affected by the processes. Expertly observed, Recasting Folk in the Himalayas offers an engaging immersion in a little-studied musical milieu.

How and why is pre-existing music used in films? What effects can its use have on films and their audiences? And what lasting impact can appropriation have on the music? Reeled In is a comprehensive exploration of these questions, considering the cinematic quotation of Beethoven symphonies, Beatles songs, and Herrmann scores alike in films ranging from the early sound era to the present day, and in every role from ‘main title theme’ to ‘music playing in bar’. Incorporating a discussion of such factors as copyright and commerce alongside examination of texts and their effects, this broad study is a significant contribution to the scholarship on music in screen media, demonstrating that pre-existing music possesses unique attributes that can affect both how filmmakers construct their works and how audiences receive them, to an extent regardless of the music’s style, genre, and so on. This book also situates the reception of music by film, and by audiences experiencing that music through film, as significant processes within present-day culture, while more generally providing an illuminating case study of the kinds of borrowings, adaptations, and reinventions that characterize much of today’s art and entertainment.

Broadcasting the Blues: Black Blues in the Segregation Era is based on Paul Oliver's award-winning radio broadcasts from the BBC that were created over several decades. It traces the social history of the blues in America, from its birth in the rural South through the heyday of sound recordings. Noted blues scholar Paul Oliver draws on decades of research and personal interviews with performers--some of whom he "discovered" and recorded for the first time--to draw a picture of how the blues aesthetic developed, giving new insights into the role blues played in American society before racial integration.The book begins by outlining the history of the blues from African music through country stomps, ragtime songs, and field hollers. From the heroic figures of black folksong--including the steel-driving railroad worker John Henry and the destructive Boll Weevil--to the content of the emerging blues, the author discusses the "meaning" behind the often coded words of the blues, evoking topics such as playful sexuality, magic and medicine, the stresses of segregation, and commentary on national events. Finally, the author traces the history of blues documentation, showing how our views of the early blues have been shaped through a complex interplay of social forces, and indicating possible lines for future research.