Par FILTER. Title of Record' is still firmly within the industrial-metal tradition. There's trippy neo-psychedelic pop vocals that close 'Captain Bligh, ' and even when the music rages (which it does throughout the record), there are subtle differences in tension and dynamics that keep it fresh and engaging throughout. / Pop & rock / Tablatures / Guitare Tablatures

Par STOCKHAUSEN KARLHEINZ. / Répertoire / 6 Joueurs, Tamtam, 2 Microphones, 2 Filters et Reg

2ème édition' prix à la baisse! Plus de 150 chansons, transcriptions note-pour-note pour Guitare tablatures avec les paroles complètes. Titres : Aerials [System Of A Down] All Apologies [Nirvana] All Day And All Of The Night [Kinks, The] All The Small Things [blink-182] All Your Love (I Miss Loving) [Rush, Otis] American Woman [Kravitz, Lenny] Badge [Cream] Best Of You [Foo Fighters] Birthday [Beatles, The] Blue Suede Shoes [Presley, Elvis] Brass In Pocket [Pretenders] Brick House [Commodores] Bulls On Parade [Rage Against The Machine] Can't You See [Marshall Tucker Band] Caught Up In You [.38 Special] Centerfold [J. Geils Band] Change The World [Clapton, Eric] Chinatown, My Chinatown [Atkins, Chet] Cliffs Of Dover [Johnson, Eric] Close My Eyes Forever [Osbourne, Ozzy] [Ford, Lita] Couldn't Stand the Weather [Vaughan, Stevie Ray] Cradle Of Love [Idol, Billy] Crush 'Em [Megadeth] Cult Of Personality [Living Colour] Dani California [Red Hot Chili Peppers] Day Tripper [Beatles, The] Dissident [Pearl Jam] Divorce Me C.O.D. [Travis, Merle] Don't Fear The Reaper [Blue Oyster Cult] Drive My Car [Beatles, The] Dust In The Wind [Kansas] Eye Of The Tiger [Survivor] Fly Like An Eagle [Steve Miller Band] For Your Love [Yardbirds, The] Fortunate Son [Creedence Clearwater Revival] Free Ride [Edgar Winter Group] Full House [Montgomery, Wes] Give Me One Reason [Chapman, Tracy] Gloria [Van Morrison] Godzilla [Blue Oyster Cult] Green-eyed Lady [Sugarloaf] Hair Of The Dog [Nazareth] Heartache Tonight [Eagles] Heaven Beside You [Alice In Chains] Hey Joe [Hendrix, Jimi] Hit Me With Your Best Shot [Benatar, Pat] Hold My Hand [Hootie and The Blowfish] Honeysuckle Rose [Reinhardt, Django] Hot Blooded [Foreigner] I Just Want To Celebrate [Rare Earth] I Love Rock 'N Roll [Joan Jett and The Blackhearts] I Stand Alone [Godsmack] I'm Your Hoochie Coochie Man [Muddy Waters] Iron Man [Black Sabbath] It Hurts Me Too [James, Elmore] Jessica [Allman Brothers Band, The] Jesus Is Just Alright [Doobie Brothers, The] Kind Hearted Woman Blues [Johnson, Robert] Landslide [Fleetwood Mac] Layla [Derek And The Dominos] Learn To Fly [Foo Fighters] Learning To Fly [Petty, Tom] Let It Ride [Bachman-turner Overdrive] Lit Up [Buckcherry] Living After Midnight [Judas Priest] Longer [Fogelberg, Dan] Loser [Beck] Mama Kin [Aerosmith] Mannish Boy [Hendrix, Jimi] Mary Had A Little Lamb [Guy, Buddy] Mississippi Queen [Mountain] Misty [Kessel, Barney] Moonlight In Vermont [Smith, Johnny] Mr. Jones [Counting Crows] My Girl [Temptations, The] Name [Goo Goo Dolls] No One Like You [Scorpions] No Particular Place To Go [Berry, Chuck] Oh, Pretty Woman [Van Halen] Oleo [Martino, Pat] Owner Of A Lonely Heart [Yes] Papa's Got a Brand New Bag [Brown, James] Paperback Writer [Beatles, The] Paranoid [Black Sabbath] Piece Of My Heart [Joplin, Janis] Pretty Fly (For A White Guy) [Offspring, The] Radar Love [Golden Earring] Ramblin' Man [Allman Brothers Band, The] Ramrod [Eddy, Duane] Rebel, Rebel [Bowie, David] Rhiannon [Fleetwood Mac] Ridin' the Storm Out [REO Speedwagon] Rock And Roll Hoochie Koo [Derringer, Rick] Rock and Roll Never Forgets [Bob Seger and The Silver Bullet Band] Rock Around The Clock [Bill Haley and His Comets] Run To The Hills [Iron Maiden] Satin Doll [Joe Pass] School's Out [Cooper, Alice] Seven Come Eleven [Christian, Charlie] Shake Me [Cinderella] Shining Star [Earth, Wind and Fire] Shout It Out Loud [Kiss] Signs [Tesla] Sir Duke [Wonder, Stevie] Sleepwalk [Santo and Johnny] Slither [Velvet Revolver] Smoke On The Water [Deep Purple] Snortin' Whiskey [Travers, Pat] Something to Talk About (Let's Give Them Something to Talk About) [Raitt, Bonnie] Southern Cross [Crosby, Stills and Nash] Start Me Up [Rolling Stones, The] Statesboro Blues [Allman Brothers Band, The] Stray Cat Strut [Stray Cats] Sunday Bloody Sunday [U2] Sunshine Of Your Love [Cream] Susie-Q [Creedence Clearwater Revival] Sweet Child o' Mine [Guns N' Roses] Sweet Emotion [Aerosmith] Sweet Little Angel [King, B.B.] Take A Picture [Filter] Takin' Care of Business [Bachman-Turner Overdrive] Teach Your Children [Crosby, Stills, Nash and Young] Tears In Heaven [Clapton, Eric] The Impression That I Get [Mighty Mighty Bosstones, The] The Man Who Sold The World [Nirvana] The Space Between [Dave Matthews Band] The Stumble [King, Freddie] This Masquerade [Benson, George] Til I Hear It from You [Gin Blossoms] Time [Pink Floyd] Time For Me To Fly [Reo Speedwagon] Time In A Bottle [Croce, Jim] Today [Smashing Pumpkins] Tube Snake Boogie [ZZ Top] Turn! Turn! Turn! (To Everything There Is a Season) [Byrds, The] Two Princes [Spin Doctors] Unchained [Van Halen] Unskinny Bop [Poison] Wait And Bleed [Slipknot] Wake Up Little Susie [Everly Brothers, The] Walk This Way [Aerosmith] What I Like About You [Romantics, The] What's Your Name [Lynyrd Skynyrd] When The Children Cry [White Lion] Wild Thing [Troggs, The] Wonderwall [Oasis] You Give Love A Bad Name [Bon Jovi] You Shook Me [Led Zeppelin] You Were Meant For Me [Jewel] You've Got a Friend [Taylor, James]

The inspiration for this unique composition came from the charming Iroquois folk melody Ho Ho Watanay and the ancient Ojibwe legend of the dreamcatcher. It was believed that the magical webs of the dreamcatcher would filter out all bad dreams and only allow good thoughts to enter the mind. Robert's craftsmanship and orchestration for younger players has made this a winner for contest or concert programming.

Two beautiful pieces of Irish influence. Recorded by Gary Ryan on his CD 'Visions and Vistas'.The composer writes:'Out of Clonmel' - Over the past few years I have explored different tunings on the guitar. The instrument sounds fresh with a new tuning and harmonies or patterns that have become stale or are difficult to play with the traditional tuning can suddenly become reinvigorated idiomatic and resonant in different ways. You are also forced as a player to explore the fingerboard differently and the different tension of the strings produces a subtly different timbre.Out of Clonmel is tuned so that all of the open strings form a D major chord (D A D F# A D). This can be confusing at first but you get used to it pretty quickly and tablature helps when notating the score. Both of these pieces were originally commissioned by Rebecca Baulch a very fine player who I used to teach at the Royal College of Music. She was very good at reading tablature hence the idea to retune the guitar.Clonmel was the place my grandfather came from in Co. Tipperary Ireland and the piece has an energetic Irish flavour which reflects Irish folk music something I have always loved. The melody is decorated with ornaments which imitate those often played on the pipe or whistle. I dedicated this piece to my second daughter Caitlin so full of life who has of course in part come out of Clonmel.'Lough Caragh (Glenbeigh)' - Lough Caragh is influenced by the traditional Irish ballad and expresses for me something of the incredible beauty of the South West of Ireland. When my eldest daughter Jenny was only one year old in the summer of 2004 we stayed on the shores of Lough Caragh a beautifully tranquil lake west of Killarney visiting Glenbeigh where Jenny first played in the sea. I was trying to convey through the music the memory of those early magical childhood days which can never be recaptured. I had the melody going round in my head for a very long time before writing it down. When I compose I like to think that if what I have written is good I will remember it several weeks or months later in my head. My aural memory therefore acts as a filter retaining the best ideas before I put pen to paper. Lough Caragh uses a

with Variable Impedance. Variable Impedance Control Shape tone of your mic or instrument with the Vari-Z knob. In Mic Mode, the impedance values range from 150-15k Ohms. In DI Mode the range is roughly 100x, or about 15k-1.5Meg. Variable High-Pass Filtering Continuously variable high-pass filtering @ -6dB per octave works in tandem with the variable impedance control for even greater tonal shaping. Variable Gain Three settings yield up to +25dB of ultra-clean gain for XLR microphones and up to +15dB for 1/4” inputs like bass, guitar and keyboards. Combo Input Compatible with 1/4” Hi-Z instrument inputs and XLR Lo-Z microphones via the Neutrik Combo Input Connector. Premium Electronics Patented Class A, discrete JFET circuitry and Hi-Z to Lo-Z premium CineMag instrument transformer for pristine sound. Made in the USA Rugged, road-ready, and portable. Manufactured responsibly in the USA. Free lifetime limited warranty./ Accessoire / Cloudlifter

Par HERDZIN KRZYSZTOF. Chopiniana con delizia is a very interesting music project. Sometimes it is difficult to draw the line where Chopin ends and Herdzin begins. The artist engages in a kind of a dialogue with the 19th-century creator. By using Chopinesque motifs, by ‘filtering’ phrases of the genius composer through his sensitivity and experience of a 21st-century artist, Herdzin has created a work that provokes me to pose the following question: what kind of music would Fryderyk Chopin write if he were to live in the present day? [...] Jakub Stankiewicz, fragment of preface, translated by Zaneta Pniewska / Date parution : 2022-11-08/ Répertoire / Quintette avec Piano

Thomas Simaku's La Leggiadra Luna arranged for choir a capella. The music begins with a song-like expression introduced at a slow pace as if emerging from the remoteness of time itself. It is clearly based on the musical utterance of the 'white modality' but these modal segments are constantly surrounded by chromatic inflections throughout the work. Each section of the choir pursues its own path but during a compositional process of ‘zooming in and out’ as it were their individual qualities are highlighted. It is as if the initial sound object - which to begin with was far away- is brought nearer to us in time andspace. A variety of short segments predominantly modal but stemming from different chromatic ‘locations’ are often superimposed. The task of filtering out this 'amourphous' texture and giving its constituent elements - be they melodic or harmonic or a combination of both - a renewed identity becomes an essential compositional aim through which the process of crystallization occurs. The main strategy of the piece is thus exploring the interrelationship between these two sound-worlds (modal and chromatic) and their temporal qualities (ancient and modern) musical or otherwise.

Commissioned and premiered by the Santa Fe Desert Chorale Dappled Things celebrates those things that are dappled that is blemished in some way. A hymn-like structure featuring note-clusters representing the sound of light filtering through leaves and two soloists. Truly a special composition worth the challenge. Jo-Michael Scheibe Choral Series.

Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

Par VANHAL JOHANN BAPTIST. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The new edition profits from Tobias Glöckler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glöckler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well./ Répertoire / Violon 2 (Partie Séparée)