Techno Treat

Techno Treat. Par NORTON CHRISTOPHER. Pièces solos faciles dans les styles pop avec des accompagnements de CD de pointe. Jouer la pièce solo de droites, ou ajouter les morceaux de soutien et entrez un tout nouveau monde sonore. Chris Norton fait encore une fois avec son mélange unique de la technique traditionnelle avec des styles populaires. Les étudiants apprendront tout à propos de technique - rythmique, la coordination et l'écoute, mais ils vous avoir tellement amusement, ils ne savent qu'ils ne font pas elle ! Big battements est disponible en six saveurs et savoureux. ' Microjazz pour la prochaine génération, plus dramatique, plus interactive. Il examine et sons grand - un autre surefire succès (Piano Magazine, décembre 2001)/ Recueil / Violoncelle

Techno Treat-Big Beats is a brand new concept from Chris Norton composer of the hugely successful Microjazz series. Big Beats features elementary pieces that develop musicianship and technique in contemporary styles. The accompanying CD contains brilliant playalong tracks.

based on Bad Romance-Music styles four centuries apart collide in this creative baroque meets techno treatment of Bad Romance one of Lady Gaga's biggest hits. Inspired by the YouTube mega-hit this fugue-style movement is certain to be the audience pleaser of the year.

Music styles four centuries apart collide in this creative baroque meets techno treatment of Bad Romance one of Lady Gaga's biggest hits. Inspired by the YouTube mega-hit this fugue-style movement is certain to be the audience pleaser of the year.

Big Beats is a brand new concept from Chris Norton composer of the hugely successful Microjazz series. This fantastic series features elementary pieces that develop musicianship and technique in contemporary styles. The accompanying CD contains brilliant playalong tracks.

Who says Beethoven can't be fun? Here's a clever spin on classical music's most famous four-note motif done up right in a current techno-dance treatment.

Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Luigi Nono?s Prometeo serves a twofold objective. First, it proposes to document the musical text as defined through the experience of the performances in which Nono took part. Second, it aims to provide performers and scholars with the necessary information relating to the performance practice of the voices, instruments, and electronics (data, programming schemes, instructions for the implementation of sonic treatments). The technical and performance-related material is preceded by an essay which illustrates the philosophical background of the work, as closely linked to its formal aspects. The edition avails itself of the text of the second, final version of Prometeo, performed for the first time in Milan at the Stabilimento Ansaldo (September-October 1985) and reprised in Frankfurt (Alte Oper, August 1987), Paris (Théâtre National de Chaillot, October 1987) and Berlin (Kammermusiksaal of the Philharmonie, August 1988), with Nono at the Sound Direction. While the purpose of the edition is eminently practical, the specific nature of the work, combined with Nono?s own compositional approach, has made it necessary for the editors to access a number of sources, in order to accurately define the musical text. These include the autograph score supplied to the publisher and the printed copy that Nono used in all of the performances he took part in, the scores and parts used by the performers who worked with the composer, the work protocols of the Experimentalstudio of Freiburg (where Nono realized the live electronics part for Prometeo), the radio broadcast recordings of the performances in which Nono was directly involved. The concept of the edition owes much to André Richard?s extended experience realizing Prometeo, from the premieres of Venice (1984) and Milan (1985) up until 2015. He assumed a variety of roles in his plurennial involvement, from preparing the chorus and vocal soloists to leading the Sound Direction, to the design of the sonic space. As to the notation for the electronics of Prometeo, particular attention was devoted to solving the problem posed by the absence of a reference standard, as well as of specific indications in the autograph score. Based on the work protocols of the Experimentalstudio of Freiburg, the editors have developed a semiographic code that is coherent and expressive enough to avert stylistic ambiguities and, at the same time, open and flexible enough to allow for the exercise of interpretative freedom in a constantly evolving technological context.

MUSIC GIFT ® protective masks are more than just fabric masks. We combine the portuguese know-how in design and textile production with the best antibacterial solutions to guarantee an accessory that offers the essential protection and comfort for everyday life. MUSIC GIFT® protective masks are a safe, ecological and reusable solution. NOTE: All products are made from rolls of fabric with a pattern repeat design. This means the design featured on each item will vary.Properties . Three layers of protection . Outer layer with a repellent finish, which makes it difficult for the virus to penetrate. . Intermediate layer composed of an interlining that maintains an armed canopy, which facilitates air circulation. . Interior layer with a repellent finish and with antibacterial treatment to prevent the lodging of the virus. Features . Neutralization of odor . Safety and biological compatibility . High efficiency and durability . Skin sensitivity Advantages . Antibacterial Protection . High efficiency up to 50 washes . Non-toxic, safe and biocompatible materials . Does not create microbial resistance Effectiveness . Effectiveness guaranteed up to 50 washes without losing characteristics and properties Recommendations . Do not use bleach . Do not use for more than 4 or 5 hours without washing the mask . we advise to wash before using Certification . CITEVE (Portuguese Technological Institute) nr 7386/2020 . GOTS (Global Organic Textile Standards)/ Accessoire / Accessoire