The Doors are inextricably linked to '60s counterculture. Taking their name from Aldous Huxley's book The Doors of Perception, the group followed Jim Morrison's dark poetic vision to massive commercial success, making The Doors one of the best-selling bands of all time. This folio contains drum transcriptions of 20 of the band's most classic songs, including the vocal melody and lyrics. Also featured is an in-depth stylistic analysis of drummer John Densmore's contribution to The Doors' captivating, melancholy sound. / Batterie

Twenty-three of The Doors' classic songs arranged as they were played in clear guitar tablature and standard notation complete with lyrics and chord symbols. This is a new edition with an introduction by Steven Rossen.

15 of The Doors\' greatest hits arranged for easy piano, including: Break On Through (To the Other Side) · The End · Five to One · Hello, I Love You · L.A. Woman · Light My Fire · Love Her Madly · Love Me Two Times · People Are Strange · Riders on the Storm · Strange Days · You Make Me Real · and more. Includes photos. Break On Through (To The Other Side) The End Five To One Hello, I Love You L.A. Woman Light My Fire Love Her Madly Love Me Two Times People Are Strange Riders On The Storm Strange Days Touch Me The Unknown Soldier When The Music\'s Over You Make Me Real / Piano voix guitare /

The Doors brought their unique brand of rock to the forefront with this monster hit from 1969. Marvelously adapted for the marching field this arrangement features a wealth of dynamic contrasts a percussion break and solid hard-hitting rock 'n' roll.

The tempo of this recognizable rock tune by The Doors is 110 BPM with a written-out piano solo, accessible brass, and easy rhythms. You'll have a hit for any concert setting! (2:49) / Ensemble De Jazz

One of the biggest hits by The Doors is now available as its easiest version ever. Jerry Burns has created a very solid chart that any band can handle. / Marching Band

A lone trumpet announces this signature hit by The Doors as the chart settles into the familiar moderate rock groove. Particularly effective is the woodwind feature section simulating the unique sound of the Farfisa organ of the late '60s.

One of the biggest hits from the legendary American rock group, The Doors, this rock classic has a subtle country feel with a prominent bass line and driving rock beat while the characteristic melodic ballad flows throughout. With a brief percussion feature, you'll be sure to please audience members of all ages. (2:15) / Concert Band

Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

The Doors are inextricably linked to '60s counterculture. Taking their name from Aldous Huxley's monograph The Doors of Perception, the group followed Jim Morrison's dark poetic vision to massive commercial success, making The Doors one of the best-selling bands of all time. This folio contains 20 of the band's most classic songs, fully transcribed for guitar in notation and TAB. Also included is an in-depth foreword by Jimmy Brown of Guitar World magazine, who writes about guitarist Robby Krieger's integral contributions to the band's sound. / Guitare

Maître instructeur Wolf Marshall fournit une ventilation étape par étape sur les styles et les techniques du guitariste de portes Robby Krieger, donc les joueurs peuvent apprendre les riffs de marque et les solos de l'un des groupes plus influents du rock ! Ce livre/CD rempli d'instruction pack caractéristiques exclusive information commentaire et fond de Krieger, une histoire de la bande, une discographie et 9 des plus grands succès de The Doors : Break on Through (de the Other Side) · Bonjour, je t'aime · L.A. Woman · Mon · Fire de lumière. Elle aime follement · Love Me deux fois · Les gens sont étranges · Riders on the Storm · Roadhouse Blues. / Guitare / 72 pages / Partition + Cd

Deluxe Guitar Play-Along Volume 25. Par DOORS THE. La collection Deluxe Guitar Play-Along vous aidera à jouer des chansons plus rapidement que jamais ! Des tablatures précises et faciles à lire et des fichiers audio professionnels et personnalisables pour 15 chansons. L'interface audio interactive en ligne comprend un contrôle du tempo et de la hauteur, une boucle, des boutons permettant d'activer ou de désactiver les instruments, ainsi qu'une tablature avec un marqueur de suivi. Le prix de ce recueil comprend l'accès aux pistes audio en ligne à l'aide du code unique qui se trouve à l'intérieur. Les pistes peuvent également être téléchargées et écoutées hors ligne. Comprend maintenant PLAYBACK , un lecteur audio multifonctionnel qui vous permet de ralentir l'audio, de changer la hauteur, de définir des points de boucle et de faire un panoramique à gauche ou à droite - disponible exclusivement chez Hal Leonard. / Date parution : 2022-05-03/ Tablatures / Guitare

This compelling a cappella setting of a poem by Henry van Dyke opens plaintively then moves into a dance-like tempo leading to the powerful high point where the “doors of daring” are thrown open before us and the final broadening tempo leading to the closing cadence. A challenging work for advanced choirs. Duration: ca. 3:00.