73 Results for : rehearse
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Zappa the Hard Way
'Zappa The Hard Way' is the story of Frank Zappa's last ever world tour that ended in mutiny. In 1988 Frank Zappa toured with a twelve-piece band that had rehearsed for months, learned a repertoire of over 100 songs and played an entirely different set each night. It is why, in Zappa's own words, it was "the best band you never heard in your life" - a reference to East Coast American audiences who never got the chance to see this particular touring ensemble. Zappa appointed bass player Scott Thunes to rehearse the group in his absence. In carrying out this role, Thunes was apparently abrasive, blunt and rude to the other members and two factions quickly developed: Thunes and stunt guitarist Mike Keneally on the one side; the remaining nine band members on the other. The atmosphere deteriorated as the tour progressed through America and on to Europe. Before leaving Europe, Zappa told the band that there were ten more weeks of concerts booked in the USA and asked them: "If Scott's in the band, will you do the tour?" With the exception of Keneally, they all said "no". Rather than replace Thunes, Zappa cancelled almost three months of concerts and never toured again - claiming to have lost $400,000 in the process. 'Zappa The Hard Way' documents that tour. If you think touring can be fun, think again! Yes there were groupies and the usual paraphernalia associated with rock 'n' roll, but there was also bitterness and skulduggery on a scale that no one could imagine. Author Andrew Greenaway has interviewed the surviving band members and others associated with the tour to unravel the goings on behind the scenes that drove Zappa to call a halt to proceedings, despite the huge personal financial losses. This paperback edition includes a foreword by Zappa's sister Candy, and an afterword by Pauline Butcher, Zappa's former secretary and author of 'Freak Out! My Life With Frank Zappa', 'Zappa The Hard Way' might just be the best book you've never read in your life!- Shop: buecher
- Price: 27.99 EUR excl. shipping
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The Beatles: Get Back
The book opens in January 1969, the beginning of The Beatles' last year as a band. The Beatles (The White Album) is at number one in the charts and the foursome gather in London for a new project. Over 21 days, first at Twickenham Film Studios and then at their own brand-new Apple Studios, with cameras and tape recorders documenting every day's work and conversations, the band rehearse a huge number of songs, culminating in their final concert, which famously takes place on the rooftop of their own office building, bringing central London to a halt. The Beatles: Get Back tells the story of those sessions through transcripts of the band's candid conversations. Drawing on over 120 hours of sound recordings, leading music writer John Harris edits the richly captivating text to give us a fly-on-the-wall experience of being there in the studios. These sessions come vividly to life through hundreds of unpublished, extraordinary images by two photographers who had special access to their sessions-Ethan A. Russell and Linda Eastman (who married Paul McCartney two months later). Also included are many unseen high-resolution film-frames, selected from the 55 hours of restored footage from which Peter Jackson's documentary is also drawn. Legend has it that these sessions were a grim time for a band falling apart. However, as acclaimed novelist Hanif Kureishi writes in his introduction, "In fact this was a productive time for them, when they created some of their best work. And it is here that we have the privilege of witnessing their early drafts, the mistakes, the drift and digressions, the boredom, the excitement, joyous jamming and sudden breakthroughs that led to the work we now know and admire." Half a century after their final performance, this book completes the story of the creative genius, timeless music, and inspiring legacy of The Beatles. "It would be fair to say that today Let It Be symbolizes the breaking-up of The Beatles. That's the mythology, the truth is somewhat different. The real story of Let It Be has been locked in the vaults of Apple Corps for the last 50 years." - Peter Jackson- Shop: buecher
- Price: 34.99 EUR excl. shipping
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Janine Jansen Falling for Stradivari
Directed by PRIX ITALIA winning documentary maker Gerry Fox, and accompanied in her quest by legendary Sir Antonio Pappano, the documentary will follow Janine fl y- on-the wall from her home town of Stockholm to research in Stradivarius' home town of Cremona, where she will meet world leading luthiers, to a hectic ten day period in London. She will become acquainted with each of the violins, select works that fi t them best, learn about their histories and particular foibles and rehearse and record this astonishing album. It will be nerve-wracking, intense, and hugely exciting. Finally, at Christmas, we will follow Janine home to the chamber music festival she has established in Utrecht, where accompanied by Pappano, she will play the pieces for a public audience.This is the fi rst time ever that so many of the greatest Strads have been gathered together in one place, and the camera will accompany Janine at every step. As a violinist with phenomenal bowing technique, she is uniquely qualifi ed to bring out the character of each violin, rather than impose her character on the instruments. In a series of up close and personal interviews with both Janine and others, we will capture the diffi culties and joys of playing these phenomenally diffi cult but rewarding instruments.Interweaving though Janine's story, we will also for the fi rst time, trace the stunning history of the Stradivarius as an emblem of affl uence, ambition and power. These violins have essentially been witnesses to history, containing within them the rise and decline of empires, as well as the evolution of classical and western music into a major part of global culture.This fi lm will continue to explore the Strad's ever-growing mastery through archive footage of some of the fi nest luminaries ever: Fritz Kreisler, Marius Casadesus, Bronislaw Huberman, Efrem Zimbalist, Zino Francescatti, Nathan Milstein, ArthurGrumiaux and Cho- Liang Lin, all played regularly on one of these Strads.Including FULL CONCERT with 12 different StradivarisWorks by Manuel de Falla, Tchaikovsky, Kreisler, Schumann, Brahms, Elgar, Vieuxtemps, Rachmaninov, Szymanovski, Ravel, Suk, HeubergerUnter der Regie des mit dem PRIX ITALIA ausgezeichneten Dokumentarfi lmers Gerald Fox, begleitet vom legendären Sir Antonio Pappano, folgt der Film Janine Jansen auf der Reise von ihrer Heimatstadt Stockholm zu Recherchen in Stradivarius' Heimatstadt Cremona, wo sie die weltweit führenden Geigenbauer treffen wird, bis hin zu einem hektischen zehntägigen Aufenthalt in London. Sie wird jede der einzelnen Violinen kennenlernen, Werke auswählen, die am besten zum Instrument passen, ihre Geschichten und besonderen Eigenheiten kennenlernen und ein erstaunliches Album einstudieren und aufführen. Es wird nervenaufreibend, intensiv und sehr spannend. An Weihnachten schließlich folgen wir Janine zu dem von ihr ins Leben gerufene Kammermusikfestival in Utrecht, wo sie in Begleitung von Pappano die Stücke vor Publikum präsentieren wird. Das ist das erste Mal, dass so viele der größten Stradivaris an einem Ort versammelt sind. Die Kamera verfolgt Janine auf Schritt und Tritt. Als Violinistin mit einer phänomenalen Bogentechnik ist sie die einzige qualifi zierte Solistin, um den Charakter eines jeden Instruments zum Vorschein zu bringen ohne ihren eigenen Charakter dem Instrument aufzudrängen. In einer Reihe von persönlichen Interviews mit Janine und anderen werden sowohl die Schwierigkeiten als auch die Freude beim Spielen dieser unglaublich schwierigen aber bereichernden Instrumente festgehalten.Erstmals wird auch die atemberaubende Geschichte der Stradivari als Symbol für Wohlstand, Ehrgeiz und Macht anhand der Verfl echtung von Janines Geschichte nachgezeichnet. Der Film erforscht überdies das kontinuierliche und stets wachsende Bestreben, Stradivaris beherrschen zu können, und stellt dies anhand von Archivmaterialien der größten Koryphäen aller Zeiten wie Fritz Kreisler, Marius Casadesus, Bronislaw Huberman, Efrem Zimbalist, Zino Francescatti, Nathan Milstein, Arthur Grumiaux und Cho-Liang Lin dar. Alle spielen regelmäßig auf einen dieser Stradivaris.Inklusive KONZERT mit 12 verschiedenen StradivarisWerke von Manuel de Falla, Tchaikovsky, Kreisler, Schumann, Brahms, Elgar, Vieuxtemps, Rachmaninov, Szymanovski, Ravel, Suk, Heuberger- Shop: buecher
- Price: 40.99 EUR excl. shipping
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Develop and Deliver Effective Presentations
Develop and Deliver Effective Presentations - A 10-step process to plan practice and rehearse a presentation on any business topic: ab 9.99 €- Shop: ebook.de
- Price: 9.99 EUR excl. shipping
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The Plebeians Rehearse the Uprising
The Plebeians Rehearse the Uprising: ab 8.99 €- Shop: ebook.de
- Price: 8.99 EUR excl. shipping
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How to Rehearse a Play
How to Rehearse a Play - A Practical Guide for Directors: ab 30.99 €- Shop: ebook.de
- Price: 30.99 EUR excl. shipping
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Meyerhold Speaks/Meyerhold Rehearse
Meyerhold Speaks/Meyerhold Rehearse: ab 38.49 €- Shop: ebook.de
- Price: 38.49 EUR excl. shipping
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Pigeonholed
A singer/songwriter born of a jazz degree, sideman vocal work, and life. This debut solo album deliciously blends her emotional intuition, skill as a professional vocalist, smart but catchy music and arrangements, and lyrics that reveal her depth. THE SHORT VERSION: Calley Bliss, New York City-based recording and performing artist, is one singer/songwriter you'll want to keep on your radar. After going into the studio in December of this year, plans to release her debut solo album are set for March 2010. The album, entitled 'Pigeonholed', will consist of several flavors of Calley's writing, which fluctuates between jazz, soul, and pop, with occasional elements of folk mixed in, incorporating her versatile voice which gives each individual song it's own unique flavor. As a vocalist, she's been compared to the likes of Feist, Peggy Lee, and Joss Stone, with an even, velvet tone frequently accented by sensitive uses of breathiness, vibrato, and a keen sense for lyric inflection. After growing up around Minneapolis, Minnesota, Calley acquired her training in jazz voice from the acclaimed University of North Texas jazz program, before coming to New York. After five years of study and performance around Dallas/Fort Worth, Calley said goodbye to her comfortable steady gigs and freelance work, and hello to the Big Apple. As a working musician she's done everything from studio work to wedding bands and back-up vocals, sung top 40's, pop, swing, jazz, rock, and soul. In addition to freelance jobs singing for corporate and private parties in New York, recently she's worked with Maryland-based Severn Records as a resident back-up vocalist, playing various blues festivals around the United States, and recording on four of their artists' albums. Calley plays with her own band around New York City, as well as occasional national and international venues. Click the 'live' tab for show listings. THE LONG VERSION I grew up in the burbs of Minneapolis. From a very young age I took an immediate interest in music - my mother tells a story of me as an infant in my crib rocking myself to sleep in time with the music in the tape player. At the age of three, I was often caught practicing my smile and posing in front of the mirror. This is how mom said she knew she was raising a future performer, 'ham' is the endearing term my older sister still prefers to call me. It started innocent enough. I idolized singers like Whitney Houston, Mariah Carey, and Celine Dion, the regular suspect pop stars of the day in the late 80's and early 90's. I was (and still am to some degree) an impulsive child, and in an attempt to ground me, my parents encouraged that I think of other, more stable professions that I might be interested in. So at the young age of seven, I decided I wanted to be a veterinarian, animals having been another passion of mine. This idea stuck with me until a fateful day in the fourth grade. I had just finished a performance in the school musical. I'd been cast the lead in the children's production of, 'Bach to the Future: the Life Story of Johann Sebastian Bach' as Bach himself. An unassuming audience member (probably someone's grand-mother or aunt) congratulated me on my performance, and asked if I planned to pursue singing when I grew up. I, with my ten years of wisdom, responded that of course I would love to, but it wasn't very practical and so I planned to become a veterinarian. To this she replied, 'Oh honey, you are too young to give up on your dreams! If what you want is to become a singer, then that's what you should do!' I decided she was right. It sealed the deal, and ever after I've accepted my fate. The life of a musician can be unstable and unpredictable, and I believe happiness lies in the choice to love these factors instead of seeing them as casualties of the profession. I have no idea who that woman was, but without trying to be melodramatic, she changed my life from that moment on, and for that I am ever grateful. I was fortunate to not have the typical theater mother and father to shove me into talent agencies and headshots, and cart me around the city for auditions. They felt childhood was too important to miss out on, and told me if I really wanted to be a singer, I would have to find out how to do it on my own. Of course, if I'd had the know-how to find the talent agencies and auditions, I know my parents would have taken and supported me. But being the slightly 'concentration-challenged' and social child that I was, there were too many other things in the moment to focus on like boys, and sports, and dances. So I did all the classic school-related music activities-- I was active in school choirs, band, and musicals all through junior high and high school. I gave up dance after fourth grade to join a Minneapolis girl's choir called Bel Canto Voices. Took up the alto sax in sixth grade, after being denied the right to study drums, due to my lack of prior piano study. (Okay, I'm still a tad bitter about this, but one day I WILL conquer the drum set!) In high school I was one of three drum majors to a 330-piece show style marching band, a member of the concert chorale, and also auditioned into an extra jazz choir class that met every morning at 6:55 to rehearse for 50 minutes, before the normal school day commenced. Yup, I was a band geek AND a choir nerd. I also took music theory as a senior, by which time I was both determined and scared to death to go to college as a music major. At the urging of my high school band director, Nathan Earp, I applied to the University of North Texas Jazz Department. I had no interest in becoming an opera singer, though I did want my college degree. Jazz, I knew, would kick my booty into shape. I was ready to commit to music, and figure out what I needed to do to create a career out of it. I no longer wanted to be a pop-idol. I wanted to really learn music and acquire the knowledge to be a respected musician. Well, I definitely got the booty-kicking I'd wanted that first year of college. My parents, I later found out, were nervously waiting for the day when I would call home, proclaiming I'd given up on college and was going to try to make it 'on my own'. I can't blame them, but I'm proud to say I didn't drop out. Over the next five years I would come to learn more than I ever anticipated about music, about other instruments, about writing, about musicians and their lifestyles and quirks, but mostly, about myself. Each year felt completely different from the last, and I quickly learned what it was to be not only an adult who is responsible for her own actions, but a musician who is responsible for her own growth. I worked whenever and wherever I possibly could. The college was in Denton, on the outskirts of the Dallas / Fort Worth Metroplex, and I started singing trio gigs with a bass player in town, who hired me to do cocktail hour gigs for the University. I was then referred by a friend for a gig in a variety cover band, singing backup vocals. This lead to other cover band gigs. My own gigs. Duo gigs with a piano player, a guitar player. Eventually some studio work. Pop gigs, jazz gigs, show tunes, lead vocals, back-up vocals, studio vocals where I covered all parts, etc. I did it all and loved it all. Was fortunate enough to always have a steady gig, and then freelance as a supplement. There were quite a few styles to be covered, and I really had fun trying to manipulate my voice to imitate each of the original singers as closely as I could. This taught me as much as, if not more than, any of the classes I took in music school. I loved trying to sing like Stevie Wonder, and then Michael Jackson a few minutes later, and then Patti Labelle, and then Christina Aguilera, etc. At the end of this five-year marathon, I cultivated an even deeper love for music. I still have a deep love for performance and love to be on stage (all singers have a little diva in them - I can say that, as I AM one), but I've also really gr- Shop: odax
- Price: 23.13 EUR excl. shipping
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Anitya
Intro (Meg Anderson, Jeremy Cox) Meg Anderson - vocals, midi harp Phoebe Spier - vocals Jeremy Cox - percussion Matt Aurand - percussion Rhoda - (Meg Anderson. Words by Virginia Woolf) Meg Anderson - vocals, midi harp Phoebe Spier - vocals Jeremy Cox - percussion Matt Aurand - percussion Yet there are moments when the walls of the mind grow thin And nothing is unabsorbed And i could fancy that we might blow so vast , So vast a bubble that  , The sun might set , And rise in it And we might take , The blue of midday And the black of , Midnight and be cast off , And escape from here and now  , As if a miracle had happened And life were stayed here and now And said rhoda we had no more to live  , And you're all there , Caught in understanding I know you, loo loo loo loo And i could fancy that , We might go so vast , So vast and wild away Away Jinny - (Meg Anderson. Words by Virginia Woolf) Meg Anderson - vocals Carrie Owen - vocals Paul Owen - vocals Parrish Collier - vocals Jeremy Cox - percussion, fender rhodes, beatbox Jamsion Sevits - percussion, keyboards, beatbox, trumpet Annette Bjorling - harp , 'Jinny' began in 2006 when I was a student at the Bloom School of Jazz. The first riff of the song came on the buss ride home after working the Aeolian mode in class. I began building on and later arranged it for an adaptation of Virginia Wolfe's playpoem, 'The Waves' in November 2009. , After that show, Jeremy took the rehearsal-recording and secretly worked on it with Jamison, adding auxiliary percussion and other lilting and groovy moments. I was so surprised and delighted and we carried it around with us for a year until the tour when we finally overlaid the vocals. How proudly we sit here Dazzle of youth All's clear all's firm , Without shadow or illusion Our flesh is firm and cool Our differences are clear cut  , As the shadow of rocks in full sunlight Days and days are to come The fruit is swollen beneath the leaf Winter days summer days  , With infinite time before us What shall we do Watch the coals turn crimson Reach for books shout with laughter? All is to come  , For one moment only before the chain breaks Before disorder returns see us held in a vice But now the circle breaks the current flows the passions grow And pound us with their waves jealously envy desire And now something deeper than they stronger than love And more subterranean , Net of light loop of time ring of steal white words Islands of light swimming on the grass  , With infinite time before us What shall we do Watch the coals turn crimson Reach for books shout with laughter? All is to come  , I could make a dozen stories , Of what he said of what she said And i can see a dozen pictures But what are stories toys i twist bubbles i , Blow one ring passing through another And sometimes i doubt if there are stories What is my story what is rhoda's what is neville's There is truth there is fact , That it true, that is fact But beyond is all darkness and conje . . .  ,cture Felicity - (Jeremy Cox, Meg Anderson) Meg Anderson - vocals Jeremy Cox - piano Jamsion Sevits - trumpet Matt Aurand - bass guitar Annette Bjorling - harp Jeremy wrote this song for his new baby niece, Felicity, who we had the privilege of meeting when she first arrived this past October 2011.  , Lightseed - (Meg Anderson) Meg Anderson - vocals, keyboard Carrie Owen - vocals Jeremy Cox - percussion, vocoder, drum programming Matt Aurand - bass guitar , Anitya Movement 1 - (Meg Anderson) Meg Anderson - vocals, percussion Carrie Owen - vocals Jeremy Cox - percussion Matt Aurand - percussion Fred Poetzsch - drum programming , Mid-Tour on our drive from the midwest to the Portland, I played this ditty for Jeremy that I had sung in a cafe in the fall of 2005. The melodies and rhythms came in pieces, so it didn't occur to me to put them on the album -- It overwhelmed me to think of creating one song out of them. Then Jeremy suggested three different movements. Brilliant. , Carrie does an exquisite job on all three. I arrived at her house in Sacramento to rehearse and heard her crystal clear voice effortlessly ringing through the walls. A composer's dream. , The other aspect of Anitya Movement 1 that continues to delight me is the syncopation that Jeremy and Matt created with clapping! I like it so much it makes me laugh. I have never really known the meaning of the lyrics for Anitya Movements 1 and 2. Like most of the songs, the music came first on these too, but in this case I never bothered to apply words that made much sense, leaving it as a mixture of gibberish and nonsense phrases, until it was time to record. Then I shaped them a little further, but not much, into a meaning that I was beginning to glean from them. So they remain a bit cryptic with pieces of 'sense'. I'd be interested in your interpretation. Anitya Movement 1 a matter of course and tender as i , d d d dee ya... d d d dee i am as i, , dear at end of the day we hand it all away d d d d ... , ... The end of the end of the end of the end of doo doo doo doo dee ya i'm the leaf , and to the soil i spin and go dying , d d d d dee yea... doo doo doo doo dee ya i'm allegiance , lu lu lu lucky hold me in combat i commin ahind you and he and i , who are the babies, i could amaze these ba ba ba ... do doo doo doo doo i hum i high and die along the hundred flips from the ant hill so mind we have all behind i and an angel dim why and by the fire i saw higher a moment my head n i all came a sire and know i'm not any in a fog i offer that shower n n now you see the fire in my head and n now you see my gender call it a sea shell gone, covered up on the land gone to sand the end i fold into fool's illusion doo doo doo... hey doo doo doo... these and i , start with rock end in sand silly mind make sense of the eternal i was on the edge to fall a lonely demon count all the reminders long list you know boom whatever that you were, then such a ride now a lie when i am a tomb i am a diamond  ,  , , Anitya Movement 2 - (Meg Anderson) Meg Anderson - vocals Carrie Owen - vocals Jeremy Cox - piano, drum programming Anitya Movement 2 i am owning , up , in order to enter into see what , i brought to the surface when you were sleeping we opened up in a dream you were standing too close to the , edge and , the sun brightly sinking , we'll be faceless in the end of the end of the eternal star grows up and swallows these and i hand in light rehearsal hang night in front of the eternal Somebody brought the world to light and opened up a hole in the sky wide open are the fools wide open the wise come gently oh my heart the right path to find said i said it all in a light bright he is loving these and i hi we see the sky somebody brought the world to light and opened up a hole in the sky , wide open are the fools wide open the wise come quickly oh my heart the right path to fly Anitya Movement 3 - (Meg Anderson) Meg Anderson - vocals Carrie Owen - vocals , I've been carrying the first line of this song for years imagining Carrie's voice the whole time just to hold in my mind the proper vocal application -- I didn't know I would be recording the lady herself 5 years later. What a blessings. . . I think we got it right. , The rest of the lyrics and tune were inspired by a conversation Jeremy, Carrie and I had about reincarnation and samsara. Carrie, conveniently holding a Religious Studies Degree, filled in some gaps for us in these basic concepts and beliefs and the conversation was good and filling, The melody and lyrics effortlessly poured out of me the next day. , The song is both a realization - the freedom found in 'Anitya' being the only constant -- and it is also a lament for and a commiseration with each human being who struggles for relief from the great search no matter how mundanely it manifests. , Anitya Movement 3 oo oo oo oo I carry this to freedom oo oo oo oo and break my site in a thousand shards of light delude my heart up to an annihilated height , and cancel day with night and all my answer effortlessly come streami- Shop: odax
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Selections
The music on this CD has travelled a long way, from the ideas of the composer at his desk, to the final result of actual, audible sounds. When we began to study and rehearse the pieces we faced a lot of choices and options, probably more so than most musical ensembles normally do. Partly, this had to do with our instruments: percussions consist of an incredibly wide array of sonorities, as a result of all the various instruments and mallets at our disposal. In addition, there are many different playing techniques, adding up to a colorful palette of means of articulation. But above all, it is our choice of repertoir that forces us to make decisions.- Shop: odax
- Price: 19.62 EUR excl. shipping
