arthur jansen tetelepta

2010-03-02T00:00:00.001-08:00

Lee Ritenour ft. Marcus Miller - Rio Funk.mp3

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2010-02-09T01:33:00.000-08:00

Lee Ritenour's current biography

Growing up in L.A. in the 60's, Grammy award winning guitarist Lee Ritenour received a rich cross section of exposure to jazz, rock and Brazilian music. From one of his first sessions at 16 with the Mamas and Papas to accompanying Lena Horne and Tony Bennett at 18, his forty year eclectic and storied career is highlighted by a Grammy Award win for his 1986 collaboration with Dave Grusin, Harlequin; 17 Grammy nominations; numerous #1 spots in guitar polls and the prestigious "Alumnus of the Year" award from USC. He has recorded over 40 albums, with 35 chart songs, notably the Top 15 hit "Is It You," which has become a contemporary jazz radio classic. In the 90s, Ritenour was a founding member of Fourplay, the most successful band in contemporary jazz, with keyboardist Bob James, bassist Nathan East and drummer Harvey Mason. The first Fourplay album in 1991 spent an unprecedented 33 weeks at No. 1 on Billboard's contemporary jazz chart. Adding to this legacy is his latest CD Smoke ‘n' Mirrors; the recently completed Grammy nominated recording Amparo, (a follow-up with Dave Grusin to their highly-successful 2001 Grammy Award nominated contemporary classical crossover CD) and producer of Gordon Goodwin's Big Phat Band's latest CD Act Your Age (which is nominated for 3 Grammys.

It's been a long road since the seventies, when Ritenour's legendary Tuesday night appearances at the famed Baked Potato, with a band including Dave Grusin, Patrice Rushen, Harvey Mason and Ernie Watts became part of the musical landscape for five years. Eric Clapton, Jeff Beck, George Benson, Al Jarreau, Joe Sample, and even Bob Dylan and Joni Mitchell could be seen in the audiences that would pack the house till the wee hours of the morning. From rock to blues to jazz, his diverse music became the foundation of over 3,000 sessions as a young guitarist with a broad spectrum of artists such as Pink Floyd (The Wall), Steely Dan (Aja), Dizzy Gillespie, Sonny Rollins, Joe Henderson, B.B. King, Frank Sinatra, Simon & Garfunkel, Ray Charles, Peggy Lee, Aretha Franklin and Barbra Streisand. Not to forget the dazzling array of talent appearing on his solo works and collaborations, notably-- Phil Collins, Brazilian greats Ivan Lins, Caetano Veloso, Djavan and Jao Bosco, George Benson, Chaka Kahn, Herbie Hancock, Michael McDonald and opera great Renee Fleming.

2010-01-21T22:40:00.000-08:00

June 24, 2009 – Burbank, CA – Jonas Brothers’ Lines, Vines and Trying Times debuts at on the Billboard Top 200 today, selling nearly 250,000 units, a mere ten months after their third studio album A Little Bit Longer debuted at the top of the charts. Jonas Brothers now have two debuts within a ten month period; the last act to have two debuts within a year was Jay-Z when he did it in December 2006 and November 2007. Their triumphant return to the slot is one of 2009’s top debuts, and follows the kick off of their Jonas Brothers World Tour 2009 this weekend at the new Cowboys Stadium in Dallas in front of nearly 50,000 fans. The tour opened to rave reviews and decibel busting cheers for Jonas Brothers’ “in the round” concert.

In addition to the Jonas Brothers’ debut in the US, Lines, Vines and Trying Times debuted in Canada, Spain, Brazil, Mexico, Argentina and Central America. Jonas Brothers hosted and performed their hit singles “Paranoid” and “Burning Up” this weekend on the MuchMusic Video Awards in Toronto. Lines, Vines and Trying Times also debuted top ten in the United Kingdom, Italy, Portugal, New Zealand and Ireland.

Jonas Brothers have built an astounding presence on line, and boast 1.2 million Facebook friends, 1.3 million mySpace friends and 1.3 million Say Now friends. On YouTube, they are the most subscribed musician channel and overall. It is no surprise that Lines, Vines and Trying Times catapulted to on iTunes on its first day.

Jonas Brothers created a media frenzy leading up to the release of their new album. They held weekly Facebook chats with their fans, taking their questions, and previewing songs from the new album. They performed live on The Late Show with David Letterman, Good Morning America in Central Park, Jimmy Kimmel Live from Wembley Arena, and to the largest crowd in history at The Today Show in Rockefeller Plaza. Jonas Brothers were also guests on Larry King Live, and received 8 nominations for the 2009 Teen Choice Awards. Jonas Brothers also return for their second cover story in ten months for Rolling Stone with the new issue hitting stands this Friday. Their cover from last year was the magazine’s highest selling issue of the year.

Critics have taken note of their authentic musicality. The New York Times stated, “On ‘Lines, Vines and Trying Times’ the Jonas Brothers continue to specialize in the smartly straightforward: neatly constructed pop-rock songs with shades of the Beatles and the Brill Building.” Billboard’s review stated, “’Paranoid’ furthers the brothers’ evolution as craftsmen of catchy and original-sounding hooks. This songs shines on its own musical merit.”

Jonas Brothers World Tour 2009 sold nearly 1 million tickets in its first week on sale, and this Spring, they played to over 200,000 fans in South America. They recently returned from Europe, playing three sold out shows in Madrid, Paris and London. Jordin Sparks and Honor Society are guests on the sold out tour, which includes 5 sold out NY area shows and 3 sold out Staples Center shows in LA.

“Jonas Brothers have become a true global touring powerhouse,” said Michael Rapino, President and Chief Executive Officer of Live Nation, the producer of the Jonas Brothers World Tour 2009. “They are in the midst of a hugely successful run of North American stadiums and arenas and then will move on to top arenas in cities across Europe in the fall. The growth of their worldwide fan base has been nothing short of explosive and the momentum we have created together will enable us to continue to develop new territories around the world as we move forward with this unstoppable band.”

Earlier this year, Jonas Brothers received their first Grammy nomination, and have won a slew of awards from around the world, including an American Music Award, as well as multiple Kids’ Choice and Teen Choice awards. Worldwide, Jonas Brothers have sold over 8 million albums, and have garnered 36 gold and platinum album certifications.

Lines, Vines and Trying Times has been heralded as Jonas Brothers’ most musically ambitious album to date. The future is bright and limitless.

Jonas Brothers’ Lines, Vines and Trying Times was released on Hollywood Records. Disney Music Group encompasses all of the Walt Disney Company’s recorded music and music publishing operations including Hollywood Records, Walt Disney Records, Lyric Street Records, Carolwood Records, Buena Vista Concerts and Walt Disney Music Publishing.

Jonas Brothers are exclusively managed by Kevin Jonas, Sr., and Philip McIntyre for Jonas Group, and Johnny Wright for Wright Entertainment Group. Creative Artists Agency is the exclusive talent agency representing the group.

Markus Miller (one of the best bassist in the world)

2010-01-21T22:01:00.000-08:00

Marcus Miller, winner of the Grammy Award for Best Contemporary Jazz Album of 2001, was born in Brooklyn in 1959 and raised in Jamaica, New York. He came from a musical family and was influenced early on by his father, a church organist and choir director, as well as his musical extended family (which included the extraordinary Wynton Kelly, jazz pianist for Miles Davis during the late fifties and early sixties!). He displayed an early affinity for all types of music. By the age of thirteen he was already proficient on the clarinet, piano, and bass guitar and had begun composing music. The bass guitar, however, was his love and by the age of fifteen, he was working regularly in New York City with various bands. Soon thereafter, he was playing bass and writing music for flutist Bobbi Humphrey and keyboardist Lonnie Liston Smith

Miller spent the next few years as a top call New York studio musician, working with Aretha Franklin, Roberta Flack, Grover Washington Jr., Bob James and David Sanborn, among others. He has appeared as a bassist on over 400 records including recordings by artists as diverse as Joe Sample, McCoy Tyner, Mariah Carey, Bill Withers, Elton John, Bryan Ferry, Frank Sinatra, and LL Cool J.

In 1981, he joined his boyhood idol Miles Davis and spent two years on the road with the fabled jazzman. "He didn't settle for anything mediocre," Miller recalls. "And this helped me develop my style. I learned from him that you have to be honest about who you are and what you do. If you follow that, you won't have problems."

Miller subsequently turned his attention to producing, his first major production being David Sanborn's Voyeur, which earned Sanborn a Grammy and turned out to be the beginning of a career-long partnership with the alto saxman. Miller later produced various other top selling albums for Sanborn, including Close Up, Upfront, and 2000 Grammy winner Inside.

For more than twenty years, Miller has also enjoyed a musical relationship with R&B legend, Luther Vandross. "We met in 79 in Roberta Flack's band and instantly connected because we were both so serious about music," Miller recalls. Over the years, Miller has contributed countless hits to Vandross repertoire both as a producer and writer. Those songs include "Till My Baby Comes Home," "It's Over Now," "Any Love," "I m Only Human," and "The Power of Love," which won the 1991 Grammy for R&B Song of the Year.

In 1986, Miller collaborated again with Miles Davis, producing the landmark Tutu album, the first of three Davis albums he would produce. He has also produced Al Jarreau, the Crusaders, Wayne Shorter, Take 6, Chaka Khan, and Kenny Garrett among others, and Luther Vandross.

After spending many years as a producer and session musician, Miller focused on his solo career in late 1993 with the release of The Sun Don't Lie. 1995's Tales found Miller re-imagining the landscape of Black music and its evolution over the past three decades. After years of touring and in response to Miller fans pleas, Live & More was released in 1997.

M2 ("M-squared"), his first release of the new millennium, won the 2001 Grammy for Best Contemporary Jazz Album and was selected by Jazziz as one of the 10 Best CDs of the Year. 3 Deuces Records now debuts The Ozell Tapes: The Official Bootleg, a live double CD. The Ozell Tapes is Miller's compilation of the best of his 2002 tour dates. It's raw, unadulterated, pure funk as only Marcus can do it.

In the past several years, Miller has also turned his attention to film scoring, composing for House Party (Martin Lawrence), Boomerang (Eddie Murphy and Halle Berry), Siesta (Ellen Barkin), Ladies' Man (Tim Meadows), and The Brothers (Morris Chestnut and D.L. Hughley) and Deliver Us From Eva (LL Cool J). He wrote and produced the old school hit, "Da Butt" for Spike Lee's School Daze soundtrack. Miller further surprised people by composing and performing the score to E.B. White's The Trumpet of the Swan. "I loved getting the opportunity to use jazz to tell a story to kids. Children have much more sophisticated ears than people give them credit for. You really don't have to play down to them. Just keep the music real."

Whether he's making music for kids or longtime fans, keeping it real is the criteria that steers all of Marcus Miller's music. "I like to keep things balanced, combining R&B, jazz, funk and movie stuff to help reflect what's happening in our world. I just try to keep challenging myself to continue to grow and get better."

Mr.Big

2009-11-18T23:06:00.000-08:00

"Mr.Big got their start when William Roland Sheean (Billy) stepped away from David Lee Roth's first post-Van Halen band, after contributing to two albums and numerous major tours. The Buffalo, New York-born bassist had already honed his considerable skills during a decade spent touring with his band, Talas, but with the recruitment of Martin (Eric) in 1988, he knew the foundation for this ultimate musical venture was well in place. Martin (who was born in Long Island, New York, but grew up all over the world as an Army brat) had already ventured into the light, both with melodic rock-oriented Eric Martin Band, and as a more soul-leaning solo artist.

Growing up on U.S. military bases across Europe, the young Martin was introduced to the sounds of Otis Redding and Wilson Pickett. Such influences never ceased to define and motivate his musical pursuits - in his three previous albums, and shaping the character of Mr.Big. The group was made complete with talents of guitarist Gilbert and drummer Torpey. Hailing from Pittsburgh, Gilbert was already a well-respected guitarist who had released four highly-touted albums with his Los Angeles-based band, Racer X. Torpey came to California after playing his dues behind the kit in the Arizona rock community. He soon became a much sought-after road horse, touring with a number of high-profile artists, most notably Robert Plant.

Mr Big first broke ground in 1989 with their self-titled Atlantic Records debut, which received extensive radio play with the "Big Love" and "Addicted To That Rush" singles - the latter of which may have prompted labelmates Rush to invite the band on tour. The band returned in 1991 with "LEAN INTO IT", an album that further strengthened their reputation, and, in the process, went RIAA platinum.

The album's "To Be With You" single went #1 in Australia, Austria, Canada, Denmark, Germany, Holland, New Zeland, Norway, Sweden, Switzerland, and in the U.S., where the three week chart-topper leapt RIAA gold. Released in 1993, the internationally acclaimed "BUMP AHEAD" garnered solid airplay with the group's deft handling of Cat Stevens' "Wild World." The subsequent tour saw the band opening for Aerosmith during dates across Europe, headlining in front of over 100,000 people at a festival in Sao Paulo, Brazil, and staging three sold-out shows at Tokyo's famed Budokan arena - complete with a Cheap Trick-inspired encore of "Ain't That A Shame." On "HEY MAN", the group brings forth expert chops, strong voice, and a new-found creative punch into album that reminds listeners exactly what it means rock."

But what happened in 1997?

As Eric Martin said, they needed to stop for a while and be on their own, with their family. In the meanwhile, each member of the band has been busy working on their projects: Eric Martin, published, in 1998, his solo album called "Somewhere in the middle" (Atlantis Records).

Featuring a lot of well known musician (Matt Sorum, Billy Duffy, Steve Lukhater and bandmates Paul Gilbert and Billy Sheehan for naming a few) Pat "Torpedo" Torpey released, in the same year as Eric, "Odd Man Out", his album, where you can really hear how he greatly sings and write songs; Pat also published his second work called "Y2K" featuring musician like Derek Sherinian and Pat Regan . Both were released only in Japan.

Billy, recorded three albums with Niacin, his critically acclaimed instrumental fusion trio, along with Dennis Chambers and John Novello; The 3 CDs are: "Niacin" dated 1997, "High Bias" 1998, and "Deep" 2000.

On "High Bias" you can hear guests like Pat Torpey, Alex Acu馻 and Chick Corea. "High Bias", with Lukather, has seen the appareance of the great Glenn Hughes (Deep Purple bassist and Black Sabbath lead singer), as the singer. Billy released a live (late 1998) with is old band Talas from their sold out show at Kleinhan's Music Hall in Buffalo, New York. Still in the works are a pair of upcoming Billy Sheehan solo albums: one to be a instrumental bass showcase, the other a more song-oriented rock album with Sheehan handling all vocal parts.

Paul Gilbert started his solo career with "King of Clubs" in 1998 with John Alderete, Bruce Bouillet his friends from RacerX and having Steve Martin (ex singer of RacerX) at the drumkit. This CD also features Pat Torpey.

In 1999 (Mr.Big 10th year's anniversary) the band decided for a reunion, but (sadly) Paul decided not to join back the band, deciding to continue to be a solo musician. "We never wanted to change the band but we didn't know what else to do," says Sheehan. "After a lot of talking between myself, Pat, and Eric, we decided to keep the band going. Once we'd settled that, Richie was the first guy to come to mind." So Richie Kotzen, which has played with Poison and released a few solo albums, joined the band and they released "Get Over It", a more bluesy oriented CD. The song "Superfantastic" has climbed up the top 10 in Japan becoming a great blockbuster single.

In the same times, Paul Gilbert has released "Beehive Live" a live CD recorded in Japan which included songs from "King of Clubs" and some brand new songs. In 1999 Paul has published "Flying Dog" and toured in Japan.
This year he has decided for a Racer X reunion and they recorded "Technical Difficulties" without Bruce Bouillet which is havining health problems with hands (best whishes Bruce!!). PG also released his third solo album called "Alligator Farm" on June 28 in Japan. Now he is planning to record another Racer X album.

2009-08-14T04:13:00.000-07:00

Michael Jackson lahir di Indiana, Amerika serikat, 29 Agustus 1958. Nama asli Michael Jackson adalah, Michael Joseph Jackson. Sebagai referensi Michael Jackson merupakan anak ke – 7 dari 9 bersaudara. Karirnya di dunia musik di mulai sejak umur 5 tahun . Memasuki remaja ia mulai bergabung dengan The Jackson Five. Sebuah kelompok musik bersaudara yang menjadi satu referensi musik manca yang paling direkomendasikan di era 70 an.

The Jackson Five sendiri beranggotakan, Jackie, Jermaine, Tito, Marion, dan Michael Jackson sendiri sebagai penyanyinya. Setelah bolak – balik manggung di klub – klub local dan berbagai bar di Gary, Indiana akhirnya atas jasa The Bobby Taylor & The Vancouver di tahun 1968, The Jackson Five mulai kontrak rekaman dengan Motown Records dan pindah ke California dan berhasil mejelitkan 4 hits, yaitu: “I Want You Back”, “ABC”,”The Love You Save”, dan “I ‘ll be There”, yang semuanya berhasil menjadi nomor 1 di tangga lagu Amerika.
Di tahun 1976, dari Motown Records The Jackson Five pindah ke Epic Records dan mengahsilkan 6 album. Tahun 1977, Michael Jackson mulai terjun ke dunia Film dengan membintangi sebuah film musikal berjudul : “The Wiz’ Playing Scare Crow”.
Dalam film tersebut Michael Jackson bermain bersama Diana Ross. Di tahun yang sama, Michael Jackson bertemu Quincy Jones yang merupakan penulis naskah dari film yang ia bintangi dan kemudian menjadi produser untuk album solo Michael Jackson yang berjudul “Off The Wall” yang cukup sukses dan merupakan album pertama yang mampu menempatkan 4 lagunya menjadi no 1 di tangga lagu Amerika.
Di tahun 1982, Michael Jackson merilis album solo keduanya “Thriller” yang merupakan album terlaris sepanjang masa karena berhasil terjual lebih dari 50 juta kopi di seluruh dunia.
Di tahun 1984, Michael Jackson berhasil menggondol 8 penghargaan Grammy atas kesuksesan album Thriller.
Di tahun 1987, Michael Jackson merilis album solo ketiganya, berjudul “Bad”. Di akhir tahun 80 an Michael Jackson dinobatkan sebagai “Artist of The Decade” atau artis yang paling bersinar selama 10 tahun berkat dua albumnya “Thriller” dan “Bad”.
Di tahun 1991, bersama Sony Music, Michael Jackson merilis album “Dangerous” yang merupakan album solonya yang ke-4.
Di tahun 1994, Michael Jackson menikahi Lisa Marie Presley, putri mendiang Elvis Presley. Pernikahan ini hanya mampu bertahun 19 bulan. Satu tahun kemudian Michael Jackson merilis album “History”.
Di tanggal 14 November 1996, untuk yang ke-2 kalinya Michael Jackson menikah dengan Debbie Rove, seorang perawat yang mengurusi operasi plastic Michael Jackson. Dari perkawinan tersebut mereka di karunia 2 orang anak, yaitu Prince Michael Joseph Jackson dan Paris Michael Katherine Jackson.
Bulan Oktober 2001, Michael Jackson kembali merilis album bertitle “Invincible” yang berhasil mejetitkan hit “You Rock My World” dan mulailah beredar kabar terjadi perselisihan antara Michael Jackson dengan Sony Music.
Di tahun 2007, Michael Jackson memeluk agama Islam dan meninggal di tahun 2009, tepatnya tanggal 26 juni. Di akhir kematiannya, Michael Jackson sempat dikafankan saat perjalanan menuju Rumah Sakit.

DAFTAR ISTILAH PADUAN SUARA

2009-05-29T08:35:00.000-07:00

Aqual voices

Aqual voices adalah suara yg sama jenisnya,seperti suara laki-laki atau suara perempuan saja,atau suara dengan ambitus sama:all tenor atau all soprano. Lawan dari suara campuran (mixed voices).

Blues

Blues berasal dari perkembangan musik spiritual kaum hitam Amerika.Biasanya bertempo labat dengan irama syncopatis.Disebut blues karena bernada biru,yaitu nada yg diturunkan 1/2 nada pada jarak nada terts,kwint,atau,septimo.Contoh: nada-nada dari tangga nada C mayor,E,G,atau B.Penggunaan nada-nada ini menimbulkan dampak (effect) keragu-raguan antara tangga nada minor dan mayor.

Bolero

Bolero merupakan musik tari Spanyol di akhir abad ke-18; diiringi castanets,sepasang bilah kayu yg digerakan oleh ibu jari dan jari telunjuk utk membunyikan suara tepuk kayu dan mengiringi irama tari.Musik ini berirama 3/4 dgn tempo moderato di mana pola irama pada bar pertama lebih kuat daripada bar berikutnya.

Bossa Nova

Musik tari Brazillia,campuran samba dan cool jazz.

Cantata

Cantata merupakan komposisi utk suara solo,koor,atau kedua-duanya,disertai iringan instrument,serta terdiri dari beberapa gerak musik (movement),sekitar aria,duet,recitative,dan paduan suara,Cantata modern sudah seperti oratorio,tetapi pada umumnya lebih pendek dan tdk terbatasdalam lagu2 rohani melainkan juga lagu2 sekuler.Mulai muncul pada akhir abad ke-18 dan bias di gambarkan sebagai opera dlm bentuk konser tanpa pakaian seragam,dekor,dan adegan.Cantata juga merupakan perkembangan dari madrigal,menjadi bentuk musik vocal penting baroque (sampai kira2 thn 1750).

Caro (Inggris)

Lagu natal,disebut juga Noel (Prancis) atau Weihnachtslied (Jerman).Pada awalnya di Inggris,carol digunakan utk lagu2 gy mempunyai refrain tertentu yg disenut burden.

Chord

Bunyi serempak dari dua nada atau lebih.Ilmu tentang hubungan antara berbagai macam susunan nada2 itu adalah ilmu harmoni.Chord terdiri dari beberapa interval suatu tangga nada.Chord yg paling sederhana adalah triad,yaitu bunyi serempak 3 buah nada,atau istilah teknisnya 2 buah terts bertindih.

Tert dasar adalah C-E dan terts di atasnya adalah E-G.Chord yg terdiri dari C-E-G dinamai sesuai nama dasar atau akarnya.Karena itu dlm tangga nada C mayor terdapat 7 nama chord sesuai dgn nama nada akar dan interval tert-nya.

Couterpinot (Inggris),Kontrapuknt (Jerman)

Teknik penggabungan dua atau lebih lagu (melodi),yg dinyanyikan/dimainkan bersama sama,tetapi menghasilkan harmoni yg enak didengar.Sebenarnya,counterpoint identik dgn polyfoni.Polyfoni disukai pada abad pertengahan (abad 9 sampai kira2 thn 1500).Sedangkan teknik counterpoint memasuki musik pada abad 16 sampai abad ke-18.Banyak ciptaan musik yg contrapuntal berdasarkan teknik counterpoint seperti lagu2 Canon dan Fugue.Ada juga pemakaian counterpoint pada bagian2 tertentu dari ciptaan musik.Puncak musik counterpoint tercapai pada abad ke-16 yg ditemukan pada musik,motet madrigals dan mass dari komponis2 Byrd,Palestrina,Lasso,dan Victoria.Komponis terbesar dari musik counterpoint ini adalah Bach.Hal ini sangat jelas terdapat dlm semua ciptaan2 terutama dlm permainan ketboard/piano dan clavier.

Credo (Latin)

Artinya saya percaya.Credo merupakan seksi ketiga dari kebaktian gereja Roma Katolik.

Etude

Permainan instrument musik utk peningkatan mutu teknik,biasanya dgn meteri2 sulit utk mencapai permainan yg indah.

Funeral march

Mars duka pada waktu pemakaman dgn tempo yg lambat.

Gregorian (abad 6)

Musik vocal chant,plain chant,plain song,sesuai nama Paus Gregorius I (thn 590-604); musik vocal yg di gunakan utk pelayan gereja2 Katolik.

Hymne

Lagu religius yg mengekspresikan pujian dan kasih kepada Allah.Pencipta pertama lagu hymne berasal ndari Siria (abad ke-4) kemudian Yunani dan Katolik.Roma (abad berikutnya).Kini banyak lembaga pemerintah dan nonpemerintah,termasuk partai politik memiliki laguhymne utk menyatak puji dan kasih kpd Allah,dan doa agar cita2 lembaga didengar-Nya.

Interludium (Interlude,Inggris)

Interludium adalah permainan musik pendek yg diselipkan di antara ayat2 lagu atau bagian2 komposisi musik.Musik pendahulunya disebut preludium dan pada bagian akhir disebut postlidium.

Jam

Pertunjukan tdk resmi musik jazz atau rock atau penyanyi lagu2 rakyat.Dalam pertumbuhan nya juga meliputi permainan improvisasi.

Jazz

Bermuladari karya para pekerja kulit hitam Amerika di bagian selatan pada permulaan abad ke-20,kemudian beralih ke Chicago.Semula mengandalkan musik spiritual kemudian blues,ragtime dari abad ke-19.Orang2 kulit putih Amerika membuat imitasi dgn melibatkan unsur2 alat tiup logam(brass marching band) dan pada akhirnya dgn alat musik dawai (string band) yg mengiringi acara dansa dan pesta.Pemain piano ragtime dgn iringan banjo dan alat2 musik lainnya memberi jazz satu keistimewaan tersendiri,yaitu irama syncope dgn tekanan pada beat yg tdk terduga dan tdk merata.Hal ini menjadikan musik jazz berirama rumit dan sulit dituliskan secara akurat dalam partitur.Lagu2 jazz biasanya adalah lagu2 blues dgn iringan gitar dan menggunakan beberapa nada2 biru (blue notes),yaitu nada2 yg direndahkan ½ nada dari tingkat terts,kwint,dan septimo,di imprvisasi dan dijadikan nada2 baru.Di pangkalan jazz New Orleans (Dixieland),kelompok jazz menggunakan alat musik tiup dan rhytm section.Cornet dan terompet bersama clarinet dan trombone membawakan melodi.Terompet dan Cornet memimpin permainan,sementara clarinet dan trombone membuat harmoni pada nada2 tinggi dan rendah.Rhytm section dibentuk oleh gitar,bass,dan drum.Ada juga band yg memainkan banjo,piano, keyboard,dan tuba.

Kanon 1

Komposisi musik atau seksi dari komposisi yg melodinya dimainkan dlm satupart suara (voice par) kemudian ditirukan oleh satu atau lebih part suara lainya.Kanon yg digemari anak2 adalah lagu2 kanon anak2 seperti lagu “Three Blind Mice”,”Row,Row,Row Your Boat”.Kanon seperti ini disebut juga perpetual canon karena tiap part,sesampainya di akhir melodi di mulai lagi dari permulaan melodi,dst

Kanon 2

Kanon 2 yg popular di Indonesia dan diajarkan disekolah dasar (SD) adalah lagu sederhana yg dinyanyikan berulang-ulang.Biasanya terdiri dari 4 kalimat(A,B,C,D).

Penyanyi nya dibagi menjadi 4 kelompok.Kelompok 1 menyanyikan seluruh lagu disambung oleh kelompok 2 dari kalimat A pada waktu kelompok 1sudah memasuki kalimat B,sedangkan kelompok 3 baru mulai sesudah kelompok2 sampai pada kalimat B dst.

Konduktor (Dirigent,Belanda)

Pemimpin yg mengarahkan kemlompok penyanyi atau pemain alat2 musik agar bermain bersama-sama,serempak dlm tempo,dinamika,irama,pengkalimatan(phrasing),artikulasi,dan interpretasi yg tepat sesuai komposisi yg mereka mainkan.Adalah hal yg wajar apabila interpretasi konduktor berlainan dgn kehendak komponis,namun konduktor harus berupaya agar interpretasi nya mendekati/pas seperti yg dikehendaki komponis dlm memimpin,ada konduktor yg menggunakan tongkat,ada yg hanya menggerakan tangan nya ,atau kedua-duanya.Konduktor boleh menggunakan gerak wajah, kepala,mata,dan seluruh badannya utk menandakan semua kehendak yg diinginakn sesuai dgn komposisi musik.Dulu dlm kelompok orkestra konduktor boleh memimpin dari tempat duduk atau berdirinya sambil ikut bermain.namun kini konduktor menjadi pemimpin dgn berdiri di depan tanpa bermain kunduktor harus berbagai gaya dan periode musik,misalnya karya Mozart,Bach,Schoenberg.

Konser

Pertunjukan musik utk umum,biasanya melibatkan permainan solo atau duet yg disebut juga recital.Opera dapat juga digolongkan dalam pertunjukan konser apabila penampilannya tanpa kostum,lakon,dan,dekor.Pertunjukan musik popular juga boleh disebut konser,tetapi tanpa menghiraukan nomor-nomor yg ditampilkan para pemain.

Madrigal

Pada permulaan abad ke-4 di Italia beberapa jenis sajak dipakai sebagai bahan komposisi musik dgn dua bagian suara:bagian atas diperuntukan sebagai hiasan(ornament) yg lebih rumit dibandingkan bagian bawah.Sajak itu terdiri dari 2 atau 3 stanza,dan 2 baris pada seksi penutup disebut ritornello.

Pada abad ke-16 di Inggris dan Italia,teks musik madrigal diciptakan dalam bentuk bebas dgn syair2 indah.Musik nya bermaksud utk mempertinggi mutu unsure keindahan dan liriknya.

Maestoso (Italia)

Penampilan dgn cara megah,mulia,agung,dan bermartabat.

Marcato (marc)

Pembawaan dgn tekanan pasti.

March,Marcia,alla Marcia,mars

Komposisi musik sederhana dgn irama kuat dan kalimat musik teratur.Biasanya dlm birama genap 2/4,4/4,tetapi kadang2 dlm birama 6/8 atau 2 (genap) x 3/8 dgn tempo cepat>.Pada umumnya mars tertulis dalam 3 bagian yg disebut ternary,yaitu A (seksi pembukaan),B(seksi tengah) gy disebut trio dgn kunci subdominant atau kwart dan nada dasar seksi A dan seksi C.

Mass

Satu jenis musik religius yg terpusat di Gereja Katoilik dgn melodi sederhana seperti lagu Gergorian.

Medley

Beberapa lagu atau musik yg dimainkan sambung-menyambung tanpa jeda.

Melodrama

Musik yg umumnya dipakai dlm opera,di mana pelaku utama menceritakan bagian dari carita itu selama istirahat.

Musik aleatory

Musik yg tergantung pada komponis dgn segala kemungkinan2 baik tempo,dinamika,hukum2 matematika dan kemungkinan bagaimana mempertunjukannya.

Musik atonality

Musik atonality adalah gaya komposisi yg menghindrai pusat nada.Pusat nada adalah nada2 yg telah ditetapkan dari 12 nada dalam satu oktaf lengkap dgn nada2 kromatis dan kunci2 musik yg pasti dan ditetapkan,sebagai lawan dari musik tonal dgn segala rumus2 nadanya.

Musik konkrit (musique concrete)

Musik konkrit adalah semacam musik berdasarkan suara nyata (real/concrete sound),sperti suara jalanan,suara makhluk,suara sirine,suara guruh,dsb.Musik ini tdk utk dipertunjukan,melainkan hanya diselip-selipkan pada rekaman2 musik.

Musik modern

Musik modern adalah musik abad ke-20.Nama umumnya gaya musik yg berkembang sekitar thn 1900-an.Nama2 aliran musiknya antara lain musik elektrik,musik aleatory,atonality,expresionisme,musik konkrit,neo klasik,dan serial musik.

Musik serial

Musik serial adalah komposisi musik yg berdasarkan rangkaian khusus dari nada2 pich,irama,dinamika,atau unsur2 lainnya yg berulangkali pada seluru komposisi.

Neo-classic

Neo-classic adalah kebangkitan kembali gaya bentuk musik teristimewa musik baroque dan klasik(1600-1800)oleh komponis2 muda abad ke-20 seperti Ferruccio Busoni(asal Italia-Jerman),Aaron Copland,Roy Harvis dan Elliot Carter,Stravinsky,Hindemith.

New age

New age adalah gaya instrumental musik popular yg mencampurkan unsur2 rock jazz,musik minimalis ked lm suara2 lembut dgn iringan solo piano,gitar,orkes kecil,gabungan instrument akustik dan elektrik dalam permainan improvisasi dgn harmoni sederhana.

Opera

Opera adalah sandiwara/drama di mana karakter kata2 dinyanyikan agak seperti diucapakan yg biasanya diiringi oleh instrument musik.Opera dimainkan di atas panggung dgn pakaian sesuai cerita,layer,dan penerangan di mana penyanyinya melakonkan cerita dgn bernyanyi.Opera biasanya diiringi oleh orkestra lengkap yg di tempatkan di atas panggung lebih rendah dari panggung utama yg disebut pit.Teks opera disebut libretto terdiri atas beberapa seksi yg disebut act.Lagu2 vokal opera menjangkau aria2 recitative,duet,trio,kwartet,sampai apduan suara lengkap.Walaupun telah diketahui asal mula permainan kombinasi antara drama dan musik adalah dari Yunani Kuno,opera sebagai bentuk musik lahir pada thn 1590-an di Florence,Italia .Pada waktu itu sebuah kelompok bangsawan yg dinamakan Camerata berusaha mengadakan perubahan penyegaran drama klasik Yunani ke musik.

Operetta

Operetta adalah opera yg subjek dan pelaksanaannya seserius opera.Subjeknya adalah cerita2 sentimental,lucu,atau terkadang bermuatan satire (sindiran2),musiknya adalah music popular dan atau music rakyat.Tidak semua lakon caritanya dinyanyikan.ada juga bagian2 liriknya diucapkan dgn kata2,ada ada juga bagian yg dinyanyikan dan ditarikan.Operetta muncul pada pertengahan abad ke-19,komponis Jacques Offenbach dari Prancis menulis beberapa cerita operetta berisi semacam cerita ejekan (parody) dari mitos Yunani yg disebut opera bouffe.Franz von Suppe (1819-1895) dari Austria adalah komponis pertama yg menulis kira2 30 buah operetta jenis tsb.

Oratorio

Oratorio adalah jenis teks music panjang utk para pemain tunggal (solois)paduan suara,dan orchestra.Biasanya teksnya berdasarkan ayat2 dari ktab suci (bible),tapi juga beberapa sekuler.Oratorio dipertunjukan tanpa layar panggung,pakaian seragam,dan adegan2.Ceritanya diucapkan melalui music yg terdri dari recitavio solo,seksi yg diucapkan berupa kata2 (speechlike section) utk solo (aria),duet,kwartet,kelompok vocal kecil dan paduan suara.Pada umumnya orchestra lengkap sangat berperan mengiringinya.Oratorio berasal dari kata oratory,yaitu sebuah ruangan dalam gedung gereja tempat para pemimpin mengadakan pembicaraan,persiapan pelayanan berupa sermon dan lagu2 pujian yg disebut lauda,yg dinyanyikan di Italia di akhir abad ke-16 yg diprakarsai oleh pemimpin rohani St.Fillipo Neri.

Parlando (Italia=berbicara)

Parlando adalah pembawaan music vocal dgn cara seperti berbicara jelas,biasanya sangat cepat dan diucapakan dengan hati2 (bahasa Jerman:Sprechstimme=suara berbicara).

Passionate (Italia)atau con passion

Passionate adalah pembawaan penampilan dgn perasaan yg sungguh2 tinggi.

Perbaikan chord (inversion)

Misalnya,jika nada dasar C dlm chord C-E-G dibalikan 1 oktaf ke atas menjadi chord E-G-C maka perbalikan ini disebut chord C – perbalikan pertama di mana nada E menjadi nada terndah.Chord ini disebut chord C perbalikan pertama (first inversion),atau bisa juga disebut chord 6/3 karena interval dari nada terendah E ke chord G adalah interval 3 (thrird) dan interval E ke C (nada tinggi) adalah interval 6 (sixth).Karena itu chord C perbalikan pertama disebut juga chord 6/3.Selanjutnya apabila perbaikan pertama E-G-C,nada terendahnya,maka chord ini disebut chord C perbalikan kedua (second inversion).Karena interval nada terendah (G) dgn nada tertingginya (E) adalah interval 4 (fourth) dan interval nada terendahnya (G) dgn nada di atasnya C adalah interval 4 (fourth) dan interval nada terendah (G) dgn nada tertinggi nya (E) adalah interval 6(sixth),maka chord Cperbalikan kedua ini disebut juga chord 6/4.

Ada juga chord yg lebih luas lagi,yaitu jika di atas chord2 seperti diterangkan di atas ditambahkan lagi sebuah interval terts.Umpamanya C-E-G-B.

Disebut chord C7 karena interval tertinggi nada dasar C adalah interval 7 (seventh).Demikian sterusnya dgn chord2 C9,C11,C13 dgn segala perbaikannya.Kalau ditambah lagi,sama dgn chord semula tapi dlm oktaf lainya.

Tiap nada dari sebuah tangga nada,misalnya tangga nada C mayor,dapat dijadikan menjadi nada akar utk membentuk chord.Dalam tangga nada tsb terdapat 7 nada (C,D,E,F,G,A,B) yg masing2 dapat membentuk chord.Tujuh nada tsb,yg menjadi nada akar dari chord diatonic dpt diidentifikasi dgn angka2 Romawi sesuai serajat ketangganya,yaitu chord I,II,III,IV,V,VI,VII,.

Polka

Music tari berirama 2.4 berasal dari tari Bohemia (kini bagian dari Republik Czech) pada permulaan abad ke-10.Komponis Bohemia Smetana dan Dvorak menggunakan polka dlm ciptaan music seriusnya.

Polonaise

Music tarian dlm birama ¾ dan tempo moderato,yg diulang terus –menerus secara teratur.Dia cenderung memakai cadence feminine,di mana beat-nya lembut pada ketukan kedua dan ketiga setelah ketukan pertama seperti yg dapat dijumpai dlm komposisi Chopin,J.S.Bac,dan putranya Wilhem Friedemann.

Polyfoni

Karya music yg memainkan lebih dari satu part suara,misalnya suara 1 (sopran),suara 2 (alto),suara 2 (tenor),suara 4 (bass
),dan suara lainnya,tiap suara bisa berdiri sendiri sendiri sebagai sebuah melodi,namun dgn polyfoni pentatonic music Asia,termasuk gamelan.

Polytonality

Pemakaian 3 atau lebih kunci pada waktu bersamaan penggunaan 2kunci disebut bitonality.Polytonality banyak terdapat dalam ciptaan Stravinsky,Bartok,dan Milhaud.

Portamento

Tekinik vocal yg menyelipkan suatu nada lainnya dgn begitu cepat sehingga pitch-nya tdk dapat dibeda-bedakan lagi.

Pre-classic

Zaman antara baroque(1600-1750) dan klasik 1785-1820).Zaman permainan dinamika yg kontras:tempo lambat dan cepat,suara lembut dan kuat.

Classic (1785-1820)

Gaya music seni (art music ).Komponis2 nya anatar lain Haydn,Mozart,dan Beethoven,termasuk pengikutnya,misalnya Schubert,yg bergaya romantic.Karakter utama music ini adalah elok sekali (elegant),formal,serius,dan terkendali,sebagai kebalikan dari music rakyat,pop,dan music yg menekankan perasaan individu seperti yg dianut oleh komponis romantic.

Pressando,presto

Pembawaan permainan music yg semakin cepat.

Presto assai

Tempo semakin cepat.

Qanun

Alat music berdawai dari Arab yg dipetik dan dimainkan mulai abad ke-10 hingga kini di Mesir,Siria,irak,dan Turki.Qanun dipakai sebagai alat music penuntun (leading instrument) orchestra tradisional Mesir,yg terdiri dari alat2 tiup (seruling),kecapi, dan biola.Orkes macam ini dimainkan juga di India dan Indonesia.

Ragtime

Ragtime adalah music tari Amerika pada permulaan abad ke-20,berkembang dari music band dan vocal.Sebenarnya ragtime menjadi corak pokok permainan piano.Harmoni dan melodi biasa saja,tapi gebukan iramanya dimanfaatkan oleh tangan kiri,sementara tangan kanan memainkan bagian yg sangat sinkropatis.Ragtime berirama 2/4 atau 4/4,dan aksennya tdk terduga dan tdk merata.

Rap

Semacam ocehan (yg kadang2 bersajak) dari music reggae,rck,atau music tari popular lainnya.Muncul pada akhir thn 1970-an dikalangan kaum berkulit hitam Amerika di New York City.Ocehan itu membentuk suatu irama .Dalam perkembangan selanjutnya,liriknya memuat hal2 yg controversial berupa kemarahn,kutukan,pornografi,homophobia,dan separatism warna kulit.Sebenarnya sejak permulaan abad ke-20,Indonesia sudah mempunyai lagu2 rap,terutama di kalangan org Batak.Sperti lagu”Sik-sik Sibatu Manikkam”.Lagunya sangat miskin nada melodi,kata-katanya tdk begitu berate,tetapi iramanya berulang-ulang menimbulkan kesan lucu.Lagu rap ini bisa di dahului atau pun diakhiri dgn lagu2 padanan atau lagu rakyat jenaka Batak lainnya.Ada lagu rakyat pentatonic Batak yg popular di tanah Batak pada akhir abad ke-19 danpermulaan abad ke-20 yg dinyanyikan pada malam bulan purnama oleh anak2 dan remaja,secara solo dan koor,berjudul “O,Tulang”,yg pada bar ke-5 dinyanyikan dgn cara rap dan oleh semua (tutti) peserta anak2 dan remaja sampai selesai.

Eagle

2009-04-23T20:34:00.000-07:00

Eagle merupakan grup band sukses dengan album dan singel yang terjual hingga lebih dari 100 juta copy diseluruh dunia. Band yang dibentuk ditahun 1972 ini, awalnya hanya sebagai band pengiring konser penyanyi Linda Ronstadt.

Selepas menjadi band pengiring selama dua bulan, empat personel awal Eagles yaitu Glenn Frey, Bernie Leadon, Randy Meisner dan Don Henley sepakat membentuk grup band sendiri dengan nama Eagles. Nama itu mereka pilih sebagai penghormatan kepada salah satu band idola mereka "The Bird". Ditahun yang sama, Eagles mengikat kontrak dengan Asylum Label, perusahaan rekaman yang saat itu juga baru berdiri.

Pada bulan Juni 1972, Eagles meluncurkan album perdana mereka yaitu,"Eagles" yang sukses dan langsung menghasilkan tiga singel yang masuk jajaran top 40, yaitu "Take It Easy", "Witchy Woman", dan "Peaceful Easy Feeling".

Band asal Los Angeles, california ini merilis album kedua mereka ditahun 1973. Album berjudul "Desperado" mereka rekam di Island Studio, London, Inggris. Dari album ini muncul lagu hits yaitu; "Desperado", '"Tequila Sunrise" dan "Outlaw Man".

Album keempat Eagles dirilis tahun 1974 yaitu "On The Border". Pada album ini pulalah, Don Fedler bergabung bersama Eagles. Album "On The Border" sendiri menghasilkan no.1 hits singel pertama bagi Eagles yaitu lagu "Best Of My Love".

Eagles merilis album keempat mereka "One Of These Night" di tahun 1974. Album ini menelurkan no.1 hits kedua yaitu "One Of These Night", dan satu Grammy Award dari lagu "Lyin' Eyes" untuk kategori Best Pop Performance By a Duo or Group with Vocal.

Album keempat ini juga menandai perpecahan ditubuh band Egales. Salah satu personelnya, Bernie Leadon, meninggalkan band itu ditengah-tengah tur. Leadon hengkang lantaran perbedaan pendapat soal perubahan jenis musik band itu yang cenderung menjadi hard rock ketimbang akarnya yaitu country. Untuk dapat melanjutkan tur mereka, Eagles akhirnya merekrut Joe Walsh sebagai pengganti Leadon.

"Hotel California" merupakan album klasik band ini. Dirlis tahun 1976, album kelima Eagles ini menghasilkan dua no.1 hits singles, yaitu; "New Kid in Town" dan "Hotel california", dua lagu ini juga memenangkan perhargaan gramy award masing-masing untuk kategori "Record Of The Year dan Best arrangement For Voices".

"Hotel California" juga menjadi album best selling Eagles dengan terjual sebanyak 16 juta copy saat itu di AS. Hanya saja, setelah tur album ini, satu lagi personel Eagles, Randy Meisner juga meninggalkan band ini. Berbeda dengan Leadon, Randy Maisner hengkang untuk bersolo karir, posisinya kemudian digantikan Timothy B. Schmit.

Masih ditahun 1976, Eagles juga merilis album kompilasi mereka "Their Greatest Hits (1971-1975)''. Album kompilasi ini tercatat seabgai best selling album dalam sejarah musik AS. Album tersebut terjual hingga 29 jut acopy di AS saat itu dan hingga kini telah terjual 42 juta copy diseluruh dunia.

Tahun 1977, Eagle merilis album keenam mereka yaitu; "The Long Run" yang menghasilkan satu no.1 hits singel yaitu "Heartache Tonight". Album ini juga menandai perpecahan total Band ini. Puncaknya terjadi saat konser mereka di long beach, California tahun 1980. Eagles resmi bubar setelah album live konser mereka "Eagle Live" dirilis ditahun yang sama.

14 tahun setelah bubar, tahun 1993 Band yang namanya telah masuk Rock & Roll Hall Of Fame ini meluncurkan album kompilasi mereka "Common Thread" yang kemudian mewujudkan reuni band ini tahun 1994. Reuni Eagles kemudian diisi dengan beberapa konser dengan formasi 5 orang personel yaitu Frey, Henley, Walsh, Felder dan Schmit.

"Untuk dicatat, kami tidak pernah bubar, 14 tahun ini kami hanya libur," kata Frey saat konser pertama mereka ditahun 1994.

Ditahun yang sama mereka merilis album live konser yaitu "Hell Freezes Over" yang berhasil menjadi no.1 album di tangga lagu bilboard. Dalam album ini terdapat lagu yang menjadi Billboar no.1 hits, yaitu "Love Will Keep Us Alive". Namun, perpecahan kembali terjadi pada band ini, puncaknya ketika Don Felder resmi dipecat ditahun 2003. Hingga kini Eagles masih terus berkarya, terakhir mereka merilis album berjudul "Long Road Out Of Eden" ditahun 2007.

INI LAGU NYA YG "LOVE WILL KEEP US ALIVE"

Date: Fri, 19 Dec 1997 18:01:29 -0800
From: "Ferdinand G. Lasala"
Subject: CRD: e/eagles/love_will_keep_us_alive.crd

Artist : Eagles
Album : Hell Freezes Over
>From : arthur.gitariz@hotmail.com

Intro: A-F#m-D-E-A

A
I was standing
F#m
All alone against the world outside
D
You were searching
E
For a place to hide
A
Lost and lonely
F#m
Now you given me the will to survive
D E A
When we're hungry... love will keep us alive

(Do Stanza Chords A-F#m-D-E-A)
Don't you worry
Sometimes you've just gotta let it ride
The world is changing
Right before your eyes
Now I've found you
There's no more emptiness inside
When we're hungry... love will keep us alive

D
I would die for you
F#m
Climb the highest mountain
Bm E-D-C#m-B
Baby, there's nothing I wouldn't do

(Do Stanza Chords A-F#m-D-E-A)
Now I've found you
There's no more emptiness inside
When we're hungry... love will keep us alive

D
I would die for you
F#m
Climb the highest mountain
Bm E-D-C#m-B
Baby, there's nothing I wouldn't do

(Do Stanza Chords A-F#m-D-E-A)
I was standing
All alone against the world outside
You were searching
For a place to hide
Lost and lonely
Now you given me the will to survive
When we're hungry... love will keep us alive
When we're hungry... love will keep us alive
When we're hungry... love will keep us alive

elvis presley

2009-04-21T01:22:00.000-07:00

Elvis Aron Presley
Laki-Laki
Tupelo, Mississippi, Amerika Serikat, 08 Januari 1935

Tinggi Badan : 184 cm

Biografi :
Elvis Aron Presley lahir 8 Januari 1935 di Tupelo, Mississippi adalah seorang penyanyi rock 'n' roll legendaris Amerika Serikat. Elvis juga dikenal dengan "The King" dan "The King of Rock 'n' Roll". Selain penyanyi, The King adalah seorang produser musik dan aktor.

Berkat lagu-lagunya yang memadukan irama rock 'n' roll dengan lagu-lagu ballad, dunia rock 'n' roll memperoleh fondasi komersial yang selanjutnya dapat dikembangkan musisi rock 'n' roll penerusnya.

Pada masa kejayaannya, konser-konser Elvis dihadiri penggemarnya (kebanyakan remaja) dalam jumlah yang sangat besar. Gaya, sifat, serta cara berpakaiannya menjadi simbol bagi musik rock 'n' roll dan banyak ditiru penggemarnya. Bahkan 4000 remaja Inggris menahbiskan Elvis sebagai raja trendsetter tata rambut sepanjang zaman.

Awal perkenalan Elvis dengan dunia rekaman di mulai saat musim panas 1953. Elvis membayar US$3,98 untuk merekam dua buah lagu di perusahaan Sun Studios sebagai hadiah ulang tahun bagi ibunya. Pendiri Sun, Sam Phillips, tertarik pada suaranya dan memanggilnya pada Juni 1954 untuk mengisi posisi penyanyi ballad yang sedang kosong.

Tahun 1956 merupakan awal karir Elvis sebagai penyanyi profesional. Tanggal 27 Januari Elvis merilis single pertamanya Heartbreak Hotel, dibawah label RCA Victor Records. Tanggal 23 Maret, RCA merilis album pertama Elvis , bertajuk: ELVIS PRESLEY.

Pada tahun yang sama, 16 November, film pertama Elvis, LOVE ME TENDER, diluncurkan. Film ini menuai banyak kritik, namun mendapat angka penjualan yang sangat baik. Secara keseluruhan Elvis tampil dalam 31 judul film.

Hasil penjualan album perdana Elvis meledak menjelang akhir 1950-an dengan hit-hitnya, antara lain All Shook Up, (Let me be your) Teddy Bear dan I Need Your Love Tonight. Meskipun demikian, banyak kritikus tidak terkesan. Selain itu, penampilan Elvis di panggung banyak menuai kritik, karena dianggap sebagai pornografi.

Bulan Desember 1957, Elvis dipanggil untuk ikut tugas militer dengan Angkatan Bersenjata AS. Ia resmi masuk Angkatan Bersenjata pada 24 Maret 1958, kemudian ditugaskan di Jerman, dan dilepastugaskan dengan hormat dua tahun kemudian.

Sekembalinya dari wajib militer, karir musiknya sempat meredup akibat "diganggu" profesi lainnya sebagai aktor dan hilangnya peranan dia dalam memilih jenis lagu yang ia mainkan. Selain itu, terjadi kebangkitan musik Britania/Inggris (British Invasion; The Beatles, The Rolling Stones, dan lain-lain).

Elvis melakukan comeback, yang sukses melalui penampilan televisi pada 3 Desember 1968 berjudul '68 Comeback Special. Karir musiknya kembali bersinar setelah ia mendapatkan kesempatan dalam acara tersebut untuk bermain dalam jalur yang paling ia sukai, rock 'n' roll.

Pada tahun berikutnya, Elvis memulai penampilan live yang laris di berbagai tempat, diawali dari Las Vegas dan berlanjut negara-negara bagian lainnya di Amerika Serikat. Antara tahun 1969 dan 1977, The King of Rock 'n' Roll tampil dalam 1.000 acara yang tiketnya terjual habis.

Akibat kecanduan obat-obat dokter seperti obat tidur, kesehatan dan penampilannya mengalami penurunan sekitar pertengahan 1970-an. The King tampil untuk terakhir kalinya dalam sebuah konser di Market Square Arena di Indianapolis, Indiana tanggal 26 Juni 1977.

Pada 16 Agustus 1977, Elvis ditemukan meninggal dunia di rumahnya di Graceland, Memphis akibat serangan jantung. Saat itu ia berusia 42 tahun.

Raja Bhumiphol Adulyadej dari Thailand, Raja Nepal pernah ngobrol langsung dengan Elvis. Bahkan Presiden Rusia Boris Yeltsin sangat menyayanginya. Presiden AS Jimmy Carter meratapi kematiannya. Lucunya juga, Presiden George Bush pernah menemani PM Jepang Koizumi (penggila Elvis) datang Graceland, istana abadi Elvis Presley. Lebih anehnya lagi, Presiden Clinton bersumpah mengagumi Elvis. Bahkan “code name” Bill Clinton untuk Secret Service (Paspampres-nya AS) adalah “Elvis

benar2 fenomena Elvis yg luar biasa...

coba juragan denger lagunya. Nadanya enak n kata2 nya bagus...
lagu favorit = Don't Cry Daddy, Can't help falling in love with you, Memories, Devil in disguise, Hawaiian Wedding Song, Love Me Tender, You Were Always on my mind, dll...

2009-04-18T07:34:00.000-07:00

The Rolling Stones are an English band whose music was initially based on rhythm and blues and rock & roll. Formed in London and having their first success in the UK, they subsequently became popular in the US during the "British Invasion" in the early 1960s.

The band formed in 1962 when original leader Brian Jones and pianist Ian Stewart were joined by singer Mick Jagger and guitarist Keith Richards, whose songwriting partnership later contributed to their taking the leadership role in the group. Bassist Bill Wyman and drummer Charlie Watts completed the early lineup. Ian Stewart was removed from the official lineup in 1963 but continued to work with the band as road manager and keyboardist until his death in 1985.The band's early recordings were mainly covers of American blues and R&B songs. The band's early recordings were mainly covers of American blues and R&B songs. Their 1965 single "(I Can't Get No) Satisfaction" established the Rolling Stones as a premier rock and roll act. Starting with their 1966 album Aftermath, the songs of Jagger and Richards, aided by the instrumental experimentation of Jones, expanded an always present stylistic flexibility. Jones died in 1969 shortly after being fired from the band and was replaced by Mick Taylor. Taylor recorded five albums with The Rolling Stones before quitting in 1974. Former Faces guitarist Ronnie Wood stepped in and has been with the band ever since. Wyman left the Rolling Stones in 1993; bassist Darryl Jones, who is not an official band member, has worked with the group since 1994.

The Rolling Stones have released 22 studio albums in the UK (24 in the US), eight concert albums (nine in the US) and numerous compilations; they have had 32 UK & US top-10 singles, 43 UK & US top 10- albums between 1964 and 2008,[citation needed] and have sold more than 200 million albums worldwide. 1971's Sticky Fingers began a string of eight consecutive studio albums at number one in the United States. In 1989 the Rolling Stones were inducted into the American Rock and Roll Hall of Fame, and in 2004 they were ranked number 4 in Rolling Stone magazine's 100 Greatest Artists of All Time. They are also ranked as the number 2 artists of all time on Acclaimedmusic.net. Their latest studio album, A Bigger Bang, was released in 2005 and followed by the highest-grossing tour in history, which lasted into late summer 2007. During the 1969 American tour, tour manager Sam Cutler introduced them as "The Greatest Rock and Roll Band in the World", a title which has remained. Their image of unkempt and surly youth is one that many musicians still emulate.

2009-04-18T07:27:00.001-07:00

James Marshall Hendrix atau Jimi Hendrix adalah musisi, penyanyi, penulis lagu, gitaris dan tokoh budaya Amerika. Pria yang lahir di King Country Hospital, Seattle, Washington, 27 November 1942 itu disebut sebagai pemain gitar paling berpengaruh dalam sejarah musik rock.Album-album Hendrix di massa hidupnya di antaranya, Are You Experienced (1967), Axis: Bold as Love (1967), Electric Ladyland (1968), Smash Hits (1969) dan Band of Gypsys (1970). Lagu-lagu tersebut telah membawa nama Jimi, menjadi legenda dunia, ditambah lagi lagu-lagu musisi besar yang dededikasikan untuknya.

Jimi meninggal pada 18 September 1970, di hotel Samarkand Hotel di 22 Lansdowne Crescent di London, setelah semalam bersama pacarnya Monika Dannemann. Diduga pria hitam manis ini menderita overdozis obat-obatan, meski secara resmi hal itu tidak dipublikasikan secara jelas.

Perjalanan karirnya sangat pendek, namun namanya punya gaung sangat panjang. Bahkan hingga hari ini. Dialah Jimi Hendrix. Usianya tidak sampai 28 tahun, tetapi masih tetap dipuja meski sudah 30 tahun ia meninggal dunia.
Dengan nama Johnny Allen Hendricks. Ia putra sulung pasangan Alex Hendricks yang Afro-Amerika Meksiko dan Lucille, seorang Indian Cherokee.Nama itu merupakan pemberian ibunya, yang kemudian diubah oleh sang ayah menjadi James Marshall Hendricks pada saat Hendrix kecil berusia 4 tahun. Kedua orangtuanya kemudian berpisah saat Jimi berumur tiga tahun.

Ayahnya Alex, yang mantan militer, merupakan orang yang keras dalam mendidik putranya, dia juga menginginkan jimmy untuk mengikui jejaknya ke jenjang militer. Karena alasan tersebut, begitu Jimmy DO dari SMA, doi langsung cabut ke Airbone Division of the U.S. Army. Meski berada di lingkungan militer, ketertarikan jimmy pada dunia musik (khususnya gitar) lebih besar. Di suatu latihan, Jimmy terkena cedera yang menjatuhkan vonis bahwa dia nggak bisa berada di militer, ini justru membuatnya girang -meskipun sang ayah sangat menentangnya dan bahkan Jimmy nggak boleh pulang rumah saat itu.

Tak patah arang, Jimmy bersama teman satu angkatanya di militer, Billt Cox mulai manggung dari satu klab ke klab lain. Jimmy segera bertandang ke New York dan mencoba peruntungan disana,bermain di beberapa klab,dan bertemu dengan tokoh idolanya, Bob Dylan. Tuhan ternyata adil, di bandnya "Jimmy James" dan "The blue Flames" jimmy mulai sukses , pada saat mereka manggung di sebuah kafe yang bernama"Cafe Wha?" kebetulan aksi panggung Jimmy diamati Londa Keith, kekasih dari Keith Richards.

Linda meminta kekasihnya agar melihat penampilan Jimmy dan diapun tertarik! Jimmy langsung disodori kontrak dan keliling eropa bersama Keith Richards.Sampai di Inggris, taji Jimmy mulai terlihat.Gigataris populer Inggris saat itu,Eric Clapton dan Pete Townshed sampai berkata"He thought his career was over after seeing Hendrix play the guitar".

Selesai Eropa, Jimmy mulai fokus di U.S. dan tampil di Monterey Pop Fest disitu dia menampilkan permainan yang belum pernah dilihat orang sebelumnya. Selesai tampil di Monterey, Jimmy seperti menjadi seorang Superstar dan tampil di festifal-festifal besar.

Sejarah Piano

2009-04-18T06:57:00.000-07:00

Buat loe yang suka dengan alat musik ini, sebelum loe maenin atau menikmati suara alat musik ini, gak ada salahnya dong tau sejarah alat musik yang elo mainin dan yang digemari oleh banyak orang ini. Hehehe… sebagai bahan bacaan dan tentunya nambah pengetahuan loe aja sih. Semoga berguna.

Asal mula kata piano sebenarnya adalah pianoforte, yang berasal dari bahasa Italia. Piano dibuat oleh Bartolomeo Cristofori pada tahun 1720-an. Awal mula piano diciptakan, suaranya tidak sekeras piano yang dapat didengar pada abad 20-an. Pasalnya, tegangan tuts piano kala itu tidaklah sekuat piano yang sekarang.
Kini, piano pertama tersebut dipajang di Metropolitan Museum of Art di New York. Seperti pada banyak penemuan yang lainnya, piano ditemukan berdasarkan penemuan teknologi. Asal muasalnya, piano dikembangkan dari alat musik kecapi. Perbedaannya, kecapi dimainkan dengan dipetik. Sedangkan piano ditekan tuts-tutsnya.

Secara umum, piano termasuk ke dalam kelompok musik instrumental. Piano memproduksi suara dari getaran papan suara yang volumenya dapat diperkuat (dapat diatur besar kecilnya).

Secara luas, piano di dalam musik dapat menjadi performa pada nyanyian tunggal dan sebagai pengantar nyanyian solo. Dalam artian, piano dapat hidup dan mengiringi penyanyi tanpa bantuan atau iringan alat musik lain. Suara yang dihasilkan piano sudah dapat mewakili alat musik lainnya. Meskipun demikian, piano akan lebih berarti lagi didengar dengan bantuan alat musik lain. Yang perlu ditekankan di sini, piano dapat mengalun indah tanpa bantuan alat musik lain. Tidak sama halnya dengan alat musik lain, yang kurang enak didengar tanpa dilengkapi piano. Banyak musik-musik instrumen yang bersinar karena andil dari piano.

Perkembangan Piano

Pada akhir periode 1790 sampai 1860, piano era Mozart mengalami perubahan yang hebat, dimana instrumen modern semakin terlihat memimpin. Pada revolusinya, piano banyak mendapat dukungan dari komposer dan pianis-pianis terkenal yang mengiringi perkembangannya. Sehingga piano dalam musik semakin memiliki power yang tinggi. Teknologi dalam pembuatan piano pun semakin menggunakan alat-alat berteknologi tinggi.

Dalam beberapa waktu, gaya suara piano meningkat. Dari 5 oktav menjadi 7 1/3 (atau bahkan lebih) oktav, ini menandakan piano semakin modern. Kemajuan teknologi ini banyak bersumber dari perusahaan di Inggris, Broadwood. Selama bertahun-tahun, instrumen buatan Broadwood mengalami perkembangan menjadi lebih banyak jenisnya, lebih baik suaranya, juga dikemas secara baik dan rapi.

Perusahaan Broadwood mengirim piano mereka kepada Hadyn dan Beethoven. Cakupan kemampuan piano yang mereka kirim itu lebih dari lima oktaf. pada tahun 1790an, tahun 1810 menyusul menjadi enam oktav, sampai pada tahun 1820 akhirnya menjadi tujuh oktav. Sampai-sampai banyak perusahaan pembuat piano mengikuti trend ini.

Bercerita tentang piano sama halnya seperti menceritakan seorang superstar. Seperti layaknya seorang superstar, piano yang terkenal itu juga banyak dikagumi berbagai kalangan. Piano bisa masuk dalam industri musik dan perfilman, yang dengan mudahnya dilihat dan didengar siapa saja.

Sejak tahun 1830-an, konser piano selalu di idolakan banyak penggemar musik. Setiap para pianis terkenal menggelar konsernya, kerap kali dipadati oleh para penggemar. Mereka selalu berbondong-bondong mengantri tiket konser piano seperti semut. Karena bagaimanapun juga, piano bisa masuk ke hampir seluruh musik terkenal.

Contoh pada ke-27 konser piano yang digelar Mozart. Konser ini benar-benar merupakan konser musik instrumental yang tanpa bantuan iringan penyanyi ternyata tetap dapat lebih dinikmati. Inilah kehebatan yang dimiliki alat musik piano. Permainan pada konser piano bisa terlaksana dengan baik secara solo (sendirian), duo (berdua), trio (bertiga), maupun kuartet (berempat). Hal ini telah dibuktikan sejak lama oleh para pianis terkenal seperti Mozart, Hadyn, Beethoven, Schubert, Schumann, Mendelssohn dan Brahms.

Salah satu peran piano dalam industri perfilman adalah sebagai alat musik yang mengiringi jalannya film tersebut. Dapatkah loe membayangkan jika film yang loe tonton tidak didukung oleh latar belakang musik? Piano sangat lekat dengan alur-alur cerita dalam film. Jika pada film itu ceritanya sedih, diputarkanlah alunan musik piano yang lagunya sedih atau melow, sedangkan jika film itu seru (misalnya film aksi), maka diputarkanlah musik yang membuat adrenalin naik. Kesemua ini senantiasa diperankan oleh piano.

Sejarah Gitar

2009-04-18T06:41:00.000-07:00

Gitar adalah alat musik yang dimainkan dengan cara dipetik. Gitar di bedakan menjadi dua yaitu gitar akustik dan gitar elektrik. Pada umumnya gitar akustik terbuat dari kayu. Instrumen ini sangat dikenal. Hanya dengan memetik senarnya, orang orang langsung bergabung bersama. Pada sebuah pesta anda bisa bermain gitar untuk bernyanyi dan berdansa. Disaat sendiri suara yang dihasilkan bagai sebuah Orchestra kecil.

Gitar pertama kali di temukan di benua Afrika pada tahun 1265. Bunyi dari petikan senar gitar bersifat romantis, sehingga lagu lagu klasik yang lembut dan berunsur romantis lebih cocok dimainkan dengan gitar akustik.

Seiring berjalannya waktu, orang-orang sudah mulai memodivikasi gitar. Gitar dibuat dengan bantuian mesin elektrik agar suaranya terdengar lebih keras. Les Paul adalah orang pertama yang bereksperimen dengan sound gitar elektrik pada sekitar tahun 1940. Dengan gitar elektrik, kita bisa mengubah suara gitar sesuai dengan yang kita inginkan, memperbesar atau memperkecil volume gitar tersebut.

The Pick Guitar dan Electric Guitar yang paling sering digunakan dalam musik Jazz, band band dansa dan grup Rock. Pada umumnya, gitar mempunyai jumlah dawai 6; lalu muncul gitar dengan 12 dawai yang lebih lazim digunakan dalam kancah musik country. Pada dekade 50-an, muncul gitar dengan dua neck (fretboard); yang satu berdawai 6 dan satunya berdawai 12 (seperti yang sering digunakan oleh John McLaughlin). Kemudian muncul pula gitar berdawai 7 (seperti yang biasa dipakai oleh Bucky Pizzarelli), bahkan muncul pula gitar berdawai 10. Elektrik gitar lalu berkembang; Solid-Body (seperti yang sudah dijelaskan diatas tanpa bunyi resonansi, hingga benar-benar suara elektrik) jenis gitar hollow-body dan semi-hollowed. Jenis elektrik gitar seperti itu lazim digunakan dalam kancah musik rock / pop. Jenis elektrik gitar tersebut pun berlanjut dengan penggunaan aneka macam sound effect.

Cara memegang gitar yang baik bagi pemula dapat diuraikan sebagai berikut;
1. Letakan gitar pada pangkal paha. Pegang gitar diantara jempol dan telunjuk tangan kiri.
2. Tangan kanan diletakkan secara melingkar pada badan gitar, membawa jari jari dekat ke senar. Tekan senar gitar pada papan pijit-leher gitar / FingerBoard sesuai dengan nada yang akan dibunyikan.
3. Senar senar dari Jenis The Finger-style Guitar dipetik oleh jempol dan 3 jari yang pertama, saat mengiringi lagu lagu jari telunjuk baik sendirian atau beserta jempol digunakan untuk memetik mundur dan maju sepanjang satu waktu, dengan ujung Pick. Pemetikan dapat dilakukan baik dengan gerakan naik atau turun.
4. Latihlah kemampuan jari jari tangan kita untuk menekan senar(sesuai dengan nada yang diinginkan) sehingga nada yang dihasilkan terdengar sempurna.

Travis Barker

2009-04-18T06:30:00.000-07:00

Travis Barker
Latar belakang
Nama lahir Travis London Barker
Lahir :14 November 1975
Asal : Fontana, California
Genre : Pop-Punk
: Hip-Hop
: Punk Rock
Instrumen :Drum, Keyboard
Tahun aktif :1994 - sekarang
Berhubungan
dengan : The Aquabats
Blink 182
Box Car Racer
Expensive Taste
The Transplants
The Suicide Machine
+44

Travis London Barker (lahir 14 November 1975) adalah Amerika drummer. Nama-nya terkenal setelah menjadi drummer untuk band Pop-Punk Blink 182, tapi sekaran dia bermain untuk +44. Dia juga bermain untuk beberapa grup musik seperti Box Car Racer, The Transplants, Expensive Taste, The Suicide Machines, dan The Aquabats.
Biografi

Travis London Barker lahir di Fontana, California pada tanggal 14 November 1975. Pada umur 4 tahun Travis mendapatkan drum pertamanya dari ibunya, awalnya di lebih cenderung ke musik Jazz di sekolahnya ia sering mengikuti Marching Band. Dia sesudah mempunyai banyak pengalaman dan sering mengikuti perlombaan di daerahnya dan di festival musik.

Travis juga menyukai musik Latin di banyak terpengaruh dengan Run-D.M.C, King Diamond dan The Clash.
Blink 182 (1998)

Pada tahun 1998 Travis mengikuti Baron Von Tito bersama The Aquabats. Sehabis Tur bersama Blink 182 itu drumernya Scott Raynor keluar dari Band karena kedapatan mendapat penyakit. Travis pun masuk mengantikan Scott di Blink 182 hingga bubar pada Februari 2005.

Box Car Racer, Transplants, Expensive Taste 2002-2004

Pada 2002, Travis bersama rekanya di Blink 182 yaitu Tom Delonge ia pun membentuk Box Car Racer dan hanya mengeluarkan 1 album yaitu

* Box Car Racer (2002)

Setelah itu bersama Vokalis AFI Rob Ashton ia membentuk band Hip-Hop The Transplants yang mengeluarkan 2 album

* Transplants (2002)
* Haunted Cities (2005)

Dia juga menjadi drummer pada Expensive Taste.

Gaya

Di seluruh badan Travis di penuhi tatto-tatto, tatto pertama Travis adalah bertuliskan "BONES" yang tak lain adalah namanya waktu kecil yang ia buat pada umur 17 tahun.

Keluarga

Travis sudah menikah 2 kali. Travis menikah dengan Melissa Kenedy pada 22 September2001 tapi pasangan ini hanya bertahan selama 11 bulan karena pada tanggal 6 Agustus 200230 Oktober 2004 Travis menikah kembali dengan Miss USA 1996 Shanna Moakler Travis dan Moakler mempunyai 2 orang anak yaitu Landon Asher dan Alabama Luella serta 1 Moakler Atiana Cecilia de la Hoya anak dari pacarnya dengan petinju Oscar De La Hoya. Setelah hampir 2 tahun bersama Travis pun minta tuntut cera pasangan ini bercerai.

sejarah modern bass guitar

2009-04-17T03:43:00.001-07:00

mungkin teman2 sekarang memainkan bass..
namun tau nga sih siapa yang membuat pertama kali??
kali ini aku mau share aja yah..

smoga menambah pengetahuan kita semua

jika kamu bertanya tentang siapa pembuat pertama kali bass elektrik, pasti mereka akan menjawab Leo Fender. bagaimana pun telah ada 5 jenis prototype yang belum begitu di ketahui, namun merupakan design awal dari bass elektrik yang di ciptakan sebelum fender memperkenalkan bass precisionnya di tahun 1951 kepada dunia.

Bass modern merupakan turunan langsung dari double bass, yang mana telah ada pada abad ke-17. Bagaimanapun designnya tetap sama sampai ke abad 20 yang merubah design bass menjadi lebih simpel dan praktis.

Di tahun 1920an, adalah lloyd Loar, yang berkerja untuk gibson, mendesign double bass elektrik pertama. Bass itu menggunakan pickup electro-static, tapi amply untuk frekuensi bass belum dikembangkan. jadi pada saat itu blum ada cara untuk mendengarkan instrument double bass tersebut. Awal tahun 1930an, paul tutmarc menjadi yang orang pertama yang memperbaiki ukuran double bass menjadi lebih praktis. Ukuran yang pertama dibuat hanya sebesar cello, dan mengunakan pickup rudimentary,
namun hasilnya memiliki berat yang berlebihan, dan akhirnya diperbaiki bentuknya lebih menyerupai gitar. Bass baru yang diciptakan ini memiliki panjang 42", solid body, menggunakan kayu walnut hitam dan senar piano yang tetap dilengkapi dengan pickup.

Pertengahan tahun 30an, beberapa pengembang instrument musik - Lyon & Healy, Gibson and Rickenbacker, - memulai memasarkan eksperimental elektrik bass yang sama dengan prototype basss Tutmarc, yang lebih sedikit besar dibandingkan dengan double bass yang standard. Bagaimanaupun, bas itu tetap tinggi, tidak ,memiliki fret, dan di mainkan secara vertikal atau berdiri.

Sekitar tahun 1940, Paul Tutmarc jr memulai memproduksi gitar dan bass, termasuk bass Serenader. Produksi ini di distribusikan oleh L.D. Heater Music Co., di portland, Oregon, dan menjadi distributor terbesar untuk elektrik bass. Sang Genius itu menamainya dengan bass gitar - insturumen yang memilik fret dan di mainkan secara horizontal. Fitur utama dari produk tersebut adalah :

* Pickup - di design karena double bass sering tertutup dengen brass section dari sebuah band jazz.
* ukurannya - pemain double bass harus bisa berpergian sendiri, karena ukurannya yang besar, sering sekali ketinggalan di setiap perjalannya. Dengan design yang baru, pemain bass bisa berpergian dan beristirahat dengan bandnya.

Ada sedikit perubahan progres sampai Leo Fender menciptakan precision bass di tahun 1951. Penamaan Precision Bass dikarenakan fret yang ada di bass mengikuti note yang di mainkan secara presisi. Elektrik bass yang di produksi Leo fender ini, banyak yang memproduksi bentuk ini. Pada tahun 1957, bentuk pickupnya di rubah menjadi split pickup, dan pickguard dan headstocknya juga di redesign.

tahun 1960, Fender mendesign dan menciptakan Jazz bass, dengan 2 pickup yang sama ukurannya. Popularitas bass Fender kemudian diikuti oleh Gibson, Rickenbacker, dan Hohner. Hal ini yang semakin membuat popularitas bass elektrik meluas sampai sekarang.

Tahun 1959, Danelectro menciptakan pertamakali bass 6 senar, dengan tunse E A D G B E, dan Gibson dan Fender menggunakan ide ini untuk membuat Gibson EB-6 di tahun 1960, dan Fender VI di tahun 1962. Fender juga membuat bass 5 senar pertama dengan sebutan Fender V.

Tahun 1965, bass fretless Aubi dari Ampeg diciptakan dan di tahun 1968 8 string bass di perkenalkan oleh Hagstroem. Bass freetless 6 string (yang akhirnya dimiliki Les Claypool) di buat oleh Carl Thompson tahun 1978. Karena gaya permainan seperti slap dan pop, jumlah senar dan kombinasi kayu, neck dan lainnya pickup semakin menjadi bervariasi. EMG pickup yang menjadi pickup terlebar yang di gunakan di bass tersebut.

pertama kali bass elektrik di populerkan oleh John Entwistle dan James Jamerson di tahun 60an, Jaco Pastorius dan Stanley Clarke di tahun 70an dan Marcus Miller dan Cliff Burton di tahun 80an. Di akhir 80an terlihat perbedaan dalam popularitas bass, sebagai fashion digunakan untuk electornic synthesised dance music. Bagaimanapun bass yang kita miliki sekarang merupakan perkembangan jauh dari double bass.

Sekarang, adalah Claypool (Primus) dan Flea (RHCP) yang menunjukan bagaimana pentingnya sebuah bass dalam musik modern.

sejarah hip-hop/rap

2009-04-12T23:51:00.000-07:00

Untuk mengerti sejarah dari rap, kamu harus to dua hal: Rap adalah berbicara dengan rima mengikuti ritme atau ketukan beat. Hiphop adalah budaya, jalan hidup(way of life) untuk lingkungan orang-orang yang mengidentifikasi, mencintai, dan menghargai nge-rap, nge-breakdance, nge-Deejay, dan graffiti (Kurtis Blow).
RAP
Kebanyakan buku, Acara Tv dan sejarahwan mengatakan bahwa rap di buat/ diciptakan di Bronx, tapi ini tidak sepenuhnya betul. Rap Amerika yang kita tau sekarang dimulai sekitar 1970 di Boogie Down Bronx. Untuk mengerti secara keseluruhan, kita harus kembali ke masa lampau : Dimulai di Afrika..Gospel
Mari kembali ke akarnya, di Afrika - untuk lebih spesifik- Suku-suku disana mengabadikan sejarah mereka dalam bait-bait ritmik dan nyanyian. Karena ada banyak suku-suku, banyak terdapat bahasa daerah dan suku-suku yang bahasa mereka seringnya tidak dibuang/ dilupakan. Jadi, untuk menjaga sejarah dan legenda mereka menggunakan lagu dan ritmik untuk menceritakannya. Karena pedagang budak kulit putih datang dan memisahkan mereka dari keluarga dan suku mereka.

Orang afrika asli membawa cerita dan rima mereka bersama pedagang budak eropa. Mereka (pedagang budak)tidak mengijinkan para budak bicara menggunakan "Bahasa Ibu" (bahasa afrika asli) . Para pedagang budak itu berpikir bahwa mereka berencana untuk membuat rusuh. Walaupun mereka dirantai. Tapi mereka di perbolehkan untuk menyanyi. Ini membuat para budak bertahan hidup dan merasa lebih baik. Para budak wanita di perkosa dan sering kali hamil oleh crew (para pembantu pedagang budak). Budak wanita dijadikan bonus buat para crew. Perjalanan seperti ini bisa memakan waktu hingga sebulan. Dan bila ada sekitar 1000 budak, 600-700 yang selamat, itu adalah perjalanan yang bagus. Dan bila budak wanita hamil maka mereka akan mendapatkan harga yang lebih baik (karena ada tambahan bayi dalam kandungan budak wanita). Lalu para majikan (pemilik budak) berlaku sama untuk mendapatkan lebih banyak budak(memperkosa budak wanita hingga hamil dan anak hasil perbuatan itu di jadikan budak lagi). Mereka, para majikan bahkan memberikan tamu mereka satu atau dua wanita untuk teman tidur...

Ketika mereka menyanyi mereka bekerja lebih giat karena isi nyanyiannya adalah tentang dari mana mereka berasal dan sejarah suku-suku mereka. Waktu seelanjutnya, karena majikan bersifat lebih lunak, para budak diperbolehkan libur setiap hari minggu. Pada hari minggu tersebut, para budak pergi ke gereja dan menyanyikan lagu kebebasan. Hal ini kemudian berubah menjadi paduan suara Gospel.

Blues.
Ketika perbudakan dilarang, kulit hitam masih diburu, digantung, disiksa dan lebih buruk lagi. Waktu itu adalah masa yang sangat buram dan menyedihkan. Lagu-lagu terdengar murung dan sedih. Blues dulunya adalah cuma satu instrument dan satu vocal dengan suara yang mengayun sendu.

Jazz
Beberapa tahun kemudian, mereka mulai memadukan musik tradisional Afrika dengan instrument Eropa. Dan lahirlah apa yang disebut Jazz. Lalu Soul muncul sebagai gaya yang lebih ringan dan riang daripada R & B.

Rhythm & Blues
Ketika artis-artis Blues pindah dari pedesaan ke daerah perkotaan, musiknya terdengar lebih berat dan dengan gaya yang lebih groovy. Suara utama adalah pada rhythm. Lalu ini menjadi Rhythm And Blues (R&B), dan waktu itu merupakan satu-satunya jenis musik kulit hitam. Diketahui juga oleh audiens kulit putih pada awal tahun 50-an. Tapi masih kuat dipengaruhi oleh musisi kulit putih. Satu dari artist R&B yang terkenal jaman itu adalah Lois Jordan dengan banyak lagu hits-nya di tahun 40-an dan 50-an. Diantar Fats Domino mereka membuat lyrik yang lucu dikombinasikan dengan groove yang cepat dan dinamis. Hal itu membuat merka tersentuh auidiens kulit putih. Tapi itu bukan sebelum pertengahan tahun 50-an ketikas R&B diputar di radio dan waktu itu musiknya adalah rock & roll. R&B di kombinasikan denga elemen dari Jass, Country Blues, Boogie Woogie dan Gospel.

Ska, Rock Steady & Reggae
Pada waktu yang bersamaan daerah koloni di Jamaika menciptakan Ska yang selanjutnya menjadi Rock Steady dan kemudian menjadi Reggae. Dan sering Dj seorang DJ sebagai produser sekaligus artis. Mereka mulai bicara(talking/toasting/rapping) pada Dub mereka. (Selanjutnya ini berubah menjadi Dancehall). Dancehall sangat populer bahkan sampai sekarang. Ini disebut sebagai Soundsystem. DJ kelahiran Jamaika, Kool Herc mengambil dan membawa Soundsystem ini ke Boogie Down Bronx. Dia menyebutnya 'The Hercoloid' dan orang-orang yang mengikutinya disebut 'Hercolids'. Mulailah Kool Herc membuat lagu-lagu(tunes). Kadang di memutar dub sound dan merima(rhyming) mengikuti beat itu. Lalu Kool Herc meggunakan seseorang untuk merima mengikuti beatnya ke tika Break Boys/Beat Boys/Bad Boys (B Boys) menari ikuti beat.Tidak diketahui kapan nama Rap pertama kali digunakan.

Rhytm & Blues menginspirasikan musik Ska, dan R & B berkembang menjadi Soul dengan pengaruh Gospel .Para produser memegang peranan penting di Jamaika. Mereka bekerja di studio kecil dan punya pengaruh besar pada suara yang unik pada awal-awal reggae. Beberapa dari produser terbaik adalah Cocone Dodd. "Studio One" kepunyaannya seperti sebuah sekolah untuk para pemusik berbakat seperti Bob Marley dan Winston Rodney (Burning Spear). Dan Duke Reid yang mendirikan "Treasure Isle Studio". Mereka punya studio-studio kecil. Dan mereka bisa merekam langsung ke vinyl. It was not expensive either.

Marley menkreasikan sound baru, apa yang Linton Kwesi Jhnson bilang "International Reggae". Bassnya lebih funki, keyboardnya lebih menonjol, gitar dengan riff rock, dan Suara Marley yang kaya menambah kesempurnaan.

Tahun1967, musik Rock Steady menggoyang Jamaika dan setengah tahun dengan artis-artis baru seperti Ken Boothe, Bob Andy, Delano Stewart, Monty Morris, The Wailers, Heptones, Techniques, Carlton and His Shoes.

Coxone Dodd dan Duke Reid masih produser yang terbaik sementara Derrick Harriott, Joel Gibson, Leslie Kong and Sonia Pottinger membuat peranan besar. Diluar Jamaika ada rekaman rocksteady di produseri Leslie Kong, dan di mainkan/ tampilkan oelh Desmond Dekker.

Pemilik Coxsone Sound, Clemet Dodd, adalah salah satu DJ pertama yang menggandakan potongan-potongan dari rekaman yang berbeda kemudian digabungkan/dimainkan berbarengan menjadi satu lagu (di-mix). Dia melakukan itu seperti menggabungkan player-player ke peralatan stereonya. Dia lalu mengakhiri dengan beberapa toasting di bagian atas. Hasil rekaman itu dinamai dub.

Tahun1968, reggae lahir. Bassgitar dengan ritem gitar yang menggoyang serta vokal yang berat. Bassnya terdengar terus dalam lagu dan ritemnya terdengar lebih hidup dari Ska. Drumnya membuat perbedaan yang mendasar. Pada awalnya reggae cuma instrumental dengan drup-grup seperti The Upsetters, The Chrystalites dan The Hippy Boys. Lalu Burning Spear, The Pineers, Bruce Ruffin dan The Abyssinians memberikan ide yang lebih baik dengan kekuatan emosi kepada musik reggae.

Yellowman mulai nge-rap di Jamaika, walaupun mereka tidak menyebutnya Rap pada saat itu, tapi seutannya DJ. Lee Perry menggabungkan rekaman Dub yang asli dan membuatnya seperti apa yang sekarang kita sebut Version atau Remix. Jadi kita bisa mengaakan bahwa dia adalah remixer pertama. Dia meremix di studio yang bernama Black Ark.

Soul
Tiga aksi musik: Jazz, Blues dan Gospel digabungjan dan jadilah soul. Pelopornya seperti Sam Cooke dan Ray Charles. Ray Ray Charles adalah artist pertama yang menggabungkan gospel dengan R&B. Dia dan Sam Cooke adalah penyanyi paduan suara Gospel ketika mereka masih kanak-kanak. Setelah Perang Dunia II, musik Soul melangkah maju dan pada waktu itu kulit hitam Amerika mulai tertarik di Politik. Tahun1965, James Brown merilis "Papa's got a brand new bag" dan memberikan musik Soul sebuah karisma baru. Hal ini membuka jalan bagi banyak artist kulit hitam di tahun 70-an seperti Marvin Gaye dan Stevie Wonder. Ketika karier James Brown membaik, ia lebih blak-blakan bernuansa politik dalam lagunya. Seperti lagu,"Say it loud, I'm Black and I'm proud". Di tahun 1960, Atlantic Records gabung dengan Memphis company Stax, dan bersama-sama mendapatkan sartist seperti Joe Tex, Solomon Burke, Otis Redding, Wilson Picket, Booket T, The MG's, Same Dave serta Aterha Franklin.

Funk
Kamu bisa mendengar Jazz, Blues dan gospel disetiap komunitas kulit hitam. Jazz dan Blues memberikan bentuk musik Soul dan beat(ketukan) sementara Gospel sebagai vokalnya. Dan gaya yang lebih kasar dari Jazz, mereka menyebutnya Funk. Sejak itu Funk meningkat dengan lebih banyak rhythm dan basskines. James Brown adalah legenda hidup yang paling terkenal dari Funk, dan dia sendiri telah sangat mempengaruhi HipHop sehingga butuh bertahun-tahun untuk menggambarkannya. , Ketika dia menemukan sound Hiphop, kita juga punya di Jazz, puisi dan kata-kata dengan artis sepeti The Last Poets, Gil Scott Heron dan Watts Prophets. Mereka menggunakan semacam Rap dalam ritmik puisi mereka, dan dengan beat dari James Brown, kita dapati awal dari Hiphop. Mereka juga merilis sebuah album dengan judul "Rappin' Black In a White World" tahun 1971. Muhammed Ali juga menggunakan accapella Raps untuk memojokkan lawan tandingnya sebelum pertarungan tinjunya.

Soundsystems
Satu dari toaster pertama dalam soundsystem adalah Count Machouki. Yang lain datang dan mengembangkan gayanya Count lebih lanjut, mereka adalah U-Roy, Big Youth dan Dilinger. U Roy jadi sangat populer dan albumnya terjual banyak, mencetak hit berjudul "Wear You To The Ball"

Disco.
Sekitar pertengahan 70-an, gaya musik kulit putih mulai naik daun. Dan pada saat yang bersamaan tak ada musik kulit hitam yang di putar di radio. Tahun 1973, 36 singgel kulit hitam masuk tangga lagu Billboard Topp 100, dua puluh tujuh di tahun `974 dan duapuluh delapan di tahun 1975. Disko kulit putih memasuki charts dan puncak era disko adalah pada tahun 1977, saat itu hanya ada duapuluh tiga lagu disco kulit hitam pada tangga lagu Topp seratus(Topp 100) Charts).Rap/Hiphop
Satu dari DJ radio yang pertama di USA, Dr. Hep Cat biasa me-rima( throw some rhymes) di udara seperti, "If you want to hip the tip and bop the top - You get some mad threads that just won't stop". Ini mempengaruhi DJ radio lainnya dan DJ biasa untuk me-rima di udara dan di club, diketahui sebgai rapper-rapper pertama. Kool Herc adalah satu dari DJ-dj yang mulai ngerap mengikuti rekaman lagu. Semua gerakan ini menjelma menjadi HipHop. Sebuah kultur/budaya yang berumur lebih dari 25 tahun dan masih ada samapi saat ini. Nama HipHop muncul ketika mereka bernyanyi, "hip hop a hippi the hoppa" dan seterusnya. Lalu orang-orang di Kota menyebut fenomena baru itu dengan sebutan HipHop, karena mereka tidak punya nama untuk itu.

Victor Wooten Biography

2009-04-04T04:00:00.000-07:00

Victor Lemonte Wooten (born September 11, 1964 in Hampton, Virginia) is an American electric bass guitar player. He is sometimes referred to as "the Michael Jordan of bass".

The youngest of five brothers, he was taught by his older brother Regi to play bass at age three, and by age five Victor could hold simple bass lines and play gigs. The Wooten Brothers band (Regi, Rudy, Roy, Joseph and Victor) played for many years in the 1970s around Williamsburg, Virginia in the Busch Gardens theme park, as well as opening up for Curtis Mayfield and War. After moving to Nashville, Tennessee in 1988 Victor was immediately recruited by blues and soul singer Jonell Mosser. A year later he was hired by banjo maestro Béla Fleck, along with keyboardist and harmonica player Howard Levy and Victor's brother Roy Wooten (a.k.a. Future Man). Their group, Béla Fleck and the Flecktones, became famous first by playing a mixture of jazz, funk, and bluegrass, then later becoming one of the most stylistically free-swinging bands of the modern era. (Levy eventually left the group and was replaced by saxophonist and horn player Jeff Coffin.)

Wooten has also been a member of several fusion and progressive supergroups, including Bass Extremes (with Steve Bailey, Derico Watson and Oteil Burbridge), the Vital Tech Tones (with Scott Henderson and Steve Smith), the indian jazz fusion band PRASANNA, and the "Extraction" trio (with Greg Howe and Dennis Chambers). Victor has also been on tour with many other bands including the Dave Matthews Band. He currently tours with his solo group, and still with Béla Fleck and the Flecktones.

The evolution of a higher standard in electric bass guitar construction methods, such as a lower action (the distance from the string to the neck) more akin to that of a six-string electric guitar, allowed Wooten to develop many new fingering techniques that were essentially undiscovered before his time. As a child, his older brother Regi Wooten helped Victor develop his double-thumbing technique as a way to more accurately reproduce the basslines of such greats as Larry Graham. This technique, which has been independently utilized by other bassists (notably Marcus Miller) uses the thumb to strike both downwards and upwards on a string in a manner similar to a guitar pick. Victor is also famous for his Stanley Jordan-like two-handed tapping and trademark open-hammer-pluck technique.

Wooten is most often seen playing Fodera basses, of which he has a signature model. His most famous Fodera, a 1983 Monarch Deluxe which he refers to as "number 1", sports a Kahler Tremolo System model 2400 bridge. Fodera's "Yin Yang" basses (designed/created for Wooten) incorporate the Yin Yang symbol - which Wooten often uses in various media - as a main focal point of the top's design and construction. It is often mistakenly thought that the Yin Yang symbol is painted onto the bass, but in reality, the symbol is created from two pieces of naturally finished wood (Ebony and Holly, for example), seamlessly fitted together to create the Yin-Yang pattern.

Though Wooten's beautiful and impressive basses receive much attention, his most frequent and consistent response when asked by his fans about which bass is best, etc. ..., is that "the bass makes no music ... you do". He'll often go on to state that the most important feature to look for in a bass is comfort of playability. This seems closely related to another fundamental truth about Wooten's stated approach to, and experience of bass and music in general, which is that music is a language. According to Wooten, when speaking or listening, we don't focus on the mouth as it is forming words; similarly, when a musician is playing or performing, the focus shouldn't be on the instrument.

eric clapton

2009-04-04T03:50:00.000-07:00

Real Name: Eric Patrick Clapton

Occupation: Musician, Guitarist

Date of Birth: March 30, 1945

Place of Birth: Ripley, England, U.K.

Sign: Sun in Aries, Moon in Scorpio

Education: Expelled from Kingston College of Art

Relations: Wife : Melia McEnery; Ex-wife: Pattie Boyd Harrison; Son: Conor (deceased);
Daughters : Ruth Patricia-Clapton (Born 11th Jan 1985); Julie Rose Clapton (Born 15th Jun 2001), Ella Mae Clapton (Born 14th Jan 2003), Sophie Clapton (Born 1st Feb 2005)

IN the late 1960s, one of the most prominent pieces of graffiti seen in London and New York was "Clapton is God." Thirty years later, the stalwart guitarist and singer continues to hold the initiated enthralled, and a fair share of his present-day fans weren't even born when those words of worship were emblazoned on public edifices. Clapton's meandering and groundbreaking musical career has been punctuated by extreme personal hardship and tragedy. Through the emotional truth of his music, he has sought refuge and release from the suffering of drug and alcohol addiction, personal relationships gone awry, and the deaths of several loved ones.

Eric Patrick Clapton was born on March 30, 1945, in his grandparent's house at 1, The Green, Ripley, Surrey, England. He was the illegitimate son of Patricia Molly Clapton and Edward Fryer, a Canadian soldier stationed in England. After W.W.II Fryer returned to his wife in Canada, Patricia left Eric in the custody of his grandparents, Rose and Jack Clapp. (The surname Clapton is from Rose's first husband, Reginald Cecil Clapton.) Patricia moved to Germany where she eventually married another Canadian soldier, Frank McDonald.

Young Ricky (that's what his grandparent's called him) was a quiet and polite child, an above average student with an aptitude for art. He was raised believing that his grandparents were his parents and his mother was his sister, to shield him the stigma that illegitimacy carried with it. The truth was eventually revealed to him, at the age of nine by his grandmother. Later, when Eric would visit his mother, they would still pretend to be brother and sister.

As an adolescent, Clapton glimpsed the future when he tuned in to a Jerry Lee Lewis appearance on British television. Lewis's explosive performance, coupled with young Eric's emerging love of the blues and American R&B, was powerful enough to ignite a desire to learn to play guitar. He commenced studies at the Kingston College of Art, but his intended career path in stained-glass design ended permanently when the blues-obsessed Clapton was expelled at seventeen for playing guitar in class. He took a job as a manual laborer and spent most of his free time playing the electric guitar he persuaded his grandparents to purchase for him. In time, Clapton joined a number of British blues bands, including the Roosters and Casey Jones, and eventually rose to prominence as a member of the Yardbirds, whose lineup would eventually include all three British guitar heroes of the sixties: Clapton, Jimmy Page, and Jeff Beck. The group became a sensation for their blues-tinged rock, as did the budding guitar virtuoso Clapton, who earned the nickname "Slowhand" because his forceful string-bending often resulted in broken guitar strings, which he would replace onstage while the crowd engaged in a slow hand-clapping.

Despite the popularity of the band's first two albums, Five Live Yardbirds and For Your Love, Clapton left in 1965, because he felt the band was veering away from its bluesy bent in favor of a more commercially viable pop focus. He joined John Mayell's Bluesbreakers almost immediately, and in the ferment of that band's purist blues sensibilities, his talent blossomed at an accelerated rate--he quickly became the defining musical force of the group. "Clapton is God" was the hue and cry of a fanatic following that propelled the band's Bluesbreakers album to No. 6 on the English pop charts. Clapton parted company with the Bluesbreakers in mid-1966 to form his own band, Cream, with bassist Jack Bruce and drummer Ginger Baker. With this lineup, Clapton sought "to start a revolution in musical thought . . . to change the world, to upset people, and to shock them." His vision was more than met as Cream quickly became the preeminent rock trio of the late sixties. On the strength of their first three albums (Fresh Cream, Disraeli Gears, and Wheels of Fire) and extensive touring, the band achieved a level of international fame approaching that of the Rolling Stones and the Beatles, and Clapton became even more almighty in the minds of his fans. In fact, the "Clapton is God" gospel contributed largely to Cream's disintegration--the band had always been a three-headed beast of warring egos, and their intense chemistry, exacerbated by the drug abuse of all three, inevitably led to a farewell tour in 1968 and the release of the Goodbye album in 1969. Early in 1969, Clapton united with Baker, bassist Rick Grech, and Traffic's Steve Winwood to record one album as Blind Faith, rock's first "supergroup." In support of their self-titled album, Blind Faith commenced a sold-out, twenty-four-city American tour, the stress of which resulted in the demise of the band less than a year after its inception.

Clapton kept busy for a time as an occasional guest player with Delaney & Bonnie, the husband-and-wife team that had been Blind Faith's opening act during their tour. A disappointing live album from that collaboration was released in 1970, as was Clapton's self-titled solo debut. That album featured three other musicians--bassist Carl Radle, keyboardist Bobby Whitlock, and drummer Jim Gordon--from Delaney's band, and yielded a modest pop hit with Clapton's version of J.J. Cale's "After Midnight." The collective proceeded to baptize themselves Derek and the Dominos, and commenced recording Clapton's landmark double album Layla and Other Assorted Love Songs, with the added contribution of slide guitarist Duane Allman. An anguished lament of unrequited love, "Layla" was inspired by a difficult love triangle between Clapton, his close friend George Harrison, and Harrison's wife Pattie (she and Clapton eventually married in 1979 and divorced in 1988). Unfortunately, personal struggles and career pressure on the guitarist led to a major heroin addiction. Derek and the Dominos crumbled during the course of an American tour and an aborted attempt to record a second album.

Clapton withdrew from the spotlight in the early seventies, wallowing in his addiction and then struggling to conquer it. Following the advice of the Who's Pete Townsend, he underwent a controversial but effective electro-acupuncture treatment and was fully rehabilitated. He rebounded creatively with a role in the film version of Townsend's rock opera, Tommy, and with a string of albums, including the reggae-influenced 461 Ocean Boulevard, which yielded a chart-topping single cover of Bob Marley's "I Shot the Sheriff." Some critics and fans were disappointed by Clapton's post-rehab efforts, feeling that he had abandoned his former guitar-heavy approach in favor of a more laid-back and vocal-conscious one.

Just One Night, Clapton's galvanizing 1980 live album, reminded devotees just exactly who their guitar hero was, but unfortunately, this period marked Clapton's critical slide into a serious drinking problem that eventually hospitalized him for a time in 1981. He experienced a creative resurgence after reining in his alcoholism, releasing a string of consistently successful albums--Another Ticket (1981), Money and Cigarettes (1983), Behind the Sun (1985), August (1986), Journeyman (1989)--and turning his personal life around. Though some say Clapton never regained the musical heights of his heroin days, his legend nevertheless continued to grow. That he was a paragon of rock became more than apparent when Polygram released a rich four-CD retrospective of his career, Crossroads, in 1988; the set scored Grammy awards for Best Historical Album and Best Liner Notes.

In late 1990, the fates delivered Clapton a terrible blow when guitarist Stevie Ray Vaughan and Clapton road crew members Colin Smythe and Nigel Browne--all close friends of Clapton's--were killed in a helicopter crash. A few months later, he was dealt another cruel blow when Conor, his son by Italian model Lori Del Santo, fell forty-nine stories from Del Santo's Manhattan high-rise apartment to his death. Clapton channeled his shattering grief into writing the heart-wrenching 1992 Grammy-winning tribute to his son, "Tears in Heaven." (Clapton received a total of six Grammys that year for the single and for the album Unplugged.)

In 1994, he began once again to play traditional blues; the album, From the Cradle, marked a return to raw blues standards, and it hit with critics and fans. The fifty-one-year-old Clapton shows no signs of slowing down: in February of 1997 he picked up Record of the Year and Best Male Pop Vocal Performance Grammys for "Change the World," from the soundtrack of the John Travolta movie Phenomenon.

Already a double inductee into the Rock & Roll Hall of Fame as a member of the Yardbirds and Cream, a third nod as a solo artist is an inevitable honor for the legendary guitarist. Until Clapton springs his next album on a waiting world, fans can content themselves with his latest side project, TDF. The band's techno-pedigreed 1997 release, Retail Therapy, represents a marked musical departure from Clapton's blues-rock roots, and he appears on the album with the correspondingly off-the-wall pseudonym "X-Sample."Click here to goto the "Riding With The King" info page

Next came the acclaimed Pilgrim, which captured the Grammy nomination for Best Pop Album in ‘98. In 1999 he won a Grammy for his performance on “The Calling” from Santana’s Supernatural. Clapton revisited the blues with friend and musical legend BB King in 2000’s Riding With The King, garnering the artist more platinum and a Grammy nomination in a career full of chartbusters and precious metal.

The only triple inductee into the Rock & Roll Hall of Fame (as a member of both The Yardbirds and Cream and as a solo artist), Eric Clapton continues to astonish and delight a vast spectrum of music lovers. It’s a legacy that continues with the release of Reptile, the latest journey in the lifelong musical odyssey of an authentic musical genius.

still a friend of mine

2009-03-26T02:07:00.000-07:00

You know as true as trees are tall
And autumn leaves do fall
Oh, it sometimes rains in paradise
And even the warmest heart can turn to ice

I know it happend to us all
Every kind of people fall
And after all the tears are gone
Do we have the heart to carry on

Here and now, still somehow
Still a friend of mine, oh you're still a friend of mine
Still a friend of mine, you're still a friend of mine
Still a friend of mine, oh you're still a friend of mine

To think of all the times I hurt you
And never thought it through
Oh, I treated you so badly baby
Could such a cruel heart ever be free

I know it happens to us all
Every kind of people fall
Oh, and after all is said and done
Do we have the heart to carry on

Here and now, still somehow
Still a friend of mine, oh you're still a friend of mine
Still a friend of mine, you're still a friend of mine
Still a friend of mine, oh you're still a friend of mine

I know as long as I've got you
And we do the things we do
The next time baby
That our love breaks down
I'll do the best that I can
To turn it around

Here and now, still somehow
Still a friend of mine, oh you're still a friend of mine
Still a friend of mine, you're still a friend of mine
Still a friend of mine, oh you're still a friend of mine

Time and time and time again
I'm gonna be right here for you baby
Seasons come and seasons go
Gonna be right here for you

maria maria

2009-03-25T07:24:00.000-07:00

Wyclef:
Ladies and Gents
Turn up your sound systems
To the sound of Carlos Santana and the G 'n B
Ghetto and Blues

Chorus:
Maria Maria
She reminds me of a West Side Story
Growing up in Spanish Harlem
She's living the life just like a movie star

Maria Maria
She fell in love in East L.A.
To the sounds of the guitar yeah, yeah
Played by Carlos Santana

Verse 1:
Stop the looting, stop the shooting
Pick pocking on the corner
See as the rich is getting richer
The poor is getting poorer

Se mira Maria on the corner
Thinking of ways to make it better
In my mailbox there's an eviction letter
Somebody just said see you later

Carlos Santana:
Ahora vengo mama chola mama chola
Ahora vengo mama chola

Ahora vengo mama chola mama chola
Ahora vengo mama chola

Chorus:
Maria Maria
She reminds me of a West Side Story
Growing up in Spanish Harlem oh, oh
She's living the life just like a movie star

Oh!

Maria Maria
She fell in love in East L.A.
I said to the sounds of the guitar yeah, yeah
Played by Carlos Santana

Verse 2:
I said a la favella los colores
The streets are getting hotter
There is no water to put out the fire
Mi canto la esperanza

Se mira Maria on the corner
Thinking of ways to make it better
Then I looked up in the sky
Hoping of feel the paradise!

Carlos Santana:
Ahora vengo mama chola mama chola
Ahora vengo mama chola (Northside)
Ahora vengo mama chola mama chola
Ahora vengo mama chola (Southside)
Ahora vengo mama chola mama chola
Ahora vengo mama chola (Worldwide)
Ahora vengo mama chola mama chola
Ahora vengo mama chola (Open up your eyes)

Bridge:
Maria you know you're my lover
When the wind blows I can feel you through the weather
And even when we are apart
It still feels like we're together

Chorus:
Maria Maria
She reminds me of a West Side Story
Growing up in Spanish Harlem
She's living the life just like a movie star

Oh!

Maria Maria! Oh!
She fell in love in East L.A.
To the sounds of the guitar
Played by Carlos Santana

no woman no cry

2009-03-25T07:23:00.001-07:00

Said said
Said I remember when we used to sit
In the government yard in Trenchtown
Oba, ob-serving the hypocrites
As they would mingle with the good people we meet
Good friends we have had, oh good friends we've lost along the way
In this bright future you can't forget your past
So dry your tears I say

No woman, no cry
No woman, no cry
Oh my Little sister, don't she'd no tears
No woman, no cry

Said, said, said I remember when we used to sit
In the government yard in Trenchtown
And then Georgie would make the fire light
Log wood burnin' through the night
Then we would cook corn meal porridge
Of which I'll share with you

My feet is my only carriage
So I've got to push on through
But while I'm gone...

Everything's gonna be alright
Ev'rything's gonna be alright
Ev'rything's gonna be alright
Ev'rything's gonna be alright
Ev'rything's gonna be alright
Ev'rything's gonna be alright
Ev'rything's gonna be alright
Ev'rything's gonna be alright

No woman, no cry
No, no woman, no woman, no cry
Oh, little sister, don't she'd no tears
No woman, no cry

No woman, no woman, no woman, no cry
No woman, no cry
Oh, my little darlyn no she'd no tears
No woman, no cry, yeah
any sister no she'd no tears, no women no cry

No woman no cry, no woman no cry
No woman no cry, no woman no cry

Say, say, said I remember when we used to sit
In a government yard in Trenchtown
Obba, obba, serving the hypocrites
As the would mingle with the good people we meet
Good friends we have, oh, good friends we've lost
Along the way
In this great future,
You can't forget your past
So dry your tears, I say

No woman no cry, no woman no cry
Little darling, don't she'd no tears, no woman no cry
Say, say, said I remember when we used to sit
In the government yard in Trenchtown
And then Georgie would make the fire light
As it was, love would burn on through the night
Then we would cook cornmeal porridge
Of which I'll share with you
My fear is my only courage
So I've got to push on thru
Oh, while I'm gone

Everything 's gonna be alright, everything 's gonna be alright
Everything 's gonna be alright, everything 's gonna be alright
Everything 's gonna be alright, everything 's gonna be alright
Everything 's gonna be alright, everything 's gonna be alright
So woman no cry, no, no woman no cry
Oh, my little sister
Don't she'd no tears
No woman no cry
I remember when we use to sit
In the government yard in Trenchtown
And then Georgie would make the fire lights
As it was, log would burnin' through the nights
Then we would cook cornmeal porridge
Of which I'll share with you
My fear is my only courage
So I've got to push on thru
Oh, while I'm gone
No woman no cry, no, no woman no cry
Oh, my little darlin'
Don't she'd no tears
No woman no cry, No woman no cry

Oh my Little darlin', don't she'd no tears
No woman no cry
Little sister, don't she'd no tears
No woman no cry

i'm yours

2009-03-25T07:20:00.000-07:00

Intro Chords (relative to Capo): G D Em C
Intro Tab (relative to Capo):

------------------------------------------------|
------------------------------------------------|
--7/9-7-----7/9-7-----7/9-----------------------|
--------------------------9----9--9/10---10/5---| x2

G
Well you dawned on me and you bet I felt it,
D
I tried to be chill but you're so hot that I melted,

Em
I fell right through the cracks,

C
And now I'm tryin to get back....

G
Before the cool dun run out, Ill be givin it my bestest

D
Nothin's gonna stop me but divine intervention

Em
I reckon its again my turn,

C D
To Win some or learn some....

CHORUS:

G D
But I wont hesitate

Em
No more, No more

C G---D---Em---C----(D again if it feels good)
It can not wait; I'm Yours

hotel california

2009-03-25T07:17:00.000-07:00

{title:Hotel California}

[Bm]On a dark desert highway, [F#]cool wind in my hair
[A]Warm smell of colitas, [E]rising through the air
[G]Up ahead in the distance, [D]I saw a shimering light
[Em]My head grew heavy and my sight grew dim, [F#]I had to stop for the night

[Bm]There she stood in the doorway, [F#]I heard the mission bell
[A]And I was thinking to myself: this could be [E]heaven or this could be hell
[G]Then she lit up a candle [D]and she showed me the way
[Em]There were voices down the corridor; [F#]I thought I heard them say:

{start_of_chorus}
"[G]Welcome to the Hotel Califor[D]nia
[F#]Such a lovely place (such a lovely place), such a [Bm]lovely face
[G]Plenty of room at the Hotel Califor[D]nia
Any [Em]time of year (any time of year), you can [F#]find it here"
{end_of_chorus}

[Bm]Her mind is Tiffany twisted, [F#]she got the Mercedes Benz
[A]She got a lot of pretty, pretty boys, [E]that she calls friends
[G]How they dance in the courtyard, [D]sweet summer sweat
[Em]Some dance to remember, [F#]some dance to forget

[Bm]So I called up the captain, "[F#]Please bring me my wine", He said
[A]"We haven't had that spirit here since [E]nineteen sixty-nine"
[G]And still those voices are calling from [D]far away
[Em]Wake you up in the middle of the night, [F#]just to hear them say:

"[G]Welcome to the Hotel Califor[D]nia
[F#]Such a lovely place (such a lovely place), such a [Bm]lovely face
They [G]livin' it up at the Hotel Califor[D]nia
What a [Em]nice surprise (what a nice surprise), bring your [F#]alibis"

[Bm]Mirrors on the ceiling, [F#]the pink champagne on ice, and she said
"[A]We are all just prisoners here, [E]of our own device"
[G]And in the master's chambers, [D]they gathered for the feast
[Em]They stab it with their steely knives but they [F#]just can't kill the beast

[Bm]Last thing I remember, I was [F#]running for the door
[A]I had to find the passage back to the [E]place I was before
"[G]Relax," said the night man, "We are [D]programmed to receive
[Em]You can check out any time you like, but [F#]you can never leave"

{comment: chorus}

hotel california
eagles

E|--------------------7--10--12--|------9----------9----------| I
B|--7-----7-----7----------------|--11-----11-------------11--| N
G|--7--7-----------7-----7---9---|--11---------11-----11------| T
D|--9--------9-------------------|--8-------------------------| R
A|--9----------------------------|----------------------------| O
E|--7----------------------------|----------------------------|

E|--5-----5--5--7--5--------5--7--7-----|-----7-----7--------7--|
B|-----5-----------------5-----------7--|--7-----------7--------|
G|--------------------------------------|--7-----7--------7-----|
D|--7-----------------7--------7--------|-----------------------|
A|--------------------------------------|-----------------------|
E|--------------------------------------|-----------------------|

E|-----7-----7--------7-------------10--|
B|--8-----------8--------8--10^h12------|
G|--7-----7--------7--------------------|
D|--9-----------------------------------|
A|--------------------------------------|
E|--------------------------------------|

E|------10----------10----------10----------10------|
B|--10------------------------------10----------11--|
G|----------11--11------11--11----------------------|
D|--------------------------------------12----------|
A|--------------------------------------------------|
E|--------------------------------------------------|

E|-----7-----7--------7--7---------|------9------9----------9--|
B|--------------8--8--------8------|----------------11---------|
G|--9-----9--------------------9---|--11-----11---------11-----|
D|---------------------------------|---------------------------|
A|-----------------------------10--|--9------------------------|
E|---------------------------------|---------------------------|

E|--7--7-----10--------7--7-----------|------9----------9----------|
B|--7-----7------7--7--------7--------|--11-----11-------------11--|
G|--7---------------------------7^h9--|--11---------11-----11------|
D|--9--------9------------------------|--8-------------------------|
A|--9---------------------------------|----------------------------|
E|--7---------------------------------|----------------------------|

E|--5-----5--5--7--5--------5--7--7-----|--------------------7--|
B|-----5-----------------5-----------7--|--7--7-----------------|
G|--------------------------------------|--7-----7-----7--------|
D|--7-----------------7--------7--------|--9--------9-----9-----|
A|--------------------------------------|-----------------------|
E|--------------------------------------|-----------------------|

E|-----7-----7--------7-------------10--|
B|--8-----------8--------8--10^h12------|
G|--7-----7--------7--------------------|
D|--9-----------------------------------|
A|--------------------------------------|
E|--------------------------------------|

E|------10----------10------------------------------|
B|--10--------------------------10----------10------|
G|----------11--11------11--11------11--------------|
D|--------------------------------------12------12--|
A|--------------------------------------------------|
E|--------------------------------------------------|

E|-----7-----7--------7--7---------|------9------9----------9--|
B|--------------8--8--------8------|----------------11---------|
G|--9-----9--------------------9---|--11-----11---------11-----|
D|---------------------------------|---------------------------|
A|-----------------------------10--|--9------------------------|
E|---------------------------------|---------------------------|

(The INTRO is now repeated as the first half of verse 1 before the
chords take over)

SOLO
~~~~~~
E|-----------------7--|--9b(10)-----------------------------|
B|----------7^h10-----|----------------~~-------------------|
G|--9b(11)------------|----------9^h11^p9--7--9--9b(11)--7--|
D|--------------------|-------------------------------------|
A|--------------------|-------------------------------------|
E|--------------------|-------------------------------------|

E|---------------------------------|
B|---------------------------------|
G|----~~~----------------~~~-------|
D|--7b(8)--9--9^p8^p7--7b(8)r(7)\--|
A|---------------------------------|
E|---------------------------------|

E|---------------------------------------------------------|
B|---------------------------------------------------------|
G|--7--9--9b(11)--7-------~~--7--9--9b(11)--7--------------|
D|-------------------9^p8^h9-------------------9^p7^h9^p7--|
A|---------------------------------------------------------|
E|---------------------------------------------------------|

E|-----------7--10--7-------------~~~~~--7-----10b(12)^^^
B|--10b(12)------------10^p7^h10--8b(9)-----7-----------|
G|------------------------------------------------------|
D|------------------------------------------------------|
A|------------------------------------------------------|
E|------------------------------------------------------|

.
E|^^--10--10b(12)r(10)--7---------------10--------------(10)X--(10)X--|
B|-------------------------10--10b(12)------(12)r10--8----------------|
G|--------------------------------------------------------------------|
D|--------------------------------------------------------------------|
A|--------------------------------------------------------------------|
E|--------------------------------------------------------------------|

E|----------10------------------------|
B|------------------------------~-----|
G|--9b(11)------(11)r9^p7--7/6--7--7^^^
D|------------------------------------|
A|------------------------------------|
E|------------------------------------|

E|---------------------------------------------------------------------|
B|---------------------------------------- PH --------------------~--|
G|^h9/12--11b(12)r11--9------9--11b(12)--11b(12)--11b(12)r11--9--7--9--|
D|-----------------------12--------------------------------------------|
A|---------------------------------------------------------------------|
E|---------------------------------------------------------------------|

E|-------------------------7-------------------|
B|----------7--10-------------7--------~~~~~~--|
G|--9b(11)---------9b(11)--------9^p7--9b(11)--|
D|---------------------------------------------|
A|---------------------------------------------|
E|---------------------------------------------|

E|-------------------------7----------7---------------------------------|
B|----------7--10------------------------7----------7-------------------|
G|--9b(11)---------9b(11)-----9b(11)--------9b(11)-----(11)r9^p7^h9^p7--|
D|----------------------------------------------------------------------|
A|----------------------------------------------------------------------|
E|----------------------------------------------------------------------|

E|----------------|--------------------------------------------------|
B|--~~~~~~--(7)/--|--9b(10)(then release 1/4)-----7------------------|
G|--9b(11)--------|----------------------------9-----7(bend up 1/4)--|
D|----------------|--------------------------------------------------|
A|----------------|--------------------------------------------------|
E|----------------|--------------------------------------------------|

E|--------------------------7------------------10----------------------|
B|-----10b(12)r10--10b(12)-----10^p7--10b(12)------10--12--11--10--9/--|
G|---------------------------------------------------------------------|
D|--9------------------------------------------------------------------|
A|---------------------------------------------------------------------|
E|---------------------------------------------------------------------|

E|-------------------12---------------17-----------------------|
B|-----------12--15------15--17b(19)------(19)r17--15--17--15--|
G|--14b(16)----------------------------------------------------|
D|-------------------------------------------------------------|
A|-------------------------------------------------------------|
E|-------------------------------------------------------------|

E|-----------14--16--17--17b(19)-----------~~--------------|
B|--17b(19)-----------------------(19)r17--15--17--17^p15--|
G|---------------------------------------------------------|
D|---------------------------------------------------------|
A|---------------------------------------------------------|
E|---------------------------------------------------------|

E|-----------17--17-----------~~~~~~~-------------------|
B|--17b(19)----------(19)r17--17b(19)--(19)r17^p15^h17--|
G|------------------------------------------------------|
D|------------------------------------------------------|
A|------------------------------------------------------|
E|------------------------------------------------------|

E|-----------17--17-----------~~~~~~~--14^^^^^^^^--17b(19)^^|
B|--17b(19)----------(19)r17--17b(19)-----------------------|
G|-------------------------------------19^p18^p16-----------|
D|----------------------------------------------------------|
A|----------------------------------------------------------|
E|----------------------------------------------------------|

E|^^(19)--------------------------------------------|------|
B|-----------------12-----------12------------------|--~~--|
G|--------15b(16)------15b(16)----------------------|--15--|
D|-----------------------------------16\12----------|------|
A|------------------------------------------14--13--|------|
E|--------------------------------------------------|------|

(bend from 12 to 14 and release gradually over the next 9 notes so that
the tenth is an E at the 12'th fret)

E|--12b(14)r(14)r(14)r(14)r(14)r(13)r(13)r(13)r(13)r12--12^p10------12--10--|
B|--------------------------------------------------------------12----------|
G|--------------------------------------------------------------------------|
D|--------------------------------------------------------------------------|
A|--------------------------------------------------------------------------|
E|--------------------------------------------------------------------------|

E|----------------------------------------------------|
B|--12--10----------------------------10\-------------|
G|----------(11)r9------9------9--11-------7--9b(11)--|
D|------------------12-----12-------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|

E|-----------------------------------------------------------|
B|--15^p12--14^p10--12^p8--10^p7--8--------------------------|
G|--------------------------------7--------------------------|
D|--16^p12--14^p11--12^p9--11^p7--9--0^h4-----------------0--|
A|-----------------------------------------5^h7^p5-----------|
E|--------------------------------------------------5^h7-----|

~~ ~~ ~~
E|--14--12^p10--10^p9--10-~--|--~--~--~~--~~--|--~~--9---10--12--|
B|--15--10^^^^---------7--7--|--8--8--10--12--|--11--11--12--14--|
G|--14--11^^^^--11^p9--7--7--|--9--9--11--12--|--11--------------|
D|---------------------------|----------------|------------------|
A|---------------------------|----------------|------------------|
E|---------------------------|----------------|------------------|

E|--14--10------14--10------14--10------14--10------14--10-------|
B|--12--12--12--12--12--12--12--12--12--12--12--12--12--12--12\--|
G|---------------------------------------------------------------|
D|---------------------------------------------------------------|
A|---------------------------------------------------------------|
E|---------------------------------------------------------------|
~~
E|--12--9-------12--9-------12--9---18--|
B|--11--11--11--11--11--11--11--11--19--|
G|--------------------------------------|
D|--------------------------------------|
A|--------------------------------------|
E|--------------------------------------|

E|--12--9-------12--9-------12--9-------12--9-------12--9--------|
B|--10--10--10--10--10--10--10--10--10--10--10--10--10--10--10\--|
G|---------------------------------------------------------------|
D|---------------------------------------------------------------|
A|---------------------------------------------------------------|
E|---------------------------------------------------------------|
~~
E|--10--7-----10--7-----10--7--16--|
B|--9---9--9--9---9--9--9---9--17--|
G|---------------------------------|
D|---------------------------------|
A|---------------------------------|
E|---------------------------------|

E|--10--7-----10--7-----10--7-----10--7-----10--7-----|
B|--8---8--8--8---8--8--8---8--8--8---8--8--8---8--8--|
G|----------------------------------------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|
~~
E|--10--5-----10--5-----10--5--14--|
B|--7---7--7--7---7--7--7---7--15--|
G|---------------------------------|
D|---------------------------------|
A|---------------------------------|
E|---------------------------------|

E|-----------------------------------------------------|
B|--12--8-----12--8-----12--8-----12--8-----12--8------|
G|--9---9--9--9---9--9--9---9--9--9---9--9--9---9--9\--|
D|-----------------------------------------------------|
A|-----------------------------------------------------|
E|-----------------------------------------------------|

E|----------------------------------~~--|
B|--14--11------14--11------14--11--14--|
G|--11--11--11--11--11--11--11--11--14--|
D|--------------------------------------|
A|--------------------------------------|
E|--------------------------------------| (fade....)
E|--14--10------14--10------14--10------14--10------14--10-------|
B|--12--12--12--12--12--12--12--12--12--12--12--12--12--12--12\--|
G|---------------------------------------------------------------|
D|---------------------------------------------------------------|
A|---------------------------------------------------------------|
E|---------------------------------------------------------------|
~~
E|--12--9-------12--9-------12--9---18--|
B|--11--11--11--11--11--11--11--11--19--|
G|--------------------------------------|
D|--------------------------------------|
A|--------------------------------------|
E|--------------------------------------|

E|--12--9-------12--9-------12--9-------12--9-------12--9--------|
B|--10--10--10--10--10--10--10--10--10--10--10--10--10--10--10\--|
G|---------------------------------------------------------------|
D|---------------------------------------------------------------|
A|---------------------------------------------------------------|
E|---------------------------------------------------------------|
~~
E|--10--7-----10--7-----10--7--16--|
B|--9---9--9--9---9--9--9---9--17--|
G|---------------------------------|
D|---------------------------------|
A|---------------------------------|
E|---------------------------------|

E|--10--7-----10--7-----10--7-----10--7-----10--7-----|
B|--8---8--8--8---8--8--8---8--8--8---8--8--8---8--8--|
G|----------------------------------------------------|
D|----------------------------------------------------|
A|----------------------------------------------------|
E|----------------------------------------------------|
~~
E|--10--5-----10--5-----10--5--14--|
B|--7---7--7--7---7--7--7---7--15--|
G|---------------------------------|
D|---------------------------------|
A|---------------------------------|
E|---------------------------------|

E|-----------------------------------------------------|
B|--12--8-----12--8-----12--8-----12--8-----12--8------|
G|--9---9--9--9---9--9--9---9--9--9---9--9--9---9--9\--|
D|-----------------------------------------------------|
A|-----------------------------------------------------|
E|-----------------------------------------------------|

E|----------------------------------~~--|
B|--14--11------14--11------14--11--14--|
G|--11--11--11--11--11--11--11--11--14--|
D|--------------------------------------|
A|--------------------------------------|
E|--------------------------------------|

--

Hotel N2:

============================================================================
but you can never leave...

------------|-------------------------------|-------------------|
------10/12-|-h15-10-12--------------7------|-------------------|
-4/11-------|-----------10\9-----7-9----7h8-|------4/7\4--------|
------------|-------------------------------|-8-----------7h8\4-|
------------|-------------------------------|-------------------|
------------|-------------------------------|-------------------|

------------------------------------|------?----------------------7---10h12-|
--------7---------------7-----------|-10h12--10h12h10\7-10-8h9------7-------|
----7/9---7h8-------7/9---7h8-------|---------------------------------------|
---x----------9\8-9-----------9\8-9-|---------------------------------------|
--x---------------------------------|---------------------------------------|
-x----------------------------------|---------------------------------------|

---10-(10)-12po10\7-------10-----------------|------10---------------------|
--------------------10h12----(10)-12h10\8-x--|-----------------------------|
---------------------------------------------|-9h11----9h11po9-7-7\6-7-----|
-------------------------------------------x-|-----------------------------|
---------------------------------------------|-----------------------------|
---------------------------------------------|-----------------------------|

-----------------------------------------------|
-----7h8-(7)-8po7-------7h8-(7)h8-(7)h8po7-----|
-7/9--------------9\7-9--------------------9\7-|
-----------------------------------------------|
-----------------------------------------------|
-----------------------------------------------|

------------------7---------------------|
------7-10------7-----------------------|
-9h11------9h11-----(9)h11po9\7-9h11----|
----------------------------------------|
----------------------------------------|
----------------------------------------|

------------------7------7-7---------------|
------7-10------7--------7-7---------------|
-9h11------9h11-----9h11-----9h11po9\7-9\7-|
-------------------------------------------|
-------------------------------------------|
-------------------------------------------|

---------------|------------------------------------------|
---------------|----7h10po7-5-7--------10h12-(10)h12-10-7-|
-11/19---------|--x-------------7h8-----------------------|
---------------|-x------------------9---------------------|
---------------|x-----------------------------------------|
---------------|------------------------------------------|

-------10---------------------|--------------12----------------|
-10/12----10-12-11-10-9/17----|-----12-15h16----15-17\15-17\15-|
----------------------------14|h16-----------------------------|
------------------------------|--------------------------------|
------------------------------|--------------------------------|
------------------------------|--------------------------------|

-------15-16-17-17h19-----------------------------|
-17/19----------------(17)h19po17-15----17--17\15-|
--------------------------------------------------|
--------------------------------------------------|
--------------------------------------------------|
--------------------------------------------------|

--------17-17------------------------------|
-17h19--------(17)h19po17-15-----17--17\15-|
-------------------------------------------|
-------------------------------------------|
-------------------------------------------|
-------------------------------------------|

--------17-17-------------------------------------|
-17h19--------(17)h19p17-(17)h19---(17)h19po17-15-|
--------------------------------------------------|
--------------------------------------------------|
--------------------------------------------------|
--------------------------------------------------|

------17-17---------------------------------------||
-? ?--------(17)h19po17-(17)h19----(17)h19po17\15-||
--------------------------------------------------||
--------------------------------------------------||
--------------------------------------------------||
--------------------------------------------------||

-----------------10-------10----------|---------------------|
-14h15-----13h15----13h15-------------|---11----------------|
-----------------------------11\7-----|---------------------|
----------------------------------9-8-|---------------------|
--------------------------------------|---------------------|
--------------------------------------|---------------------|

------------------------------------------------------------------------
-17h19--(17)h19-(17)h18-(17)h18-(17)h18-(17)h18-(17)h18po17-(17)h18po17-
------------------------------------------------------------------------
------------------------------------------------------------------------
------------------------------------------------------------------------
------------------------------------------------------------------------

-------------------------|---------------------------------|
-17-17-17\15----17-15/16-|---------------------------------|
-------------16----------|-16-----14-----------------14--?-|
-------------------------|-----------16\14\12-14/16--------|
-------------------------|---------------------------------|

-7--------------------------------|----7----------------------------|
---7-10---7-----------------------|------10-------------------------|
--------9---7-9---7---------------|---------11-(9)h11po9-7--------7-|
----------------9-----7-----------|-7-------------------------------|
--------------------9---9\7-5-7/9-|---------------------------------|
----------------------------------|---------------------------------|

---------------------|------------------9---|
---------------------|---------11-12--------|
-9-----9--11-----12--|-11-------------------|
---------------------|----------------------|
---------------------|----------------------|
---------------------|----------------------|

Now the rest of this is the ending repeat section:

-10\7---10\7---10\7---10\7---10\7-----|
------7------7------7------7------7\5-|
--------------------------------------|
--------------------------------------|
--------------------------------------|
--------------------------------------|

-9\6---9\6---9\6-12/14---------|-9\5---9\5---9\5---9\5---9\5-------|
-----7-----7-------------------|-----5-----5-----5-----5-----5-----|
-------------------------------|-----------------------------------|
-------------------------------|-----------------------------------|
-------------------------------|-----------------------------------|
-------------------------------|-----------------------------------|

-7\4---7\4---7\4---10/12--------|-7\3---7\3---7\3---7\3---7\3----|
-----5-----5-----5--------------|-----3-----3-----3-----3-----3--|
--------------------------------|--------------------------------|
--------------------------------|--------------------------------|
--------------------------------|--------------------------------|
--------------------------------|--------------------------------|

-5\2---5\2---5\2--8/10-------|-3\0---3\0---3\0---3\0---3\0---|
-----3-----3-----------------|-----0-----0-----0-----0-----0-|
-----------------------------|-------------------------------|
-----------------------------|-------------------------------|
-----------------------------|-------------------------------|
-----------------------------|-------------------------------|

-6\2---6\2---6\2--7/9-------------|
-----2-----2----------------------|
----------------------------------| and repeat this last section to fade
----------------------------------|
----------------------------------|

walkin blues

2009-03-25T07:16:00.000-07:00

Woke up this morning, feel 'round for my shoes,
You know 'bout that babe, had them old walkin' blues.
Woke up this morning, I feel 'round for my shoes,
You know 'bout that babe, Lord, I had them old walkin' blues.

Leavin' this morning, I had to go ride the blinds.
I've been mistreated, don't mind dying.
This morning, I had to go ride the blinds,
I've been mistreated, Lord, I don't mind dying.

People tell me walkin' blues ain't bad
Intro:
G
~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~
|-10/12-12-12-11/12-12-12-11/12-12-12-11/12-12-12-----------------------------------------0--|
|-10/12-------------------11/12-------11/12-------11/12---11/12-11/12---11/12--------x-------|
|-------------------------------------------------11/12---11/12---------------12-----x-------|
|-----------------------------------------------------------------------------12-----x-------|
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

G
~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~~~~ ~~ ~~~~~ ~~ ~~ ~~ ~~
~~ F#
|-10/12-12-12-11/12-12-12-11/12-12-12-11/12-12-12-------12-------12--------------------------|
|-10/12-------------------------------------------11/12----11/12----11/12---------12-12---11-|
|-------------------------------------------------------------------------12-12---12-12---11-|
|---------------------------------------------------------------------------------12-12---11-|
|---------------------------------------------------------------------------------12-12---11-|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

F C
~~ ~~~~
|----------x---------------------------------------------------------------------------------|
|-10-------x---------------------------------------------------------------------------------|
|-10-------x--------5------------------------------------------------------------------------|
|-10-------x--------5------------------------------------------------------------------------|
|----------------3//5--------------------------------0---------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x

C
~ ~ ~ ~ ~~~ ~~~ ~~~ ~~~~~ ~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-5--------5--------5/3----0/3---------------------------------------------------------------|
|-5-----5--5-----5--5/3----0/3--0-----0------------------------------------------------------|
|-5-----5--5-----5--5/3----0/3--0-----0-----0--------0--3/5\3-0-2/3-0-2/3--------------------|
|-------5--------5-----------------0-------------2/4----------0-2/3-0-2/3--------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

G D
~~~ ~ ~ ~ ~~~ ~~~ ~~~ ~~~~~ ~~~
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|-0----3/5-5-----5--5-----0--------0--5/7------------0--5/7\5----------0---------------------|
|-0--------------------------0-2/4-------------0-2/4-------------0-2/4-----------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

C G G7 G6 G+5
~~~ ~~~ ~~~ ~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-------------------------------------------0--0-----0--0-----0--0-----0---------------------|
|-------------------------------------------0--0-----0--0-----0--0-----0---------------------|
|-3/5------------0--5\3---------0-----0--------3--------2--------1-----1---------------------|
|-3/5------0-2/4----5\3---0-2/3-0-2/3-0------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

G D G
~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-0------------------------------------------------------------------------------------------|
|-0------------------------------------------------------------------------------------------|
|-0--------0-----0--------0--0--------0-----0------------------------------------------------|
|------2/4------------------------3/4-0------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x

Verse 1:
G7 G6 G G7 G6 G
~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-0-----0--0-----0--0-----------------0-----0--0-----0--0------------------------------------|
|-0-----0--0-----0--0-----------------0-----0--0-----0--0------------------------------------|
|-3--------2--------0--------0-----0--3--------2--------0--------0---------------------------|
|------------------------3/4-0-------------------------------3/4-0-----0---------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
Woke up this mornin' feel 'round for my shoes.

G7 G6 G G7 G6 G C
~~~ ~~~~
|--------------------------------------------------------------------------------------------|
|-0-----0--0-----0--0-----------------0-----0--0-----0--0------------------------------------|
|-0-----0--0-----0--0-----------------0-----0--0-----0--0--------------5---------------------|
|-3--------2--------0--------0-----0--3--------2--------0--------5-----5---------------------|
|------------------------3/4-0--------------------------------3//5---------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
You know about that, babe had them old walkin' blues.

Verse 2:
C G
~ ~ ~ ~ ~~~~ ~ ~~~~ ~~~~ ~~~
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|-5-----5--5-----5--0--------------5--0-----------------5------------------------------------|
|-5-----5--5-----5--0--------5-----5--0-----------------5--0---------------------------------|
|-------------------------3//5--------------3//5-----3//5-----0-------2/4--------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
Woke up this mornin' I feel 'round for my shoes.

G D
~~~ ~~~ ~~~ ~~~ ~~~ ~~~
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|----------------------------0-----------------------0------------7--------------------------|
|-0----3/5-------0-----------0--------0----3/5----------0-----0---7--------------------------|
|-------------------0-------------2/4-------------------0-2/4-0-5/7--------------------------|
|------------------------3/5-----------------------------------------------------------------|
x x x x x x x x

D C G
~~~~ ~ ~ ~~~
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|-------------------0-----------------5--------5--------5\0------------0---------------------|
|-------------------0--------5--------5--------5--------5\0---0------------------------------|
|-------------------------3//5-----------------5-----------------0---------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
You know about that, baby Woo-Lord, I had them old walkin' blues.

G7 G6 G+5 G5 D G
~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-----0----0--------0------------------------------------------------------------------------|
|----------0-----0--0-----0------------------------------------------------------------------|
|-3-----3--2-----2--1-----1--0--------0-----0--------0--0--------------0---------------------|
|---------------------------------2/4-----------------------3/4--0---------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

Verse 3:
G7 G6 G G7 G6 G
~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-0--------0--------0-----------------0--------0--------0------------------------------------|
|-------------------0-----------------------------------0------------------------------------|
|-3-----3--2-----2--0--------------0--3-----3--2-----2--0--------------0---------------------|
|------------------------3/4-0-------------------------------3/4-0---------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
I'm leavin' this mornin' I have ta go ride the blinds.

G7 G6 G G7 G6 G C
~~~ ~~~~
|--------------------------------------------------------------------------------------------|
|-0--------0--------0-----------------0--------0--------x------------------------------------|
|-------------------0--------------------------0--------x------------------------------------|
|-3----3---2-----2--0--------------0--3-----3--2-----2--x------------------------------------|
|------------------------3/4-0--------------------------x-----3//5---------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
I been mistreat ed. I don't mind dyin' this a mornin',

C G
~~~~ ~~~~ ~~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-x-----------------x-----------------x-----------------5------------------------------------|
|-x-----------------x-----------------x--------5--------5------------------------------------|
|-x-----------------x-----------------x--------5--------5-----0------------------------------|
|-x-----3//5--------x-----3//5--------x-----3//5-----------------0----2/4--------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
If I have ta go ride a blind

G D
~~~ ~~~ ~~~ ~~~ ~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-----------------------------------------------------------------7--------------------------|
|-------------------------------------------------------------0---7--------------------------|
|-0----3/5----------------------------0----3/5-------0--------0-5/7--------------------------|
|----------------0-----------0----2/4-------------------0-2/4--------------------------------|
|------------------------3/5-----------------------------------------------------------------|
x x x x x x x x

D C G
~~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-----------------------------------------------------------------------0--------------------|
|-------------------0-----------------5--------5--------5\0------0------0--------------------|
|-------------------0--------5--------5--------5--------5\0------0---------------------------|
|-------------------------3//5-----------------5--------------0------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
I been mistreat ed. Woo-Lord, I don't mind dyin'

G7 G6 G+5 G5 D G
~~~
|----------------------------------------------------0--0-----0------------------------------|
|-0-----0--0-----0--0-----0--0-----------------------0--0-----0------------------------------|
|-0-----0--0-----0--0-----0--0--------------------------0------------------------------------|
|-3-----3--2-----2--1-----1--0--------0-----0-----------0------------------------------------|
|---------------------------------2/4--------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

Solo 1:
G
~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~
|-10/12-12-12-11/12-12-12-11/12-12-12-11/12-12-12---------------------------------------0----|
|-10/12-------11/12-------11/12-------11/12-------11/12---11/12-11/12---11/12--------0--0----|
|-------------------------------------------------11/12-----------------------12-----0-------|
|-----------------------------------------------------------------------------12-----0-------|
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

G
F#
~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~ ~~~~~ ~~ ~~~~~ ~~ ~~~~~ ~~ ~~ ~~ ~~
~~
|-10/12-12-12-11/12-12-12-11/12-12-12-11/12-12-12-------12-------12--------------------------|
|-10/12-------11/12-------11/12-------11/12-------11/12----11/12----11/12---------12-12---11-|
|-------------------------------------------------------------------------12-12---12-12---11-|
|---------------------------------------------------------------------------------12-12---11-|
|---------------------------------------------------------------------------------12-12---11-|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

F C
~~ ~~~~
|--------------------------------------------------------------------------------------------|
|-10----------------5------------------------------------------------------------------------|
|-10-------0--------5------------------------------------------------------------------------|
|-10-------0--------5------------------------------------------------------------------------|
|----------0-----3//5------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x

C
~~~ ~~~ ~~~ ~~~ ~~~~~ ~~~ ~~~ ~~~~~ ~~~ ~~~
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|----------------------------2/3-0-----------------------------------------------------------|
|-4/5--4/5-4/5--4/5-4/5\3-0--2/3-0-------0-------2/4-0--3/5\3-0-2/3-0-2/3--------------------|
|-4/5--4/5-4/5--4/5-4/5\3-0--------0-------------2/4------------2/3-0-2/3--------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

G D
~~~ ~ ~ ~ ~~~ ~~~ ~~~ ~~~~~ ~~~
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|-0----3/5-5-----5--5-----0----2/4-0--5/7--------2/4-0--5/7\5----------0---------------------|
|-0--------------------------0-2/4-------------0-2/4-------------0-2/4-----------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

C G G7 G6 G+5
~~~ ~~~ ~~~ ~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-------------------------------------------0--0--0-----0-----0--0-----0---------------------|
|-------------------------------------------0--0--------0-----0--0-----0---------------------|
|-3/5------------0--5\3-----2/3-0-2/3-0-----0--3-----3--2--------1---------------------------|
|----------0-2/4----------0-2/3-0-2/3-0------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

G D G
~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-0------------------------------------------------------------------------------------------|
|-0------------------------------------------------------------------------------------------|
|-0--------0-----0--------0--0--------0-----0------------------------------------------------|
|------2/4------------------------3/4-0------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x

Verse 4:
G7 G6 G G7 G6 G
~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-0--------0--------0-----------------0--------0--------0------------------------------------|
|-0-----0--0-----0--0-----------------0-----0--0-----0--0------------------------------------|
|-3-----3--2-----2--0--------0-----0--3-----3--2-----2--0--------0-----0---------------------|
|------------------------3/4-0-------------------------------3/4-0---------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
People tell me the walkin' blues ain't bad.

G7 G6 G G7 G6 G C
~~~ ~~~~
|--------------------------------------------------------------------------------------------|
|-0--------0--------0-----------------0--------0--------x------------------------------------|
|-0-----0--0-----0--0-----------------0-----0--0-----0--x--------5-----5---------------------|
|-3-----3--2-----2--0--------0-----0--3-----3--2-----2--x--------5-----5---------------------|
|------------------------3/4-0--------------------------------3//5---------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
The worse old feelin' I most ever had

C G
~~~~ ~~~~ ~~~~ ~~~
|--------------------------------------------------------------------------------------------|
|-x--------x-----0--x-----------------x-----------------x------------------------------------|
|-x-----5--x-----0--x--------5--------x--------5--------x------------------------------------|
|-x-----5--x-----0--x--------5--------x--------5--------x------------------------------------|
|-------------------------3//5--------------3//5--------x-------------2/4--------------------|
|-------------------------------------------------------------3//5---------------------------|
x x x x x x x x
People tell me the old walkin' blues ain't bad.

G D
~~~ ~~~ ~~~ ~~~ ~~~~~
|---------------------------------------------------------------12---------------------------|
|---------------------------------------------------------------12---------------------------|
|--------------------------------------------------------------------------------------------|
|-0----3/5-------0--------------------0----3/5-------0-------10/12---------------------------|
|-------------------0--------0----2/4-------------------0----10/12---------------------------|
|------------------------3/5-----------------------------------------------------------------|
x x x x x x x x
Well it's the

D C G
~~~~ ~ ~ ~ ~~~
|----------------0---------------------------------------------------------------------------|
|----------------0--0------------------------------------------------------------------------|
|-------------------0--------5--------5--------5--------5--------------0---------------------|
|-------------------0--------5--------5--------5--------5--------------0---------------------|
|-------------------0-----3//5--------5--------5--------5----2/4-0---------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x
worse old feelin' Woo-Lord, the most I ever had.

G7 G6 G+5 G5 D G
~~~
|-------------------------------------------------------0-----0------------------------------|
|-0--0-----0-----0--0-----0--0--------------------------0-----0------------------------------|
|-0--------0-----0--0-----0--0--------------------------0------------------------------------|
|-3-----3--2-----2--1-----1--0--------0-----0--------0--0------------------------------------|
|---------------------------------2/4--------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x

Solo 2:
G
~~~~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~
|-10/12-12-12-12-12-12-12-12-12-12-12-12\10--------------------------------------0--0--------|
|-10/12-12-12-12-12-12-12-12-12-12-12-12\10--10/12---11/12-11/12---11/12-12------0--0--------|
|--------------------------------------------10/12-----------------------12------0--0--------|
|--------------------------------------------------------------------------------0-----------|
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

G F#
~~~~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~~~~ ~~ ~~~~~ ~~ ~~~~~ ~~ ~~ ~~ ~~ ~~
|-10/12-12-12-12-12-12-12-12-12--12-12-12-------12-------12----------------------------------|
|-10/12-----------------------------------11/12----11/12----11/12---------12-12---11---------|
|-----------------------------------------------------------------12-12---12-12---11---------|
|-----------------------------------------------------------------12-12---12-12---11---------|
|-------------------------------------------------------------------------12-12---11---------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

F C
~~ ~~~~
|--------------------------------------------------------------------------------------------|
|-10----------------5------------------------------------------------------------------------|
|-10-------0--------5------------------------------------------------------------------------|
|-10-------0--------5------------------------------------------------------------------------|
|----------0-----3//5------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x

C
~~~ ~~~ ~~~ ~~~ ~~~~~ ~~~ ~~~ ~~~~~ ~~~ ~~~
|--------------------------------------------------------------------------------------------|
|----------------------------2/3---------x---------------------------------------------------|
|-4/5--4/5-4/5--4/5-4/5\3-0--2/3-0-------x---------------------------------------------------|
|-4/5--4/5-4/5--4/5-4/5\3-0--2/3-0-------x----0------0--3/5\3-0-2/3-0-2/3--------------------|
|-4/5--4/5-4/5--4/5-4/5\3-0--------0-------------2/4------------2/3-0-2/3--------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

C D
~~~ ~ ~ ~ ~~~ ~~~ ~~~ ~~~~~ ~~~
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|--------------------------------------------------------------------------------------------|
|-0----3/5-5-----5--5-----0--------0--5/7------------0--5/7\5----------0---------------------|
|-0--------------------------0-2/4-------------0-2/4-------------0-2/4-----------------------|
|--------------------------------------------------------------------------------------------|
x x x x x x x x

C G G7 G6 G+5 G
~~~ ~~~ ~~~ ~~~ ~~~ ~~~
|-------------------------------------------0------------------------------------------------|
|-------------------------------------------0-----0-----0--0-----------0---------------------|
|-------------------------------------------0--0--------0--0-------------------2/4-----------|
|-3/5------------0--5\3-----2/3-0-2/3-0-----0-----------2--2-----------1--1----2/4-0---------|
|----------0-2/4----------0-2/3-0-2/3-0----------------------------------------2/4-----------|
|--------------------------------------------------------------------------------------------|
x x x x x

G
~~~~ ~~~~~ ~~~~~ ~~~
|-7/12-----------------------------0--|
|-7/12-----11/12-------------------0--|
|-7/12-----------11/12----------0-----|
|-------------------------------0-----|
|--------------------------2/3--0-----|
|-------------------------------------|

cocaine

2009-03-25T07:13:00.000-07:00

by J. J. Cale

(the main riff is [E] [E] [D] [E], [E] [D] -- play that twice over each
line of the verses)

If you wanna hang out you've got to take her out, cocaine.
If you wanna get down, down on the ground, cocaine.

She don't [E] lie, she don't [D] lie, she don't [C] lie [B]
Cocaine!

If you got bad news, you wanna kick them blues, cocaine.
When your day is done and you wanna run, cocaine.

Chorus

If your thing is gone and you wanna ride on, cocaine.
Don't forget this fact, you can't get it back, cocaine.

Chorus

Kata-kata dlm hal musik

2009-03-25T06:18:00.000-07:00

*"Dalam musik seorang harus berpikir dgn hati dan merasakan dgn pikiran"(George Szel)
*"Lakukan apa yg bisa,dgn apa yg kau punya,dan dimana kau berada"(Theodore Roosevelt)
*"Ekspresi org paling nyata adalah dalam tarian dan musiknya karena tubuh tidak pernah berbohong"(Gnes de Mille)
*"Musik itu sendiri menyembuhkan.Musik adalah ledakan ekspresi kemanusiaan.Musik adalah sesuatu yang menyentuh kita,tidak peduli dari budaya mana atau apa yg penting semua orang mencintai musik"(Billi Joel)
*"Musik adalah ilmu pengetahuan yang akan membuat kita tertawa,menyanyi,dan menari"(Gauillame de Machaut)
*"Untuk mempelajari musik kita harus mengikuti aturan.Untuk menciptakan musik,kita harus melanggarnya"(Nadia Boulanger)
*"Dalam musik seorang harus berpikir dengan hati dan merasakan dgn pikiran"(George Szel)
*"Musik harus dirasakan,didengar dengan penuh perasaan,dinikmati keindahaannya,dan tentu saja harus dipahami"(Mr.Kramer,ayah angkat ibu Sud)

Daftar Komponis Dunia

2009-03-25T05:41:00.000-07:00

1.Johan Sebastian Bach(1685-1750)
(born Eisenach, 21 March 1685; died Leipzig, 28 July 1750)

He was the youngest son of Johann Ambrosius Bach, a town musician, from whom he probably learnt the violin and the rudiments of musical theory. When he was ten he was orphaned and went to live with his elder brother Johann Christoph, organist at St. Michael's Church, Ohrdruf, who gave him lessons in keyboard playing. From 1700 to 1702 he attended St. Michael's School in Lüneburg, where he sang in the church choir and probably came into contact with the organist and composer Georg Böhm. He also visited Hamburg to hear J.A. Reincken at the organ of St. Catherine's Church.

After competing unsuccessfully for an organist's post in Sangerhausen in 1702, Bach spent the spring and summer of 1703 as 'lackey' and violinist at the court of Weimar and then took up the post of organist at the Neukirche in Arnstadt. In June 1707 he moved to St. Blasius, Mühlhausen, and four months later married his cousin Maria Barbara Bach in nearby Dornheim. Bach was appointed organist and chamber musician to the Duke of Saxe-Weimar in 1708, and in the next nine years he became known as a leading organist and composed many of his finest works for the instrument. During this time he fathered seven children, including Wilhelm Friedemann and Carl Philipp Emanuel. When, in 1717, Bach was appointed Kapellmeister at Cöthen, he was at first refused permission to leave Weimar and was allowed to do so only after being held prisoner by the duke for almost a month.

Bach's new employer, Prince Leopold, was a talented musician who loved and understood the art. Since the court was Calvinist, Bach had no chapel duties and instead concentrated on instrumental composition. From this period date his violin concertos and the six Brandenburg Concertos, as well as numerous sonalas, suites and keyboard works, including several (e.g. the Inventions and Book I of the '48') intended for instruction. In 1720 Maria Barbara died while Bach was visiting Karlsbad with the prince; in December of the following year Bach married Anna Magdalena Wilcke, daughter of a court trumpeter at Weissenfels. A week later Prince Leopold also married, and his bride's lack of interest in the arts led to a decline in the support given to music at the Cöthen court. In 1722 Bach entered his candidature for the prestigious post of Director musices at Leipzig and Kantor of the Thomasschule there. In April 1723, after the preferred candidates, Telemann and Graupner, had withdrawn, he was offered the post and accepted it.

Bach remained as Thomaskantor in Leipzig for the rest of his life, often in conflict with the authorities, but a happy family man and a proud and caring parent. His duties centred on the Sunday and feastday services at the city's two main churches, and during his early years in Leipzig he composed prodigious quantities of church music, including four or five cantata cycles, the Magnificat and the St. John and St. Matthew Passions. He was by this time renowned as a virtuoso organist and in constant demand as a teacher and an expert in organ construction and design. His fame as a composer gradually spread more widely when, from 1726 onwards, he began to bring out published editions of some of his keyboard and organ music.

From about 1729 Bach's interest in composing church music sharply declined, and most of his sacred works after that date, including the b Minor Mass and the Christmas Oratorio, consist mainly of 'parodies' or arrangements of earlier music. At the same time he took over the direction of the collegium musicum that Telemann had founded in Leipzig in 1702 - a mainly amateur society which gave regular public concerts. For these Bach arranged harpsichord concertos and composed several large-scale cantatas, or serenatas, to impress the Elector of Saxony, by whom he was granted the courtesy title of Hofcompositeur in 1736.

Among the 13 children born to Anna Magdalena at Leipzig was Bach's youngest son, Johann Christian, in 1735. In 1744 Bach's second son, Emanuel, was married, and three years later Bach visited the couple and their son (his first grandchild) at Potsdam, where Emanuel was employed as harpsichordist by Frederick the Great. At Potsdam Bach improvised on a theme given to him by the king, and this led to the composition of the Musical Offering, a compendium of fugue, canon, and sonata based on the royal theme. Contrapuntal artifice predominates in the work of Bach's last decade, during which his membership (from 1747) of Lorenz Mizler's learned Society of Musical Sciences profoundly affected his musical thinking. The Canonic Variations for organ was one of the works Bach presented to the society, and the unfinished Art of Fugue may also have been intended for distribution among its members.

Bach's eyesight began to deteriorate during his last year and in March and April 1750 he was twice operated on by the itinerant English oculist John Taylor. The operations and the treatment that followed them may have hastened Bach's death. He took final communion on 22 July and died six days later. On 31 July he was buried at St. John's cemetery. His widow survived him for ten years, dying in poverty in 1760.

Bach's output embraces practically every musical genre of his time except for the dramatic ones of opera and oratorio (his three 'oratorios' being oratorios only in a special sense). He opened up new dimensions in virtually every department of creative work to which he turned, in format, musical quality and technical demands. As was normal at the time, his creative production was mostly bound up with the extemal factors of his places of work and his employers, but the density and complexity of his music are such that analysts and commentators have uncovered in it layers of religious and numerological significance rarely to be found in the music of other composers. Many of his contemporaries, notably the critic J.A. Scheibe, found his music too involved and lacking in immediate melodic appeal, but his chorale harmonizations and fugal works were soon adopted as models for new generations of musicians. The course of Bach's musical development was undeflected (though not entirely uninfluenced) by the changes in musical style taking place around him. Together with his great contemporary Handel (whom chance prevented his ever meeting), Bach was the last great representative of the Baroque era in an age which was already rejecting the Baroque aesthetic in favour of a new,'enlightened'one.

2.George Frederick Handel(1685-1759)

(born Halle (Germany), 23 February 1685; died London, 14 April 1759).

He was born Georg Friederich Händel, son of a barber-surgeon who intended him for the law. At first he practised music clandestinely, but his father was encouraged to allow him to study and he became a pupil of Zachow, the principal organist in Halle. When he was 17 he was appointed organist of the Calvinist Cathedral, but a year later he left for Hamburg. There he played the violin and harpsichord in the opera house, where his Almira was given at the beginning of 1705, soon followed by his Nero. The next year he accepted an invitation to Italy, where he spent more than three years, in Florence, Rome, Naples and Venice. He had operas or other dramatic works given in all these cities (oratorios in Rome, including La resurrezione) and, writing many Italian cantatas, perfected his technique in setting Italian words for the human voice. In Rome he also composed some Latin church music.

He left Italy early in 1710 and went to Hanover, where he was appointed Kapellmeister to the elector. But he at once took leave to take up an invitation to London, where his opera Rinaldo was produced early in 1711. Back in Hanover, he applied for a second leave and returned to London in autumn 1712. Four more operas followed in 1712-15, with mixed success; he also wrote music for the church and for court and was awarded a royal pension. In 1716 he may have visited Germany (where possibly he set Brockes's Passion text); it was probably the next year that he wrote the Water Music to serenade George I at a river-party on the Thames. In 1717 he entered the service of the Earl of Carnarvon (soon to be Duke of Chandos) at Edgware, near London, where he wrote 11 anthems and two dramatic works, the evergreen Acis and Galatea and Esther, for the modest band of singers and players retained there.

In 1718-19 a group of noblemen tried to put Italian opera in London on a firmer footing, and launched a company with royal patronage, the Royal Academy of Music; Handel, appointed musical director, went to Germany, visiting Dresden and poaching several singers for the Academy, which opened in April 1720. Handel's Radamisto was the second opera and it inaugurated a noble series over the ensuing years including Ottone, Giulio Cesare, Rodelinda, Tamerlano and Admeto. Works by Bononcini (seen by some as a rival to Handel) and others were given too, with success at least equal to Handel's, by a company with some of the finest singers in Europe, notably the castrato Senesino and the soprano Cuzzoni. But public support was variable and the financial basis insecure, and in 1728 the venture collapsed. The previous year Handel, who had been appointed a composer to the Chapel Royal in 1723, had composed four anthems for the coronation of George II and had taken British naturalization.

Opera remained his central interest, and with the Academy impresario, Heidegger, he hired the King's Theatre and (after a journey to Italy and Germany to engage fresh singers) embarked on a five-year series of seasons starting in late 1729. Success was mixed. In 1732 Esther was given at a London musical society by friends of Handel's, then by a rival group in public; Handel prepared to put it on at the King's Theatre, but the Bishop of London banned a stage version of a biblical work. He then put on Acis, also in response to a rival venture. The next summer he was invited to Oxford and wrote an oratorio, Athalia, for performance at the Sheldonian Theatre. Meanwhile, a second opera company ('Opera of the Nobility', including Senesino) had been set up in competition with Handel's and the two competed for audiences over the next four seasons before both failed. This period drew from Handel, however, such operas as Orlando and two with ballet, Ariodante and Alcina, among his finest scores.

During the rest of the 1730s Handel moved between Italian opera and the English forms, oratorio, ode and the like, unsure of his future commercially and artistically. After a joumey to Dublin in 1741-2, where Messiah had its premiere (in aid of charities), he put opera behind him and for most of the remainder of his life gave oratorio performances, mostly at the new Covent Garden theatre, usually at or close to the Lent season. The Old Testament provided the basis for most of them (Samson, Belshazar, Joseph. Joshua, Solomon, for example), but he sometimes experimented, turning to classical mythology (Semele, Hercules) or Christian history (Theodora), with little public success. All these works, along with such earlier ones as Acis and his two Cecilian odes (to Dryden words), were performed in concert form in English. At these performances he usually played in the interval a concerto on the organ (a newly invented musical genre) or directed a concerto grosso (his op.6, a set of 12, published in 1740, represents his finest achievement in the form).

During his last decade he gave regular performances of Messiah, usually with about 16 singers and an orchestra of about 40, in aid of the Foundling Hospital. In 1749 he wrote a suite for wind instruments (with optional strings) for performance in Green Park to accompany the Royal Fireworks celebrating the Peace of Aix-la-Chapelle. His last oratorio, composed as he grew blind, was Jephtha (1752); The Triumph of Time and Truth (1757) is largely composed of earlier material. Handel was very economical in the re-use of his ideas; at many times in his life he also drew heavily on the music of others (though generally avoiding detection) - such 'borrowings' may be of anything from a brief motif to entire movements, sometimes as they stood but more often accommodated to his own style.

Handel died in 1759 and was buried in Westminster Abbey, recognized in England and by many in Germany as the greatest composer of his day. The wide range of expression at his command is shown not only in the operas, with their rich and varied arias, but also in the form he created, the English oratorio, where it is applied to the fates of nations as well as individuals. He had a vivid sense of drama. But above all he had a resource and originality of invention, to be seen in the extraordinary variety of music in the op.6 concertos, for example, in which melodic beauty, boldness and humour all play a part, that place him and J.S. Bach as the supreme masters of the Baroque era in music.

3.Peter Ilych Tcaikovsky(1840-1893)

We assume that Tchaikovsky was always destined to be a great musician, but in fact his respected piano teacher, Rudolf Kundinger, tried hard to dissuade him from a musical career. Fortunately for us all, Kundinger’s advice was ignored.

Born in Kamsko-Votkinsk, the 7th of May 1840, Tchaikovsky was the second eldest of six children. At the age of six he could read French and German and at seven wrote verses in French and began piano lessons. He spent the first eight years of his life comparatively settled, but in 1848 his father, a mining engineer, resigned his government post which brought about a difficult period of constant moves. In 1850 Tchaikovsky began attending the St. Petersburg School of Jurisprudence, becoming a clerk in the Ministry of Justice in 1859. He studied with Nicolai Zaremba until the opening of the new St. Petersburg Conservatory in 1862, to which he transferred. The next year Tchaikovsky left his job in the Ministry of Justice to study full time at the Conservatory.

Anton Rubenstein, the director of the conservatory, took an interest in Tchaikovsky and had him study everything including conducting. He was always terrified of facing an orchestra (even when in great demand as a conductor), fearing his head would fall from his shoulders. For that reason he conducted with his left hand under his chin to keep it attached.

Graduating after four years he went on to teach for twelve years at the Moscow Conservatory, where he began to compose. In his first two years there he had already written his first symphony and the opera Voyevoda. In 1868 he met with the famous group of young Russian composers "The Five" - Balakirev, Borodin, Cui, Mussorgsky and Rimsky-Korsakov. Although he greatly admired them and wrote his second symphony in response to their fervor, he never joined the group and in the end thought of them as more internationalists than true Russians.

From 1869 to 1875 he wrote three more operas and became music critic for Russkiye Vedomosti in 1872.

In 1877 one of his pupils, Antonina Milyokova, declared her love for Tchaikovsky and hinted at suicide unless he would marry her. So involved was he in the composition of Eugene Onegin that he could not find it in himself to callously reject her as had Onegin rejected Tatiana. In a bid for conventionality he married her, but after a disastrous nine weeks they separated. Tchaikovsky attempted suicide by drowning but was saved by his brother, Modeste, only to suffer a nervous breakdown. Tchaikovsky moved to Switzerland to recover and later to Italy. He continued his financial support of Antonina until his death. For her part, she took on a series of lovers and finally died in an asylum in 1917.

It was at this time that Tchaikosky came under the patronage of Madame Nadezhda von Meck who gave him a yearly allowance permitting him to give up teaching and devote his time to composition. They never met each other, but their correspondence was extensive and frank. He wrote his fourth symphony in dedication to Mme. von Meck.

Tchaikovsky became well regarded in Russia and also in Britain and the United States. In 1885 he moved to a country house in Klin where he lived in virtual isolation and wrote Manfred. 1888 and 1889 brought tours as a conductor to Germany, France and England. After the production of The Sleeping Beauty in 1890, Tchaikovsky went to Florence to work on his opera The Queen of Spades which was produced in St. Petersburg later that year. This was also the time when his sponsorship by Mme. von Meck ended, due either to her illness or pressure from her family. Although he no longer relied on her financial support, this was a dreadful blow to Tchaikovsky’s self esteem from which he never recovered.

1891 brought the very successful tour of the United States and Tchaikovsky's appearance at the opening of the Music Hall (renamed Carnegie Hall), followed the next year with the premiere of The Nutcracker. In 1893 he received an honorary doctorate of music from Cambridge University. The sixth symphony, having been begun in 1891 but abandoned, was completed in 1893. Tchaikovsky believed it to be his best work. The critics were not too kind. A few days later, November 6, 1893, Tchaikovsky died of cholera, probably the result of drinking a glass of unboiled water.

It has often been proposed that since Tchaikovsky's contacts with people were often unsatisfactory, his music became the expression of his emotions. While it is often pervaded by melancholy, there are times when the composer could shake off his gloom and write some of the most buoyant and brightest music ever heard. This he was able to achieve in The Nutcracker which came at a very low ebb in his affairs.

Tchaikovsky raised the status of ballet music to previously unknown distinction. Such a revolution, however, did not happen instantly. In his lifetime his ballet music was considered too symphonic, much as some of today's critics claim his symphonies are too balletic. It is difficult to understand why either should be considered a flaw.

Tchaikovsky loved danceable music, particularly that of Mozart who was one of his favorite composers. Tchaikovsky’s music, imbued with its sweeping lyricism, richness, and danceable qualities is a frequent choice of inspiration for choreographers.

4.Wolfgang Amadeus Mozart(1756-1791)

(born Salzburg, 27 January 1756; died Vienna, 5 December 1791). Son of Leopold Mozart.

He showed musical gifts at a very early age, composing when he was five and when he was six playing before the Bavarian elector and the Austrian empress. Leopold felt that it was proper, and might also be profitable, to exhibit his children's God-given genius (Maria Anna, 'Nannerl', 1751-1829, was a gifted keyboard player): so in mid-1763 the family set out on a tour that took them to Paris and London, visiting numerous courts en route. Mozart astonished his audiences with his precocious skills; he played to the French and English royal families, had his first music published and wrote his earliest symphonies. The family arrived home late in 1766; nine months later they were off again, to Vienna, where hopes of having an opera by Mozart performed were frustrated by intrigues.

They spent 1769 in Salzburg; 1770-73 saw three visits to Italy, where Mozart wrote two operas (Mitridate, Lucio Silla) and a serenata for performance in Milan, and acquainted himself with Italian styles. Summer 1773 saw a further visit to Vienna, probably in the hope of securing a post; there Mozart wrote a set of string quartets and, on his return, wrote a group of symphonies including his two earliest, nos.25 in g Minor and 29 in A, in the regular repertory. Apart from a joumey to Munich for the premiere of his opera La finta giardiniera early in 1775, the period from 1774 to mid-1777 was spent in Salzburg, where Mozart worked as Konzertmeister at the Prince- Archbishop's court; his works of these years include masses, symphonies, all his violin concertos, six piano sonatas, several serenades and divertimentos and his first great piano concerto, K271.

In 1777 the Mozarts, seeing limited opportunity in Salzburg for a composer so hugely gifted, resolved to seek a post elsewhere for Wolfgang. He was sent, with his mother, to Munich and to Mannheim, but was offered no position (though he stayed over four months at Mannheim, composing for piano and flute and falling in love with Aloysia Weber). His father then dispatched him to Paris: there he had minor successes, notably with his Paris Symphony, no.31, deftly designed for the local taste. But prospects there were poor and Leopold ordered him home, where a superior post had been arranged at the court. He returned slowly and alone; his mother had died in Paris. The years 1779-80 were spent in Salzburg, playing in the cathedral and at court, composing sacred works, symphonies, concertos, serenades and dramatic music. But opera remained at the centre of his ambitions, and an opportunity came with a commission for a serious opera for Munich. He went there to compose it late in 1780; his correspondence with Leopold (through whom he communicated with the librettist, in Salzburg) is richly informative about his approach to musical drama. The work, Idomeneo, was a success. In it Mozart depicted serious, heroic emotion with a richness unparalleled elsewhere in his works, with vivid orchestral writing and an abundance of profoundly expressive orchestral recitative.

Mozart was then summoned from Munich to Vienna, where the Salzburg court was in residence on the accession of a new emperor. Fresh from his success, he found himself placed between the valets and the cooks; his resentment towards his employer, exacerbated by the Prince-Archbishop's refusal to let him perform at events the emperor was attending, soon led to conflict, and in May 1781 he resigned, or was kicked out of, his job. He wanted a post at the Imperial court in Vienna, but was content to do freelance work in a city that apparently offered golden opportunities. He made his living over the ensuing years by teaching, by publishing his music, by playing at patrons' houses or in public, by composing to commission (particularly operas); in 1787 he obtained a minor court post as Kammermusicus, which gave him a reasonable salary and required nothing beyond the writing of dance music for court balls. He always earned, by musicians' standards, a good income, and had a carriage and servants; through lavish spending and poor management he suffered times of financial difficulty and had to borrow. In 1782 he married Constanze Weber, Aloysia's younger sister.

In his early years in Vienna, Mozart built up his reputation by publishing (sonatas for piano, some with violin), by playing the piano and, in 1782, by having an opera performed: Die Entführung aus dem Serail, a German Singspiel which went far beyond the usual limits of the tradition with its long, elaborately written songs (hence Emperor Joseph II's famous observation, 'Too many notes, my dear Mozart'). The work was successful and was taken into the repertories of many provincial companies (for which Mozart was not however paid). In these years, too, he wrote six string quartets which he dedicated to the master of the form, Haydn: they are marked not only by their variety of expression but by their complex textures, conceived as four-part discourse, with the musical ideas linked to this freshly integrated treatment of the medium. Haydn told Mozart's father that Mozart was 'the greatest composer known to me in person or by name; he has taste and, what is more, the greatest knowledge of composition'.

In 1782 Mozart embarked on the composition of piano concertos, so that he could appear both as composer and soloist. He wrote 15 before the end of 1786, with early 1784 as the peak of activity. They represent one of his greatest achievements, with their formal mastery, their subtle relationships between piano and orchestra (the wind instruments especially) and their combination of brilliance, lyricism and symphonic growth. In 1786 he wrote the first of his three comic operas with Lorenzo da Ponte as librettist, Le nozze di Figaro: here and in Don Giovanni (given in Prague, 1787) Mozart treats the interplay of social and sexual tensions with keen insight into human character that - as again in the more artificial sexual comedy of Cosi fan tutte (1790) - transcends the comic framework, just as Die Zauberflöte (1791) transcends, with its elements of ritual and allegory about human harmony and enlightenment, the world of the Viennese popular theatre from which it springs.

Mozart lived in Vienna for the rest of his life. He undertook a number of joumeys: to Salzburg in 1783, to introduce his wife to his family; to Prague three times, for concerts and operas; to Berlin in 1789, where he had hopes of a post; to Frankfurt in 1790, to play at coronation celebrations. The last Prague journey was for the premiere of La clemenza di Tito (1791), a traditional serious opera written for coronation celebrations, but composed with a finesse and economy characteristic of Mozart's late music. Instrumental works of these years include some piano sonatas, three string quartets written for the King of Prussia, some string quintets, which include one of his most deeply felt works (K516 in g Minor) and one of his most nobly spacious (K515 in C), and his last four symphonies - one (no.38 in D) composed for Prague in 1786, the others written in 1788 and forming, with the lyricism of no.39 in E-flat, the tragic suggestiveness of no.40 in g Minor and the grandeur of no.41 in C, a climax to his orchestral music. His final works include the Clarinet Concerto and some pieces for masonic lodges (he had been a freemason since 1784; masonic teachings no doubt affected his thinking, and his compositions, in his last years). At his death from a feverish illness whose precise nature has given rise to much speculation (he was not poisoned), he left unfinished the Requiem, his first large-scale work for the church since the c Minor Mass of 1783, also unfinished; a completion by his pupil Süssmayr was long accepted as the standard one but there have been recent attempts to improve on it. Mozart was buried in a Vienna suburb, with little ceremony and in an unmarked grave, in accordance with prevailing custom.

5.Ludwig Van Beethoven(1770-1827)

Ludwig van Beethoven was baptised on December 17th 1770 at Bonn. His family originated from Brabant, in Belgium. His father was musician at the Court of Bonn, with a definite weakness for drink. His mother was always described as a gentle, retiring woman, with a warm heart. Beethoven referred to her as his "best friend". The Beethoven family consisted of seven children, but only the three boys survived, of whom Beethoven was the eldest.

At an early age, Beethoven took an interest in music, and his father taught him day and night, on returning to the house from music practice or the tavern. Without doubt, the child was gifted, and his father Johann envisaged creating a new Mozart, a child prodigy.

On March 26th 1778, at the age of 7 1/2, Beethoven gave his first know public performance, at Cologne. His father announced that he was 6 years old. Because of this, Beethoven always thought that he was younger than he actually was. Even much later, when he received a copy of his baptism certificate, he thought that it belonged to his brother Ludwig Maria, who was born two years before him, and died as a child.

But the musical and teaching talents of Johann were limited. Soon Ludwig learned music, notably the organ and composition by renowned musicians, such as Gottlob Neefe. Neefe recognised the how extraordinarily talented Beethoven was. As well as teaching him music, he made the works of philosophers, ancient and modern, known to Beethoven.

In 1782, before the age of 12, Beethoven published his first work: 9 variations, in C Minor, for Piano, on a march by Ernst Christoph Dressler (WoO 63). And the following year, in 1783, Neefe wrote in the "Magazine of Music", about his student: "If he continues like this he will be, without doubt, the new Mozart".

In June 1784, on Neefe's recommendations, Ludwig was appointed organist of the court of Maximilian Franz, Elector of Cologne. He was 14. This post enabled him to frequent new circles, other than those of his father and friends of his family. Here he met people who were to remain friends for the rest of his life: The Ries family, the von Breuning family and the charming Eleonore, Karl Amenda, the violinist, Franz Gerhard Wegeler, a doctor, and a dear friend who also went to Vienna, etc.

At home, little by little, Ludwig replaced his father. Financially first of all, because Johann, often under the influence of drink, was less and less capable of keeping up his role at the court. The young Beethoven felt responsible for his two younger brothers, an idea he kept for the rest of his life, sometimes to the extent of being excessive.

Prince Maximilian Franz was also aware of Beethoven's gift, and so he sent Beethoven to Vienna, in 1787, to meet Mozart and to further his musical education. Vienna was, after all, the beacon city in terms of culture and music. There exist only texts of disputable authenticity on the subject of this meeting between Mozart and Beethoven. Mozart is thought to have said "Don't forget his name - you will hear it spoken often."!

But a letter called Beethoven back to Bonn: his mother was dying. The only person in his family with whom he had developed a strong and loving relationship passed away on July 17th 1787.

Five years later, in 1792, Beethoven went back to Vienna, benefiting from another grant, for two years, by the Prince Elector, again to pursue his musical education. He never went back to the town of his birth. His friend Waldstein wrote to him: "You shall receive Mozart's spirit from Haydn's hands"...

At Vienna, the young musician took lessons with Haydn, then with Albrechtsberger and Salieri. He captured the attention of, and astonished, Vienna, with his virtuosity and his improvisations on piano. In 1794, Beethoven composed his opus 1, three trios for piano. The following year, Beethoven made his first public performance at Vienna (an "Academy") whereby each musician was to play his own work. Then followed a tour: Prague, Dresden, Leipzig and Berlin before leaving for a concert in Budapest.

Beethoven made numerous acquaintances at Vienna. Everybody in the musical and aristocratic world admired the young composer. These music-lovers were Beethoven's greatest supporters. He became angry regularly with one or another of them, often making honourable amends soon afterwards. His talent excused his excessive, impulsive behaviour.

In 1800, Beethoven organised a new concert at Vienna including, notably, the presentation of his first symphony. Although today we find this work classical, and close to the works of Mozart and Haydn, at the time certain listeners found the symphony strange, overly extravagant, and even risqué. This genius, Beethoven, who was still a young, new composer, was already pushing the established boundaries of music.

In 1801 Beethoven confessed to his friends at Bonn his worry of becoming deaf. At Heiligenstadt, in 1802, he wrote a famous text which expressed his disgust at the unfairness of life: that he, a musician, could become deaf was something he did not want to live through. But music made him carry on. And he wrote that he knew that he still had many other musical domains to explore, to discover, and to pass on. Beethoven did not commit suicide, rather, knowing that his handicap was getting worse and worse, he threw himself into his greatest works: exceptional sonatas for piano (notably The Storm, opus 31), the second and the third symphonies- The Eroica - and of course many more.

Beethoven wrote this third symphony in honour of a great man, Bonaparte. He was seen as the liberator of the people, opening, from the French Revolution, a door to hope. When the First Consul declared himself Emporor, Beethoven became enraged and scowled out Bonaparte's name from the score.

On April 7th 1805 the Eroica symphony was played for the first time.

Meanwhile, Beethoven had finally finished his opera, Leonore, the only opera he ever wrote. He wrote and re-wrote four different overtures. The name of the opera therefore changed to Fidelio, against the wishes of the composer. November 20th 1805 was the date of the opening performance … before a thin audience of French officers. This was because Napolean, head of the army, had captured Vienna for the first time. This happened again in 1809.

In the years that followed, the creative activity of the composer became intense. He composed many symphonies, amongst which were the Pastoral, the Coriolan Overture, and the famous Letter for Elise. He took on many students, those he found young and attractive, and he therefore fell in love with several of them. The Archbishop Rudolph, brother of the emperor, also became his student, his friend and eventually one of his benefactors.

In 1809, Beethoven wanted to leave Vienna, at the invitation of Jérome Bonaparte. His long-standing friend, the Countess Anna Marie Erdödy, kept him at Vienna with the help of his wealthiest admirers: the Archbishop Rudolph, the Prince Lobkowitz and the Prince Kinsky. These men gave Beethoven an annual grant of 4 000 florins, allowing him to live without financial constraint. The only condition was that Beethoven was not to leave Vienna. Beethoven accepted. This grant made him the first independent composer. Before this contract musicians and composers alike (even Bach, Mozart and Haydn), became servants in the houses of wealthy aristocratic families. They were thus part of the domestic staff, with no more rights than any other, but with the added task of composition and performance. Thus, for the musician of the day, Beethoven had outstanding circumstances: he was free to write what he wanted, when he wanted, under command or not, as he pleased.

In 1812, Beethoven went for hydrotherapy at Teplitz, where he wrote his ardent letter to "The Immortal Beloved". This letter which was found in a secret draw with the Heiligenstadt Testament, has not stopped the theories and suppositions of researchers and biographers ever since. Numerous women amongst his students and friends have been, in turn, proposed as the recipient of this letter. Unless a new document is discovered (perhaps within the possessions of a private collector) it is likely that the truth about this mysterious woman will remain a secret.

At the end of July 1812, Beethoven met Goethe, under the organisation of Bettina Brentano. These two great men admired each other, but didn't understand each other. The composer found the poet too servile, and the poet last estimation was that Beethoven was "completely untamed". Beethoven admired Goethe, he put to music several of his poems. I always regretted not having been better understood by Goethe.

Then one of his benefactors, the Prince Lobkowitz, fell into financial difficulty, and the Prince Kinski died from falling off his horse. Kinski's descendant decided to put an end to the financial obligations towards Beethoven. Here started one of the composer's many attempts at saving his financial independence.

The Czech Johann Nepomuk Maelzel took up contact with Beethoven. Inventor of genius, and probably inventor of the metronome, Maelzel had already met Beethoven and had created various devices to help Beethoven with his hearing: acoustic cornets, a listening system linking up to the piano, etc. In 1813, Beethoven composed 'The Victory of Wellington', a work written for a mechanical instrument made by Maelzel, the "panharmonica" (or "panharmonicon"). But it was above all the metronome which helped evolve music and Beethoven, who had taken interest straight away, noted scrupulously the markings on his scores, so that his music could be played how he wished.

The Academy of 1814 regrouped his work, as well as the seventh and eighth symphonies. This was also the time of the re-writing of Leonore as Fidelio, Beethoven's only opera. This work eventually became successful before the public.

Then the Congress of Vienna met, which brought together all the heads of state to decided the future of Europe after Napoleon. This was one of Beethoven's moment of glory. He was invited to play many times, bringing him recognition and admiration of which he could be truly proud.

On November 15th 1815, Kaspar Karl, Beethoven's brother, died. He left behind his wife, whom the composer referred to as 'The queen of the night' due to the pastimes of the widow, as well as a son, Karl, who was 9. Here Beethoven's life was to change dramatically. His brother had written that he wished Karl's guardianship to be exercised by both his wife and his brother Ludwig. Beethoven took this role very seriously, but the 45 year old celibate who could no longer hear found it difficult to live with and understand a child, and then a young man. This cohabitation was the cause of a new trial against the mother of the child, a generation conflict and numerous troubles.

In 1816, Carl Czerny (future teacher of Franz Liszt and once Beethoven's student) became Karl's music teacher, but didn't find the talent in the boy which Beethoven hoped him to posses. At this time , he ended his cycle of lieders 'To the distant loved one'and drafted the first theme for his ninth symphony.

Two years later, the Archduke Rudolph became Cardinal and Beethoven began composing his mass in D. It was never ready for the intronisation, but the work was rich beyond compare.

Gioachino Rossini triumphed in Vienna in 1822 where he met Beethoven again. The language barrier and Beethoven's deafness meant that they could only exchange brief words. The Viennese composer tolerated Italian opera only in moderation - he found it lacked seriousness.

The ninth symphony was practically finished in 1823, the same year as the Missa Solemnis. Liszt, who was 11, met Beethoven who came to his concert on April 13th. He congratulated the young virtuoso heartily who, years later, transcribed the entirety of Beethoven's symphonies for piano.

May 7th 1824 was the date of the first playing of the ninth symphony and despite musical difficulties, and problems in the sung parts, it was a success. Unfortunately it was not financially rewarding. Financial problems constantly undermined the composer. He always had money put to one side, but he was keeping it for his nephew.

Then began the period of the last quartets, which are still difficult even for today's audience, which knows how to interpret his other works. He started to compose his tenth symphony.

In 1826, Beethoven caught cold coming back from his brother's place, with whom he had rowed again. The illness complicated other health problems from which Beethoven had suffered all his life. He passed away encircled by his closest friends on March 26th 1827, just as a storm broke out.

The funeral rites took place at the church of the Holy Trinity. It is estimated that between 10 000 and 30 000 people attended. Franz Schubert, timid and a huge admirer of Beethoven, without ever having become close to him, was one of the coffin bearers, along with other musicians. Schubert died the next year and was buried next to Beethoven.

6.Joseph Haydn(1732-1809)

(born Rohrau, 31 March 1732; died Vienna, 31 May 1809)

The son of a wheelwright, he was trained as a choirboy and taken into the choir at St. Stephen's Cathedral, Vienna, where he sang from circa 1740 to circa 1750. He then worked as a freelance musician, playing the violin and keyboard instruments, accompanying for singing lessons given by the composer Porpora, who helped and encouraged him. At this time he wrote some sacred works, music for theatre comedies and chamber music. In circa 1759 he was appointed music director to Count Morzin; but he soon moved, into service as Vice-Kapellmeister with one of the leading Hungarian families, the Esterházys, becoming full Kapellmeister (on Werner's death) in 1766. He was director of an ensemble of generally some 15-20 musicians, with responsibility for the music and the instruments, and was required to compose as his employer - from 1762, Prince Nikolaus Esterházy - might command. At first he lived at Eisenstadt, circa 30 miles south-east of Vienna; by 1767 the family's chief residence, and Haydn's chief place of work, was at the new palace at Eszterháza. In his early years Haydn chiefly wrote instrumental music, including symphonies and other pieces for the twice-weekly concerts and the prince's Tafelmusik, and works for the instrument played by the prince, the baryton (a kind of viol), for which he composed circa 125 trios in ten years. There were also cantatas and a little church music. Around 1766 church music became more central, and so, after the opening of a new opera house at Eszterháza in 1768, did opera. Some of the symphonies from circa 1770 show Haydn expanding his musical horizons from occasional, entertainment music towards larger and more original pieces, for example nos.26, 39, 49, 44 and 52 (many of them in minor keys, and serious in mood, in line with trends in the contemporary symphony in Germany and Austria). Also from 1768-72 come three sets of string quartets, probably not written for the Esterházy establishment but for another patron or perhaps for publication (Haydn was allowed to write other than for the Esterházys only with permission); op.20 clearly shows the beginnings of a more adventurous and integrated quartet style.

Among the operas from this period are Lo speziale (for the opening of the new house), L'infedeltà delusa (1773) and Il mondo della luna (1777). Operatic activity became increasingly central from the mid-1770s as regular performances came to be given at the new house. It was part of Haydn's job to prepare the music, adapting or arranging it for the voices of the resident singers. In 1779 the opera house burnt down; Haydn composed La fedelta premiata for its reopening in 1781. Until then his operas had largely been in a comic genre; his last two for Eszterháza, Orlando paladino (1782) and Armida (1783), are in mixed or serious genres. Although his operas never attained wider exposure, Haydn's reputation had now grown and was international. Much of his music had been published in all the main European centres; under a revised contract with the Esterháza his employer no longer had exclusive rights to his music.

His works of the 1780s that carried his name further afield include piano sonatas, piano trios, symphonies (nos.76-81 were published in 1784-5, and nos.82-7 were written on commission for a concert organization in Paris in 1785-6) and string quartets. His influential op.33 quartets, issued in 1782, were said to be 'in a quite new, special manner': this is sometimes thought to refer to the use of instruments or the style of thematic development, but could refer to the introduction of scherzos or might simply be an advertising device. More quartets appeared at the end of the decade, op.50 (dedicated to the King of Prussia and often said to be influenced by the quartets Mozart had dedicated to Haydn) and two sets (opp.54-5 and 64) written for a former Esterházy violinist who became a Viennese businessman. All these show an increasing enterprise, originality and freedom of style as well as melodic fluency, command of form, and humour. Other works that carried Haydn's reputation beyond central Europe include concertos and notturnos for a type of hurdy-gurdy, written on commission for the King of Naples, and The Seven Last Words, commissioned for Holy Week from Cadíz (Spain) Cathedral and existing not only in its original orchestral form but also for string quartet, for piano and (later) for chorus and orchestra.

In 1790, Nikolaus Esterházy died; Haydn (unlike most of his musicians) was retained by his son but was free to live in Vienna (which he had many times visited) and to travel. He was invited by the impresario and violinist J.P. Salomon to go to London to write an opera, symphonies and other works. In the event he went to London twice, in 1791-2 and 1794-5. He composed his last 12 symphonies for performance there, where they enjoyed great success; he also wrote a symphonie concertante, choral pieces, piano trios, piano sonatas and songs (some to English words) as well as arranging British folksongs for publishers in London and Edinburgh. But because of intrigues his opera, L'anima del filosofo, on the Orpheus story, remained unperformed. He was honoured (with an Oxford DMus) and feted generously and played, sang and conducted before the royal family. He also heard performances of Handel's music by large choirs in Westminster Abbey.

Back in Vienna, he resumed work for Nikolaus Esterházy's grandson (whose father had now died); his main duty was to produce masses for the princess's nameday. He wrote six works, firmly in the Austrian mass tradition but strengthened and invigorated by his command of symphonic technique. Other works of these late years include further string quartets (opp.71 and 74 between the London visits, op.76 and the op.77 pair after them), showing great diversity of style and seriousness of content yet retaining his vitality and fluency of utterance; some have a more public manner, acknowledging the new use of string quartets at concerts as well as in the home. The most important work, however, is his oratorio The Creation in which his essentially simple-hearted joy in Man, Beast and Nature, and his gratitude to God for his creation of these things to our benefit, are made a part of universal experience by his treatment of them in an oratorio modelled on Handel's, with massive choral writing of a kind he had not essayed before. He followed this with The Seasons, in a similar vein but more a series of attractive episodes than a whole.

Haydn died in 1809, after twice dictating his recollections and preparing a catalogue of his works. He was widely revered, even though by then his music was old-fashioned compared with Beethoven's. He was immensely prolific: some of his music remains unpublished and little known. His operas have never succeeded in holding the stage. But he is regarded, with some justice, as father of the symphony and the string quartet: he saw both genres from their beginnings to a high level of sophistication and artistic expression, even if he did not originate them. He brought to them new intellectual weight, and his closely argued style of development laid the foundations for the larger structures of Beethoven and later composers.

7.Felix Mendelsshon(1809-1847)

Felix Mendelssohn was born in Hamburg, on February 3rd, 1809, the son of Leah Salomon, and Abraham Mendelssohn, a wealthy banker, and the grandson of Jewish rabbi and philosopher Moses Mendelssohn. Being born in a family of well-to-do intellectuals certainly had it advantages, providing the ideal cultural environment for the artistic and precocious young Felix. In addition to receiving a good education, Felix and his family traveled around Europe.+

While Moses Mendelssohn frowned German Jews converting to Christianity in the hopes of gaining social acceptance outside their ghettos, that did not stop Felix Mendelssohn's parents from baptizing their four children, Fanny, Rebekah, Felix, and Paul, in the Lutheran Church, and from converting to the Lutheran faith themselves in 1816, when they moved from French occupied Hamburg to Berlin, hence the added surname Bartholdy. Oddly enough, Felix resisted the name change, and kept the last name of Mendelssohn.

The move to Berlin proved to be beneficial for young Felix, who had received prior musical instruction from his sister Fanny, as it was there he studied the piano under Ludwig Berger and composition with Karl. F. Zelter. Visiting friends of the family were also a positive influence on the Mendelssohn children, as most of them were intellectuals who were involved in the arts and other cultural activities. From a young age, Felix Mendelssohn showed the true talent of a prodigy, playing both the piano and the violin, painting, and being gifted in languages.

Felix traveled to Paris to study the works of Wolfgang Amadeus Mozart and Johann Sebastian Bach with his sister Fanny. Truly inspired by the masters, particularity Bach, he composed eleven symphonies, five operas, and many other pieces for the piano. This was only the beginning for the young musical genius, who impressed audiences and artists alike with his precocious talent.

In 1821, Zelter took his 12 year-old student to visit German poet Johann Wolfgang von Goethe. The visit was most important to the young Mendelssohn, who remained at the 72 year-old writer's home for over two weeks. Goethe was fascinated by the gifted young man, and the two would later correspond via a series of letters. Later, when Goethe heard Mendelssohn's B minor pianoforte quartet, he showed such appreciation that the young composer dedicated the piece to him.

When Felix Mendelsson was 16, he composed his Octet for Strings in E flat major, Op. 20, which wasn't just impressive because of its composer's age, but because it was the one of the first works of its kind. Mendelssohn's piece featured an ingenious interplay between two distinct string quartets.

In addition to the literary works of Goethe, Mendelssohn found inspiration in the works of English playwright William Shakespeare. At the age of seventeen, he composed the overture to "A Midsummer Night's Dream Opus 21", based on the Bard's comedic play. The piece featured lush orchestration, and is considered one of the most beautiful works of the Romantic period of Classical music.

From 1826 to 1829, Mendelssohn studied at Berlin University. It was then he decided on music as his chosen profession.

During the years that followed, Mendelssohn traveled and performed all over Europe, discovering England, Scotland, Italy and France. In 1832, Mendelssohn, Mendelssohn presented his magnificent "Hebrides Overture", as well as other important works, in London, a city where he greatly enjoyed performing his works. In 1833, he took on the post of conductor at Düsseldorf, giving concert performances of Handel's "Messiah" amongst others. That same year, he composed many of his own vocal works, including "Lord, Have Mercy Upon Us,", and the Opera, "Trala. A frischer Bua bin i", as well as the "Italian Symphony".

At the age of 26, Mendelssohn moved to Leipzig and he became conductor of the Leipzig Gewandhaus Orchestra, performing works by Bach and Beethoven amongst others; at the time, there was little interest in Bach's music, but Mendelssohn changed all that, using his own popularity and the four hundred singers and soloists of the Singakademie to help renew interest in the great composer's work. Earlier, in 1829, Mendelssohn had made his debut as a Maestro, being the first to conduct Bach's "St-Matthew Passion" since the composer's death in 1750, and more importantly, 100 years after Bach's own premiere performance of the work. Mendelssohn performed the piece

In 1832, Mendelssohn married Cécile Jeanrenaud, the daughter of a Protestant clergyman. It was a happy marriage, and they five children, Carl, Marie, Paul, Felix and Lilli. Over the years that followed, Mendelssohn was very prolific, and in addition to numerous composition, he gave several successful performances of his work, and that of other great composers. Mendelssohn composed several works for the piano, which was highly popular at the time; but he also wrote for many different combinations of instruments and voices.

In 1842, Mendelssohn performed private concerts for Prince Albert, and Queen Victoria, who were both strong supporters of his work. A year later, Mendelssohn founded the and directed the Leipzig Conservatory, where he also sometimes taught when his busy schedule permitted it. Despite being a generally happy and pleasant individual, Mendelssohn was sometimes a little too strict with his pupils; this was perhaps due to the fact that he was so passionate about music, and had a difficult time listening to the beginners mistakes of his pupils. Nonetheless, the Conservatory remained one of the most prestigious music institutions in Germany for half a century.

In addition to his post at the Conservatory, Mendelssohn was named director of the Music Section of the Academy of Arts in Berlin by the by King Frederick of Prussia, but this appointment wasn't entirely pleasing for Mendelssohn, who was often asked to compose on demand. He was left with little time for his own work, but he still managed to compose such masterpieces as the Ruy Blas overture, stage music for Shakespeare's " A Midsummer Night's Dream", of which the now world-famous "Wedding March" was a part of, and "The Scottish Symphony", the third of the five symphonies he composed during his lifetime.

Felix Mendelssohn was very close to his family; from his sister Fanny to his father, to his own wife and children, and he cherished the moments spent with them. When his father died in 1835, Mendelssohn felt he had lost his best friend. seven years later, his mother died, adding to the tragedy, but the worst was yet to come; following a Christmas family reunion , his sister Fanny suffered a stroke while rehearsing for a Sunday concert. She died on May 14th, 1847. Felix Mendelssohn is said to have screamed and fainted upon hearing the sad news, devastated from the loss. Needless to say, Mendelssohn's mood did not improve following Fanny's death, and he himself suffered two strokes, the last of which killed him on November 4th, 1847. He was 38 years old. He was buried alongside his sister in in the cemetery of Holy Cross Church in Berlin.

While most of his life was spent in happiness, that final years of his life saw mounting grief and tragedy; however, this did not deter him from composing, and throughout the hardships he maintained the same degree of inspiration and the same quality o work, despite his intensely busy schedule. Some critics may argue that he would have been another Bach or Mozart if he had suffered more in life, as the "tortured artist" cliché dictates. However, it is interesting to note that in death, there were more tragic incidents which marred Mendelssohn. Nearly a hundred years after his death, the Nazis tried to discredit him, taking down his statue in Leipzig, and even going as far as forbidding the study and performance of his music.

Of course, none of their efforts to silence the voice of genius had any success, and Mendelssohn is now considered the 19th century equivalent of Wolfgang Amadeus Mozart. Most critics agree that Mendelssohn's most vibrant contributions were in the choral and organ music genres, which was probably the result of his deep admiration fro Bach and Handel. Mendelssohn will remain the most successful composer his time, but more importantly, one of the most gifted and talented, surely deserving a place alongside greats such as Mozart, Bach, and Beethoven, in the Pantheon of musical Gods.

8.Frederik Francois Chopin(1810-1849)

According to the artist himself and his family, Chopin was born on March 1, 1810. However, his baptismal certificate, written several weeks after his birth, lists his birthdate as February 22. Chopin was born in Żelazowa Wola in central Poland near Sochaczew, in the region of Mazovia, which was part of the Duchy of Warsaw. He was born to Mikołaj (Nicolas) Chopin, a Polonized Frenchman and to his Polish mother, Tekla Justyna Krzyżanowska.

The musical talent of young Chopin became apparent early on and can be compared with the childhood genius of Mozart. At the age of 7, he was already the author of two polonaises (in G minor and B-flat major), the first being published in the engraving workshop of Father Cybulski. The prodigy was featured in the Warsaw newspapers, and 'little Chopin' became the attraction at receptions given in the aristocratic salons of the capital. He also began giving public charity concerts. His first professional piano lessons, given to him by the violinist Wojciech Żywny (b. 1756 in Bohemia), lasted from 1816 to 1822, when the teacher was no longer able to give any more help to the pupil whose skills surpassed his own.

The further development of Chopin's talent was supervised by Wilhelm Würfel (b. 1791 in Bohemia). This renowned pianist and professor at the Warsaw Conservatory gave Chopin valuable (although irregular) lessons in playing organ (music), and possibly piano. From 1823 to 1826, Chopin attended the Warsaw Lyceum, where his father was a professor. In the autumn of 1826, Chopin began studying music theory, figured bass, and composition with the composer Józef Elsner (b. 1769 in Silesia) at the Warsaw Conservatory. In 1831 he left Poland for Vienna before settling in Paris where he spent much of his life.

Chopin first visited Vienna in early 1829, where he gave a piano performace and received his first favorable reviews. The following year he returned to Warsaw and performed the premiere of his Piano Concerto in F Minor at the National Theater on March 17. By 1831 Chopin had left Poland for good and settled in Paris. He began work on his first scherzi and ballades as well as the first book of études. It is also at this time that he began his lifelong struggle with tuberculosis.

The early and mid-1830s in Paris were a productive time for the composer. He completed several of his most famous works and also performed regular concerts, to rave reviews. By 1838 Chopin had become a famous figure in Paris. Among his closest friends were opera composer Vincenzo Bellini (beside whom he is buried in the Père Lachaise), and painter Eugène Delacroix. He was also friends with composers Hector Berlioz, Franz Liszt and Robert Schumann, and although he was at times critical of their music, Chopin dedicated some of his own compositions to them.

In 1836 Chopin was secretly engaged to a seventeen-year-old Polish girl named Maria Wodzinska. The engagement was later called off. In that same year, at a party hosted by Countess Marie d'Agoult, Chopin met the novelist Amandine-Aurore-Lucile Dupin, better known by her pseudonym as George Sand.

Sand's correspondence suggests that Chopin was asexual; that is, that he had no inclination to have sexual relations with anyone, male or female. Even so, his relationship with Sand lasted for ten years until they parted after arguments over Sand's children.

A notable episode in their time together was a turbulent and miserable winter on Majorca (1838–1839) living in unheated peasant huts and in the then-abandoned (and equally cold) Valldemossa monastery. 1 (http://www.valldemossa.com/museoin.htm) Chopin would also later complain of having to go to great lengths to obtain a piano from Paris and of the difficulty of moving it uphill to the monastery. Chopin reflected much of the mood of this desperate time in the twenty-four préludes, Op. 28, the majority of which were written in Majorca. The weather had such a serious impact on Chopin's health and his chronic lung disease that he and George Sand were compelled to return to Paris to save his life. He survived but never recovered from this bout.

By the 1840s Chopin's health was rapidly deteriorating. He and Sand took several trips to remote locations, such as Nohant-Vic, to no avail. By 1849 most of his major works were completed and Chopin concentrated on mazurkas and nocturnes. His last work was a mazurka, in F minor.

Chopin died, officially, of tuberculosis in 1849, although there is some speculation that he may have had another disease such as cystic fibrosis or emphysema due in part to autopsy findings (reported only by his sister) seemingly inconsistent with the initial diagnosis. He had a terror of being buried alive, and asked to be 'cut open' to make sure he was dead.

He had requested that Mozart's Requiem be sung at his funeral, held at the Church of the Madeleine. The Requiem has major parts for female singers but the Madeleine had never permitted female singers in its choir. The funeral was delayed for almost 2 weeks while the matter raged, the church finally relenting and granting Chopin's final wish. Although Chopin is buried in the Père Lachaise cemetery in Paris, his heart is entombed in a pillar in the Church of the Holy Cross in Warsaw.

Music

Chopin's music for the piano combined a unique rhythmic sense (particularly his use of rubato, chromatic inflections, and the style of Johann Sebastian Bach), as well as a piano technique which was of his own creation. This mixture produces a particularly fragile sound in the melody and the harmony, which are nonetheless underpinned by solid and interesting harmonic techniques. He took the new salon genre of the nocturne, invented by Irish composer John Field, to a deeper level of sophistication, and endowed popular dance forms, such as the Polish mazurka and the Viennese waltz with a greater range of melody and expression. Chopin was the first to write Ballades (a genre he invented) and the Scherzi as individual pieces. Chopin also took the example of Bach's préludes and transformed the genre.

Several melodies of Chopin's have become well known; because of their unique melodic shape they are instantly memorable and easily recognized. Among these are the Revolutionary Étude (Op. 10, No. 12), the Minute Waltz (Op. 64, No. 1), and the third movement of his Funeral March sonata (Op. 35), which is used as an iconic representation of grief. Interestingly, the Revolutionary Etude was not written with the failed Polish uprising against Russia in mind, it merely appeared at that time. The Funeral March was written for funerals, but it was not inspired by any recent personal loss of Chopin's. Other melodies have even been used as the basis of popular songs, such as the slow section of the Fantaisie-Impromptu (Op. 66). These pieces often rely on an intense and personalized chromaticism, as well as a melodic curve that resembles the operas of Chopin's day - the operas of Rossini, Donizetti, and especially Bellini. Chopin used the piano to re-create the gracefulness of the singing voice, and talked and wrote constantly about singers.

Chopin's style and gifts became increasingly influential: Schumann was a huge admirer of Chopin's music — although the feeling was not mutual — and he took melodies from Chopin and even named a piece of his Carnaval Suite after Chopin; Franz Liszt, another great admirer of the composer, transcribed several Chopin songs for unaccompanied piano. Liszt later dedicated a movement of his 'Harmonies Poétiques et Religieuses' to Chopin, titling it 'Funérailles' and laconically dedicating it 'October 1849.' The mid-section recalls, powerfully, the famous octave trio section of Chopin's Opus 53 Polonaise.

Chopin had strong opinions of how his music should be performed and many common performances practices of Chopin today are at odds with his aesthetic. Arguably, some of the best records of Chopin include those by Koczalski, Friedman, Cortot, Rubinstein, Malcuzynski, Janis, Magaloff, Pollini and Zimerman.

Chopin performed his own works in concert halls but most often in his salon for friends. Only later in life, as his disease progressed, did Chopin give up public performance altogether.

Several of Chopin's piano works carry with them their own technique: his préludes (Op. 28) and études (Op. 10 and 25) rapidly became standard works. They also became influential, inspiring both Liszt's Transcendental Études and Schumann's Symphonic Études.

Chopin and Romanticism

Chopin regarded the Romantic movement with indifference, if not distaste, and rarely associated himself with it directly. Even so, today Chopin's music is considered to be the paragon of the Romantic style.

All of his works, without exception, involve the piano, whether solo or accompanied. They are predominantly for solo piano but include a small number of works for piano and secondary instruments, including a second piano, violin, cello, voice, and orchestra.

Works

Chopin's compositional output consists mainly of music for solo piano. His larger scale works such as the ballades, scherzos, the barcarolle, and sonatas have cemented a solid place within the repertoire, as well as shorter works like his impromptus, mazurkas, nocturnes, waltzes and polonaises.

Two important collections are the 24 Preludes Op. 28, based loosely on Bach's Well-Tempered Clavier, and the etudes, which are a staple of that genre for pianists.

Chopin's two piano concertos, Opp. 11 and 21, are masterpieces still often performed. In addition, he wrote several songs set to Polish texts, and several pieces including a piano trio and a sonata for cello and piano.

For a complete list of Chopin's works by opus number, see List of compositions by Frédéric Chopin.

9.Franz Listz(1811-1886)

(born Raiding, 22 October 1811; died Bayreuth, 31 July 1886).

He was taught the piano by his father and then Czerny (Vienna, 1822-3), establishing himself as a remarkable concert artist by the age of 12. In Paris he studied theory and composition with Reicha and Paer; he wrote an opera and bravura piano pieces and undertook tours in France, Switzerland and England before ill-health and religious doubt made him reassess his career. Intellectual growth came through literature, and the urge to create through hearing opera and especially Paganini, whose spectacular effects Liszt eagerly transferred to the piano in original works and operatic fantasias. Meanwhile he gave lessons and began his stormy relationship (1833-44) with the (married) Countess Marie d'Agoult. They lived in Switzerland and Italy and had three children.

He gave concerts in Paris, maintaining his legendary reputation, and published some essays, but was active chiefly as a composer (Annees de pèlerinage). To help raise funds for the Bonn Beethoven monument, he resumed the life of a travelling virtuoso (1839-47); he was adulated everywhere, from Ireland to Turkey, Portugal to Russia. In 1848 he took up a full-time conducting post at the Weimar court, where, living with the Princess Carolyne Sayn-Wittgenstein, he wrote or revised most of the major works for which he is known, conducted new operas by Wagner, Berlioz and Verdi and, as the teacher of Hans von Bülow and others in the German avant-garde, became the figurehead of the 'New German school'. In 1861-9 he lived mainly in Rome, writing religious works (he took minor orders in 1865); from 1870 he journeyed regularly between Rome, Weimar and Budapest. He remained active as a teacher and performer to the end of his life.

Liszt's personality appears contradictory in its combination of romantic abstraction and otherworldliness with a cynical diabolism and elegant, worldly manners. But though he had a restless intellect, he also was ceaselessly creative, seeking the new in music. He helped others generously, as conductor, arranger, pianist or writer, and took artistic and personal risks in doing so. The greatest pianist of his time, he composed some of the most difficult piano music ever written (e.g. the Transcendental Studies) and had an extraordinarily broad repertory, from Scarlatti onwards; he invented the modern piano recital.

Two formal traits give Liszt's compositions a personal stamp: experiment with large-scale structures (extending traditional sonata form, unifying multi-movement works), and thematic transformation, or subjecting a single short idea to changes of mode, rhythm, metre, tempo or accompaniment to form the thematic basis of an entire work (as in Les préludes, the Faust-Symphonie). His 'transcendental' piano technique was similarly imaginative, springing from a desire to make the piano sound like an orchestra or as rich in scope as one. In harmony he ventured well beyond the use of augmented and diminished chords and the whole-tone scale; the late piano and choral works especially contain tonal dashes arising from independent contrapuntal strands, chords built from 4ths or 5ths, and a strikingly advanced chromaticism.

Piano works naturally make up the greater part of Liszt's output: they range from the brilliant early studies and lyric nature pieces of the first set of Annees de pèlerinage to the finely dramatic and logical b Minor Sonata, a masterpiece of 19th-century piano literature. The piano works from the 1870s onwards are more austere and withdrawn, some of them impressionistic, even gloomy (Anneés, third set). Not all the piano music is free of bombast but among the arrangements, the symphonic transcriptions (notably of Berlioz, Beethoven and Schubert) are often faithful and ingenious, the operatic fantasias (on Norma and Ernani, for example) more than mere salon pieces.

Liszt invented the term 'sinfonische Dichtung' ('symphonic poem') for orchestral works that did not obey traditional forms strictly and were based generally on a literary or pictorial idea. Whether first conceived as overtures (Les préludes) or as works for other media (Mazeppa), these pieces all emphasize musical construction much more than scene-painting or story-telling. The three-movement Faust Symphonie too, with its vivid character studies of Faust, Gretchen and Mephistopheles, relies on technical artifice (especially thematic transformation) more than musical narrative to convey its message; it is often considered Liszt's supreme masterpiece. Although he failed in his aim to revolutionize liturgical music, Liszt did create in his psalm settings, Missa solemnis and the oratorio Christus some intensely dramatic and moving choral music, successful in his lifetime and well suited to concert performance.

2009-02-08T03:14:00.000-08:00

w punya informasi sedikit neeh,,,baca ya walaupun pake b.inngris!!!!

The Beatles were a pop and rock group from Liverpool, England formed in 1960. Primarily consisting of John Lennon (rhythm guitar, vocals), Paul McCartney (bass guitar, vocals), George Harrison (lead guitar, vocals) and Ringo Starr (drums, vocals) throughout their career, The Beatles are recognised for leading the mid-1960s musical "British Invasion" into the United States. Although their initial musical style was rooted in 1950s rock and roll and homegrown skiffle, the group explored genres ranging from Tin Pan Alley to psychedelic rock. Their clothes, styles, and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s. After the band broke up in 1970, all four members embarked upon solo careers.

The Beatles are one of the most commercially successful and critically acclaimed bands in the history of popular music, selling over a billion records internationally. In the United Kingdom, The Beatles released more than 40 different singles, albums, and EPs that reached number one, earning more number one albums (15) than any other group in UK chart history. This commercial success was repeated in many other countries; their record company, EMI, estimated that by 1985 they had sold over one billion records worldwide. According to the Recording Industry Association of America, The Beatles have sold more albums in the United States than any other band. In 2004, Rolling Stone magazine ranked The Beatles number one on its list of 100 Greatest Artists of All Time. According to that same magazine, The Beatles' innovative music and cultural impact helped define the 1960s, and their influence on pop culture is still evident today.

jadi gitu lah ceritanya hahaha....ngerti gk lo????

sekilas tentang musik

2009-02-03T22:16:00.000-08:00

w punya sekilas tentang musik bagi lo2 semua mungkin musik adalah hal yg biasa di dengar dan biasa lo pd mainkan...w juga bisa seeh main musik tapi ya biasa aja...w punya kamus kecil tentang musik,,,k'lo lo mau baca,,baca aja:
-saxhofone:bunyinya besar dan serak,saxhofone tenor adlh saxhofone yg paling sering dimainkan.Adolphe Sax membuat 14 ukuran saxhofone namun umumnya hanya 4 dikenal yaitu:saxhofone Sopran,Alto,Tenor,dan Bariton.Keempatnya dpt membentuk kwartet yg steara dgn kwartet gesek.
-Twilite Chorus:adalah kelompok yg dibentuk di Jakarta bln Mei 1995.Dipimpin oleh Alda Swenson.
-Biola Sopran & Alto:Sopran adlh biola terkecil yg menghasilkan nada paling tinggi di antara kel.biola,serta dimainkan di bawah lagu.Senar E tinggi berbunyi cemerlang menarik perhatian komponis sperti Mozart & Bach.Alto juga ermasuk salah satu alat musik dlm orkes.
-Beatles Maniadalah group rock yg paling sukses pd thn 60-an.Group in memiliki formasi rock klasik,yaitu:2 gitar listrik (Goerge Harrison)pd gitar utama & (John Lenon)pd gitar pengiring,gitar bass (Paul Mc Cartney) dan drum (Ringo Star).
-Organologi;Ilmu yg mempelajari tentang alat musik,baik tiup,gesek,pukul,dan petik.
-Swara Mahardika:Merupakan organisasi seni pentas musik dan tari kreatif pimipinan Guruh Soekarno Putra.
-Kisah kotak piano:Piano sayap buatan thn 2878 memiliki banyak bentuk keseluruhannya tdk pernah berbubah dari piano pertama yg diciptakan thn 1709.Kotak piano ini di-Design utk tempat senar bass yg panjang dan pd bagian yg melekuk tempat senar/treble lebih pendek.Nada treble masing2 memiliki 3 senar agar bunyinya lebih keras.
-Tuba:Di-design utk marching band.Lubang tiup tuba dibuat melingkar agar berat alat musik ini dpt dipanggul dibahu.Corong tuba menghadap ke dpn 7 mengeluarkan bunti keluar bkn ke atas.
-Arifin Yuana:seorang komponis dan dirigen Indonesia lahir di Malang,Jawa Timur.Ia mulai belajar piano pd usia 7 thn dibawah asuhan Romo Bernard kebangsaan Belanda.Ia bergabung dgn indonesia Wind Orchestra(1987-1997)dan sempat mengikuti Asean Music Youth di Singapura(1984).
-Balouka:Sejenis gitar dari Rusia.Alat musik ini berdawai 3 dan biasa dipakai sbg pengiring lagu rekyat/ensembel.
-Arifin Yuana:
adalah seorang komponis dan dirigen Indonesia lahir di Malang,Jawan Timur.Ia bergabung dgn Indonesia Wind Orchestra(1987-1997)dan sempat mengikuti Asean Music Youth di Singapura(1984)
-Kaya dan Termasyur:
Pemain drum jazz dgn membungkuk di atas perangkat drumnya,Buddy Rich memimpin band nya dgn energi yg luar biasa.Rich,yg dijuluki"Baby Traps"mulai menabuh drum pada umur 18 thn.Ketika itu,ia naik panggung dgn orang tuanya.Rich menghabiskan 20 thn terakhir memimpin band besarnya.
-Shin'chi Suzuki:
Suzuki lahiir di Nagayo,Jepang pada thn 1898.Dia adalah anak seorang pembuat alat musik.Pada waktu kecil,ia belajar biola di Jepang ,dilanjutkan ke Berlin(Jerman).Suzuki bersama tiga saudaranya membentuk kwartet gesek.Oleh karena itu,Suzuki menyusun metode bermain gesek yg mudah dan sederhana bagi anak-anak.Metode ini tersebar dan berkembang tidak hanya untuk alat musik gesek saja.
-Band Solo:
Musik pop banyak menggunakan bunyi elektronik.Salah satu perintisnya adalah musisi Prancis,Jean Michel Jarre.Dia adalah salah seorang musisi pertama yang mempergelarkan orkes elektronik yg anggotanya hanya dia sendiri.Sekarang hal ini dpt dilakukan dgn komputer secara mudah.
-Vanessa Mae:
Pemain biola dari Singapura ini,belajar biola pertama kali pada usia 3 thn dan biola pada usia 5 thn.Vanessa terkenal di London pada waktu tampil dgn London Philharmonic pada thn 1989.
Alat Musik Jenius:
Alat musik gesek(biola)yg dibuat oleh Stradivarius(kira2 1644-1737)dianggap sbg alat musik terbaik yg pernah dibuat.Sejak saat itu,desain alat musik gesek hampir tdk berubah.
-Yamaha:
Perusahaan pembuat piano dan alat usik lain dari Jepang.Didirikan oleh Torakusu Yamaha,produksi pertamanya berupa organ(1887).Pada thn 1900,piano pertamanya dibuat.Yamaha beru berani ekspor pianonya pada thn 1916.
-Yanni:
Adalah seorang komponis dan pianis yg dilahirkan di Kalamata,Yunani,1954.Sblm terkenal sbg musisi,Yanni lebih dahulu dikenal sbg tim Renang Nasional Yunani.Karya2-nya lebih dari 35 album,antara lain Keys Imagination(1986),Yanni Live at the Acropolis(1993),I Lve You Perfect(1995)dan Love Song(1999).
-Radio Klasik FM:
Radio ini pertama dan satu2 nya di Indonesia yg menyairkan musik klasik.Ketika pertama berdiri ,radio ini bernama Radio Top FM.Radio klasik merupakan proyek kerja sama PT Metro Fokus Mediamata dan Pusat Penerangan (Puspen) TNI sejak thn 1987.
-Musik Pegunungan:
Bunyi horn Alpen yg terbuat dari kayu panjang sering bergema di pegunungan Alpen Swiss.Alat musik ini semula dimainkan oleh para gembala,namun skrng sering digunakan sbg atraksi utk turis.
-Yayasan Orkes Filharmonik Indonesia:
Yayasan YOFI didirikan pada tgl 5 April 1999 yg diketuai oleh Ilham Habibie,putra mantan presiden ketiga RI.Yayasan ini tercetus berawal dari kebiasannya menyaksikan konser klasik yg dimainkan Yazed Djamin.Akhirnya,obsesi ini terwujud mendirikan YOFI yg biasa menampilkan lagu2 perjuangan.
-Fransisco Tarrega:
Gitaris asal Spanyol ini sering disebut bpk gitar medern.Gurunya antara lain Manuel Gonzales,Julian Arcas,dan Damas Tomas.Pada thn 1874,ia masuk Konsenatori Madrid dan mendalami komposisi.Beliau merupakan guru yg menjadikan muridnya menjadi gitariz ternama.
-Gitar Klasik:Bentuk gitar tradisional yg disebut Spanyol.Alat musik ini berleher lebar & memiliki 6 senar yg biasanya terbuat dari nylon.Design gitar klasik berasal dari abad ke-19(1800-an).Saat itu ,tukang kayu dari Spanyol,Antonio de Tones Jurado/Tornes menyempuranakn bentuk gitar.Gitar yg dimainkan dlm musik pop biasanya memiliki plat jari pd badannya utk melindungi gitar.

ya gitu dech kamus kecil tentang musik dikit bgt ya???? hahaha sorry.....