gitar magazine

Senin, 26 Oktober 2015

Cara menggunakan modes di musik

Hai sobat udh lama bgt gak bikin dan gak buka blog ini hehehe terakhir buka pas Smp sekarang udah lulus Smk.Ya dari pada lama mending langsung aja ke topik yang mau di bahas,kembali ke laptop,kali ini kita akan belajar sedikit teori yang membingungkan di musik namanya modes. Kita mulai saja
Pertama tama kita harus menguasai urutan nada " C-D-E-F-G-A-B" dengan mengusai ini kita sudah menguasai mode ionian yap yap yap ionian adalah mode yg mudah di mengerti,karna modes ionian adalah tangga nada diatonik.
Sebelum lanjut kita harus tau dulu modes modes itu yang pertama yang sedang di bahas yaitu ionian berikut adalah modes modes:
1.ionian=C=Major
2. Dorian= D=minor
3. Phrigyan=E=minor
4. Lydian=F=major
5. Mixolydian=G=dominant
6. Aeolian =A=minor
7. Locrian= B= dimb5
Setelah sudah hapal urutan modes nya, selanjutnya adalah mengerti modes tersebut contoh nya jika kita memainkan lagu dengan tangga nada C dan dengan progresi chord " C G F C " otomatis kita akan memainkan melody dari tangga nada C major, lalu jika kita memaikannya dengan memfokuskan pada nada G maka otomatis kita sudah memainkan modes mixolydian ya mungkin ini adalah cara termudah dan paling mudah mengerti modes. Mungkin sekian untuk hari ini have a nice day guys see you next time

Kamis, 17 Maret 2011

Canon Rock (JerryC) - The Original

sweeping tehnik keren permainan gitar listrik

From Wikipedia, the free encyclopedia

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This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (January 2008)

Sweep picking on an electric guitar.

Sweep picking is a technique used on the guitar in which a 'sweeping' motion of the pick is combined with a matching fret hand technique in order to produce a specific series of notes which are fast and fluid in sound. Despite being commonly known as sweep picking, both hands essentially perform an integral motion in unison to achieve the desired effect.

[edit] Application

The technique is almost exclusively applied for arpeggios, with a common shape being the one- or two-octave stacked triad; or in scalar terms the first (tonic), third (mediant) and fifth (dominant) of a scale, played twice with an additional tonic added to the highest point in the shape. For example, an A minor stacked triad would notate as A-C-E-A-E-C-A. When these series of notes are played quickly up and down as an arpeggio, they are notably classical-sounding as opposed to more blues-based progressions. The ability to move the shape of an arpeggio up and down the fretboard in order to initiate, or because of, a change in key lends itself to being the primary choice of guitar players, helping ease the use of what is considered an intermediate technique of guitar performance.
Compared to other techniques often used by shredders, such as alternate picking, few strokes are required in sweep picking. In certain instances, however, legato is used to sound notes instead of an actual pick stroke (in the case of guitar, hammer-ons and pull-offs); notably in the upper and lower sections of an arpeggio, where successive strokes on the same string in a row would effectively negate the natural sweeping motion in question. This comes into play whenever a certain string has to sound two notes in the shape due to the natural limits of a fretted string instrument.
However, as with all guitar techniques, each individual player can seek to integrate sweep picking into their existing repertoire and make use of it in an individually stylistic manner. Therefore some guitarists may use legato whereas others may have a natural tendency to double-pick multiple notes on a single string. This in itself can be seen as separate yet related idea or technique, due to the obvious differences in the sound of legato versus struck notes, as well as the shift in the timing of the entire arpeggio. Furthering the idea, most players who master the basic sweep picking pattern will use only parts of it or alter the technique to purposefully achieve a certain lick. In this sense, sweep picking is not so much a concrete action such as the aforementioned alternate picking, but instead is a technical idea with many possible applications.

[edit] Practical examples

A common way to break up the technique is the use of the three-string sweep arpeggio done on the upper three (thinnest) strings, more so than the lower (thicker) strings due to the awkward motion necessary and general lack of tonal clarity in comparison to the higher notes. In the case of a sweep on the upper three strings, one can see the arpeggio as the upper register of a standard five-string sweep, where the notes for A minor would be, in an ascending order, A-C-E-A-C-E-A.
Beginning on the middle tonic of this progression, the player may sweep first up the arpeggio and then back down to resolve on the initial tonic. This would notate as A-C-E-A-E-C-A. Written in tablature form for the twelfth position, it would be seen as:

e|-------12-17-12-------|
B|----13----------13----|
G|-14----------------14-|
D|----------------------|
A|----------------------|
E|----------------------|

If one then adds to it the lower octave of the arpeggio, the complete shape (in this particular position) is seen as:

e|----------------12-17-12----------------|
B|-------------13----------13-------------|
G|----------14----------------14----------|
D|-------14----------------------14-------|
A|-12-15----------------------------15-12-|
E|----------------------------------------|

In the middle of the above sequence, on the third and fourth string, there is a need to finger the same fret for both strings. By design there are more fingerings than humans have actual fingers, although both of these problems are solved by first fretting the initial string (fourth on the downstroke) with the tip of the ring finger, then rolling into the next string by fretting it with the pad of the same finger. In the returning upstroke, one frets the third string first by consequently reversing the rolling action from before. Also note that on the lowest and highest strings in the shape, two notes must be played immediately following each other, but on the same string. This is where the general use of the aforementioned application of legato comes into effect, so that a fluid picking motion is sustained.
However, the sounding of these notes in the arpeggio may be accomplished through any number of techniques, including a change in pick articulation; double-picking notes (which would then mean an additional upstroke or downstroke); legato; or in some instances sliding, though the latter is rarely enforced due to the acute control necessary to slide to a precise point on the string (Steve Vai and Shane Gibson are two artists who have been known to use this method fluidly).
Sweeps may even be continued to the next note via means of tapping and may facilitate the ability to play passing notes outside of the classic arpeggio sequence. Hence, sweeps should never be limited solely to the above pattern; one can choose to construct completely new and different patterns just as chords can be modified into endless combinations. Ultimately, once mastered, sweep picking can be applied to virtually any idea—arpeggio or otherwise.
The main goal in sweeping is to synchronize your left and right hand in order to create a sweeping motion and hit each note and then lift off.

[edit] Guitarists known for their sweep picking technique

[hide]v · d · eGuitar shredding

Techniques	Alternate picking · Economy picking · Hammer-ons · Hybrid picking · Legato · Pull-offs · String skipping · Sweep-picking · Tapping · Tremolo picking · Wide intervals · Pick tapping

Genres	Classical · Bluegrass · Country · Flamenco · Hard rock · Heavy metal · Instrumental rock · Jazz · Jazz fusion · Neo-classical metal · Progressive rock

Retrieved from "http://en.wikipedia.org/wiki/Sweep-picking"

Categories: Guitar performance techniques

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Minggu, 20 Februari 2011

5ª Sinfonia de beethoven/beethoven'5 symphony n° 5

sejarah bethoven

From Wikipedia, the free encyclopedia

Jump to: navigation, search

This article does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2008)

Beethoven's Last Night

Studio album by Trans-Siberian Orchestra

Released

April 11, 2000

Recorded

early 2000

Genre

Symphonic rock, progressive rock, rock opera

Length

72:59

Label

Warner Music Group / Atlantic Records

Producer

Paul O'Neill, Robert Kinkel

Professional reviews

Allmusic - link

Trans-Siberian Orchestra chronology

The Christmas Attic
(1998)

Beethoven's Last Night
(2000)

The Lost Christmas Eve
(2004)

Beethoven's Last Night is a concept album by the Trans-Siberian Orchestra, released in 2000. The album tells the fictional story of Ludwig van Beethoven on the last night of his life, as the devil, Mephistopheles, comes to collect his soul. With the help of Fate and her son Twist, Beethoven unwittingly tricks the devil and is allowed to keep his soul which he had thought lost, but that the devil had no claim on. The album is a rock opera featuring many classical crossover rock songs which are clearly based on melodies from classical music, particularly Beethoven's works. It is the first Trans-Siberian Orchestra album that does not feature Christmas themes.

[hide]

[edit] Story

Late one night in spring 1827 (presumably March 26, the night he died), Ludwig van Beethoven has completed his masterpiece, his tenth symphony (which in reality, was never completed).
Just as this work is finished, Fate and her son Twist (as in 'Twist of Fate') arrive in his home, and inform the composer of what he had expected for a long while: that this night was the night of his death.
After this explanation, the devil Mephistopheles arrives to claim Beethoven's soul. He offers the composer a deal; Mephistopheles will allow Beethoven to keep his soul if he may erase the memory of Beethoven's works from all mankind. Beethoven is given one hour to consider, and Mephistopheles leaves the room.
Beethoven turns his anger to Fate at having been dealt a hard life, and now, this decision. In consolation, Fate allows Beethoven to travel back through his life in order to review it and make any changes that he wishes. Beethoven accepts this, and they begin with Beethoven's experiences as a child.
Beethoven comes into his room while the young Beethoven has just been slapped by a tutor for failing to receive appointment to the Imperial Court. Beethoven turns to Fate and informs her that he did not need the hardships that he had faced, with his mother dead and a painful childhood. He requests that she remove the experience from his life. After being told that such a request would remove the inspiration for his sixth symphony, he changes his mind.
Fate and Beethoven then go to one of Beethoven's happier moments, meeting the composer Wolfgang Amadeus Mozart in the city of Vienna. Fate then reminds Beethoven of his "immortal beloved"^[1] Theresa, and after experiencing a fond remembrance, Beethoven explains his reasons for needing to leave her.
The pair venture to when Beethoven first realizes his deafness, and Beethoven explains that Theresa would not love him were she to know. He is then shown Theresa's reaction to his unexplained absence, and he realizes that his deafness is the cause of all his problems. Fate explains that if she cures his deafness, his music will suffer, as the Muses would not be heard as easily through the everyday sound. He thus withdraws his request.
Beethoven is then shown that Theresa would have loved him forever, and he becomes very sorrowful. But Fate then offers visions of the countless musicians of the future who would be influenced by Beethoven's works. As one last, ultimate vision, he is allowed to improvise with the musicians of the past and future who were inspired by him. Realizing that removing the hardships from his life would destroy his music, Beethoven informs Fate that he will not change any part of his life.
At this point, Mephistopheles returns and Beethoven informs the devil that he will not allow his music to be destroyed. Desperate to receive the Tenth Symphony, Mephistopheles makes another deal: if Beethoven will give over only the Tenth Symphony, then Mephistopheles will not take the composer's soul. After an appearance by Mozart's ghost, Beethoven refuses this offer as well. As a final tactic, Mephistopheles points out the window to a young orphan, and describes the tortures that she will receive if Beethoven refuses to hand over his music. Heartbroken, Beethoven agrees to hand over his Tenth Symphony. After Twist's prompting, a contract is drawn up by Fate, stating the following:
It is agreed upon this night, March 26, 1827, between the undersigned, that the music of the Tenth Symphony, composed by Ludwig von Beethoven, first born son of Johann and Maria von Beethoven, of the city of Bonn, shall henceforth be the property of Mephistopheles, Lord of Darkness and first fallen from the grace of God. It is also understood that it is his intention to remove any signs of this music from the memory of man for all eternity. In exchange for the destruction of the aforementioned music it is also agreed that Mephistopheles and all his minions will remove themselves from the life of the child presently sleeping in the gutter directly across from the window of this room. This removal of influence is to be commenced immediately upon signing and to be enforced for all eternity.
_____________________
Ludwig von Beethoven
_____________________
Mephistopheles
The contract is signed by both the parties, after which Mephistopheles thrusts the Tenth Symphony over a lit candle. When it does not burn, the fact is revealed that Beethoven is in fact the second-born son of his parents by the name Ludwig von Beethoven, and thus, the contract does not apply to his music.
After Mephistopheles leaves in a fit of rage, it is revealed that the true destination of Beethoven's soul is actually heaven (as Twist explains, the devil was simply lying to him all along). Fate tells him to rest, and Beethoven's soul leaves his body for the great beyond. However, Twist also hides the manuscript for the 10th symphony.

[edit] Track listing and musical references

"Overture" – Moonlight Sonata, Sonata Pathétique, Scherzo from Symphony No. 9, Symphony No. 5, Mozart's Requiem- 2:58
"Midnight"
"Fate"- 1:18
"What Good This Deafness"
"Mephistopheles" – Moonlight Sonata- 3:48
"What Is Eternal" – Moonlight Sonata, Ode to Joy from Symphony No. 9- 4:41
"The Moment" – Symphony No. 6
"Vienna"
"Mozart/Figaro" – Le nozze di Figaro Overture (Mozart)- 3:17
"The Dreams of Candlelight" – Chopin's Op 68 Mazurka No. 3
"Requiem (The Fifth)" – Mozart's Requiem, Symphony No. 5
"I'll Keep Your Secrets"
"The Dark" - Fur Elise - 4:27
"Für Elise" – Für Elise- 0:45
"After the Fall"
"A Last Illusion" – Sonata facile (Mozart), Ode to Joy from Symphony No. 9, Flight of the Bumblebee (Rimsky-Korsakov)- 5:34
"This Is Who You Are"
"Beethoven" – Scherzo from Symphony No. 9, Sonata Pathétique
"Mephistopheles' Return" – Sonata Pathétique- 4:27
"Misery"- 2:45
"Who Is This Child"
"A Final Dream"

[edit] Characters

Ludwig van Beethoven – The famous composer. Note: The TSO refer to him as Ludwig von Beethoven.
Fate – The spirit of Fate
Twist – Fate's son (as in "Twist of Fate").
Mephistopheles – The devil
Young Beethoven – Beethoven as a young man
Wolfgang Amadeus Mozart – (Another) famous composer
Theresa – Beethoven's "immortal beloved" – Possibly either Countess Thérèse von Brunswick or Therese Malfatti^[1]
Young Girl – An orphan of the streets
The Muses – The spirits of artistic inspiration

[edit] Vocalists

Jody Ashworth – Beethoven
Patti Russo – Theresa
Jon Oliva – Mephistopheles
Guy Lemmonnier – Young Beethoven
Jaime Torcellini – Twist
Sylvia Tosun – Fate
Zak Stevens – The Muses
Dave Diamond – The Muses
Doug Thoms – The Muses

[edit] Notes

^ ^a ^b After Beethoven's death, love letters from the composer were discovered inside his desk, addressed to his "immortal beloved", the identity of whom still remains a mystery. Both Therese Malfatti, one of Beethoven's students, and Countess Thérèse von Brunswick have been suggested as the mystery woman. "Many have speculated over whom might be the recipient, made more difficult by the fact that there is no year or place given on the letters. But [Maynard] Solomon, following Beethoven's date on the letters, his movement during the period (1812) and studying the persons close to Beethoven, has come to the solution that Antonie Brentano must be the answer, now generally accepted as being correct." [1]