Posted on 05/06/2016 6:01:59 PM PDT by AZamericonnie
Good night and sleep well, Luv...((HUGS)) Thanks for the tunes.
Hope all the folks have their special Mother’s Day gifts in hand.
Welcome, everyone to this weekend's edition of the Canteen Music Dedication. The music in this thread is provided for the enjoyment of the troops and their families.
Please support the artists in this thread. Buy their music and attend their concerts when they come to your area.
We'd like to thank the Canteen DJ's for all their hard work in posting the music to today's thread.
((HUGS))Good morning, Ladies. How’s it going?
Specifically, the nine notes the choir used to sing the line "thou shalt rest, thou shalt rest" have been stuck in my head (where they've had plenty of room to bounce around) for decades. And since I've been getting frisky with a music writing software I bought first to write plain lead sheets, Finale PrintMusic, digging into it deeper and---remembering what I learned of music notation from a year of boyhood piano lessons (sorry, piano lovers, but I gave it up for a guitar!)---getting brazen enough to write full scores with plenty of improvisational room.
This song, "Rest," was written originally for my own blues group in the making, a lineup of tenor sax, keyboard, bass, drums, and yours truly on guitar. Taking frisky to an extreme, I wrote this score for an octet of flute, trumpet, tenor sax, trombone, guitar, bass, and drums.
The kicker: The Finale program will also play back what you write and turn it into a sound file. With that conversion leaving the silences where I marked for improvisation (the program treats the slash notation you use to indicate improvisational passages in jazz and blues writing), I winged demo flute and trumpet solos off my electronic keyboard, then plugged in my Les Paul, running the neck pickup alone, and winged a demo guitar solo.
Here it is . . .
Rest.
Howdy, EGC! (((hugs)))
All is well here...just getting ready for ~~~shudder~~~ work. Hope you and Bo have some good turtle huntin’ today! And PIE! :)
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Here is a list of the songs in the Jukebox:
Artist/s - Song Names:
Chino Espinoza Y Los Duenos Del Son - Aqui Estoy
Chino Espinoza Y Los Duenos Del Son - Tu Lo Mataste
Conjunto Chaney - Estoy De Vuelta
Cumbias - Mix Organizacion,R Afaga, Gilda, Grupo Red, Angie
Diabloson - Linda Caribena
Diabloson - Mujer De Mi Vida
Diabloson - Yo Te Digo
Julieta Venegas - Alguien
La Lupe Yoli - Fever
Las Cubaztecas - Moliendo Cafe
Los Cubaztecas - Son Retozon
Los Tri-O - Adoracion
Maelo - Te Necesito Mi Amor
Mimi Ibarra - Que Tiene Ella
Orquesta Barretto - Que Mire
Orquesta Barretto - Si Te Vas
Orquesta Tabaco Y Ron - Como Duele
Pacheco Y Monguito - Ave Maria Morena
Pedro Conga - Mujer De La Calle
Puerto Rican Power - Ando Buscando Mi Amor
Puerto Rican Power - Asi Te Quiero
Puerto Rican Power - Quiero Volver Contigo
Salsa Compilation
The Best Of Latin Tiempo-2 - El Destino
The Best Of Latin Tiempo-2 - El Gozon
The Best Of Latin Tiempo-2 - El Viejo Engome
Tito Gomez - Pagina De Amor
Tito Gomez Y Tito Rojas - Dejala
Tito Rojas - Llorare
Tito Rojas - Senora De Madrugada
Dude....
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Here is a list of the songs in the Jukebox:
Artist/s - Song Names:
Air Bach In Salsa - Sverre Indris Joner
An Der Shonen Blauen Donau - Cha-Cha-Cha
Armando Orefiche - Aquellos Ojos Verdes
Beethoven's 5th As Salsa - Sverre Indris Joner
Bizet Carmen - Suites As Salsa
Carlos Vives - La Gota Fria ( Mix )
Cheo Feliciano - Canta
Domingo Quiones - Nos Sobro La Ropa
Eine Kleine Nachtmusik - Mozart As Salsa
El Gran Combo De Puerto Rico Medley - Salsa De Hoy, El Menu
Grupo Niche - Cali Aji
Grupo Niche - Sin Sentimientos
Hermanos Moreno - Dale Jamon
Ismael Miranda - Amaneci En Tus Brazos
Johnny Pacheco - Charangas
Kevin Ceballo - Tu Volveras
La Orquesta De La Luz Medley - Salsa Caliente Del Japon, Descarga De La Luz
La Orquesta Tabaco Y Ron - La Novela
La Orquesta Tabaco Y Ron - Olvidase Del Reageton ( Goza Mi Salsa )
Latin Tiempo-2 - La Humanidad
Latin Tiempo-2 - La Rumba Llego
Latin Tiempo-2 - Latin Tiempo Mambo
Mariana Montalvo - La Libelula
Oscar d'Leon Y Francisco Guatabal Medley - Que Bueno Baila Usted
Pancho Cataneo - Salsa Mania
Pete 'El Conde' Rodriguez - I Like It ( I Like It Like That )
Pete 'El Conde' Rodriguez - Sonero
Ricardo Ray Y Bobby Cruz - Sonido Bestial
Salsa De Colombia - Las Calenas Son Como Las Flores
Willie Gonzalez - Pequenas Cosas
Dudess! NBA playoffs and a boxing match tonight. ;-)
The string quartet is a basic building block of the chamber repertory. If you add one other instrument, you come up with a quintet, and there are many types of quintet. Tonight I’ll take you through two of the greatest masterpieces in the genre.
This is considered to be the greatest piece of chamber music ever composed. I had the privilege of hearing this quintet in a luminous performance in Vancouver (BC) just a few weeks ago.
Schubert opted for the fifth instrument being a cello rather than a viola, which permitted him to mine a deeper set of sonorities. In this video, if you follow the second cello and her wonderfully rich musical lines, you can see why Schubert opted for that instrument.
Schubert put aside, once and for all, his juvenile style, which owed a lot to Mozart and Haydn. Now he embarked on a journey with a style so different that it sounds like an entirely different composer.
Schubert used the key of C Major for his most profound utterances. It opens with a C Major chord immediately morphing into a C-E-flat-F#-A-C chord, which casts a shadow over it. Not by coincidence, this same chord pattern opened a song, “The Almighty,” that Frannie had written a few years earlier. The entire quintet is a battle between light and darkness, with the Neapolitan interval, the half-tone upward move, being the unifying idea.
This movement is in sonata format. The first subject has the feel of an introduction, and it’s not until the second subject in G Major that you get the sense of a real melody. This performance skips the exposition repeat and goes right into the development. The recap at 8:30 is heartbreakingly beautiful, and everything falls back into C Major. The coda turns dark and stormy, but resolves peacefully.
This slow movement is in the usual ternary format, A-B-A, but the contrast between sections could not be greater.
The “A” section is in E Major, and it is slow and contemplative, giving the violin and cello the chance to toss pizzicato figures at each other. It’s much like a dream; you can just float.
But in the central panel at 5:00, the dream turns into a nightmare. The key moves one-half tone upward to F minor, and it’s pure horror and anguish, the cry of a man given a death sentence. There has never been anything like this in Schubert’s output.
At 7:51 the nightmare disintegrates; everything falls apart in a series of musical sighs. Then from the horror comes solace: the E Major theme returns in fragments as the first violin and second cello play filagree around the theme, which is only hinted at via harmony in the other three instruments. Finally, the “A” section is played straight.
At 13:50, there is a return to F minor, but only for a second; Schubert is not going to return to that hell again. He ends it with a sense of peace and resignation. “His will be done.”
That was the phone number of the Plaza Hotel in New York, where the Miller band was playing.
The third movement is a scherzo in C Major which features a second theme in E-flat. Normally, the rhythmic impulse of a scherzo is kept up in the central section, known as a “trio.” But at 4:19, Schubert stops the rhythm cold and moves up a half tone to D-flat for what sounds like another slow movement. This strange central panel is an out-of-body experience where anger has progressed to acceptance. Whatever this has been about, it’s not threatening anymore. The out-of-body experience ends with a return to the scherzo proper.
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