Performance Marketing Agency

Paradox

Christus Paradox

Christus Paradox : Choral Variations on PICARDY

Society and Musical Development : Another Pandora Paradox

A Most Ingenious Paradox : The Art of Gilbert and Sullivan

Las Amarillas : Traditional Mexican

Hot-blooded and haughty, a mixture of delight and disdain. The central paradox of performing this piece it that the rhythms must be very incisive and exact, yet the precision must be combined with the devil-may-care festive attitude that prevents the precision from sounding clinical.

Avenged Sevenfold – The Stage (Guitar Book)

The 2016 album from this American heavy metal band reached #4 on the Billboard album charts and has received critical acclaim. This book features note-for-note guitar transcriptions with tab for all 11 tracks from the album. Songs include: Angels, Creating God, Exist, Fermi Paradox, God Damn, Higher, Paradigm, Roman Sky, Simulation, The Stage, Sunny Disposition .

Kansas: The Best Of

Note-for-note guitar transcriptions in standard notation and tab for 13 of their best: Carry on Wayward Son · Dust in the Wind · Fight Fire with Fire · Hold On · Icarus (Borne on Wings of Steel) · Journey from Mariabronn · On the Other Side · Paradox · Play the Game Tonight · Point of Know Return · Portrait (He Knew) · Song for America · What's on My Mind. Includes an introduction by Kansas guitarist Kerry Livgren, and a discography.

Domenico Dragonetti: The Famous Solo - Für Kontrabass Und Orchester

It is a bit of a paradox: one of Dragonetti ?s favourite pieces and also his showpiece, The Famous Solo , originally for Double Bass and Orchestra, is largely unknown today. This cannot be down to the virtuoso work itself, but is more likely due to the unclear source situation with its different versions. In this edition, Tobias Glöckler presents Dragonetti ?s autograph arrangement for Double Bass and String Quartet for the first time. For those who would like to study the orchestral version, there is also a Piano reduction, based on a contemporary model. Using this edition, The Famous Solo can be performed as needed in the solo and orchestral tuning ? Piano scores and quartet parts in e minor and f sharp minor are also included.

John Tavener: Tu Ne Sais Pas (Vocal Score)

Tu Ne Sais Pas is a work by John Tavener for Medium Voice, Timpani and Strings. The work sets words by the French poet and philosopher Jean Biès, and from Islamic and Hindu sources. This is the Vocal Score and lasts around 19 minutes. Commissioned by Maestro Ignat Solzhenitsyn for The Chamber Orchestra of Philadelphia, it was first performed on 20th March 2009, at the Perelman Theater, The Kimmel Center for the Performing Arts, Philadelphia, by Katherine Pracht (mezzo-soprano) and The Chamber Orchestra of Philadelphia conducted by Ignat Solzhenitsyn. Two poems by the contemporary French poet Jean Biès form the basis of the work. Two traditional Islamic and Hindu texts have been inserted into the second poem, creating a powerful composition that is subtitled 'A Metaphysical Paradox'.

John Tavener: Tu Ne Sais Pas (Full Score)

Tu Ne Sais Pas is a work by John Tavener for Medium Voice, Timpani and Strings. The work sets words by the French poet and philosopher Jean Biès, and from Islamic and Hindu sources. This is the Full Score and lasts around 19 minutes. Commissioned by Maestro Ignat Solzhenitsyn for The Chamber Orchestra of Philadelphia, it was first performed on 20th March 2009, at the Perelman Theater, The Kimmel Center for the Performing Arts, Philadelphia, by Katherine Pracht (mezzo-soprano) and The Chamber Orchestra of Philadelphia conducted by Ignat Solzhenitsyn. Two poems by the contemporary French poet Jean Biès form the basis of the work. Two traditional Islamic and Hindu texts have been inserted into the second poem, creating a powerful composition that is subtitled 'A Metaphysical Paradox'.

Geoffrey Burgon: Dos Coros For 12 Solo Voices Or Choir

De Algunos Canciones de Juan de la Cruz. This work was commissioned by the BBC for the 10th anniversary of the BBC Northern Singers in 1975. 'Dos Coros is a setting for voices of two poems by the 16th century Spanish mystic St John of the Cross. St John is widely considered to be the greatest of the Spanish mystic poets, because he comes closest to expressing what is usually considered to be inexpressible - mystical experience. His poetry is all about the intense excitement of the union with God, but, paradoxically, the word God is rarely used, and not at all in the two poems set here. Another paradox is that he is able to express great serenity by employing the imagery of rushing water, flight and even drunkenness. If mystical experience is near impossible to convey in words, then maybe it is natural that many composers have taken up the challenge of conveying it in their own medium.' Geoffrey Burgon

Billy Strayhorn: Out Of The Shadows

This 7 CD box set celebrates the life of the extraordinary jazz musician Billy Strayhorn . Like Strayhorn 's career, this collection presents somewhat of a paradox. The richness and diversity of the music featured in Out Of The Shadows is sure to delight the most obsessive Strayhorn aficionado; at the same time it offers a thrilling introduction to the man many know only as someone who once played in Duke Ellington’s band and who wrote 'Take The “A” Train'. The 7 CDs contain material, including 62 of Strayhorn ’s compositions, not only focusing on his work outside of the Ellington orchestra, but also presenting him in Duke’s company. Billy Strayhorn , the man whose musical abilities could have made him a star in his own right, labored in the shadow of a world-famous benefactor. This collection of his recordings puts him firmly in the spotlight for once, revealing beyond doubt the true scale of the debt owed to him by Duke Ellington in particular and jazz in general. Watch a video trailer for Out Of The Shadows :

NUX DM-7X Electronic Drumkit/Trumset

NUX DM-7X Elektroniskt Trumset NUX DM-7X är ett professionellt elektroniskt trumset för dig som söker en autentisk spelkänsla kombinerat med modern teknik. Det är utmärkt både för övning hemma, undervisning, inspelning och livespelningar. Alla trumplattor har REMO mesh-skinn som ger ett naturligt motstånd och låg ljudnivå – perfekt för inomhusmiljöer. Virveltrumman och toms har dubbla triggers, så du får separata ljud från spel på mitten respektive kanten – precis som på ett akustiskt set. Ljudmodulen DM-7X erbjuder 30 färdiga kit, 18 användarprogrammerbara kit samt effekter som reverb, kompressor och distorsion. Bluetooth gör det enkelt att spela med till musik trådlöst, och via USB-MIDI kan du koppla trummorna direkt till din inspelningsprogramvara. För dig som vill förbättra din teknik finns inbyggda övningslägen som Time Check och Quiet Count. Detta gör trumsetet särskilt lämpligt för musikskolor och dedikerade hemmamusiker. Med stora cymbaler med chokefunktion, en responsiv hihat-pedal och stabil ram är NUX DM-7X ett mycket flexibelt och komplett trumset för både amatörer och mer avancerade trummisar. Specifikationer: REMO mesh-skinn 10" virvel, 3 x 8" toms 12" hi-hat med kontrollpedal 2 x 12" crashcymbaler med choke 14" ridecymbal med choke Kick-pad och pedal DM-7X modul med USB, MIDI, AUX-ingång, hörlursutgång 30 färdiga kit, 18 egna kit, övningslägen Bluetooth och möjlighet till expansion  

Keaton Henson: The Tallowmere Annual (Book/MP3)

The Tallowmere Annual  is a unique collection of words, sound, and ink paintings by musician and artist Keaton Henson . This hardback, special limited edition, mixed-media book tells the fragmented story of a town that never existed, Tallowmere, seemingly empty, showing only outlines of living things, words once spoken, and the sounds of distant mourning. The first of its kind, the book’s front cover holds an MP3 pack embedded with an audio jack for headphones and sound controls. Readers can plug in and listen to a recorded score created specially by Keaton as an accompaniment to reading the book and viewing the artwork. Visit  www.welcometotallowmere.com  for more information. Detailed Specification: Cover : Cased edition with scuff proof matt lamination, 4-colour with spot UV front and back. Insides:  End papers: black, 140gsm uncoated wood-free paper, 128 pages, 157 gsm matt art paper in sewn sections Original artworks created by Keaton: India ink on paper. Black and white striped head and tail bands. Battery pack features:  Embedded in cardboard panel on front inside cover, 3x AAA batteries supplied with each pack, removable batteries, On/off switch. Audio playback features:  Audio chip has play/stop button and volume controls, audio lasts for approx. 20 mins, audio jack to be inserted centrally into the bottom of the cased cover.

Earth and Sky : (4 Players)

Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with the predictions of various pundits, but their ideas seemed dizzyingly contradictory. Then the simple thought struck me that however varied and complex the answers, the big questions will always remain the same. We may now have a map of the human genome, but how to use the map? "How shall I know where I should go? How may I see the I that’s me?" As a musician I am hopeful that, no matter how the world develops, future generations will still come together to "dance and sing and play". The mysterious power of music to bind us socially and inspire us individually seems to be built into our genes. So, a song of questions; a song about music – these were the ideas which I took to Vikram Seth, who had generously agreed to write the words for me. The resulting poem provided lots of inspiration. It is entirely monosyllabic, enabling considerable variety of rhythmic treatment. I love its permutations and its imagery of paradox and inversion and I have amused myself by playing similar games with the musical material. But there is seriousness as well as fun – the text’s juxtaposition of the certainty of death with the search for purpose in life achieves great poignancy when sung by young voices. (Alec Roth)

Earth and Sky

Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with the predictions of various pundits, but their ideas seemed dizzyingly contradictory. Then the simple thought struck me that however varied and complex the answers, the big questions will always remain the same. We may now have a map of the human genome, but how to use the map? "How shall I know where I should go? How may I see the I that’s me?" As a musician I am hopeful that, no matter how the world develops, future generations will still come together to "dance and sing and play". The mysterious power of music to bind us socially and inspire us individually seems to be built into our genes. So, a song of questions; a song about music – these were the ideas which I took to Vikram Seth, who had generously agreed to write the words for me. The resulting poem provided lots of inspiration. It is entirely monosyllabic, enabling considerable variety of rhythmic treatment. I love its permutations and its imagery of paradox and inversion and I have amused myself by playing similar games with the musical material. But there is seriousness as well as fun – the text’s juxtaposition of the certainty of death with the search for purpose in life achieves great poignancy when sung by young voices. (Alec Roth)

Magnus Lindberg: Corrente No.2 (Score)

Orchestral work commissioned by the BBC, and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis, The Barbican Hall, November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991 preceded by three works for different orchestral effectives (Kinetics, Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon an extended chaconne principle with chord chains cycling around, undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between a brick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of 1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players, as a study for the full orchestra version entitled Corrente II.In order to bring the harmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitches based on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions. The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a "narrative" sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass qualities expanded, the dramaturgy of the piece also changed. Corrente lasts for about 12 minutes whereas Corrente II spans over 20 minutes.Basically the original flow of Corrente is still present in the final version of this project. One could think of a landscape, viewed from different distances, approaching it and thus discovering new details or by moving apart from it and seeing it as part of a larger context.Orchestrally the piece is written for a standard formation with, except for timpani and vibraphone hardly any percussions.One particularity was to leave out the flutes from the orchestra. I don't have anything against the flutes, on the contrary, but by doing so the outline of the sound body became enforced as the top of the wind group was scored by either oboes or clarinets. Consequently I didn't include the tuba in the brass section, thus giving the bass trombone a stronger emphasis also marking this enforcement of the frames.