Join us as Samaya explores the music discography of the Resueño label. In over 1.5 hours, Samaya compiles many of his favorite songs, including old and new featured artists on Shivelight such as Aluna, Kama Lila Sol, Baptiste Sejourne, POAN, Iyakuh, Mose and many more.
Resueño is the union between two Spanish words, Resueno (meaning, «I resonate»), and Sueño (meaning «Dream»), hence evoking the aim to collaborate towards sonificating dream states. The label was formed with the aim of bringing artists together to create something which alone would not be possible, and to blur the boundary between the dance floor and the chill-out sound journey space; to find a colorful middle path where all is in balance and the cosmic harmony flows through.
Fans of the more shamanic downtempo side of Shivelight will certainly enjoy diving into these sounds which blend the natural world and global tribal representation, encouraging empathy and synergy amongst all living creatures on our planet.
This upload follows our Discography mix series, where we focus on the sound of one label at a time. Expect more to come soon in the future.
Как то, чему вас (на)учили в музыкальной школе, трансформировать в умение играть песенный аккомпанемент по аккордам.
Конкретно, пошагово, без лишней мистики, освоим азы эстрадного аккомпанемента.
04:36 — Стройка аккордов
05:56 — Обращения и бас
08:35 — Ритмическая основа
09:47 — Сила слабых долей
14:58 — Неполные аккорды
16:39 — Поиск новых рисунков
17:44 — От восьмых к шестнадцатым
18:21 — Переборджио
22:06 — Ритмические пробелы
22:55 — Больше октав
25:10 — Широкие расположения
26:03 — Минус сильная доля
27:15 — Код 3-3-2
30:47 — Как это отрабатывать
This was one of the first albums of Susumu Yokota.The genre of this album is more electronic and techno than other albums of Yokota.Anyway from my point of view is a gem.
Hope you enjoy of this album.
Disclaimer*
I do not own ANY rights to any of the music or footage i share, if you have a problem with the way of share, shoot an email and i will take the video down if needed.
All rigth reserved to Susumu Yokota and Sublime Records.
Click times for titles: 1) 0:12 2) 10:06 3) 16:52 4) 24:40 5) 34:02 6) 44:24 7) 49:30
Sona Jobarteh performed in Weimar on invitation of the University of Music FRANZ LISZT Weimar and its UNESCO Chair of Transcultural Music Studies (TMS). The TMS Chair regularly invites artists to bring the musicology students into contact with various musical cultures for inspiration and exchange.
Sona Jobarteh is the first female Kora virtuoso to come from a west African Griot family. The Kora is one of the most important instruments belonging to the Manding peoples of West Africa (Gambia, Senegal, Mali, Guinea and Guinea-Bissau). It belongs exclusively to griot families, and usually only men who are born into these families have the right to take up the instrument professionally. Sona Jobarteh combines various genres of African Music and western musical elements.
The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a «lamentation», mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or «very quietly», and the loudest it gets is mezzo forte or «moderately loud».
The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it «is one of those poems that human language does not know how to qualify. The work was very popular in Beethovens day, to the point of exasperating the composer himself, who remarked to Carl Czerny, „Surely Ive written better things.
Allegretto
The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as “a flower between two chasms.»[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movements cheerful disposition.
Presto agitato
The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethovens (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.
It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopins Fantaisie-Impromptu, which manifests the key relationships of the sonatas three movements.
Of the final movement, Charles Rosen has written «it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.
Beethovens heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethovens pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals
At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: „Si deve suonare tutto questo pezzo delicatissimamente e senza sordino“. (»One must play this whole piece [meaning «movement»] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethovens day, leaving for a rather blurry and dissonant tone.
One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethovens original direction.