| | Music Of Komitas Vartabed CD Yerevan Chamber Choi CDS
native Armenian Harutyun Topikyan conducts the Yerevan Chamber Choir, who are acclaimed for performances of newly discovered versions of composer Vartabed's (born 1869 & known as the "Father Of Armenian Music") liturgical mass, which they present here Music Of Komitas Vartabed Music Music Of Komitas Vartabed Review
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Purchase Music Of Komitas Vartabed To buy, Click on price to add to cart | Handel's Messiah: A Soulful Celebration CD (1992)
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Live Recording
Engineers include: Tony Sheppard, Erik Zobler, Barry Rudolph.
Personnel: Jamecia Bennett (vocals, soprano); Core Cotton, Carrie Harrington (vocals, alto); Terrence Frierson, Patricia Lacy, Kimberly Brown (vocals, tenor, tenor saxophone); James F. Wright (vocals, baritone); David B. Young, Michael L. Bowens (vocals, bass voice); Mervyn Warren (vocals, piano, keyboards, drums, programming, drum programming, background vocals); Richard Smallwood (vocals, keyboards, programming); Donna McElroy, Howard Hewett, Angela Wright, Patti Austin, Take 6, Vicki Hampton, Chris Willis, Kim Fleming, Bob Bailey (vocals, background vocals); Commissioned, Daryl Coley, Jackie Ruffin, Dianne Reeves, Janice Chandler, Melvin Warren, Dennis Sawyers, Caroline Evans, Carolene Evans, David Young, Pat Lacu, Michael Weeks, David Young, Darlene Simmons, Al Jarreau, Michelle Weeks, The Richard Smallwood Singers, Stevie Wonder, Tevin Campbell, The Boys Choir of Harlem, The Clark Sisters , Tramaine ...
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Since Chris Young appeared on the "Nashville Star" television program in 2006, he's been on a roll. After signing with RCA he had a hit with "Drinkin' Me Lonely," his first single from his self-titled debut recording. Likewise, the two singles that have preceded the release of THE MAN I WANT TO BE in 2009 haven't done too badly either, getting plenty of play on radio. While Chris Young's sound is firmly in the contemporary country camp, it's also a lot more hardcore honkytonk than it is the refried '70s rock clichés that plague the genre. Part of that is due to his big booming baritone voice that rings as clear as a bell in this mix. (Think George Strait-meets-Josh Turner.) The other part of his appeal is the use of a relatively small group of musicians, giving the disc a more organic sound than a lot of what's ...
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Stanley Black's orchestral fantasies touch upon Argentina and Andalusia in this double reissue of dramatically produced concept albums from the golden age of thematically presented mood music. ...
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$16.55 | | Art Sulger 12-String Cycle CD (2006)
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12-String Cycle The guitar is a beautiful instrument - an orchestra that you can hold in your arms. Notes are fingered with the left hand and plucked with the right hand. This limits the number and range of simultaneous notes. Artists such as Kaki King, Preston Reed, and the late Michael Hedges use various tapping techniques to get around these limitations. More traditional guitarists, like myself, look for open strings so very high notes can be fingered and played with much lower notes. We like having an open string available with the right note at the right time. Keys with a lot of flats and sharps don't often offer a lot of these easy opportunities. Many guitarists use special tunings designed to increase the number of open, mostly bass strings. We are then stuck with a beautiful wood instrument with inherent resonances and we use it to play songs in one of only 5 keys: C, D, E, G, and A. Doesn’t this limit the tonal palette a little? So I started looking at some alternate keys, odd ones like F# or G#, and the 12-string guitar, as it often does, surprised me! The double courses on the middle G and D strings often showed up as handy open strings. For example, the B Flat Rag makes frequent use of the open G for a Seventh and the open D for the Third. I found unique uses for the upper unison courses (they have a different sound from the octave courses). For example, listen to the opening piece in B natural. It uses the open B as a drone for the rising, 60's, rock 'n roll riff that separates sections. It's a series of B chords, anchored by the open 2nd course. I found open notes like this throughout what soon became a cycle of 12 tunes. Another example: the E flat piece uses open A, D, and G (the Third). The A and D play prominent roles in the melody even though they are leading notes. Joe Turner's Blues in G sharp, was the most difficult key; the tune is almost entirely barred. Even here, though, I found a little major/minor play with the open B. The Tunes start with key of B and end with the key of E. Each tune is a fifth higher than the previous one. The Tunes:B-63 Blues (B natural) - an exuberant piece inspired by Rock & Roll and the Mo-Town Girl Group tunes of 1963. The piece has an interesting ‘bridge’ that is nothing more than a cycle of fifths. Tab and standard notation is available.IstanBlues (F sharp) - kind of Turkish, except for the missing 150 or so micro-tones. Tab and standard notation is available.The Brights (C sharp) – C sharp and F sharp were two keys that really felt good on a 12-string. Joe Turner's Blues (G sharp) - a little study in some Rag progressions mixed with a I III IV chord progression.Sergio Leone's Blues (E flat) - the Good, the Bad, the Jangly.Bb Rag (B flat) – some standard guitar rag changes, short and to the point. Walk Right In (F natural) - Gus Cannon's piece, via The Rooftop Singers. Starts in C, down good and low, and ends in F.Folk Medley (C natural) - Freight Train, Hollis Brown, Railroad Bill, Cocaine Blues and a thousand other folk tunes guitarists play in C.River of Life (G natural) - lots of open strings and harmonics; hardly need a left ...
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Music Of Komitas Vartabed
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