It took a few years after meeting in the early 1990s for the two to begin writing music of their own.[22] Black and Gass eventually wrote their first song after Black had been dumped by a girlfriend called Melissa, a non-comedic song. The two have since admitted to feeling embarrassed about the song, though they occasionally sing it during interviews when telling their story.[26] Their second song came about when Black was listening to the Metallica song "One" and told Gass that it was "the best song in the world". Gass told Black that they couldn't write the best song in the world, but Black put a twist on it and said they could "write a tribute". Gass played an A-minor chord on his guitar at the apartment and the two spent three full days crafting the song. When it was done, Gass mentioned that they "knew they had something". The song made the duo realize their comedic potential.[27] The two would initially call themselves "Responsive Chord" for a brief period of time whilst rehearsing the comedy act.
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In addition to appearing in videos, Black and Gass sang backup vocals on the 2003 Styx album Cyclorama, on the song "Kiss Your Ass Goodbye".[162] Tenacious D lent backing vocals to The Vandals album Look What I Almost Stepped In..., on the song "Fourteen".[163] Tenacious D appeared on KROQ-FM's twelfth full-length Christmas compilation, Swallow My Eggnog, with Sum 41, on a song entitled "Things I Want".[164] Gass appeared in the Good Charlotte music video for the song "Lifestyles of the Rich and Famous".[165]
He was also setting up a racy finale -- a set of variations including a fugue that detractors ever since have called a falling-off of inspiration. This kind of argument ignores, however, not only what preceded the Eroica historically -- Bach's Goldberg Variations for example -- but also Beethoven's own ennoblement of the form. He had already used the legato second theme of his Eroica finale in The Creatures of Prometheus (ballet music of 1800), in an 1802 Contredanse, and as the subject of 15 keyboard variations that same year (Op. 35), subtitled Eroica once the symphony had been published. A never-ending wonder is the viability of this subject after so much use. Beethoven's range of invention in the symphonic finale of 1804 -- from hymnody to humor, from fugue to dance, culminating in a Presto coda -- successfully freed the listener from the gripping, even shocking drama that has stalked his first and second movements.
The Classix Series offers music that will uplift and inspire, full of beloved masterworks and new favorites. The Classix Series takes place at the Pioneer Center for the Performing Arts, where the Reno Phil is a resident company.
Based in Minnesota, but with roots in Tennessee, Chastity Brown grew up surrounded by country and soul music. In the full gospel church of her childhood, she played saxophone and drums and found her s...
It's the new crown Prince Of Swing and the son of the legendary Louis Prima! Louis Prima Jr. is the youngest child of celebrated musician and entertainer Louis Prima. Prima gambled on a full-time care...
Broken Arrow performs the music of Neil Young, featuring the rockin' electric Crazy Horse tunes and the more acoustic country rock material. They faithfully deliver classic songs with with some jammin...
Gabe Stillman is a machine that runs at full tilt for every performance. While the sound is unmistakably rooted in the blues, the band draws from the deep well of all American roots music. Since landi...
Performance Guide: This etude provides the opportunity to display tone, phrasing, dynamics, and overall musicality. Count in 6 beats per measure (eighth note gets the beat) to aid in rhythmic accuracy and control of the tempo. Create as much dynamic contrast as possible throughout. Good air support is key so always take full, low breaths. With each breath, strive to expand the stomach and lower back. As you blow, stay expanded and keep focusing the support low by pushing down and out against your abdominal muscles and lower back. For the second turn in m. 26, use the 2nd RH side key to play the upper note D and return to the standard fingering for the D 64th note. One way to interpret the phrases marked inquieto (m. 9) and incalzando (m. 13) is to play each phrase with a crescendo and with a slight acceleration into the 32nd notes. Lean into the accented notes with your air to aid in making the crescendo. In m. 18 be sure to rearticulate the second E in beat three. The trill in m. 25 should be played by fingering the B-flat and trilling with the top 2 RH side keys. Measure 37 is a cadenza so play this with a sense of freedom to create musical interest. Re-establish tempo for the repeated C quarter notes in the second to last measure and try to imitate the sound of a large bell that decays on each note as you die away to the end.
Performance Guide: Although this etude is in the key of c-minor, there are numerous accidentals throughout. Accidentals and neighbor tones are used to create tension and release. Lean in to the notes outside of the key to help propel the musical line.Throughout this etude, there are two musical ideas going on at the same time. The lower, articulated notes outline the harmonic and sometimes musical line. Therefore, bring out these notes to highlight the harmonic progressions. While these notes most of time have staccatissimo accents on them, you should think of these more as an emphasis rather than playing these notes overly short. They should have emphasis, but feel round and full in tone. In practicing this etude, separate the two lines. Play only the articulated notes first so that you understand the musical and harmonic line. Then, play only the slurred notes. These notes should have their own musical shape, as indicated by the hairpin crescendos and descrescendos. The staccato downward thirds at the ends of phrases should be lifted and bouncy. Focus more on using the air to create the staccato rather than stopping each note with your tongue.
Performance Guide: This etude provides an opportunity to show musical depth and expression, as well as a good sense of rhythm. Carefully differenciate between thirty-second notes and sixteenth notes. Rubato is recommended, when appropriate, and should be used to shape the phrases. However, due to the rhythmic intricacies of the etude, practice with the metronome before adding any variation in tempo. Always play the lowest notes when given a choice, such as in mm. 27 and 30. Make sure all notes are sustained to their full value and that staccato notes are tapered and not chopped. Do not shorten the accented notes in mm. 3 and 17. Play with a pesante (long and heavy) articulation for the accented notes under the slur leading into the high A-natural in m. 10.
The WCO has been a resident company of Overture Center for the Arts in Madison, WI since its opening in 2004. The Overture Center was made possible by the trailblazing philanthropy of Jerry Frautschi, who donated $205 million to initiate its creation. Since becoming one of the resident companies of Overture, the WCO has fully established itself as one of the premier chamber ensembles in the United States and brings the best of classical music to hundreds of thousands of Wisconsinites each year. 2ff7e9595c
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