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USAHA GINTING NIM: 107037003 JUDUL TESIS: KATONENG-KATONENG PADA UPACARA CAWIR METUA DALAM BUDAYA KARO: KAJIAN FUNGSI, STRUKTUR MELODI, DAN MAKNA TEKSTUAL ABSTRACT This magister thesis entitled Katoneng-Katoneng in Cawir Metua Ceremony at Karonese Culture: Analysis of Function, Music Structure, and Textual Meaning. The aims of this research are analyze and reach the goal about three aspect of katoneng-katoneng (Karonese traditional ceremony song genre): (a) uses and functions, (b) melodic musical structure; and (c) the meaning of song text. To analyze the three aspects in katoneng-ketoneng I uses field works metodhs, as a participant observer, interview works, and recording data in the audiovisual formats.
This research project also use qualitative method, which choose the key informant (as traditional Karonese singer called in Karo terminology perkolong-kolong) Siti Aminah (Sumpit) br Ginting. To study about katoneng-katoneng functions in Karo cultural generally or specially in cawir metua ceremony (“grand” die ceremony), I use functionalism theory both in cultural anthropology and ethnomusicology disciplines.
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Then, to analyze musical structure in the focus for melody aspect which singing by Sumpit br Ginting, I use weighted scale theory. After that, to studied the meaning of katoneng-katoneng, I use semiotic theory which based on both emic and ethic approaches. In this research discover some scientific results as follows. Generally, katoneng- katoneng use in the context of mengket rumah mbaru (coming to the new house ceremony in Karonese culture), pesta tahun (yearly fiesta), and cawir metua (“grand “ die ceremony).
These three contexs link to the thanks expression to the God with Her blessing. Especially in cawir metua ceremony, this songs functioned as: honorably to ancestor which die; thanks to the God about die as the complete human; ritual legitimation; emotional expression; continuity of culture; and social integration. Then the melodic structure of katoneng-katoneng is using scales hexatonic (six-tone), using prime perfect intervals until major sixth, it’s ambitus in one octave, and strophic melodic formulas. Textual meanings contained in katoneng-katoneng is stressed to counsel and consolation to the raccoon rakut sitelu to sukut (host) and gratitude at implementation of the party, with the use of diction and style language that is motivated by concepts of culture Karo. Keywords: katoneng-katoneng, cawir metua, function, structure of music, textual meaning. Advisors: Muhammad Takari, Ph.D.
Dan Irwansyah, M.A. WIWIN SYAHPUTRA NASUTION NIM: 107037004 JUDUL TESIS: MUNAJAT DALAM TAREKAT NAQSYABANDIAH BABUSSALAM LANGKAT: KAJIAN TERHADAP FUNGSI, MAKNA TEKS, DAN STRUKTUR MELODI ABSTRACT This study focused on the analysis of form, function and meaning Munajat as ideology and the media in keeping the congregation Naqsyabandiah lineage in the village of Padang Tualang Besilam Langkat District, North Sumatra Province. The study was conducted to provide a thorough understanding of the role of the congregation chanting Munajat Naqsyabandiah used as a sign of the entry of Fajr prayers, Maqhrib and Friday prayers. As the creator and the civilizing traditions of chanting Munajat reading this is the first master teacher who is also the founder of the Order of Naqsyabandiah in the village of Sheikh Abdul Wahab Babussalam Rokan Khalidy Naqsyabandy. The approach used in this study is an interdisciplinary approach to qualitative research methods to describe and transcribe humming Munajat conducted research location.
Some of the theories used in support of this research include functionalism theory, ethnomusicology theory, the theory of semiotics, the theory Tringulasi, Theory of Weighted Scale (weight scales), atqakum theory, the theory takmilah. Data collected through library, research, observation, interview and documentation.
Once the analysis is done, it was found that the congregation Naqsyabandiah Munajat in its important role as a tool to maintain cultural continuity and the reinforcement of the integrity of the congregation Naqsyabandiah Babussalam. Munajat also has a function as a means of education, manners and keep the congregation Naqsyabandiah pedigree.
Analysis of the meaning of the text with semiotic theory approach has been found that in addition to poetry Munajat text associated with the concepts of the concept of the sign, it also has elements of traditional Malay elements like prose poems, rhymes, seloka, or couplets. When viewed from the meaning of the Munajat activity is as a manifestation of devotion to God. Munajat has 44 (forty four) stanza poem in its presentation using Malay ornamentation such as patah lagu, cengkok, and gerenek. Maqom used in this Munajat is Shika maqom use pattern. Munajat contained in this order priority to serving text (logogenik) is the primary means of communication is verbal. In practice, Munajat always begins with a beating over the past ten to fifteen minutes by hitting the inside of the nakus section and ends with beating out the total number of prayers to be implemented.
Further readings will be held on Munajat's tallest tower at madrasah Babussalam until it was time to worship azan prayers. Keywords: Munajat, The essence of Tauhid, Tarekat, Lineage, function, meaning and music analysis. Advisors: Dr.
Muhizar Muchtar and Muhammad Takari, Ph.D. JAMAL KARO-KARO NIM: 107037001 JUDUL TESIS: ANALISIS PERAN KETENG-KETENG DALAM ENSAMBEL GENDANG TELU SENDALANEN SEBAGAI MEDIA DALAM KONTEKS UPACARA ERPANGIR KU LAU DI DESA KUTA MBELIN, KECAMATAN LAU BELENG, KABUPATEN KARO ABSTRAK Penelitian ini fokus pada analisis peran keteng-keteng dalam konteks ansambel gendang telu sendalanen sebagai media dalam upacara erpangir kulau di desa Kuta Mbelin Kecamatan Lau Baleng Kabupaten Karo, Provinsi Sumatera Utara. Kajian ini dilakukan untuk memberikan pemahaman menyeluruh tentang peranan alat musik keteng-keteng dalam ensambel gendang telu sendalanen yang digunakan sebagai media dalam pelaksanaan kerja erpangir ku lau pada etnik Karo, dimana erpangir ku lau merupakan salah satu tradisi berpangir ke air mengalir yang diyakini dapat membersihkan diri, membuang sial, mengobati penyakit, dan mendatangkan rezeki yang dipandu oleh guru. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan interdisiplin dengan metode penelitian kualitatif dengan mendeskripsikan kondisi pelaksanaan di lokasi penelitian. Beberapa teori yang digunakan dalam mendukung penelitian ini di antaranya teori fungsional, teori ritual, teori semiotika, dan teori difusi kebudayaan. Data-data dikumpulkan melalui, studi pustaka, observasi, wawancara, dan dokumentasi. Setelah analisis dilakukan, ditemukan hasil bahwa alat musik keteng-keteng dalam ensambel gendang telu sendalanen memiliki peran yang sangat penting sebagai pembawa ritme.
Peranan keteng-keteng lebih dominan pada saat memainkan gendang perseluken, peranan irama yang kian cepat akan berpengaruh dalam proses terjadinya seluk pada guru yang merupakan pemimpin dalam pelaksanaan upacara tersebut. Dalam pelaksanaan ergendang, musik diawali dengan tempo lambat. Memainkan lagu mari-mari, yang artinya kemari. Lagu ini biasa dimainkan untuk memanggl roh-roh yang ada di sekitar tempat tersebut. Kemudian pada saat memainkan lagu pesuluken, sekitar 25 menit kemudian guru mengalami kesurupan ( trance), kemudian pihak sukut berkomunikasi dengan roh-roh melalui tubuh guru. Mereka mengucap syukur atas kesembuhan dari penyakit dan menanyakan berbagai hal mengenai langkah-langkah atau rencana yang akan dilakukan pada masa-masa yang akan datang.
Pembelajaran alat musik tradisional keteng-keteng sebagaimana dengan pembelajaran alat musik tradisional lainnya, dilakukan secara lisan oleh orang yang telah terampil memainkan salah satu alat musik ke generasi berikutnya yang berkeinginan. Demikian halnya dengan alat musik keteng-keteng dilakukan secara lisan dari satu generasi ke generasi berikutnya. Selain belajar langsung dengan guru, sebagian masyarakat Karo juga ada yang mempelajari alat musik tradisional keteng-keteng secara mandiri (otodidak) dengan cara mendengar rekaman, kemudian memainkannya. Kata kunci: Keteng-keteng, gendang telu sendalanan, fungsi, media. Advisors: Muhammad Takari, Ph.D.
Asmyta Surbakti. ANDRY PERMANA BARUS 127037004 JUDUL TESIS: PEMBELAJARAN PRAKTIK INSTRUMEN GITAR KURIKULUM ABRSM DASAR I DI CHANDRA KUSUMA SCHOOL: KAJIAN TERHADAP MASALAH DAN SOLUSINYA ABSTRAK Penulis mengambil tiga buah lagu ( pieces) yang berjudul Here There, and Everywhere, Ode to Joy, dan Nel Cor Piu Non Mi Sento dengan transkripsi notasi balok, yang diambil dari kurikulum ABRSM untuk kepentingan pembelajaran dan ujian pelajar praktik instrumen gitar dasar I di sekolah Chandra Kusuma School. Kemudian lagu tersebut diaplikasikan dalam proses pembelajaran dengan teknik-teknik yang terdapat pada tangan kanan dan tangan kiri kemudian memberikan sebuah solusi yang berbentuk bahan latihan siswa untuk mempelajari ketiga lagu yang dipilih sebegai proses dan ujian siswa. Dalam hal ini penulis akan menggunakan teknik membaca movable do dan fixed do untuk mendukung proses pembelajaran instrumen gitar yang menjadi bahan ajar guru melalui sistem untuk melatih siswa-siswi sebelum mengaplikasikan teknik penjarian tangan kanan dan tangan kiri pada sebuah lagu yang terdapat pada buku panduan yang telah dipilih seorang siswa untuk sebuah ujian dan proses pembelajaran instrumen gitar klasik.
Kemudian setelah menganalisis buku panduan melalui penerapan kedua teknik tangan kanan dan tangan kiri pada pembelajaran instrumen gitar klasik di Sekolah Chandra Kusuma School, penulis akan menuliskan sebuah solusi pelatihan dari sebuah permasalahan yang terdapat pada buku panduan serta memberikan latihan maupun contoh-contoh untuk mempelajari kesulitan dalam pembelajaran instrumen gitar yang terdapat dalam buku panduan kurikulum ABRSM dengan memilih teknik membaca mana yang lebih tepat pada pembelajaran gitar terhadap ketiga buah lagu. Kemudian penulis juga menggunakan kedua teknik membaca movable do dan fixed do, untuk pencapaian sebuah interpretasi maupun pengenalan sebuah lagu yang dilakukan seorang guru melalui solmisasi. Semua permasalahan penelitian ini dilakukan penulis melalui penulisan trankripsi atau notasi balok, yang diambil dari buku panduan kurikulum ABRSM great I, Adapun pokok permasalahan atau pertanyaan dalam penelitian ini adalah: bagaimana praktik pembelajaran gitar pada tiga buah lagu yang terdapat pada buku panduan Kurikulum ABRSM di Chandra Kusuma School? M asalah seperti apa yang ditemukan dan bagaimana solusinya ketika siswa mempelajari instrumen gitar Chandra Kusuma School?
AdvisorsL Muhammad Takari, Ph.D. And Heristina Dewi, M.Pd. SINAGA 097037013 JUDUL TESIS: TORTOR DALAM PESTA HORJA PADA KEHIDUPAN MASYARAKAT BATAK TOBA: SUATU KAJIAN STRUKTUR DAN MAKNA ABSTRACT This research discusses about Tortor in Horja ceremony for Batak Toba’s society. How the Tortor presented in Horja ceremony, and what is it mean and the floor’s pattern? Tortor is a dancing that is moving all body with Gondang Sabangunan music and it is central moving from feet, hand, fingers, feet palm, back and shoulder. Tortor has spirit of togetherness, brotherhood, or solidarity principles to common interest. Tortor is about custom ceremony, ritual ceremony and also entertainment amusement.
In this research, researcher focused for Horja ceremony in Rahut Bosi village, Pangaribuan, North Tapanuli. Tortor is danced equal with the status of Dalihan Na Tolu. From it is moving we will know who is hula-hula, dongan tubu and also boru. Tortor from Batak Toba’s society are still coherent in their life wherever they live. The activity of manortor is dancing in every activity in Batak Toba’s custom society life.
Though, the using of Tortor has many growth after christian’s, but the basic motif of Tortor dancing is still pure, even though the context has changed the limits that is equivalent with the Christian’s religion. The presented of Tortor that are the basic dancing, danscript of Tortor dancing, the floor’s pattern and also the clothes are focuses of discussed by researcher about the Tortor in Horja ceremony. Keywords: Tortor, Horja, Batak Toba, Gondang Sabangunan, Dalihan na tolu, hula-hula, dongan tubu, boru Universitas.
AdvisorsL Rithaony, M.A. And Yusnizar Heniwaty, M.Hum. ADE HERDIJAT 107037002 JUDUL TESIS: GENJRING BONYOK DAN TARDUG DI SUBANG JAWA BARAT: KAJIAN KONTINUITAS, PERUBAHAN, DAN STRUKTUR PERTUNJUKAN ABSTRACT This research aim to analyze of genjring bonyok and tardug continuities, changes, and performing structure, in Sundanese ethnic cultural in West Java. To analyze of these two art genres I use continuities and changes theory. In the other hand, to analyze the performing art structure I use semiotic and weighted scale theories.
Then, I use qualitative research in this study, based on field work method. The tardug ( genjring bonyok) art, exist in 2000-s. Before this art developing in the Subang society, they have some arts, which parts of continuities and changes of them. This arts genre are: genjring sholawat, rudat, adem ayem, and genjring bonyok. When viewed from the aspects of development that include forms of presentation, art materials, tools, community support, and future growth, arts that seems to have a relationship historically. Art genjring gederan known since 1960, have similarities in terms of the use of instruments and techniques of the art rudat wasps. Both types of art does not have pitched instrument that plays the melody.
Then after entering instrument tarompet, around 1969 as a carrier melodic songs, this art is known as genjring bruised. Not long after kawih elements come around 1987. In line with the wishes of the market, the next development, the songs in the arts genjring bruised dominated by songs dangdut style. But still limited to traditional dangdutan songs, which can be accompanied by musical instruments that exist as well as the technical ability kawih vocal interpreter. With the increasing demand of modern dangdut songs were applying diatonic scales, to accompany the songs needed musical instruments and singers in diatonic scales that can chant. Then in 2000 the guitar's entry into the art tardug. The structure of the show is to do with the opening stages, content, and closing.
The structure of the melody based on the pentatonic Sundanese system and then developing into diatonic. Key words: continuity, change, genjring bonyok, tardug, dangdut. Advisors: Muhammad Takari, Ph.D.
Budi Agustono. SOPIAN LOREN SINAGA 117037004 JUDUL TESIS: PENERAPAN PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA HARFURG, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL Abstrak Perkembangan musik Barat sangat meluas di Indonesia banyaknya peminat dalam mempelajari instrumen musik, menjadikan sekolah dan instansi maupun lembaga musik menjadi sebuah wadah untuk pembelajaran musik terhadap seorang anak sampai pada orang dewasa. Sekolah dan instansi musik yang berdiri di Indonesia lebih kepada sebuah praktik instrumen musik, salah satu instrumen yang dipelajari pada sekolah dan instansi musik adalah biola. Proses mempelajari instrumen biola Sebagian sekolah, instansi atau lembaga musik sering sekali menggunakan kurikulum dan sebuah metode dalam bentuk buku panduan seperti Suzuki Violin, A Tune A Day, kurikulum ABRSM, buku paduan inilah yang menjadikan interaksi antara guru dan murid dalam proses belajar-mengajar pada instrumen musik yaitu biola. Namun Permasalahan yang ada, pemilihan bahan untuk pembelajaran instrumen biola yang dipilih guru terkadang tidak begitu baik terhadap pembelajaran biola yang dilakukan terhadap peserta didik karena kurangnya konsep edukasi terhadap guru dan metode pengajaran. Selain buku panduan untuk pembelajaran biola, terdapat juga sebuah kurikulum ABRSM yang sebagian instansi menggunakannya untuk ujian internasional yang ada di Indonesia.
Melalui permasalahan ini penulis ingin meneliti penerapan buku A Tune A Day, Suzuki Violin, dan buku ABRSM di sekolah Candra Kusuma School dalam bentuk proses belajar-mengajar praktik instrumen biola. Kemudian meneliti guru mengajarkan ketiga buku panduan kepada peserta didik, melalui teknik permaianan biola pada tangan kanan seperti tehnik gesekan legato, staccato, dan detache dan tangan kiri pada penjarian 1 (satu) sampai penjarian 4 (empat), posisi jari dan bentuk jari serta permasalahan penjarian lainnya. Ketiga buku panduan yang menjadi bahan penelitian penulis untuk melihat kepentingan dan mengatasi permasalahan-permasalahan pada pembelajaran instrumen biola. Teori yang dipakai penulis untuk kepentingan praktik instrumen biola adalah teori musik barat untuk kepentingan proses pembelajaran biola yang diterapkan pada peserta didik diSekolah Candra Kusuma School dan instansi musik Ipac. Kata kunci: pembelajaran, biola, dan teknik biola. Advisors: Muhammad Takari, Ph.D. Dan Heristina Dewi, M.Pd.
HUTAGALUNG 117037003 JUDUL TESIS: TRIO PADA MUSIK POPULER BATAK TOBA: ANALISIS SEJARAH, FUNGSI, DAN STRUKTUR MUSIK ABSTRACT In this research, I focuse to analyze three aspects of trio in the Batak Toba popular music: (a) historical, (b) functional, and (c) the structure of vocal music. For historical aspect, researcher use continuitis and change theory.
Then, to analyzing the functional of trio in Batak Toba popular music I use uses and function theory from Merriam (1964). Beside that, to analyze structure of trio vocal music I use weighted scale theory from Malm (1977) plus harmony theory. The result of this research shows that trio in Batak Toba popular music which also born in the Batak Toba society, changed continuously in every life such as in technology, politic, economy, education and specially changing in religion, also in social sector that pushed the changing in Batak Toba cultural product. Until now trio in Batak Toba society still stick and get along with their life activities no matter where they live.
The functions of trio music in Batak Toba popular music were as: entertainment, communication, economy, expression of cultural indetity, symbolic representation, continuity of culture. These functions fill the social and cultural systems of Toba Batak society. Trio in Batak Toba popular music is three people who present vocal instrument that consists of only male or only female members or the mix of male and female members the revearse it’s performance, each one of the member has certain kind of voice.
That three kind of voices emphasize the harmonic combination, between each voices when the singers sing together and also emphasize the harmonic balance between each category or singer voice type (marsada means the first voice or sopran, “mardua” means the second voice or alto, “martolu” means the third voice or tenor, marlima means the fifth voices or high alto/octave. Trio also has the habit to sing all of those voices together in one time, that’s why people recognized trio as the group who composed four different kind of voices become only three voice. Assesment results of the text and structure shows how Batak Toba trio has developed from the traditional era, transition era until it’s reached the modern era that also became the beginning of the rapid development of trio it self, and also the constellation era where the Batak Toba trio has contextualized the culture that came from outside it’s culture in Batak Toba popular music. Keywords: trio, analizing, historical, function, music structure Advisors: Muhammad Takari, Ph.D. And Setia Dermawan Purba, M.Si. ERIZON 127037006 JUDUL TESIS: IDIOM MUSIKAL MINANGKABAU DALAM KOMPOSISI KARAWITAN INSTITUT SENI INDONESIA PADANGPANJANG: SEBUAH ANALISIS DALAM KONTEKS ADAPTASI MUSIKAL ABSTRACT The title of this research is Minangkabau Musical Idioms in the Karawitan Composition in Indonesia Fine Art Institute of Padangpanjang: an Analytical to Musical adaptation context. This reasearch attend to answere the problems as: (a) analyzing and understanding the meaning about terminology of composition and working methode so that the term arranging and composing can be understood contextualy, (b) analyzing and understanding the the making of Minangkabau musical idioms that developed in use of the Wastern musical instruments and elemens till to be a musical work, and (c) analyzing and understanding the adaptating of Minangkabau tradional music to the concepts of Western music in the musical work at Karawitan Department of Indonesia Fine Art Institute of Padangpanjang.
This research is a field, laboratorium, and literature studies. The field research covered the observation, interview, recording. The laboratorium study covered treatment, sellection, and filtering the field data. Qualitative and verificative method is used in this research and started by collected field, interview, and literature data and then finding out the theorycal approach to analyzed the datas.
The analyzed shows (a) There are misunderstanding to the term of composition. The meaning of composition term is ambigue to the term of arranging.
There is treference to say the karawitan musical work by the term composition. The analyzed shows that Galodo Saluang Panjang is obsolutely used partly or fully the melodic structure of Duo Duo song. The work Bagaluik Di Nan Batingkah is absolutely used the talempong interlocking pattern as tradtionaly used. The making process of the work is done by group or colletively so that the work is not purely as a product of creativity by someone personaly. In fact the musical work is in the name of personaly, (b) there are using the Western musical elemen and instrumentasion like a tertian harmoni, homophonic and polyphonic texture, flute, alto saxophone, tenor saxophone,trumpet, trombone, tuba, electical guitar, electrical bass, keyboard, and drum set, and (c) Minangkabau traditional music have adaptated to the Western Music. In the academical context, it has adaptated Minangkabau music to the Western music in the Indonesia Fine Art Institute of Padangpanjang musical work in form. Key words: idiom, minangkabau, composition, adaptation, and diatonic.
Advisors: Dr. Ridwan Hanafiah and Irwansyah, M.A. AGUSTINA HELENA SAMOSIR 127037011 JUDUL TESIS: MUSIK DALAM IBADAH GEREJA HKBP PASAR MELINTANG MEDAN: PENGGUNAAN, FUNGSI, DAN PERUBAHAN ABSTRACT This study discusses the Music In Worship HKBP Pasar Melintang, covers three aspects, namely: (1) The use of music in ritual HKBP ‘Market Crossing; (2) The function of music in worship HKBP Pasar Melintang; and (3) Changes in the composition of music includes hymns and the use of musical instruments as accompaniment hymns.
In discussing these three aspects, the author uses the theory of Alan P. Merriam on the use and function; theory of Carol R. Ember and Sztompka for theory change.
The study of aspects of the use of music in worship can be concluded that the variation of musical worship hymns to build more vivid and passionate. The use of hymns in worship at HKBP Pasar Melintang always adapted to HKBP ritual. Considerations in the selection of hymns of worship based on the text to align to the theme song of the week.
Hymn melody is not the main cause of the results of the research, it has been found that there are some hymns from the buku Ende HKBP uses the same melody but different meanings poem. The study of aspects of the function of music in worship shows that Alan P.
Merriam theory can be applied in accordance with the opinion of his congregation. Research results in a change aspects of music in worship HKBP, found that there are some differences in the composition of hymns HKBP the composition of hymns at first. Changes seen in the melody, rhythm and harmony.
Other changes have occurred is a change in the mindset of people HKBP about musical understanding in worship, giving rise to a wide variety of musical forms. This condition is seen ranging from the use of harmonium, trumpet, organ, brass/brass bands, musical ensembles (two or more keyboards, merging traditional music), a full band and the use of music box. Keywords: HKBP Pasar Melintang, Use, Function and Change Advisors: Dr.
Martongo Sitinjak, M.Th. Setia Dermawan Purba, M.Si. ACHI ASKWANA 127037012 JUDUL TESIS: ANALISIS KARAKTERISTIK ORNAMEN DI MASJID RAYA AL-MASHUN MEDAN ABSTRACT This research deals with ornaments which found in the Mosque of Al- Mashun in Medan North Sumatera Province. Based on the analysis of form characteristic and its background concept, the writer find out that the ornament consist of several values which have close relationship to visual art, ideology and religion. In this thesis the writer uses several relevant theories to drow conclusion for determination, he uses semiotic and visual art theories. Based on the theories, the writer tries to understand and appreciate themeaning of the selected ornaments to classify the form. He also makes these activities be come the reference of the material of the research.
The result of the research shows that the beauty of the ornaments in the mosque Al-Mashun is not merely only the visual art, but dhey also express the glory of Deli Sultante, the culture of Deli Malaya the adoration to the Almighty God. Key word: characteristics, ornaments, mosque of Al-Mashun, semiotics, visual art.
Advisors: Prof. Ikhwanuddin Nasution, M.Si and Drs. MANURUNG 097037006 JUDUL TESIS: MUSIK DALAM IBADAH KONTEMPORER DI GBI MEDAN PLAZA: SUATU KAJIAN STRUKTUR, KONTEKS, DAN FUNGSI SOSIAL ABSTRACT This writing discussed about how Christian Charismatic movements used music as a religious service to communicate to God in GBI Medan Plaza.
By using scientific and theology approach, this recitation will be doing by other approach which used qualitative research method. By using several approach like multidiscipline, interdiscipline and transdiscipline, this writing will research how a Charismatic religious service is—contemporary worship—done by using Christian contemporary music.
By using ethnology theories, it will be analyze how the cultures of Charismatic applied as a congregation effort to fulfill their religious necessity. A finding that have gotten from this research is as following, contemporary worship performed flexible structurally and the characteristic is more spontaneous. It is very different with traditional churches which is used liturgy “style”.
In contemporary worship, music has a dominant role when worship is performing. Thus from the first second till the end of worship, music sounds always have a role to produce and build an atmosphere in worship God. Music domination in worship looks like a strong relevance by perspective of GBI Medan Plaza to restore tabernacle of David which have overthrown. Tabernacle of David is full of praise and worship (music) to God. Thus the worship is identical with music and it is a form of contextual what does King David do when he worships God.
Christian contemporary music and contemporary worship have functions in it’s social- culture context. Music and contemporary worship still can go on and applies in GBI Medan Plaza because of social functions like: (a) social-culture integration, (b) conservation and culture continuity, (c) education, (d) consolation, (e) as tool of Evangelist, (f) as tool of communication, (g) as reflection of Christian spiritual. Keywords: contemporary worship, Christian contemporary worship, structure, context, social function, tabernacle of David, praise and worship. Advisors: Prof.
Mauly Purba, M.A., Ph.D. Paul Kwangjong Suh. ANGGA EKA KARINA 127037001 JUDUL TESIS: ANALISIS STRUKTUR MUSIK DAN FUNGSI SOSIO BUDAYA RAPA’I PASE DI BIARA TIMU JAMBO AYE ACEH UTARA PROVINSI ACEH ABSTRACT This research is titled An Analysis of Music Structures and The Social-Culture Function of Rapa’i at Biara Timu, Jambo Aye, Aceh Utara, Aceh Province. It learned about the function of socio-cultural and music structures in art traditional performance of Rapa’i Pasee. The background of this research is Rapa’i in Aceh has been a media which used by the societies to give motivation of spirit live struggle and relegion messages. This research is important because Rapa’i Pasee has used by Aceh society for a long time continually until now. The purpose of this research is to know the function of social-culture and how are the music structure of Rapa’i Pasee art in Panton Labu, Aceh Utara.
The research method is qualitative-descriptive method and explained with social science interdicipliner. The main problem of this research are the music traditional instrument of Rapa’i is the music structures, that was the kind of songs rhytme in Rapa’i Pasee that has social meaning and the spirit live in daily live. The social-culture’s function of Rapa’i Pasee toward the societies in Panton Labu, Aceh Utara which included emosional expression, estetis, entertaiment, communication and symbol related with social norms, culture, society integration and problem related with music structures such as rhytme of Rapa’i Pasee’s songs. The result of the research show that the music structures of Rapa’i Pasee is devided into some hit that has kind of sound (timbre) dum and teng, sound of dum was heard lower and sound of teng was heard higher.
Kind of hit in Rapa’i pasee is devided into lagu sa that show the music performance was start. Lagu dua, lagu lhee, lagu limeung, lagu tujoh, lagu sikureung, and lagu duablah. The kind of hit in Rapa’i Pasee show togetherness and spirit of struggle.
Rapa’i Pasee has eight functions in field research result. Based on Merriam that has ten function of social-culture, not all of the functions suitable with Rapa’i Pasee it self, the functions are entertainment, communication, symbol, social norm, culture, society integration, and emotional function. Keywords: Rapa’i Pasee, Music structure and social-culture function. Advisors: Dr. Ridwan Hanafiah, M.A. Irwansyah, M.A.
ANTON SITEPU 127037014 JUDUL TESIS: NYANYIAN KATONENG-KATONENG DALAM UPACARA MENGKET RUMAH PADA MASYARAKAT KARO: KAJIAN SEMIOTIK DAN MUSIKOLOGI ABSTRACT The intent and purpose of this research is to uncover, evaluate, analyze and understand the existence of singing katoneng-katoneng in the context of work on the house mengket Karo society. To obtain maximum results and authentic, on -katoneng katoneng singing in the context of work mengket home, the research done is to pproach multisciplinary. To uncover the problem in this study, the method used is qualitative with a multidisciplinary approach that is more focused on the semiotic approach and assisted etnomusicology with other sciences as a supporter. The research divided on the preparation, execution, and reporting with a view, observing, recording of the singing- katoneng katoneng audio-visual, conduct interviews, job analysis of the text of the song and aspect-building aspect musical melody.
From the results obtained, Katoneng-katoneng as traditional singing in the work context mengket this house is a mirror and reflection of sukut Sitepu mergana life as a party conducting the work. This is clearly revealed through lyric and melody of his music, which is mixed with the use of languages metaphorically through structural and semiotic approach. In the tradition of singing katoneng- katoneng study done by oral-informal. This means that the learning process carried out disembarang place, any time (not tied to a rules like in an organization/ institution. Based filmed singing katoneng-katoneng built using techniques sillabic (one note for each syllable, sillabis) and melismatic techniques (merging several notes to one syllable, melismatis).
Should be assumed that sillabis technique is an expression of the feeling of perkolong-kolong under which poured through the words or lyrics, while the technique is the expression of feelings perkolong-kolong melismatis-under which poured through the groove melodic music (melodic line). As rengget who worked with the tended to be melismatis techniques are at the end of the phrase. Keywords: katoneng-katoneng. Mengket rumah, perkolong-kolong, semiotic, musicology Advisors: Dr. Muhizar Muchtar and Irwansyah, M.A. BRIAN LASO SARO HAREFA JUDUL TESIS: MUSIK POPULER NIAS: KAJIAN SEJARAH, TEKSTUAL, DAN GAYA MUSIKAL ABSTRACT This master thesis, entitled Nias Popular Music: Study of History, Te x tual, and Musi c al Style. The objective ofthis research to analyze and then given the goals, from three aspects of Nias popular music: (a) history, (b) textual meaning, and (c) musical style, both rhythm and melody.
To analyse those aspects, I use the field work method, and as paticipant observer, and then work in the form interwiewing, recording the data in audiovisual format, and analyze the data. This research ise qualitative method and choose the key informants. To study of the history of Nias popular music, I use the diachronic (the development in the space dimension) and synchronic (the development in the time). To analyzedthe textual of Nias popular music use Riffaterre’s semiotic theory, which based on the study of heuristic (the linguistic denotative meanings), hermeneutic (the social and cultural meanings); matrix and model, and the intertextual link.
After that to analyze the melodies of Nias popular music, I use weighted scale theory. The results of this research were as follows. From (A) history, that the Nias popular music is the result of cultural long process, in the music there are elements of Nias tradition musics, and then acculturated with Western music, which come throughout the church institution, Western popular music, and Indonesian popular music, This music developing in the commercial context, and have main function as entertainment. Nias popular music had been developed in the five period, namely: (1) past tradition (of the people of Nias until the end of the 19th century), (2) transition (late 19th century until 1950); (3) church music and modernization (1950 to 1965); (4) the era of Nias popular music in the band form(1969 to 1990), and the era of the keyboard (organ) single (1990 until now). Then viewed the aspect (B) textual, then popular music Nias, have themes such as love for the island of Nias, appreciate and respect their parents and kinship, memories of love, interest someone to idol of the heart due to physical factors and behaviors, and others. This text in heuristic reading is continuing elements of Niasasn poetry (songs) tradition and dicreated by creator, and the overall Nias popular music use the Niasan language, so the music can be categorized as logogenic. From the hermeneutic reading, Nias popular music text reflects the values of indigenous people of Nias, like wisdom: to love the homeland, strengthen Nias identity, repay their parents and kinship, cultural preservation, and others.
From the point of the study (C) musical style, then Nias popular music is the result of acculturation with several styles (genres) ofworld music and the Indonesia, such as: r ock n roll, ballads, pop, new age, slow rock, Malay langgam, dangdut, and so on. The structure of the melody are: (i) scales were used largely in Western diatonic, (ii) tonica used also as prevalent in Western pop music, (iii) the area tone average of about one octave, (iv) tones commonly used is the notes in the major scale, (v) interval used was of prime to major seventh, (vi) the patterns most likely to recur appropriate cadence melodic phrases, but nothing has changed constantly; (vii) the formula melodies tend strophic; (viii) there are three types of commonly used contours: pendulum in upward, ascending, and descending. Keywords: popul a r music, N ias, history, te xtual, musi c al style. Advisors: Muhammad Takari, Ph.D. And Rithaony, M.A. ELISABETH PURBA 137037004 JUDUL TESIS: KAJIAN MANAJEMEN ORGANISASI, PRODUKSI, DAN PEMASARAN GRUP MUSIK TIUP DI KOTA MEDAN: STUDI KASUS MANGAMPU TUA DAN TAMBUNAN ABSTRACT This magister thesis entitled The Study of Organization, Production, and Marketing Management in Brass Band Ensamble Groups: Case Study in Mangampu Tua and Tambunan. The main question in this research are three aspects, how management application, in (a) organization, (b) production, and (c) marketing in two brass (wind) band group at Medan, Mangampu Tua and Tambunan.
The researcher use the method in this study of organization, production, and marketing two group wind bands by qualitative method. The technique of this research use: bibliography, social media, internet, interview, recording data as audio, visual, and audiovisual.
The researcher works as participant observer. The fieldwork data then analyzed in laboratory, in the perspective management and ethnomusicological science, in the context of scientific multidisciplines. To analyze three main problems in this thesis, I use three main theory: organization management, production management, and marketing management.
He was charged with killing 53 women and children between 1978 and 1990 and was convicted of 52 murders in 1992. Finally, in a well-orchestrated police snare, Chikatilo was caught in 1990 and eventually confessed to killing 36 people. Chikatilo first killed a 9 year old girl in 1979, and during the experience he discovered that he could only achieve sexual satisfaction by stabbing and slashing women and children to death. Chikatilo was in and out of jail and suspected of crimes for many years, but there was never enough evidence to put him away for good. Torture methods used by serial killers.
In this research I use some facts as that. (A) The organization management of two wind band group based on Batak Toba tradition management, with the specific process, they adopted the musicians based on patrilineal kinship ( marga) and friendly system, meeting with verbal media, not write as notariat acte, the two group in their operations very focused the role of the leader, the musicians majority as freelance player (“ pemain cabutan”). (B) The production management of two wind band groups based on repertoire which always use in Toba Batak musical tradition, to encompaniment some rituals, plus some repertoar of North Sumatran another ethnic musics, Indonesian’s national popular musics, and world popular musics. There are variations the group of musicians accordingly to market demand, as simple in sulim and keyboard, the trio vocalist plus keyboard, and the full ensamble (wood wind instrument section, keyboard, drum set, always plus the gondang sabangunan).
(C) The marketing management two brass band groups use the oral media, the group card name, plank, to stability the quality of performance, applied discount the money of performance, variated the performances to equilibrium the economic power of demander, etc. Key words: management, organization, production, marketing, brass (wind) band.
Advisors: Muhammad Takari, Ph.D. And Setia Dermawan Purba, M.Si. BOHO PARULIAN PARDEDE 097037009 JUDUL TESIS: KOOR DI HURIA KRISTEN BATAK PROTESTAN (HKBP): ANALISIS SEJARAH, FUNGSI, DAN STRUKTUR MUSIK ABSTRACT This study examines the existence of choir in the Huria Kristen Batak Protestant (HKBP) regarding when the choir began to be known in HKBP, who has introduced them, what it holds in worship, the function of chorus in HKBP and the developmen of the HKBP choir until now.
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These questions will be answered by using qualitative research methods utilized with the theories of interdisciplinary science. The results of this study indicate that the choir at HKBP emerged along with the inclusion of Christianity in the Land of Batak. The choir is a forerunner in the developmen of congregational songs.
This is evidenced by the historical fact that the congregational songs were originally songs sung by the groups of choir brought by the missionaries and the work of local congregations. Assessment results on the church choir text indicate that the HKBP congregations are able to apply and even able to create new works in accordance with their cultural needs, eventough they have been taugh with songs that do notoriginate from their own culturefor hundread of year. Choir really plays an important role in worship because of the functions that attached to the choir itself; these functions are: function of emotional expression, function of the aesthetic appreciation, entertainment function, has a function of choir as a mean of communication, function of choir as a symbol, physical reaction function, function associated with the social norms, cultural continuity and community integration functions. Assesment results of the text and structure shows that eventhough the of HKBP have been taught with songs originating from outside their culture, for hundreds of years, but the Christian choir music taught HKBP congregations with songs originating from outside the culture but Christian congregations – were this tudy are Christian congregations, are able to contextualize their cultural creations in choir.
Keywords: Choir, Analizing, Historical, Function, Music S tructure. Advisors: Prof Mauly Purba, Ph.D. Robert Sibarani.
MAGHFIRAH MURNI BINTANG P. 147037010 JUDUL TESIS: ANALISIS STRUKTUR TARI GUEL PADA MASYARAKAT GAYO DI KABUPATEN ACEH TENGAH ABSTRAK Tari Guel merupakan tarian yang mencerminkan hidup masyarakat Gayo, berasal dari kisah kakak beradik paa masa kerajaan Linge. Kajian ini memfokuskan pada kajian struktur tari Guel dalam kaitannya dengan pemahaman sosial masyarakat pendukungnya. Tujuan dari penelitian ini adalah menganalisis struktur tari Guel pada masyarakat Gayo di Aceh Tengah dan mendeskripsikan serta ungkapan-ungkapan konsep estetik melalui struktur teknik artistik Penelitian ini menggunakan pendekatan kualitatif, karena mementingkan makna dan konteks, dengan pengumpulan dan analisis data berlangsung secara simultan. Penelitian berlokasi di Kotacane Kab. Subyek penelitian, adalah para pemangku adat yang memiliki kredibilitas di dalam tari Guel.
Dalammenganailsa data digunakan pendekatan struturalisme dengan memfokuskan pada konsep struktur tari Guel, dengan menitik beratkan teori struktur geraktari dari Kaepler Temuan penelitian ini menunjukkan bahwa tari Guel adalah tari yang awalnya diciptakan untuk kebutuhan upacara adat, kemudian berkembang menjadi tari hiburandilaksanakan dalam berbagai kegiatan. Struktur Tari Guel terdiri dari struktur bentuk/luar dan struktur isi/dalam. Struktur bentuk memiliki hubungan erat dengan struktur pertunjukan berkaitan dengan elemen dalam pendukung tari yang terdiri dari struktur koreografi, struktur gerak, struktur musik, dan sturuktur bentuk. Struktur koreografi terdiri dari unsur gerak, unsur penokohan/karakter, unsur norma/adat, unsur komunikasi, unsur tata rias dan busana, unsur musik pengiring dan unsur tempat pertunjukan. Struktur isi/dalam berkaitan dengan ungkapan konsep estetik yang merupakan simbol dari keluhuran nilai-nilai moral, adat dan agama suku Gayo dan menjadi simbol masyarakatnya. Kesemua simbol ini tampak jelas dalam pertunjukan tari Guel yang dilakonkan dalam empat babak (babak munatap, babak redep dep, babak ketibung, babak cincang nangka), masing-masing memiliki alur cerita, dituangkan dalam ragam-ragam gerak yang memiliki makna dari kehidupan suku Gayo.
Simbol tersebut berfungsi ganda, yaitu; sebagai petanda peristiwa/kejadian dari peristiwa pencarian seorang adik kepada abangnya yang mencerminkan kesetiaan, tanggungjawab, persaudaraan, kepahlawanan, dan kewaspadaan, yang memberikan pesan kepada masyarakat, bahwa dalam melakukan sesuatu haruslah mempersiapkan diri baik lahir maupun batin. Sedangkan sebagai penanda peristiwa, memiliki makna dari simbol visual yang sekaligus berfungsi sebagai penuntun bagi pengamatnya. Kata Kunci: Tari Guel, Gayo, Analisis, Struktur, Simbol. MUHAMMAD YUSUF 127037007 JUDUL TESIS: REALISASI NYANYIAN DARI BUKU ENDE DAN KIDUNG JEMAAT YAMUGER DALAM IBADAH MINGGU PADA TIGA GEREJA HKBP DI SUMATERA UTARA: KONTINUITAS, PERUBAHAN, DAN STRUKTUR MUSIK ABSTRACT This study discusses about the existence of the book Songs of Worship Church on Sunday Enda HKBP.
The selection of songs in the book ende existence on the author's involvement in the drama Turgi 'History of Book Ende', which is motivated by terlaksanaya performances, there kersahan Batak Protestant church officials in North Sumatra Batak people against the erosion of loyalty to the songs ende book, at a Sunday service church, especially among young people of the church. The emergence of alternative worship can be seen by many to undermine the existence of songs in the book ende, because the alternative worship, songs used in worship songs out of books ende, and the church is dominated by the younger generation. According to Hymes, in theory, the process of communication by using a language, one needs more than just the ability to use language in accordance with the rules of grammar. The use of language must be appropriate to the context, namely the things that the scope and influence the use of language itself, means penerjemahaan effort into Indonesian ende book is not as easy as imagined, so that erosion will occur in the meaning. Batak language has been very fulfilled become a language of choice of religion in worship, from the view of Bourdieu's a religious choice of language can reinforce societal sentiment that led to the emergence of religious emotion and the attainment of the inner atmosphere of the congregation.
The meaning is, in the church worship HKBP, Batak language has become a very fulfilled in the preferred language of religious worship. This can be done only by a system that can be built and maintained as described by Parsons with Structural functionalist theory. One such system can be built on a curriculum in the subjects of Religion on the greeting, meaning or understanding of the theological meaning in the songs ende book. Community sentiment that led to the emergence of religious emotions and moods achievement of the congregation at an early age. Keywords: Book Ende, HKBP church ritual, existence, religious cultural studies Advisors: Dr.
Ridwan Hanafiah, S.H., M.A. Bebas Sembiring, M.Si. DINDIN ACHMAD NAZMUDDIN NIM 117037009 JUDUL TESIS: ANALISIS FUNGSI SOSIAL BUDAYA DAN STRUKTUR MUSIK KESENIAN RAPAI GELENG DI KOTA BANDA ACEH ABSTRACT This study reviewed the existence of Rapai Geleng as traditional performing arts by using traditional music instruments by Acehnese in general and particular by the arts community in Banda Aceh, which has a historical and philosophical background as a social function of culture in Aceh.
The analysis of this paper focuses on the socio-cultural function of art as a product Rapai urban culture in Banda Aceh. The method used is qualitative and quantitative research methods by utilizing interdisciplinary theories. The results of study shown that Rapai Geleng is a form of public art that uses traditional music instrument composed of movement and music elements of that emerged along with the spread of Islam in Aceh.
In its development, Rapai Geleng is the art peforming by using the instrument percussion, such as tambourine with one side surface (frame drum), which initially has a function as a medium of propaganda and accompanying religious ceremonies to worship Allah Subhanahuwa Ta 'ala, in the form of tradition called ' meurateb' or ' meudike' (zikir, that usually by moving the body) and meuseualaweut for Muhammad as Prophet (Rasulullah Shalalhualaihi Shalalhu Wassalaam), and later evolved into urban culture, as a form of Banda Aceh’s people. This is proved by some of the opinion that Rapai Geleng is not the original art of Banda Aceh.
The original one was emerged from South Aceh, and later penetrated into Banda Aceh. This art developed and pavored by the people of Banda Aceh. Hence, it evolved into art galleries and studios around Banda Aceh. The communities and education institution nearby this city practice and learn Rapai Geleng as a form art for Banda Aceh. The result of this review was shown that Rapai Geleng was evolved from Rapai Saman for decades ago. Rapai Saman emerged from South Aceh, and Banda Aceh revitalize this art as a cultural development of arts community in Banda Aceh.
This has been done by many art galleries and art community in Banda Aceh. Lately, the local government of Banda Aceh established Rapai Geleng art as the cultural identity that contained the social and cultural functions for the cultural development of people in Banda Aceh. Rapai Geleng instrumental in Islam preaching as a socio-cultural foundation in Aceh, particularly in Banda Aceh that has a vision as a model of Islamic city. The review of the social-culture function in the arts shown that Rapai Geleng has inherent element in the culture of the Acehnese. Such element functions are: religious, emotional expression, aesthetic appreciation, entertainment, communications, and function that related to social norms, cultural continuity and cultural integration, and functions of the tourism industry.
As a form of art, Rapai Geleng evolved into 'urban art' in the form of appearance, movement and rhythmic patterns by studios in enhance the Rapai Geleng appearance. Keywords: Rapai Geleng, Rapai head-shaking, Analy. Advisors: Dr.
Ridwan hanafiah, M.A. And Irwansyah, M.A.
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Here are 101 definitive licks - plus a demonstration CD - from every major blues guitar style, neatly organized into easy-to-use categories. They're all here, including Delta blues, jump blues, country blues, Memphis blues, Texas blues, West Coast blues, Chicago blues, and British blues. Password: warezhr - 101 Jazz Guitar Licks - by Alan De Mause This book is more than just a catchy collection of jazz guitar licks. It presents a teaching concept which relates a great-sounding guitar phase to a typical chord progression and also to a typical standard tune. All examples are in notation and tablature and are applicable to pick or fingerstyle jazz. The musical examples contain Alan De Mause's typical 'hip' musicianship and humor.
The CD is a stereo play-along CD and presents each jazz phrase. All songs from the book are on the CD.
Password: warezhr - 1001 Blues Licks - by Toby Wine 1001 Blues Licks presents 1001 riffs in a variety of blues styles to be played within the standard 12-bar format. This is the ideal book for beginners seeking a well-organized, easy-to-follow encyclopedia of blues licks, as well as consummate professionals who want to take their knowledge of the blues to new heights. Password: warezhr - Joe Satriani Album Strange Beautiful Music Buku lagu + tablature gitaris Joe Satriani dari album Strange Beautiful Music. Starry Night (easy listening dengan komposisi musik yang unik). Satu lagi Belly Dancer. Di sini Joe memainkan gitarnya seperti mengikuti gerakan penari perut timur tengah tapi tetap dengan kemasan musik pop rock yang manis.
Kalo mau belajar gitar memainkan lagu2 tersebut, silahkan klik link di bawah ini. LEARNING / TRAINEE SECTION Getting Great Guitar Sounds 2nd Edition Modern recording has made the listening public more aware of the effects and tonal colors in a musician's palette. Playing the right notes is no longer enough - the musician much have the RIGHT sound. 'Getting Great Guitar Sound' is a non-technical approach to shaping your personal sound. This book concentrates on practical applications for specific playing solutions, rather than extensive technical explanations. Points are illustrated through references to the familiar sounds of well-known guitarists.
You will learn how to create those sounds, and more importantly, sounds that are uniquely your own. The first edition of Getting Great Guitar Sounds has helped thousands of guitarists get a basic handle on shaping their sound. This second edition had been expanded to cover modern multi-effectors, amp simulators, and advanced effect rigs in the same easy-to-understand language. To make getting started even simpler, Ross now lists his favorite effects and tells why they will provide most of the sounds guitarists will need. Getting Great Guitar Sounds 2nd Edition. The NEW Improvisation Tool Kit for guitar The NEW Improvisation Tool Kit plus 20 Killer Jam Tracks! Learn how to improvise, in 36 minutes, across four musical styles-Blues, Funk, Fusion and Rock with TrueFire's amazing Improvisation Tool Kit!
The kit features five rhythm tracks in MP3 audio format, performed by top session players, for each of the four styles - that's 20 killer rhythm tracks in all! Every audio track is an original composition with changes and voicings you'll find fresh and inspiring. Also, for each track there's a rhythm guitar lesson, so you can learn all the chord voicings, comping and rhythmic patterns that the session player is laying down. The Tool Kit's Special Feature is an ear-opening 36-minute audio Improvisational Theory lesson by Guitar educator impresario, Brad Carlton. Give it a listen tonight - tomorrow you'll hear all kinds of new colors in your solos! You do NOT need to read music to utilize any part of this incredible Study Program. Charts & tablature guide you easily through every step.
The 58-page Improvisation Tool Kit Manual, in PDF format, is loaded with support material (simply print out all or just your favorite sections of the manual, at your convenience). First, you get a chord chart sheet for each of the rhythm tracks. You'll be able to follow the track measure-by-measure and chord-by-chord. Then, underneath the measures, there are mode and scale suggestions you can play over prevailing chords or progressions. Chord voicings and rhythm guitar parts for all tracks are also notated in tablature.
The manual also illustrates the improvisation theory lesson on the audio version. Laid out in easy-to-understand charts and fingerboard diagrams are 21 scale and mode formulas for major, minor, dominant and other chord types. IMPROVISATION MP3 AUDIO 20 Jamming rhythm tracks, rhythm guitar lessons, and our 36-minute lesson on improv theory. TONAL COLOR CHART Learn how to add tonal colors and feels to your solos by using different scales and modes. CHORD CHART Solo over rhythm tracks using chord charts and scale recommendations found underneath the measures. FINGERBOARD DIAGRAMS Movable fingerboard diagrams illustrate 21 scales and modes across 12 frets. RHYTHM GUITAR LESSON Every track has an accompanying rhythm guitar lesson illustrating voicings and rhythmic patterns.
FORMULA METHOD A formula method for constructing chords arpeggios, scales and modes makes improvisation theory easy. ROCK gUITAR sECRETS The ultimate guitarist's reference book with playing techniques, solo and improvisation concepts, exercises and jam tracks. The purpose of this book is to demystify the relatively simple concepts or tricks around which much of rock guitar is built. The book is designed modularly, allowing the reader to choose any topic at any time, but is can also be sequentially as a method. Topics includes warm-ups, pentatonic scales, bending and vibrato techniques, blues scales, string skipping, major scales, alternate picking,modes, economy picking (sweeping), arpeggios, two-hand tapping, minor scales, legato techniques, exotic scales, whammy bar, how to build a solo, practice planning, and improvisation. Each concept is discussed in a thorough and easily understandable manner. The accompanying CD includes over 80 licks and exercises plus more than 20 jam tracks, helping the student put the concepts directly into practice.
In notation and tablature. Warner Brothers Publications Playing techniques, solo and improvisation concepts, exercises, licks and jam tracks for: warm ups, pentatonic scales, bending and vibrato techniques, blues scales, string skipping, major scales, alternate picking, modes, economy picking (sweeping), arpeggios, two-hand tapping, minor scales, legato techniques, exotic scales, whammy bar, how to build a solo, improvisation. Everything Rock + Blues Guitar Book/cd, Marc Schonbrun Have you ever dreamed of playing lead guitar like John Lee Hooker, Carlos Santana, Jimmy Page, Slash, and Eric Clapton? Perhaps you took a few lessons, but became frustrated and gave up.
If so, The Everything? Rock & Blues Guitar Book with CD is for you. With easy-to-understand text and audio instruction, The Everything? Rock & Blues Guitar Book with CD provides you with everything you need to play all your favorite songs. You will learn the scales and chords found in all rock and blues songs, and achieve the unique techniques that define them. Frequent practice exercises allow you to put your knowledge to work, while the audio examples help train your ear.
The Everything? Rock and Blues Guitar Book with CD also includes professional tips on:?Inflection and phrasing?Chord progression?Alternate tuning, harmonics, and slide playing?Transcription and ear training?Equipment, such as electric guitars, straps, amplifiers, strings, and pedals 64mb. Jamorama - The ULTIMATE Guitar Learning Kit Product Summary: The three books, Learn to Play Guitar with Jamorama for Beginners, Intermediate and Advanced, are already proving to be one of the most popular guitar learning guides on the market. The Jamorama team have also developed two exclusive computer games to aid learning of musical notes, both in transcribing and in reading written music. These are:. JaydeMusica Pro. GuitEarIt!
These games make the monotony of learning to read music fun, and also help students to develop their ear for transcribing their favorite songs from the radio. Both games are professionally designed, and are invaluable in developing the key skills necessary in being a better musician. Two bonus e-books and tuning software has also been added,. Advanced Learning Techniques for Guitar.
How to tune your guitar. Guitar tuner pro software These books cover how to tune your guitar, the software has audio files of many tunings and is user friendly. The training techniques will cut your learning time in half.
Also included is a free copy of. Audio CD Burning Creator by Ashampoo Ltd Also included is a free online consultation to customers who may have a specific training problem they would like to address. This package is impressive because it is one of the most complete packages regarding the whole process of learning the guitar, from strumming, muting and bending, to timing, reading music and transcribing. PLEASE NOTE: All bonuses are included EXCEPT for the Audio CD Burning Creator, since you don't really need it (it's just a simple app for burning CDs). This is a COMPLETE course with 3 books (beginning, intermediate and advanced) + 2 bonus booklets + 1 guitar tuning software + 2 guitar learning games. All audio files that accompany the books are also included!
This package has never been shared before so enjoy, and feel free to pass the link to your friends! Gary Willis - Ultimate ear training for guitar & bass Descripton bassist Gary Willis presents valuable how-to insight that bassists of all styles and levels can benefit from. The text, photos, music, diagrams and accompanying 64-track CD provide a terrific, easy-to-use resource for a variety of topics, including: techniques, improvising and soloing, equipment, practicing, ear training, performance, theory, and much more.
For those who may not know Gary Willis is an American bass player most famous for his work with Tribal Tech. Biography The Texas native, who currently resides in Santa Fe, New Mexico, studied composition and improvisation as part of the legendary jazz program at North Texas State University.
It was there that he switched to bass after years of guitar & bass study. After moving to Los Angeles in '82 he became a course leader at Musicians Institute in Hollywood and taught at the prestigious California Institute of the Arts in Valencia, California. In 1993, Warner publications released Bass Lessons with the Greats, which includes a chapter on Willis' unique approach to improvisation. His hour-long educational video entitled Progressive Bassics features discussion of his technical and fingerboard harmony concepts. In 1998 Hal Leonard Publications published his Fingerboard Harmony for Bass.
In a review of Fingerboard Harmony, Bass Player called Willis a 'modern master'. Adding to the Willis publishing catalog, Hal Leonard Publications offers The Gary Willis Collection.
The book features 11 transcriptions of original Willis tunes, including the contemporary classic The Necessary Blonde, which is one of two compositions also included in Sher Music's The New Real Book-Volume Two. Two other compositions from his solo recordings are also featured in the All Jazz Real Book, It?s Only Music and The Everlasting Night also from Sher Music.In Jan. '99 Hal Leonard released Ultimate Ear Training for Guitar and Bass.
Bass Player calls it an?excellent method to help you develop your ears and connect them-through your hands-to your instrument.? In demand as an educator, He?s conducted clinics and master classes in 21 different countries. The latest Willis book from Hal Leonard 101 Tips for Bass was released early this year 2002 and provides valuable how-to insight that bassists of all styles and levels can benefit from. Through the years Willis has played with musicians like Wayne Shorter, Allan Holdsworth, Hubert Laws, Simon Phillips, Joe Diorio, Robben Ford, and Pil Upchurch, not to mention Tribal Tech. Bass Player magazine referred to him as 'one of the most vital bass voices of the 90's.'
UK's Bassist magazine called Willis 'one of the finest on the planet.' In sixteen years of co-leading Tribal Tech with guitarist Scott Henderson, the band has produced nine critically acclaimed CD's, (the latest, Rocket Science, was released in 2000) Willis launched his solo career with the September 1996 release of No Sweat, featuring incredible performances by Dennis Chambers on drums, Scott Kinsey on keyboards, and Steve Tavaglione on woodwinds and EWI.
For the 1998 follow up Bent, in addition to Chambers, Kinsey and Tavaglione, Willis added the fiery tenor of Bob Berg and long time Tribal Tech cohort/drummer Kirk Covington. Bent lives up to its title and takes the 'rules' of jazz, through dynamic compositions and rhythm-defying improv, and bends reality to fit the talent of easily the most musically monstrous lineup on the scene today.
Despite its all-star cast, any listener expecting the self-indulgent 'chopfest', is instead treated to great musicians playing tastefully, musically and unselfishly. A Modern Method for Guitar - Volume 1 ISBN: Author:. Publisher: Berklee Press Publications Summary: This practical, comprehensive method is used as the basic text for the guitar program at the Berklee College of Music. Volume One builds a solid foundation for beginning guitarists and features a comprehensive range of guitar and music fundamentals, including: scales, melodic studies, chord and arpeggio studies, how to read music, special exercises for developing technique in both hands, voice leading using moveable chord forms, and more.
Download Link. Metallica Master Of Puppets Guitar Tab Book One of the best metal albums from one of the best if not the best metal band Metallica.
This book contains guitar tabs & notations. This is a must have album, if u still dont have it since 1986 search for it in the forum. Contents 1-Battery 2-Master Of Puppets 3-The Thing That Should Not Be 4-Welcome Home (Sanitarium) 5-Disposable Heroes 6-Leper Messiah 7-Orion (Instrumental) 8-Damage, Inc. url=- JOE SATRIANI - Signature Licks, CD Included (For Guitar) Explore Satriani's scorching sound with this step-by-step breakdown of his styles and techniques. This book/CD pack provides hands-on analysis of 11 classic tracks from five albums. From Not of This Earth: Hordes of Locusts ' Memories ' Not of This Earth ' Rubina.
From Surfing with the Alien: Always with Me, Always with You ' Circles ' Crushing Day. From Dreaming #11: The Crush of Love. From Flying in a Blue Dream: Big Bad Moon ' Flying in a Blue Dream. From The Extremist: Summer Song. Table of contents # Always With Me, Always With You # Big Bad Moon # Circles # Crushing Day # Flying In A Blue Dream # Hordes Of Locusts # Memories # Not Of This Earth # Rubina # Satch Boogie # Summer Song # The Crush Of Love. url=password: damatrix2003.proboards18.com - Jimi Hendrix: Blues # Paperback: 144 pages # Publisher: Hal Leonard Corporation (December 1, 1994) # Language: English # ISBN: # Product Dimensions: 0.2 x 9.0 x 10.0 inches The complete, authoritative transcriptions for guitar, bass and drums with performance notes for each composition. Includes note-for-note transcriptions of 11 Hendrix hits: Hear My Train A Comin'(Acoustic & Electric) Born Under A Bad Sign Red House Catfish Blues Voodoo Chile Blues Mannish Boy Once I Had A Woman Bleeding Heart Jelly 292 Electric Church Red House.
Troy Setina Speed Mechanics For Lead Guitar by troy stetina About Speed Mechanics For Lead Guitar Written by Troy Stetina. Includes instructional book and examples CD. With guitar tablature, standard notation, instructional text, performance notes and introductory text. Published by Hal Leonard. (HL.699323) Take your playing to the stratosphere with the most advanced lead book by this proven heavy metal author. Speed Mechanics is the ultimate technique book for developing the kind of speed and precision in today's explosive playing styles.
Learn the fastest ways to achieve speed and control, secrets to make your practice time really count, and how to open your ears and make your musical ideas more solid and tangible. Packed with over 200 vicious exercises. Speed mechanics Heavy metal lead guitar vol 1 Heavy metal lead guitar vol 2 (new) Rythm guitar - Steve Vai Stevie Ray Vaughan - Lenny (Mp3 Tab And Backing Track) Stevie Ray Vaughan - Lenny (Mp3 Tab And Backing Track). Steve Vai - Guitar Styles & Techniques (Guitar songbook) Steve Vai - Guitar Styles & Techniques Pages: 92 Covers Scanned: YES Contents: - Introduction - The Animal - The Riddle - Answers - For The Love Of God - Still My Bleeding Heart - Touching Tongues - Sex & Religion - Rescue Me Or Bury Me - Notation Legend(Passion An Welfare) - Notation Legend(Sex & Religion) Format: PDF packed in RAR Quality: OK. Atau Mat.Riks.Info - Jean Marc Belkadi Jean Marc Belkadi reveals the secrets of using the diminished scale in over 30 lessons and sample phrases.
The CD includes over 30 tracks for demonstration and play-along, and the topics covered include: tonal and modal usage; diminished triads, chromaticism, arpeggios, polytonalities, common licks and patterns for jazz, rock, and fusion guitar; and more! Frank Gambale Frank Gambale - Speed Picking (Guitar Tab Book + Audio) This is another great book from Frank Gambale, he introduces you to the world of economie picking.
If you're an alternate picker this book can surely change your life. In this book Gambale shows his own fingerings to play economie picking the best way. Gambale explains and demonstrates sweep arpeggios, speed picking licks, harmonic superimpositions, sequence licks, and more!
This is a book/audio pack. password: damatrix2003.proboards18.com - John Petrucci Any one who loves playing guitar can only fall in Love with the way John Petrucci from the group Dream Theater shares his talent to others. Whether you are an advance guitar player or a beginner you can only learn from this book.
He starts with the basics but most of the time overlooked in how to warm -up and as you progress though the book you can see why warming-up is so important. John Petrucci can play the guitar faster than anyone I have ever seen but does not try to show off that speed in any of his lessons. I reccomend this to any one who plays guitar you will be glad you have it among you books. url=- Steve Trovato Steve Trovato - Essential Rhythm Guitar This book/CD pack is based on the concept that, for most popular music styles, there exist a few basic, fundamental rhythm guitar techniques and a set of appropriate chords and chord voicings that determine the sound of each style. This one-on-one lesson with MI instructor Steve Trovato teaches the rhythm guitar essentials for 7 styles: blues, rock, country, fingerstyle acoustic, Latin/Brazilian, jazz and swing, and funk. The CD features 65 full-band tracks. Includes standard notation and tab.
Audio files included. Password:www.AvaxHome.ru - Ozzy Osbourne Ozzy Osbourne Best Of - Guitar Tabs This is the guitar tab book of Ozzy Osbourne Best Of. Song list: 1-Black Sabbath 2-Bark At The Moon 3-Crazy Babies 4-Crazy Train 5-Flying High Again 6-Goodbye To Romance 7-I DOn't Know 8-Mama, I'm Coming Home 9-Mr.
Crowly 10-No More Tears 11-Paranoid 12-Shot In The Dark 13-Suicide Solution. password: damatrix2003.proboards18.com - J A Z Z. J A Z Z Jazz Guitar Chord System The essential guide to jazz chord voicings and substitutions, complete with a color-coded method for over 500 essential voicings. Players will understand chord functions and their harmonic possibilities better than ever before, as well as inversions, extensions, alterations, and substitutions.
Players will also be able to increase their harmonic vocabulary for accompaniment, composing and chord-melody playing. Jazz Guitar Chord System - Scott Henderson 16 pages / 3 mb. Led Zeppelin - Blues Classics, Guitar tablature songbook About Led Zeppelin: Led Zeppelin Blues Classics Performed by Led Zeppelin. Guitar tablature songbook for guitar and voice. Published by Warner Brothers.
(WB.PG9611) With guitar tablature, standard notation, vocal melody, lyrics, chord names and guitar tab glossary. Metal and Hard Rock. This book focuses on Zeppelin's cover versions of great blues standards as well as their original songs which carry traditional blues influences. Titles include: Bring It on Home. Hats Off to (Roy) Harper. Heartbreaker. How Many More Times.
I Can't Quit You Baby. The Lemon Song. Living Loving Maid (She's Just a Woman) and more. Contents: Bring It On Home Hats Off To (Roy) Harper Heartbreaker How Many More Times I Can't Quit You Baby Living Loving Maid (She's Just A Woman) Moby Dick Since I've Been Loving You When The Levee Breaks You Shook Me Rock & Roll The Lemon Song.
Annihilator - Set The World On Fire Guitar Songbook Back in 1993, Set the world on fire was my first aquaintance with Annihilator and it captured me at once. This is Heavy Metal of the best kind. It marries heaviness, melody, humor and cool solos into ten enjoyable pieces of music that just feel right and very well put together. Guitar wizard Jeff Waters conjures intricate and surprising riffs and solos throughout the album and I'll never get bored while listening to him. The band has left some of the thrashier elements from their two first albums behind by slowing slightly down and focusing a bit more on melodies.
The band still goes all out on several occasions and Set the world on fire is a very varied album. Musically you get everything from guitar-frenzied Heavy Metal to beautiful ballads. Lyrically tongue-in-cheek humor goes hand in hand with songs about political issues, the environment, personal struggles, death, dreams and love. The album has an air of freshness to it that lingers on, even today. Basically this is music that can take a lot of listens and still be enjoyable.
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