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March of the Goblins. Sweet Laughter, Morceau de Concert. Mazurka Caprice. March of the Goblins arr. Ballade et Polonaise, Op. Il trovatore Fantasy on themes by Charles Kunkel for piano 4-hands.

Carmen, Fantasy on Bizet's opera. On the Lake, Souvenir of Oconomowoc. Ashes of Roses, Valse Elegante. Zephyr and the Brook. La baladine, Op. The Military. En-Avant Galop. Valse Arabesque. La Varsovienne. Wedding Bells. Gretchen am Spinnrad, Op. Norma Fantasia piano 4-hands. To Victory arr. Sounds From Paradise, Op. I Cannot Say Good Bye. Symphony No. Forever Thine.

So Much Between Us. Adriaan de Roover. Eugene Ughetti. Asmus Tietchens. Maxwell Sterling. Golem Mecanique. Mark Trecka. More by Various Various. Various , Jerry Kranitz. Robert Millis. RV Paintings. Sigtryggur Berg Sigmarsson. Fossil Aerosol Mining Project. Junkie Flamingos. Bloom Offering. Ekin Fil. Fosil Sangiran. Note: a full LP composed from material recorded at a residency in Estonia, taken from abandoned post Soviet-Era buildings and strange radio shortwave transmissions, leading to crackles, mechanical drones, rusty noise and cryptic speech with the typical flair of decay JIM HAYNES is known for Number: Elevator Bath eeaoa Release Year: Note: a full LP composed from material recorded at a residency in Estonia, taken from abandoned post Soviet-Era buildings and strange radio shortwave transmissions, leading to crackles, mechanical drones, rusty noise and cryptic speech with the typical flair of decay JIM HAYNES is known for The goal of that program was to bring together various artists whose work pertained directly or indirectly to environmental recordings.

When John asked me about what kinds of spaces I was interested in seeking out before I arrived, I mentioned that I would like to investigate sites that had a considerable amount of electro-magnetic disruption which I could capture on radio along with sites of psychic distress.

The Estonian landscape is pocked with abandoned buildings of considerable size and decay. Many of the excursions for Active Crossover engaged the large crumbling Soviet-era structures.

Given that the electricity was off in many of these sites, I had to rely on shortwave to capture any electro-magnetic disruptions instead of any fluctuations from shitty wiring or weird Soviet power transformers The crackle, drone, and noise is unlike that which is heard in the United States, looming with a possibly perceived paranoia of the Russian state just a few kilometers away.

Given the contemporary military actions of Russia reclaiming Crimea from Ukraine, this incident put many an Estonian on edge. The A-side to Flammable Materials reflects this aestheticized paranoia through bursts of static, pulsed noise, and atonal sinews of sustained frequency. The B-side is wholly more introspective, cutting up an Estonian radio broadcast into phonemes, disjointed phrases, and cryptic speech.

I have selected the eighth note, which changed all of my selected quarter notes into eighth notes. After that, I selected just the first four of the eighth notes and clicked on the third symbol from the right end of the notes menu, which creates a connecting line, or "beam", that joins all the notes that you've selected.

This connecting with a beam is only done with eighth or shorter notes, and it helps the player see the music in a different way, making it easier to understand the timing of the notes. But what is happening with the colors? If I hadn't selected those first four eighth notes, the entire first measure would be red in other words, the entire measure would be red except that I have selected those four notes, and in this program, the combination of light green and red makes yellow.

The red is a warning that I have inserted too many beats into this measure. How can that be? Because KTabS is reserving space for quarter notes, remember? Above the five eighth notes are a bunch of quarter note spaces, which will create a total of four and half beats in this measure which is only supposed to have four beats. KTabS is just warning me that I have the wrong number of beats in this measure, which would change the timing of the measure from the timing you began with.

You can ignore the red warning until you have finished putting notes into the measure. If you think you are finished with a measure and it is highlighted in red, you need to go back and fix it.

Keep putting more notes in the blank spaces until they are all occupied by something. If there are red highlights, select one of the notes and change the note type until that measure has the right number of beats. When you want to see what your creation sounds like, click on the green rewind down-arrow icon, then the play triangle icon at the top right part of the window please keep in mind that the tablature diagrams here are trimmed somewhat and do not look exactly like your KTabS tablatures.

When you have filled all of the available time slots with one or more notes and wish to continue composing, select the top note on the tablature and right-click to get the action menu, and select Insert 16 Above and KTabS will add four more measures each with four invisible spaces for 16 more quarter notes.

If you are familiar with the standard WIndows keyboard shortcuts, you will be pleasantly surprised that most of them work in KTabS.

KTabS was written for the Windows operating system, but it is not that hard to get it to run on the Mac. There is special virtual machine software that will permit many types of programs written for Windows computers to run on MAC computers. This article was written in So far we have been ignoring many of the KTabS tools in the icon bar. Take a look at the far right icon.

It shows a bit of tablature with a red curved line on it, which is the Transpose Tool. If you cannot see it, enlarge your KTabS window until all the icons come into view. To transpose a phrase means that you shift every note in the phrase higher or lower by the same amount.

If you select several notes and then click on the transpose button, you will get a dialog box asking how many semitones half steps you want to transpose by, either up or down.

It may happen that you find you have transposed notes right off the kalimba by going too high or too low. It is also possible to transpose to notes that your actual kalimba doesn't have - a G transposed up half a step is a G , which is probably not in your kalimba the transposed note will just disappear if you do this, leaving a blank space. However, transposing up or down by 5 or 7 semitones will keep most of the transposed notes "in the key" and on the kalimba.

The note type associated with the note that was previously in the slot is preserved, and all you need to do is click on a tine in that space. Try several different options and listen to how they sound with the surrounding notes before you choose one. Most music repeats itself, on a small scale two or four notes as well as on a larger scale several measures. Once you have input a phrase correctly, you never need to do that action again.

This should put a copy of your initial phrase into the chosen location. Be clever with your use of copy and paste. Most music will have similar but not identical phrases. If a song's rhythm is complex, but the same for different phrases, you can make things a lot easier if you copy and paste a phrase into the next measure. Then you can change the notes on the second phrase as you wish, effortlessly maintaining the original rhythm.

Or you may decide that the second phrase should be the same as the first except for one or two notes at the end - again, copy and paste the entire phrase and just alter the different notes. And last, you may be able to select the second pasted phrase and transpose it up or down in pitch. The kalimba does not have all notes, so some of the transposed notes may be blank; if so you will have to click on them to insert them again.

KTabS lets you have multiple tablature windows open at the same time.

The mind-blowing quality of production is a consistent thread running through this cracked, chaotic journey across unspeakably weird audio realms, remaining vivid and thoroughly fucked for the duration of the album. The album plays like an abstract radio drama in which the narrative could never Kirikulaul - Jim Haynes - Throttle And Calibration (File turned back into sensible language. Valse brillante. Sweet Laughter, Morceau de Concert. In the background are fragments of Dada-esque typeset dialogue: "Please sirs, could you help me onto the railings so I might leap to my death into the waters? On the starting screen in KTabS, click the green "play" button on the icon Kirikulaul - Jim Haynes - Throttle And Calibration (File in the upper right part of the window and see what happens. Rink Waltz piano 4-hands. Since your computer most likely uses different MIDI sounds than my computer does, I cannot really say. Editing the Tablature to Repeat a Section Let's say you want to repeat a section of the tablature so you can practice it over and over again.
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9 thoughts on “Kirikulaul - Jim Haynes - Throttle And Calibration (File, Album)

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  2. Jul 31,  · Check out Kirikulaul by Jim Haynes on Amazon Music. Stream ad-free or purchase CD's and MP3s now on
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  6. Haynes, Jim Throttle And Calibration Helen Scarsdale Agency. FLAC $ 12/02/ #6 Kirikulaul. Listen MP3 #7 What Do You Mean By That? Listen MP3 #8 Haynes, Jim Inconclusive Helen Scarsdale Agency / Audio Visuals Atmosphere. Haynes, Jim Flammable Materials From Foreign Lands Elevator Bath. Haynes, Jim Scarlet Helen.
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  9. The Helen Scarsdale Agency was founded in and has worked with Fossil Aerosol Mining Project, Kate Carr, Ekin Fil, Francisco Meirino, Jim Haynes, Sigtryggur Berg Sigmarsson, irr. app. (ext.), Steven Stapleton, RV Paintings, Omit, Murmer, Matt Shoemaker, Relay For Death, and many others. The Agency orbits many vocabularies that have included.

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