Non-stop glam-stomp from one of 2005's hottest New York bands. Recalling the savage synths of 80s Electro-pop, the debut album by The Bravery combines anthemic songwriting with a wry sense of humour and brutally honest lyrics. All songs from the album have been faithfully transcribed in accurate Guitar Tablature, including the singles Fearless , An Honest Mistake , and a special bonus track, Hot Pursuit . / Guitare

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Canadien né chanteur-compositeur Neil Young est mieux reconnu pour ses paroles très personnelles, son impressionnante et unique jeu de guitare et sa presque instantanément reconnaissable voix de chant unique. Tout au long de ce qui a été une carrière variée, Young a expérimenté avec un large éventail de genres, y compris soul, swing, jazz et electronica, cependant son oeuvre la plus connue se situe dans l'un des deux styles distincts: une acoustique, pays influence folk-rock, avec des chansons comme Heart Of Gold et Old Man, ou un grincement hard-rock, comme dans Cinnamon Girl et Southern Man.Disponible ici est une fantastique sélection des plus grands tubes de Neil Young et des chansons les plus influents, compilés dans une collection pour guitare fingerpicking avec ligne notation, onglet et la mélodie standard. / Guitare

for piano. Par LARCHER THOMAS. Smart Dust' devices are tiny wireless microelectromechanical sensors (MEMS) which are able to sense everything from light to vibrations. Thanks to new developments in silicon processing, these 'motes' are no larger than a sand grain even though they are provided with sensors, circuits, wireless communications and a power supply. They collect enormous amounts of data, perform calculations and are able to exchange such information even over distances of 300 metres. Today, one is developing commercial application possibilities, such as for the search for manufacturing defects or for the care of patients, but of course this 'Smart Dust', this barely visible intelligent dust, is particularly suited to spy on people and detect movements of the enemy in the case of war. Perhaps, one day, we will get rid of a potential observer when rubbing a sand grain from our eyes. They are tiny cells which are able to communicate with each other, build up a network among themselves, observe the environment and, above all, they can be blown through open windows into rooms without being noticed. The music too is about similar tiny cells, about strange sounds of a sound-reduced piano, 'simple circuits', i.e. basic information which are retransmitted, musical motifs from the everyday urban environment which then have to be aligned with each other and processed in a control centre, in the head of the listener. Omnipresent, dangerous elements. The motor energy (the power from the battery) decreases in the course of the little pieces, the flow of information slows down. The piano is deprepared during its course, the elements become more readable and audible. A broad stylistic expanse is traversed in a very brief space, as if a 'smart dust transmitter' lands on the turban of a muezzin and the next one a hundred metres farther in a discothèque. Or even better: one transmitter in a Lachenmann score, the next one in the beard of Arvo Pärt. - Thomas Larcher/ Répertoire / Piano

John Luther Adams' The Immeasurable Space Of Tones for Violin Vibraphone Piano sustaining Keyboard and Contrabass. Duration: 30 minutes. 'Number 5 1950 was MarkRothko's last painting before the breakthrough into his mature format. In it the luminous color fields of a classic Rothko are inscribed across the middle with three delicate lines. Describing thispainting and its pivotal position in Rothko's work Brian O'Doherty observes: 'After this the lines disappear completely.' In recent years gesture and figuration have disappeared from my music. What used to bebackground has emerged to become a musical world composed entirely of floating color fields. In this new world I've changed media moving from the orchestra to smaller combinations of acoustical instruments andelectronically-processed sounds. I still think in orchestral terms but this hybrid medium allows me to create orchestral textures for more practical and readily available ensembles. Initially I imagined this as akind of monolithic music -an entire piece as one rich and complex sound. Then I came to hear it as homophonic or heterophonic. And now -in this musical world that I thought was completely free of lines -I've come to hear apolyphony of harmonic clouds. Maybe the lines never disappear completely. Maybe Christian Wolff was right when he quipped: 'No matter what we do sooner or later it all sounds melodic'.' - John LutherAdams

Par NUORVALA JUHANI. Juhani Nuorvala, described as an “electro-acoustic urban minimalist”, seeks inspiration from widely varied sources. With the enthusiasm of an explorer, he has delved into microtonality, French spectral music, techno and rock. It all becomes organically fused into his own idiom, often characterised by a frenzied rhythmic drive. Prélude non retouché (2012) for organ in ¼ comma meantone tuning with C# Eb F# G# Bb celebrates these features with light-hearted and easy-going mood, with attractive roughness due to tuning system. / Date parution : 2023-06-01/ Répertoire / Orgue

John Luther Adams: Ilimaq for four percussionists (or one percussionist with digital delay).   Grammy-winning composer John Luther Adams always speaks with reverence about capturing “the tone within thenoise ” and if any of his recent work can be said to take that mission directly to heart it’s Ilimaq. A true electro-acoustic recording that channels the energy passion and precision of Wilco drummer Glenn Kotche Ilimaq (which loosely translates from the native Alaskan Inupiaq language as “spirit journeys”) maps a vivid phantasmagorical progression through liquid cascades of percussion otherworldly ambient soundscapes harmonic dissonance melodic convergence and almost everything that’s musically—and sonically—possible in between.

Having achieved the number one spot on Billboard's Pop Songs Ke$ha's electro-pop dance hit with its catchy hook and upbeat message is well-known by the youth movement everywhere making it a perfect choice for the stands!

A How-To Musical Guide to the Most Daring Dangerous Exciting Time ... Like ... Ever!-A massive electromagnetic attack from outer space has jammed all technical systems and there is no electricity no cell phones no laptops ? NO FUN! The kids are in a panic and don't know what to do until Grandpa andGrandma arrive on the scene and introduce them to a day filled with daring and adventure music and imagination ? all without fancy gadgets! This creative 35-minute musical for Gr. 4-8 features seven original songs dialog and an adaptable cast list for groups of varying sizes. The Teacher Edition includes full script piano/vocal arrangements helpful staging tips and choreography by John Jacobson. For extra value the expanded PerformanceKit/CD now provides 20 Singer books along with the Teacher Edition and a P/A CD. Available separately: Teacher Edition Singer Edition 5-Pak Preview CD (with vocals) Preview Pak (1 Singer book 1 Preview CD) Performance/Accompaniment CD and Performance Kit/CD (Teacher 20 Singer books P/A CD). Duration: ca. 35 minutes. Suggested for grades 4-8.