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Aloy's Theme - Horizon Zero Dawn - Aeolian Mode Explained - Modal Music. In this video we show how modal music is organized and what it means to write a piece in Aeolian. This is a music theory lesson in Modal Harmony. #gamemusic #aeolian #musiccomposition CLICK TO JOIN: (http•••) WEBSITE ☞ (http•••) FACEBOOK ☞ (http•••) TWITTER ☞ (http•••) INSTAGRAM ☞ (http•••) SUBSCRIBE TO MDECKS MUSIC ☞ (http•••) (LEARN WHEN NEW MUSIC APPS, BOOKS AND COURSES BECOME AVAILABLE AND DON'T MISS OUT ON OUR REGULAR SALES) 0:00 Aloy's Theme 1:10 Rules in Modal Music 3:12 Chords in Aeolian 3:55 Modal Tonic & Cadential Chords 7:32 Lateral Movement on the Bass 8:38 Characteristic Tones in Modal Music 12:39 Summary of Rules to Write an Aeolian Piece For more music books and apps use the following link to the mDecks Music Website: (http•••) Here are other mDecks Music Apps and Books for musicians by musicians: Mapping Tonal Harmony Pro (http•••) Mapping Tonal Harmony Pro is an app for iPad and iPad Pro available on the App Store. (http•••) An interactive PDF version of Tonal Harmony (http•••) For Mac OSX (http•••) Upper Structure Triads and Quartals (http•••) (http•••) (http•••) The Jazz Standards Progressions Book (http•••) The Universal Encyclopedia of Scales (http•••) Tessitura Pro (Scales app) (http•••) Target Notes over complete Jazz Standards (http•••)
Quint Pasquier Roche Plessis Malherbe Deshayes 1492 1494 1509 1529 1533 1542 1546 1547 1549 1553 1555 1564 1567 1588 1592 1596 1598 1599 1605 1610 1615 1622 1623 1628 1648 1650 1655 1665 1671 1678 1827 1892
Le trésor épistolaire de la France. 1ère série: du 16e au 18e siècle by Eugène Crépet +••.••(...)) Genre(s): History, Letters Read by: Stéphanie, Margot, Rémi, Sonia, czandra, Mayah, littlemissclumsy, Kamisole, Christiane Jehanne, AnaNaumoska, Milinbreizh, Guillaume in French Cover design by Sandra Schmit. Parts: Part 2 (http•••) Part 3 (http•••) Chapters: 00:00:00 - 01 - Avant-propos 00:35:21 - 02 - François Premier +••.••(...)) 00:37:55 - 03 - François Premier, à madame Louise de Savoie, duchesse d'Angoulême, sa mère, régente de France 00:39:42 - 04 - François Premier, à Charles-Quint 00:42:11 - 05 - François Premier, à Charles-Quint 00:44:00 - 06 - François Premier, aux grands du royaume et aux compagnies souveraines 00:46:13 - 07 - Marguerite de Valois +••.••(...)) 00:52:36 - 08 - Marguerite de Valois, au roy (à Madrid) 00:55:17 - 09 - Marguerite de Valois, au roy 01:01:35 - 10 - Marguerite de Valois, au connétable de Montmorency 01:03:24 - 11 - Calvin +••.••(...)) 01:09:33 - 12 - Calvin, aux ministres de Lyon 01:15:07 - 13 - Calvin, au baron des Adrets 01:19:06 - 14 - Calvin, à madame de Cany 01:29:34 - 15 - Marie Stuart +••.••(...)) 01:36:32 - 16 - Marie Stuart, à la reine Elisabeth 02:02:46 - 17 - Marie Stuart, au duc de Guise 02:07:07 - 18 - Montaigne +••.••(...)) 02:12:27 - 19 - Montaigne, à monsieur de L'Hospital 02:19:43 - 20 - Montaigne, à madamoiselle de Montaigne, ma femme 02:22:23 - 21 - Montaigne, au roi 02:28:06 - 22 - Etienne Pasquier +••.••(...)) 02:35:51 - 23 - Etienne Pasquier, à monsieur de Pelgé 02:49:26 - 24 - Etienne Pasquier, à monsieur de Saincte Marthe 02:57:43 - 25 - Etienne Pasquier, à messire Achilles de Harlay, conseiller d'Estat 03:12:47 - 26 - Duplessis-Mornay +••.••(...)) 03:17:43 - 27 - Duplessis-Mornay, à monsieur de Montaigne 03:21:14 - 28 - Duplessis-Mornay, au même 03:23:39 - 29 - Duplessis-Mornay, à M. du Bartas 03:25:43 - 30 - Duplessis-Mornay, à monseigneur le duc de Montmorency 03:28:07 - 31 - Duplessis-Mornay, à M. de Loménie 03:31:21 - 32 - Duplessis-Mornay, au roy 03:33:42 - 33 - Duplessis-Mornay, au roy 03:35:14 - 34 - Henri IV +••.••(...)) 03:46:49 - 35 - Henri IV, à monsieur de Saint-Genyès 03:48:23 - 36 - Henri IV, à monsr de Sainct-Genyès 03:49:49 - 37 - Henri IV, à monsieur de Batz, gouverneur de la ville d'Eause en Armagnac 03:51:05 - 38 - Henri IV, au même 03:52:04 - 39 - Henri IV, à madame de Gramont 03:56:13 - 40 - Henri IV, à madame de Gramont 03:58:26 - 41 - Henri IV, à madame de Gramont 04:00:52 - 42 - Henri IV, à madame de Gramont 04:02:52 - 43 - Henri IV, à madame de La Roche-Guyon 04:04:15 - 44 - Henri IV, à Gabrielle d'Estrées 04:06:23 - 45 - Henri IV, à Gabrielle d'Estrées 04:08:00 - 46 - Henri IV, à Gabrielle d'Estrées 04:09:39 - 47 - Henri IV, à Gabrielle d'Estrées 04:13:53 - 48 - Henri IV, à Gabrielle d'Estrées 04:14:49 - 49 - Henri IV, à monsieur de Grillon 04:16:11 - 50 - Henri IV, à madame Catherine 04:18:26 - 51 - Henri IV, à monsieur du Plessis 04:19:55 - 52 - Henri IV, à madame Catherine 04:21:30 - 53 - Henri IV, à monsieur de Rosny 04:23:17 - 54 - Henri IV, à la reine 04:25:34 - 55 - Henri IV, à la marquise de Verneuil 04:27:23 - 56 - Henri IV, à la marquise de Verneuil 04:29:38 - 57 - Malherbe +••.••(...)) 04:35:47 - 58 - Malherbe, à monsieur Peiresc 04:50:12 - 59 - Malherbe, à M. de Racan 05:00:41 - 60 - François de Sales +••.••(...)) 05:06:42 - 61 - François de Sales, à madame de Chantal 05:12:10 - 62 - François de Sales, à monsieur Deshayes 05:18:15 - 63 - Descartes +••.••(...)) 05:26:32 - 64 - Descartes, à M. de Balzac 05:31:17 - 65 - Descartes, à M. Chanut 05:33:39 - 66 - Descartes, à M. Chanut 05:35:56 - 67 - Guez de Balzac +••.••(...)) 05:45:12 - 68 - Guez de Balzac, à monsieur de Racan 05:48:59 - 69 - Guez de Balzac, à monsieur Chapelain 05:52:01 - 70 - Guez de Balzac, au même 05:54:37 - 71 - Guez de Balzac, à monsieur de Sainct Chartres, conseiller du roi au Grand Conseil 05:56:58 - 72 - Guez de Balzac, à monsieur Corneille 06:02:43 - 73 - Guez de Balzac, au révérend père Dalmé 06:07:04 - 74 - Madame de Rambouillet +••.••(...)) 06:12:20 - 75 - Madame de Rambouillet, à monsieur Godeau 06:14:28 - 76 - Madame de Montausier +••.••(...)) 06:20:00 - 77 - Madame de Montausier, à M. le cardinal de la Valette 06:22:39 - 78 - Madame de Montausier, à madame de Sablé 06:26:31 - 79 - Madame de Sablé +••.••(...)) 06:33:13 - 80 - Madame de Sablé, à madame de Rambouillet 06:35:35 - 81 - Madame de Sablé, à Monsieur/ 06:38:15 - 82 - Madame de Sablé, à madame la comtesse de la Trémouille 06:40:18 - 83 - Voiture +••.••(...)) 06:49:09 - 84 - Voiture, à monseigneur le cardinal de la Valette More information: (http•••) LibriVox - free public domain audiobooks ((http•••)
Ramos Pires Oliveira Neto Matsuoka Melo Pinto Trindade Reis Souza Cardoso Rodrigues Baroni Lopes Medeiros Marcucci Voss Gatta Mendonça Zanetti Ferreira Ramon Silveira Renan Nunes Rocha Nogueira 2018
Nesse novo formato do Loucamente Sã, a Nina traz para a prática o planejamento do ano seguindo as influências naturais das estações do ano e demais Sabbats. Livro Caibalion com tradução do nosso amigo e padrinho Rafael Arrais: (http•••) Conheça nosso novo site: conhecimentosdahumanidade.com.br Nosso projeto no Padrim e Patreon: www.padrim.com.br/conhecimentosdahumanidade www.patreon.com/conhecimentosdahumanidade Apresentação: Nina Taboada Edição: Bruno Lanaro Obrigado padrinhos e madrinhas, por acreditarem no projeto: Alexandre Patrus Aline Cavalcante Vasconcellos Anita Silva Ramos Arthur Pires Arthur Simone Bruna Laricyd Bruno Augusto Oliveira Santos Carlos Eduardo Hirth Pimentel Cesario F. C. N. Neto Claudia Regina P. Santiago Cris Matsuoka Daniel Camara Daniel do Vale Bechara Daniela Mininel Danilo de Camargo Denise Novaes Martins Diego Costa Diego Melo Eliete Pinto Trindade Fernanda Bellacosa Fernanda Nakahodo Gideane de Lima Siqueira Giselle Monteiro Matiazzo Heleno Rayol dos Reis Jane Kelly Souza Santos Jenifer Nascimento João Henrique Riboli João Paulo de Castro Rios Jonatas Alves Juliana Perri Júlio Cardoso Junior Souza Karina Souza Moraes Leonardo Pinto Leonel Antônio Freitas Sales Netto Lucas Rodrigues Luciana Baroni Luciana Lopes Luciano Galina de Medeiros Luís Farinha Luiz Otávio Kunty Oiticica Brandão Luiz Ricardo Bonfiglioli Marcelo Marcucci Marcelo Sorte Matheus França Matheus Henrque Voss Arguelho Mel Oliveira Mislene Silva Níkolas Rodrigues Silva Omar Sufen Filho Patrick Melo Paula Eugênia Dias Gomes Paula Oliveira La Gatta Pedro Henrique Mendonça de Melo e Paiva Philipe Zanetti Rafael Arrais Rafael Ferreira Raik Morais Ferreira Ramon Bernat Raphael de Souza Silveira Renan Vasconcellos Ricardo de Oliveira Ricardo Skubs Ridalgo Nunes Rodrigo Planeta Rodrigo Rocha de Freitas Tatiane Tomás Pellissari Vinicius de Oliveira Turetta Wellington Nogueira
Beethoven Eder Franz Liszt Rellstab Alessandro Simonetto 1748 1799 1800 1804 1806 1835 1838
Beethoven: Piano Sonatas Opp. 13, 27, 57 / Gala Chistiakova 00:00 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - I. Grave - Allegro di molto e con brio 12:26 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - II. Adagio cantabile 17:48 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - III. Rondo. Allegro 22:58 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - I. Andante - Allegro - Andante 28:40 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - II. Allegro molto e vivace 30:52 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - III. Adagio con espressione 39:35 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - I. Adagio sostenuto 45:14 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - II. Allegretto 47:43 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - III. Presto agitato 55:52 Piano Sonata No. 23 in F minor, Op. 57 - I. Allegro assai 1:06:30 Piano Sonata No. 23 in F minor, Op. 57 - II. Andante con moto 1:14:26 Piano Sonata No. 23 in F minor, Op. 57 - III. Allegro ma non troppo. Presto Gala Chistiakova, Piano In the first decade of his career as a published composer, Ludwig van Beethoven completed an enormous amount of music. Some of the most beloved sonatas for piano belong to this prolific period, marked not only by the desire to be acknowledged as an emerging composer of his time, but also by wonderfully creative inspiration and innovation. All of these sonatas are crucial in the way Beethoven understood both musical forms and the possibilities of the piano as the new household instrument. The Sonata in C Minor, Op. 13 was published in 1799 by Eder as “Grande sonate pathétique” – a title not by Beethoven but by the publisher, and which the composer nonetheless liked (Eder found the piece’s dramatic sonorities greatly affecting). The frontispiece indicates that the work is composed for harpsichord or piano - to increase sales, since many people in Vienna still owned harpsichords (all the sonatas for piano that Beethoven published until then were sold as works written for both instruments). Here Beethoven experiments with novel ideas about form in the outer movements - innovations which will influence contemporaneous and future composers. The Two Sonatas, Op. 27, composed in the year 1800, were subtitled by Beethoven “Sonata quasi una fantasia” for the freedom with which their structures were conceived. Both sonatas present unusual features – the first, in E-flat major, almost cyclical, structurally evokes a fantasy wherein different movements are played without interruption. The structure is made more complex by the return of slow movement at the end of the work, before the closing coda. The second sonata, in C-sharp minor, presents two movements in sonata form - the first an Adagio, and the second featuring unusual harmonic relations between the two main thematic blocks. Franz Liszt aptly proclaimed that the second movement, a simple minuet in the key of D-flat major in ABA form, is “a flower between two abysses.” The second sonata from Op. 27 was nicknamed Mondschein (“Moonlight”) by the German critic Ludwig Rellstab in 1835, as its first movement evoked in his mind the silvery moon reflecting on the placid Lake Lucerne. Composed between 1804 and 1806, the Sonata in F Minor, Op. 57 was posthumously nicknamed “Appassionata” – a title given by the publisher of a four-hand version of the work in 1838, a title which still remains today. At the time of its composition, it was one of Beethoven’s most impressive works for the piano, perhaps matched in difficulty only by the Sonata Op. 53. Its nickname perfectly portrays the highly charged emotional content of the sonata’s framework. Dramatic dynamic contrasts in the outer movements create a compelling narrative, ending in a tragic, virtuosic coda. The andante movement is a series of variants based on the exponential development of rhythmic figurations. Gala Chistiakova, a rising talent on the world scene, offers an original reading of these famous Beethoven works, with great refinement and riveting control. The recordings was made by producer Alessandro Simonetto using two historical pairs of Brüel & Kjær microphones matched with more modern Prism Sound pres and converters equipments. Original album may be found here: (http•••) Don't forget to share our music and to subscribe to our channel: (http•••) Want to license our music? Check this: (http•••)
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- cronología: Cantantes líricos.
- Índices (por orden alfabético): S...