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Il nuovo "Top of the Pops"

Posted on February 12, 2016 at 12:15 AM Comments comments (0)

E' nato HANGAR, un programma televisivo per dare una voce mediatica ai musicisti bravi (quelli bravi, quindi non X-factor, non Amici, e nemmeno Sanremo, che con tutto il rispetto sta veramente camminando all'indietro, e non da ieri..). E' una formula molto semplice: ci si iscrive e si manda l'MP3, se si viene ammessi c'è la chiamata allo studio (si paga un piccolo contributo spese) per registrare il video, che poi viene distribuito sul digitale terrestre ed ovviamente sul web. Il video viene poi dato ai musicisti che lo potranno usare privatamente per qualunque tipo di promozione.

 

Dateci un'occhiata se volete, HANGAR MUSIC, il programma è aperto a TUTTI I GENERI MUSICALI, proprio tutti.  

Riccardo Pera

What is the lead guitar?

Posted on October 17, 2015 at 10:35 AM Comments comments (0)

Lead guitar is a guitar part which plays melody lines, instrumental fill passages, guitar solos, and occasionally, some riffs within a song structure. The lead is the featured guitar, which usually plays single-note-based lines or double-stops.[1] In rock, heavy metal, blues, jazz, punk, fusion, some pop, and other music styles, lead guitar lines are usually supported by a second guitarist who plays rhythm guitar, which consists of accompaniment chords and riffs.

To create lead guitar lines, guitarists use scales, modes, arpeggios, licks, and riffs that are performed using a variety of techniques.[1] In rock, heavy metal, blues, jazz and fusion bands and some pop contexts as well as others, lead guitar lines often employ alternate picking, sweep picking, economy picking and legato (e.g., hammer ons, pull offs), which are used to maximize the speed of their solos or riffs. Such "tricks" can employ the picking hand used in the fret area (such as tapping), and even be augmented and embellished with devices such as bows, or separate electronic devices such as an EBow (electronic bow).

 

Some even like to play with their teeth or feet or other bodily appendages or the like, this is normally used as a performance technique in order to impress spectators. In a blues context, as well as others, lead guitar lines are created using call and response-style riffs that are embellished with string bending, vibrato, and slides.

In a band with two guitars, there can be a logical division between lead and rhythm guitars - although that division may be unclear.[1] Two guitarists may perform as a guitar tandem, and trade off the lead guitar and rhythm guitar roles. Alternatively, two or more guitarists can share the lead and rhythm roles throughout the show, or both guitarists can play the same role ("dual lead guitars" or "dual rhythm guitars"). Often several guitarists playing individual notes may create chord patterns while mixing these "harmonies" with mixed unison passages creating unique sound effects with sound altering electronic special effects such as doublers or a "chorus" effect that over-pronounce the lead significantly sometimes to cut through to be heard in loud shows or throw its sound aesthetically both acoustically or electronically.

The Napolitan song

Posted on September 17, 2015 at 3:50 PM Comments comments (3)

Canzone napoletana, sometimes referred to as Neapolitan song, is a generic term for a traditional form of music sung in the Neapolitan language, ordinarily for the male voice singing solo, although well represented by female soloists as well, and expressed in familiar genres such as the lover's complaint or the serenade. It consists of a large body of composed popular music—such songs as 'O Sole mio; Torna a Surriento; Funiculì, Funiculà; Santa Lucia and others.

 

The Neapolitan song became a formal institution in the 1830s due to an annual song-writing competition for the Festival of Piedigrotta, dedicated to the Madonna of Piedigrotta, a well-known church in the Mergellina area of Naples. The winner of the first festival was a song entitled Te voglio bene assaie; it is traditionally attributed to the prominent opera composer Gaetano Donizetti, although an article published in 1984 by Marcello Sorce Keller shows there is no historical evidence in support of the attribution. The festival ran regularly until 1950, when it was abandoned. A subsequent Festival of Neapolitan Song on Italian state radio enjoyed some success in the 1950s but was eventually abandoned as well.

 

The period since 1950 has produced such songs as Malafemmena by Totò, Maruzzella by Renato Carosone, Indifferentemente by Mario Trevi and Carmela by Sergio Bruni. Although separated by some decades from the earlier classics of this genre, they have now become Neapolitan "classics" in their own right.

 


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