GUITAR BATTLE SHREDD COMPETITION 2014 SURABAYA - JAWA TIMUR

 info guitar competition PUGUH KRIBO (Twin Legend Indonesia) present
GUITAR BATTLE SHREDD COMPETITION 2014
20 APRIL 2014 at Tunjungan Electronic Center Jl. Tunjungan No 5-7 Surabaya
BEA REGIST : Rp 150.000(Free Voucher KOTAK KREATIF Rp 250.000)
PENDAFTARAN : Tanggal : 17 Maret 2014 - 17 April 2014
Tempat : ADSOR Villa Bukit Mas RD No. 7 Sby Telp : 031 - 5616506
Waktu : 11.00 WIB - 17.00 WIB

LAGU WAJIB :
1. Glasgow Kiss - John Petrucci
2. Far Beyond The Sun - Yngwie Malmsteen>
3. Little Wing - Jimi Hendrix>
4. The Kribo - Puguh Kribo>
5. Paganini Caprice 24 - Paganini>
6. The Blood of Vampire - Puguh Kribo>
7. Devil Take Tomorrow - Marty Friedman>
8. Burn - Deep Purple

HADIAH :
JUARA 1- Trophy + Sertifikat- 1 Unit Guitar Electric- 1 Unit Cable s2ceb from France (5 Meter)- 1 Voucher Kotak Kreatif (Rp 1.000.000)- Pembuatan VIDEO KLIP Solo Guitar
JUARA 2- Trophy + Sertifikat- 1 Unit Amplifier Guitar Electric- 1 Unit Cable s2ceb from France (5 Meter)- 1 Voucher Kotak Kreatif (Rp 750.000)
JUARA 3- Trophy + Sertifikat- 1 Unit Effect Guitar Electric- 1 Unit Cable s2ceb from France (5 Meter)- 1 Voucher Kotak Kreatif (Rp 500.000)

JURI :
- Puguh Kribo (Twin Legend Indonesia/head master GRSB  Indonesia)
- Priyatna (Guitar Coach)
- Topaz Aditia (GIT USA)

Keterangan :
- Minus One di siapkan oleh peserta.
- Peserta membawakan 1 buah lagu WAJIB (List lagu sudah disediakan).
- Peserta Terbatas (45 peserta)


Info Hub :- 081 225 4141 77- (031) 77309555- Pin BB : 256E2104Supported by :- Point Seven Entertainment- Kotak Kreatif Entertainment Production- Pro Music Elite Magazine- www.xhredder.com- Ahmad Dhani School Of Rock Villa Bukit Mas- Tunjungan Electronic Center

GUITAR BACKING TRACK :

1. Glasgow Kiss - John Petrucci
2. Far Beyond The Sun - Yngwie Malmsteen
3. Little Wing - Jimi Hendrix
4. The Kribo - Puguh Kribo
5. Paganini Caprice 24 - Paganini
6. The Blood of Vampire - Puguh Kribo
7. Devil Take Tomorrow - Marty Friedman
8. Burn - Deep Purple

Puguh Kribo Go Internasional to WYJF Malaysia 2014

Puguh kribo untuk kali ke 5 diundang di acara Jazzcomm & Jazz ampang Malaysia, sejak 2012 - 2014, dan khususnya di WYJF (world youth jazz festival) International di Kuala lumpur Malaysia. Jazz yang digagas dari menteri Pemuda dan olah raga negara Malaysia. kali ini Puguh kribo akan bermain di Additional Performances The Jazz Ampang stage, saturday 3 May 2014, dari pukul 15.00 - 17.30 waktu Malaysia, bersama band yang diusungnya Cremona Blue Fusion, yang diperkuat oleh Puguh kribo (gitar), Hafid H, Adriono (piano/keyboard), Angga Antasari (drum). dan cremona blue fusion terbentuk pada Mare 2014, dengan mengusung konsep jazz rock dan jazz tradisional dengan materi standart jazz. karakter dari masing-masing personel dari cremona blue fusion sangat berbeda satu dengan yang lain, karena masih kental dengan karakter rock, dan progresive. Pada kesempatan di wyjf 2014 kali ini , Puguh kribo cremona blue fusion juga akan bermain bersama dalam satu stage , antara lain twelf note (malaysia), siblings (malaysia), harry toledo's covers (Indonesia) , Cristoper aban (malaysia), Peter dickson (australia), muniros (malaysia). selain itu juga ada benny likumahua dan barry likumahua .acara yang digelar dari tgl 2-4 may tersebut akan menempati Additional Performances The Jazz Ampang stage, Malaysia.

belajar licks blues dengan mudah (free lesson) 2013 by puguh kribo

puguh kribo kali ini akan membagikan beberapa licks sederhana dari blues , dan materi tersebut bisa segera didownload di manapun, dengan berbagai kita coba untuk memberikan yang terbaik buat rekan-rekan yang membutuhkan. salam

free download di 4shared 

Puguh Kribo live performance di jakarta guitar festival 2013

Puguh kribo demo klinik guitar sterling by musicman dan laney amps ironheart di jakarta guitar festival atau yang lebih dikenal jakfest 2013 kembali digelar di lapangan pacuan kuda, wilayah jakarta timur oleh event organizer halo entertainment, yang sebelumnya pernah menggelar festival gitar online. di acara tersebut juga mengundang Jack tammarat dan mike dawes, andry muhammad, balawan dan masih banyak lagi yang tampil di acara gitar festival 2013, di acara tersebut juga digelar pameran alat musik yang juga di hadiri oleh beberapa distributor alat musik Indonesia, termasuk salah satunya adalah BNC distributor untuk Laney amps dan sterling guitars, pada pukul 17.30-18.00 wib Puguh kribo demo klinik di stage khusus klinik yang telah disediakan oleh halo entertainment, dan dihadiri oleh banyak penonton yang ingin melihat secara langsung penampilan puguh kribo dalam mendemokan sterling guitars dan laney amps iron heart. disela-sela acara juga hadir Internasional manager ian w dari Laney united kingdom dan hendry k sebagai manager laney Indonesia yang hadir dan ingin melihat secara langsung acara klinik dari puguh kribo dan penampilan dari jack tammarat, andry muhammad yang juga endorsed laney . dan acara ditutup oleh jamm session oleh beberapa gitaris.www.guitarmethode.blogspot.com 

PUGUH KRIBO live performance di sekolah musik GRSB pekalongan

Acara grand launching di GRSB Pekalongan di hadiri oleh banyak orang pekalongan, semarang, jakarta, solo, dan masih banyak yang hadir termasuk pejabat tinggi pekalongan, wakil walikota pekolangan. acara yang diadakan di mall terbesar dipekalongan tersebut sangat meriah, karena menampilkan musisi-musisi berbakat dari pekalongan dan instruktur dari GRSB pekalongan. acara dihadiri oleh grup Kayoon dari jakarta, yang terdiri dari Gilang ramadhan , pra budidharma, dan Indra lesmana, dan tidak ketinggalan juga Puguh Kribo yang juga memeriahkan acara tersebut, dan acara di meriahkan juga oleh student dari GRSB jakarta khusus kelas drum dan kelas gitar elektrik. acara tersebut dikemas dengan rapi dan tersusun sesuai dengan jadwal yang telah ditentukan sampai pada penhujung acara puguh kribo menampilkan twin gitar legendnya dan grup kayoon tampil sebagai penutup acara.

bermain minor arpeggio & diminished 7th arpeggio

formula : minor arpeggio 1-b3-5 

formula : diminished 7th arpeggio

contoh : mengkombinasikan minor arpeggio dan diminished 7th arpeggio 

www.guitarmodernmethode.blogspot.com

puguh kribo torehkan nama di rekor muri indonesia

Puguh Kribo, gitaris nyentrik asal Surabaya yang beberapa tahun lalu sempat membuat heboh kompetisi gitar tingkat internasional, Guitar Idol, kali ini kembali membuat sensasi dengan mencatatkan namanya di Museum Rekor Indonesia.
Pada tanggal 3 Februari 2010 lalu Puguh Kribo menerima penghargaan Museum Rekor Indonesia sebagai pengguna Twin Gitar pertama di Indonesia. Konsep Twin Gitar yang diperagakan oleh Puguh mirip dengan teknik 'left and right handed' milik Michael Angelo Batio, dimana satu buah gitar dengan 2 leher / neck masing-masing dimainkan oleh tangan kiri dan kanan dalam waktu bersamaan.
Gitar yang digunakan oleh Puguh dibuat oleh produsen gitar, Stranough, asal Bandung. Konsep gitar itu sendiri pada dasarnya sama dengan gitar yang lazim digunakan, namun dilakukan penambahan neck ke arah sebaliknya dengan posisi senar low tetap berada di atas. Untuk memainkannya, tangan kiri dan kanan memainkan 2 neck gitar tersebut secara bersamaan tanpa melakukan picking. Namun pada kebutuhan tertentu, gitar bisa dimainkan juga secara normal. Untuk membuat sebuah Twin Gitar dengan spesifikasi seperti milik Puguh tersebut dibutuhkan dana sekitar Rp. 15 juta.
Teknik yang diperagakan oleh Puguh berbeda dengan teknik touch style milik Balawan yang beberapa tahun lalu juga pernah akan dimasukkan ke MURI (berdasarkan wawancara terakhir dengan Musisi.com). Teknik touch style milik Balawan lebih mirip seperti teknik bermain piano yang memperagakan independensi dimana satu tangan memainkan neck untuk membentuk bass / chord sedangkan tangan lainnya memainkan neck untuk membentuk melodi secara bersamaan. Meskipun Balawan memiliki berbagai macam sub-teknik touch style, dimana terkadang ia memakai 2 tangan yang membentuk 2 melodi secara independen, namun dua buah neck gitar yang digunakan menghadap ke arah yang sama, yaitu arah kiri pengguna. Sedangkan teknik yang dimainkan oleh Puguh lebih mirip dengan konsep 2 gitaris yang memainkan melodi secara bersamaan / membentuk harmoni. Terkadang tangan kanan memainkan not pertama, dan tangan kiri memainkan not ke-tiga, seperti yang sering diperagakan oleh band-band dengan 2 gitaris seperti Helloween. Gitar yang digunakan oleh Puguh pun memiliki 2 buah neck dengan arah yang berlawanan.
Pemberian penghargaan dilakukan oleh walikota Jakarta Pusat, Prof. Dr. Hj. Sylviana SH. Msi di Mall of Indonesia (MOI) Jl. Boulevard Barat, Kelapa Gading, Jakarta Utara. Penghargaan MURI yang diterima oleh Puguh berjudul "Pemain Twin Guitar Menggunakan Dua Tangan Secara Bersamaan". Seluruh anggota komunitas Musisi.com mengucapkan selamat untuk Puguh.

http://www.musisi.com/showthread.php?t=41942


www.xhredder.com


http://www.youtube.com/watch?v=DhXCAsjC7YA

 sumber www.musisi.com

time signature

The time signature (also known as meter signature) is a notational convention used in Western musical notation to specify how many beats are in each measure and which note value constitutes one beat.

In a musical score, the time signature appears at the beginning of the piece, as a time symbol or stacked numerals (such as  or 3/4) immediately following the key signature (or immediately following the clef if the piece is in C major, A minor, or a modal subset). A mid-score time signature, usually immediately following a barline, indicates a change of meter.

There are various types of time signatures, depending on whether the music follows simple rhythms or involves unusual shifting tempos, including: simple (such as 3/4 or 4/4), compound (e.g., 9/8 or 12/8), complex (e.g., 5/4 or 7/8), mixed (e.g., 5/8, 3/8 or 6/8, 3/4), additive (e.g., (3+2+3)/8), fractional (e.g., 2½/4), irrational meters (e.g., 3/10 or 5/24), or other meters.

TAPPING technique

Tapping is a playing technique generally associated with the electric guitar, although the technique may be performed on almost any string instrument. There are two main methods of tapping: one-handed or 'ordinary' tapping, and two-handed tapping. Tapping may be considered an extended technique, in that it is executed by using one hand to 'tap' the strings against the fingerboard, thus producing legato notes, often in tightly synchronized conjunction with the other hand. Tapping usually incorporates pull-offs or hammer-ons as well, where the fingers of the left hand play a sequence of notes in synchronization with the tapping hand. For example, a right-handed guitarist might hammer down on fret twelve with the index finger of the right hand and, in the motion of removing that finger, pluck the same string already fretted at the eighth fret by the little finger of his/her left hand. This finger would be removed in the same way, pulling off to the fifth fret. Thus the three notes (E, C and A) are played in quick succession at relative ease to the player.

LEGATO technique

In musical notation the Italian word legato (literally meaning "tied together") indicates that musical notes are played or sung smoothly and connected. That is, in transitioning from note to note, there should be no intervening silence. Legato technique is required for slurredperformance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid rearticulation. In standard notation legato is indicated either with the word legato itself, or by a slur (a curved line) under the notes that are to be joined in one legato group. Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato.

figure 1

figure 2

sweep picking technique

Sweep picking is a technique used on the guitar in which a 'sweeping' motion of the pick is combined with a matching fret hand technique in order to produce a specific series of notes which are fast and fluid in sound. Despite being commonly known as sweep picking, both hands essentially perform an integral motion in unison to achieve the desired effect

translate to javanese language : 

Sweep picking iku teknik sing di gawe nang gitar, sing jenenge gerakan sweeping teko pick di combinasino karo ngepasno nanggone fret karo teknik tangan supoyo iso menghasilno not sing spesifik, sing iso cepet lan sound mengalir, iku podo ae disebut sweep picking, nang antara tangan ngerasakno gerakan tangan bareng-bareng supoyo iso menghasilno efek.

figure 1

translate to france language :

la cueillette de balayage est une technique utilisée à la guitare dans lesquelles un balayage «mouvement de la sélection est combiné avec un correspondant case technique de la main afin de produire une série spécifique de notes qui sont rapides et fluides dans le son. Bien qu'il soit généralement connu que la cueillette de balayage, les deux mains essentiellement exécuter un mouvement intégrante à l'unisson pour obtenir l'effet désiré




figure 2

teknik alternate picking

Alternate picking is a guitar playing technique, used only by pick users, that employs strictly alternating downward and upward picking strokes in a continuous run, and is the most common method of plectrum playing. If this technique is performed on a single note at a high speed, then it may also be referred to as tremolo picking.

translate javanese language :
Alternate picking yoiku teknik maen gitar sing biasane pemain gawe pick teko plastik, cara penggunaane alternate di petik menisor lan mendukur sing teratur lan terus terusan, coro iku iso disebut permainan plektrum, nek gawe teknik iki lan gawe not siji-siji iso cepet, maringono iso gawe coro tremolo picking utowo di drill, picking di gawe cepet muter e
figure 1

'Good' alternate picking involves a continuous down-up or up-down motion of the picking hand, even when not picking a note (except when the gap lasts longer than one full up-down motion). In this manner, an up-beat (such as an even-numbered eighth note or, at faster tempos, sixteenth note) will always be played with an upward picking stroke, while the down-beats are always played with downward picking strokes. This allows for fluid incorporation of legato-based notes such as hammer-ons and/or pull-offs in the middle of picked phrases.

The technique has many advantages and some disadvantages, largely depending on the licks the guitarist is attempting to play. For example, during fast passages, alternate picking is necessary in keeping the picking arm from tiring out. At very high tempos, alternate picking is virtually required, since techniques like downpicking are made highly infeasible.

Most scalar runs are most easily played using alternate picking. Similarly, the complex, syncopated rhythm guitar patterns found in death metal require a good alternate picking technique to play fast and accurately.

On the other hand, large arpeggios (especially those spanning more than one octave) are very difficult to play using pure alternate picking and almost impossible to play at great speeds, which is why many guitarists choose to employ sweep picking to play these arpeggios (eg. K. K. Downing, Frank Gambale & Mario Parga). Similarly, some kinds of licks are easier when played using such specialized techniques as legato, economy picking (a hybrid of alternate and sweep picking) or tapping.

apa manfaat ujian teori dan praktek pada musik??(khususnya guitar)

Manfaat mengikuti ujian teori dan praktek, adalah untuk mengukur kemampuan kita dalam hal berteori dan praktek, dengan adanya ujian tersebut kelemahan-kelemahan kita yang sebelumnya tidak kita ketahui jadi terlihat sangat jelas. karena semua orang pasti pernah mengalami suatu kegagalan, tapi dari kegagalan tersebut banyak hikmah yang dapat kita peroleh. contoh apabila kita gagal dalam ujian musik pastinya kita akan mengulang lagi dan mengulang lagi sampai sesuatu dapat kita capai demi kepuasan lahir dan batiniah kita setelah kita menempuh ujian tersebut. yang perlu kita persiapkan sebelum menempuh ujian musik, sbb:

1. persiapkan materi yang ada pada contoh soal di tahun-tahun sebelumnya

2. latihan mengisi buku latihan ujian yang telah kita beli

3. persiapkan buku teori dan buku praktek yang akan kita pelajari (sesuai sylabus)

4. minimal latihan 2 jam sehari 

5. good luck

dari persiapan diatas, apabila ada sesuatu yang kurang kita segera mempelajarinya dengan cepat.

pada dasarnya ujian itu terdiri atas apa yang telah kita baca pada sylabus pelajaran musik kita, dan tidak lepas dari materi tersebut. dan pada hal ujian prakterk juga demikian. 

contoh materi :

a. materi scale & arpeggio grade 1 - 5 (ABRSM)

b. materi scale & arpeggio grade 6-8 (ABRSM)

c. materi ujian grade 1 - 5 (ABRSM)

d. materi ujian grade 6- 8 (ABRSM)

e. reportoar (latihan song)

selamat mencoba!!

http://indogitar.com/?p=177#comments

Exams from ABRSM london

• Exams from ABRSM
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• Since 1889, we have provided music teachers and their students with exams and assessments that nurture and evaluate an individual's performance and progress.
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• We have designed our exams and assessments to motivate students of all levels and ages, giving them a series of realistic goals and tangible rewards for their achievements.
• Exam syllabuses are not intended to provide a complete curriculum. Students are encouraged to play and experience as much music as possible, embracing a wide range of genres.
• Our exams
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call : guitarmodernmethode@gmail.com

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interval

Interval adalah sebuah jarak antara nada satu ke nada yang lainnya. baik jarak nada keatas atau jarak nada ke bawah. Interval memiliki beberapa nama yaitu:
1. Prime: yaitu interval nada dari nada satu ke nada yang sama. Misal: dari nada do ke do

2. Seconde: yaitu interval nada dari nada satu ke nada kedua diatas atau di bawahnya. Misal nada do ke re

3. Ters: yaitu interval nada dari nada satu ke nada ketiga: Misal nada do ke mi
4. Kuart: yaitu interval dari nada ke satu ke nada ke empat di atasnya. Misal nada do ke fa, re ke sol, mi ke la, dsb.
5. Kuint: adalah interval lima nada.
6. Sext: adalah interval enam nada.
7. Septim: adalah interval tujuh nada.

8. Oktav: adalah interval delapan nada, dalam musik diatonis oktav mengidentifikasikan pengulangan nada yang sama hanya dalam tingkatan yang lebih tinggi. Misal nada do rendah ke nada do tinggi, sol bawah ke sol tinggi, dsb

.

Unison, dengan perbandingan 1:1 (0 setengah-nada)

Minor kedua m2, dengan perbandingan 16:15, disebut juga setengah-nada

Mayor kedua M2, dengan perbandingan 9:8 (2 setengah-nada)

Minor ketiga m3, dengan perbandingan 6:5 (3 setengah-nada)

Mayor ketiga M3, dengan perbandingan 5:4 (4 setengah-nada)

perfect keempat P4, dengan perbandingan 4:3 (5 setengah-nada)

Tambah keempat A4 atau Kurang kelima d5, 6 setengah-nada

perfect kelima P5, dengan perbandingan 3:2 (7 setengah-nada)

Minor keenam m6, dengan perbandingan 8:5 (8 setengah-nada)

Mayor keenam M6, dengan perbandingan 10:6 (9 setengah-nada)

Minor ketujuh m7, dengan perbandingan 16:9 (10 setengah-nada)

Mayor ketujuh M7, dengan perbandingan 15:8 (11 setengah-nada)

Oktaf perfect ke delapan P8, dengan perbandingan 2:1 (12 setengah-nada)

Circle of fifths & modulation

In music theory, the circle of fifths (or circle of fourths) shows the relationships among the twelve tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More specifically, it is a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space. Since the term 'fifth' defines an interval or mathematical ratio which is the closest and most consonant non-octave interval, then the circle of fifths is a circle of closely related pitches or key tonalities. Musicians and composers use the circle of fifths to understand and describe those relationships. The circle's design is helpful in composing and harmonizing melodies, building chords, and moving to different keys within a composition.

At the top of the circle, the key of C Major has no sharps or flats. Starting from there and going clockwise by ascending fifths, the key of G has one sharp, the key of D has 2 sharps, and so on. Similarly, going counterclockwise from the top by descending fifths, the key of F has one flat, the key of B♭ has 2 flats, and so on. At the bottom of the circle, the sharp and flat keys overlap, showing pairs of enharmonic key signatures.

 

Starting at any pitch, ascending by the interval of an equal tempered fifth, one passes all twelve tones clockwise, to return to the beginning pitch class. To pass the twelve tones counterclockwise, it is necessary to ascend by perfect fourths, rather than fifths. (To the ear, the sequence of fourths gives an impression of settling, or resolution



Modulation and chord progression
Tonal music often modulates by moving between adjacent scales on the circle of fifths. This is because diatonic scales contain seven pitch classes that are contiguous on the circle of fifths. It follows that diatonic scales a perfect fifth apart share six of their seven notes. Furthermore, the notes not held in common differ by only a semitone. Thus modulation by perfect fifth can be accomplished in an exceptionally smooth fashion. For example, to move from the C major scale F – C – G – D – A – E – B to the G major scale C – G – D – A – E – B – F♯, one need only move the C major scale's "F" to "F♯."
In Western tonal music, one also finds chord progressions between chords whose roots are related by perfect fifth. For instance, root progressions such as D-G-C are common. For this reason, the circle of fifths can often be used to represent "harmonic distance" between chords.



In music theory, a diatonic scale  through tones", also known as the heptatonia prima) is a seven note octave-repeating musical scale comprising five whole steps and two half steps for each octave, in which the two half steps are separated from each other by either two or three whole steps. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally separated from each other (i.e. separated by at least two whole steps).
The term diatonic originally referred to the diatonic genus, one of the three genera of the ancient Greeks. In musical set theory, Allen Forte classifies diatonic scales as set form

lesson 3

figure 1

figure 2

figure 3

the double guitar V

The Double-Guitar

Batio was the inventor of the Double-Guitar, a V-shaped, twin-neck guitar which can be played both right- and left-handed. The first version of this instrument was actually two separate guitars simply played together, as opposed to being one entity. A Flying V was fastened to a snare drum in a left-handed position, while another one was strapped around his shoulder. The next version of the guitar, as designed by Batio and guitar technician Kenny Breit, featured a flight case latch attached to the back of each guitar, which could reportedly be assembled in five seconds. In October 2003, Dean designed and built the "Mach 7 Jet", and on March 6, 2007, the newest version was delivered to Batio. The original Double went on display at the Chicago Hard Rock Cafe 'wall of fame' before it was relocated to a HRC in Egypt. Its whereabouts are currently unknown.

When the Double-Guitar was first used in concert, Batio noticed that the guitars created a lot of feedback when played together. He decided that he needed to invent a way to 'dampen' the strings when both guitars were played at the same time, hence the invention of the "MAB String Dampener", which is now available to buy from M.A.C.E. Music

The Double-Guitar was recently named as the 8th "coolest guitar in rock" by online music magazine Gigwise.

rekor muri twin guitar pertama indonesia puguh kribo dari surabaya 2010

neo classical (neoclassicism)

Neoclassicism in music was a twentieth-century trend, particularly current in the period between the two World Wars, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late romanticism, as well as a "call to order" after the experimental ferment of the first two decades of the twentieth century. The neoclassical impulse found its expression in such features as the use of pared-down performing forces, an emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony, and a concentration on absolute music as opposed to Romantic program music. In form and thematic technique, neoclassical music often drew inspiration from music of the 18th century, though the inspiring canon belonged as frequently to the Baroque and even earlier periods as to the Classical period—for this reason, music which draws inspiration specifically from the Baroque is sometimes termed neo-baroque. Neoclassicism had two distinct national lines of development, French (proceeding from the influence of Erik Satie and represented by Igor Stravinsky), and German (proceeding from the "New Objectivism" of Ferruccio Busoni and represented by Paul Hindemith.) Neoclassicism was an aesthetic trend rather than an organized movement; even many composers not usually thought of as "neoclassicists" absorbed elements of the style.

fusion

A fusion genre is a music genre which combines two or more genres. For example, rock and roll originally developed as a fusion of blues, gospel and country music. The main characteristics of fusion genres are variations in tempo, rhythm and sometimes the use of long musical "journeys" that can be divided into smaller parts, each with their own dynamics, style and tempo. "Fusion" used alone often refers to jazz fusion.

Artists who work in fusion genres are often difficult to categorize within non-fusion styles. Most styles of fusion music are influenced by various musical genre. There are many reasons for this, the main reason being that most genres evolved out of other genres. When the new genre finally identifies itself as separate, there is often a large gray area in which musicians are left. These artists generally consider themselves part of both genres. A musician that plays music that is dominantly blues, influenced by rock, is often labelled a blues-rock musician. An example of a blues-rock group would be Stevie Ray Vaughan and Double Trouble. Vaughan, a Texas blues guitarist used rock and blues together. Ray Charles, who recorded gospel and jazz influenced blues, creating what would become known as soul, also recorded country music with his trademark sound. By fusing the two genres, Charles pioneered the style of country soul, most famously on his landmark album Modern Sounds in Country and Western Music, and influenced similar efforts by Candi Staton and Solomon Burke. A very strong example of fusion music can be seen in the Middle Eastern influenced Franco-Arabic music as personified by Aldo. In Franco-Arabic music we see a blend of Arabic music styles with many western styles from rock to pop and Euro styles to folk music. Another interesting example of fusion music can be found in the blend of traditional Chinese instruments (pipa and ruan) and Western and jazz compositions blended by Jie Ma.

cara belajar gitar yang baik dan benar (by puguh kribo)

sebelum bermain gitar ada baiknya kita mempersiapkan terlebih dahulu perangkat perang kita, supaya kita lebih nyaman dalam bermain gitar, sbb :
1. siapkan perlengkapan gitarmu dan cek apa senar berkarat atau putus
2. siapkan buku gitar (partiture/not balok) sesuaikan dengan grade
3. siapkan reportoar (contoh lagu)
4. siapkan metronome sebagai pendukung belajar tempo
5. siapkan stand book
6. siapkan pick (1 atau lebih)
7. siapkan kabel jack penghubung gitar dan ampli
8. siapkan ampli guitar
9. siapkan headphone

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Thrash Metal

Thrash metal is an extreme subgenre of heavy metal that is characterized by its fast tempo and aggression. Thrash metal songs typically use fast, percussive and low-register guitar riffs, overlaid with shredding-style lead work. Thrash metal lyrics often deal with social issues using direct and denunciatory language, an approach which partially overlaps with the hardcore genre. The "Big Four" bands of thrash metal are Anthrax, Megadeth, Metallica and Slayer,who simultaneously created and popularized the genre in the early 1980s.

The origins of thrash metal are generally traced to the late 1970s and early 1980s, when a number of bands began incorporating the sound of the New Wave of British Heavy Metal,creating a new genre and developing into a separate movement from punk rock and hardcore. This genre is more aggressive compared to its relative, speed metal, and can be seen in part to be a reaction to the lighter, more widely acceptable sounds and themes of glam metal.

Heavy Metal

Heavy metal (often referred to simply as metal) is a genre of rock music, that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with masculinity and machismo.

The first heavy metal bands such as Led Zeppelin, Black Sabbath and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre's evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as "metalheads" or "headbangers".

In the 1980s, glam metal became a major commercial force with groups like Mötley Crüe and Ratt. Underground scenes produced an array of more extreme, aggressive styles: thrash metal broke into the mainstream with bands such as Metallica and Megadeth, while other styles like death metal and black metal remain subcultural phenomena. Since the mid-1990s, popular styles such as nu metal, which often incorporates elements of grunge and hip hop; and metalcore, which blends extreme metal with hardcore punk, have further expanded the definition of the genre.

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