Lunar Love by Mop Mop, released 1. Spaceship: Earth feat.
Adiemus - Wikipedia, the free encyclopedia. Adiemus is a series of vocalise- style albums by Welsh composer Karl Jenkins. It is also the title of the opening track called . There are no lyrics as such, instead the vocalists sing syllables and . However, rather than creating musical interest from patterns of phonemes (as in scat singing, or in numerous classical and crossover compositions), the language of Adiemus is carefully stylised so as not to distract the listener's attention from the pitch and timbre of the voice.
Syllables rarely end in consonants, for example. In this respect it is similar to Japanese and several other languages. The core concept of Adiemus is that the voice should be allowed to function as nothing more than an instrument, an approach that was a trend in some New Age and World Music choral writing in the mid to late 1.
Music by mail, Hard to find? For those who really want Music! Try and see the difference! 9781842173442 1842173448 Structure, Image, Ornament - Architectural Sculpture in the Greek World, Peter Schultz, Ralf von den Hoff 9781934248850 1934248851 There's Gold in the Wetlands, Karen Newman White 9781436790017. Adiemus: Songs of Sanctuary. See Adiemus: Songs of Sanctuary. Adiemus II: Cantata Mundi. Released in 1997, and building on the style established in Adiemus: Songs of Sanctuary, Jenkins broadens his musical approach to Cantata. Lyricsize - All lyrics database Lyricsize is a searchable lyrics database featuring 1,000,000+ song lyrics from 20,000 artists. Use xLyriX to find your favorite song lyrics.
Stockley was described by Jenkins as central to the Adiemus project due to her range and intonation; however, she was not re- engaged for Vocalise. Additional vocals were provided by Mary Carewe on all but Dances of Time, which saw the introduction of the Finnish Adiemus Singers (who would later appear on Vocalise).
Extra vocals and the chorus effects were created by overdubbingmultitracked recordings of the singers (in some cases up to 4. The Songs of Sanctuary orchestra consisted of a string section augmented by various ethnic percussion instruments, with occasional further additions such as bells, a recorder and a quena. Mike Ratledge, with whom Jenkins had played in Soft Machine, contributed to the first album as well.
Udu Magic: The Art Of Udu Drum Playing Game
Jenkins added brass and woodwind for Cantata Mundi, and continued to add more diverse instruments such as acoustic guitar on later albums. From Songs of Sanctuary to Dances of Time, the London Philharmonic Orchestra was used; Jenkins later formed his own Adiemus Orchestra to perform on The Eternal Knot recordings, returning to the London Philharmonic for Vocalise. Singers. Compared to the earlier work, the orchestra is also expanded to include woodwinds and brass. The overall form of this album is a cantata of fourteen movements alternating between longer 'cantus' pieces and brief 'chorales'. Track listing. The cover of the United States release features a silhouetted persons reminiscent of the cover art for Adiemus: Songs of Sanctuary in that region as well as the cover for Diamond Music. European releases depict an insect hive in various shades of reds and yellows within an abstracted mechanical clock.
A special edition release in Europe shows a winged figure ascending into the sky. Other releases use dolphins which are characteristic of Adiemus albums in some markets. Adiemus III: Dances of Time.
As such, most tracks are composed in a traditional style of dance, including meter. In addition to the multitracked vocals used in the previous Adiemus recordings, Jenkins introduces the Finnish. Adiemus Singers to perform the chorus to Miriam Stockley's lead. Track listing. A Japanese special edition release includes a second disc featuring .
In addition to rich string orchestrations and vocals borrowing from world musical styles common to Adiemus, Jenkins adds the accompaniment of ethnic instruments such as the Uilleann pipes and Carnyx. Track listing. The cover Japanese release of Adieums IV: The Eternal Knot Has gold text and designs, including a dolphin, over a green background whereas other releases have white text over a Celtic knot on a bluish- green background. Adiemus V: Vocalise. In contrast to Jenkins's past Adiemus compositions, several of the tracks in this album are arrangements or variations on existing classical works.
Additionally, the lyrics for some tracks are borrowed from religious texts or even the title of the piece rather than the invented phonetic language used exclusively in the preceding Adiemus albums. Adiemus V: Vocalise features the broadest range in musical styles and instrumentation of the series.
Track listing. 7 (Beethoven), Second Movement) . Jenkins follows conventions of tonality up to a point. He avoids the most common time signatures, such as 2/4, 3/4 and 4/4, with a slow 3/2 and 6/8, 9/8 and 5/8 (Cantus Inaequalis from Songs of Sanctuary). The percussion section, when used prominently, gives the pieces an upbeat, tribal- like rhythm. The sound of Adiemus is generally identified with new- age or Celtic music; The Eternal Knot is an explicitly Celtic- themed album that formed the sound- track for the S4. C documentary The Celts. Audience. Though none of its successors has achieved the same critical acclaim, Adiemus acquired a cult following and maintained a place in mainstream consciousness through its use in TV commercials, in particular the track .
It was used at the beginning and end of James Brandon's magic show . That same year, it was used in the Baywatch episode .