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Vous avez sélectionné:
Think on for clarinet and guitar
Partitions à imprimer
10 partitions trouvées
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Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
Kichijiro for clarinet and classical guitar (mp3)
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András Csáki
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Kichijiro for clarinet and cla
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David Warin Solomons
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SheetMusicPlus
Clarinet,Guitar - Level 4 - SKU: A0.1506779 By András Csáki (guitar) and Péter Balázs (clarinet). By David Warin Solomons. 21st Century,Contemporary...
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Clarinet,Guitar - Level 4 - SKU: A0.1506779 By András Csáki (guitar) and Péter Balázs (clarinet). By David Warin Solomons. 21st Century,Contemporary,Multicultural,World. Full Performance. Duration 193. David Warin Solomons #1082150. Published by David Warin Solomons (A0.1506779). This music was inspired by the book 沈黙 (Chinmoku - Silence) by Shusaku Endo (a historical novel based on events in Japan in the 17th century - the title refers to the silence of God in the face of suffering)Some say that Kichijiro (キチジロー) is an equivalent of Judas, but his way of thinking is quite different:He simply cannot accept that the Japanese Christian minority of his time should sufferjust because they have adopted the foreign religion of Christianity.He gives up his faith and betrays the main character, the missionary Rodrigues.The thoughts of Kichijiro are reflected in the music especially in the Japanese pentatonic equivalent of the old carol Oh come all ye faithful which is repeated in a somewhat wistful and yet sardonic way by the two instruments. It also reflects Shusaku Endo's own views onChristianity, in which he was brought up but with whichhe never felt comfortable.
$5.00
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00
Practice Journal for Beginning Music Students
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filling out a
weekly planne
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Victoria Voronyansky
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Practice Journal for Beginning
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Volidera Musica
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Double Bass,English Horn,Flute,Guitar,Harp,Marimba,Oboe,Piano,Trumpet,Vibraphone,Viola,Violin,Xylophone - Level 1 - SKU: A0.98...
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Large Ensemble Cello,Clarinet,Double Bass,English Horn,Flute,Guitar,Harp,Marimba,Oboe,Piano,Trumpet,Vibraphone,Viola,Violin,Xylophone - Level 1 - SKU: A0.981990 Composed by Victoria Voronyansky. Children,Instructional. Score and parts. 40 pages. Volidera Musica #6451579. Published by Volidera Musica (A0.981990). The purpose of this journal is to help build a framework for practice sessions within which a young musician can thrive. By filling out a weekly planner and a daily practice journal, student is encouraged to plan, reflect, identify problems, and set goals. Included is also a progress chart for individual songs.Younger students may need help filling out the daily journal and for their teacher to assist in organizing the weekly planner, but over time student can get into a habit of writing in the journal independently.Every new song or unfamiliar skill will present different challenges, but with this practice journal a student can tackle each obstacle and celebrate every advance, while keeping track of progress, thinking about what works and what needs to change, all framed in a friendly and flexible manner.This journal is intended to allow students to follow their own path, advance at a pace which is most natural for them, and feel positive about their progress on the instrument.Keep Practicing and Enjoy your musical journey!Victoria Voronyanskywww.redviola.comhttps://www.youtube.com/redviolaVictoria
$9.99
Part Of Your World
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Film Walt Disney
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Enfant
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Alan Menken
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David McKeown
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Part Of Your World
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David McKeown
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SheetMusicPlus
Small Ensemble Trombone Solo - Level 3 - SKU: A0.593850 Composed by Alan Menken. Arranged by David McKeown. Contemporary,Film/TV,Pop. Individual part. 3...
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Small Ensemble Trombone Solo - Level 3 - SKU: A0.593850 Composed by Alan Menken. Arranged by David McKeown. Contemporary,Film/TV,Pop. Individual part. 3 pages. David McKeown #6502259. Published by David McKeown (A0.593850). Part of Your World is one of the best loved songs from the 1989 Disney film The Little Mermaid. This version is arranged as a solo for Trombone in B Flat (Treble Clef) with chord symbols for piano or guitar accompaniment in concert pitch. Written by Howard Ashman and Alan Menken and sung by Jodi Benson, Disney executives initially wanted to drop the song from the film thinking it would bore young children. However the song’s positive reception at test screenings convinced them to change their minds. Part of Your World was an instant hit on the film’s release and has been one fo the most popular songs in the Disney canon ever since.Musicians at an intermediate standard will find this ideal for formal and informal concert performances. Total performance time is around three minutes. Teachers will enjoy using this arrangement as a fun way to approach expressive playing. Click on the YouTube link above to listen to a full performance of this arrangement played on Clarinet.
$4.99
Part Of Your World
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Film Walt Disney
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Enfant
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Alan Menken
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David McKeown
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Part Of Your World
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David McKeown
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SheetMusicPlus
Alto Flute,Instrumental Solo - Level 3 - SKU: A0.593840 Composed by Alan Menken. Arranged by David McKeown. Contemporary,Film/TV,Pop. Individual part. 3...
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Alto Flute,Instrumental Solo - Level 3 - SKU: A0.593840 Composed by Alan Menken. Arranged by David McKeown. Contemporary,Film/TV,Pop. Individual part. 3 pages. David McKeown #6502239. Published by David McKeown (A0.593840). Part of Your World is one of the best loved songs from the 1989 Disney film The Little Mermaid. This version is arranged as a solo for Alto Flute with chord symbols for piano or guitar accompaniment in concert pitch. Written by Howard Ashman and Alan Menken and sung by Jodi Benson, Disney executives initially wanted to drop the song from the film thinking it would bore young children. However the song’s positive reception at test screenings convinced them to change their minds. Part of Your World was an instant hit on the film’s release and has been one fo the most popular songs in the Disney canon ever since. Musicians at an intermediate standard will find this ideal for formal and informal concert performances. Total performance time is around three minutes. Teachers will enjoy using this arrangement as a fun way to approach expressive playing. Click on the YouTube link above to listen to a full performance of this arrangement played on Clarinet.
$4.99
Part Of Your World
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Film Walt Disney
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Enfant
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Alan Menken
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David McKeown
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Part Of Your World
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David McKeown
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SheetMusicPlus
E-Flat Tenor Horn,Instrumental Solo - Level 3 - SKU: A0.593856 Composed by Alan Menken. Arranged by David McKeown. Contemporary,Film/TV,Pop. Individual ...
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E-Flat Tenor Horn,Instrumental Solo - Level 3 - SKU: A0.593856 Composed by Alan Menken. Arranged by David McKeown. Contemporary,Film/TV,Pop. Individual part. 3 pages. David McKeown #6502271. Published by David McKeown (A0.593856). Part of Your World is one of the best loved songs from the 1989 Disney film The Little Mermaid. This version is arranged as a solo for Tenor Horn in E Flat with chord symbols for piano or guitar accompaniment in concert pitch. Written by Howard Ashman and Alan Menken and sung by Jodi Benson, Disney executives initially wanted to drop the song from the film thinking it would bore young children. However the song’s positive reception at test screenings convinced them to change their minds. Part of Your World was an instant hit on the film’s release and has been one fo the most popular songs in the Disney canon ever since.Musicians at an intermediate standard will find this ideal for formal and informal concert performances. Total performance time is around three minutes. Teachers will enjoy using this arrangement as a fun way to approach expressive playing. Click on the YouTube link above to listen to a full performance of this arrangement played on Clarinet.
$4.99
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Think on for clarinet and guitar
