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Crtitères actifs :
B Ionian to B Locrian
Partitions à imprimer
4 partitions trouvées
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1
B Ionian to B Locrian (Playing Through the Seven 'B' Modes)
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Guitare notes et tablatures
#
INTERMÉDIAIRE
#
Traditional
#
Danny Crocome
#
B Ionian to B Locrian
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Danny Crocome Music
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1329058 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Rock,Traditional. Guitar Tab. 3 p...
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Guitar - Level 3 - SKU: A0.1329058 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Rock,Traditional. Guitar Tab. 3 pages. Danny Crocome Music #917029. Published by Danny Crocome Music (A0.1329058). These info sheets show guitarists how to play all of the seven modes, starting from the root note B.1. B Ionian (also known as the B Major Scale)2. B Dorian (2nd mode of A Ionian)3. B Phrygian (3rd mode of G Ionian)4. B Lydian (4th mode of F# Ionian)5. B Mixolydian (5th mode of E Ionian)6. B Aeolian (6th mode of D Ionian)7. B Locrian (7th mode of C Ionian)The exercise plays through each of the 7 modes in order, before returning in reverse sequence. All modes shown are full 2-octave patterns, with note names, picking and fingering written into the score. Backing track included for play-along purposes. An excellent resource for learning how to play the various B modes, and to incorporate more tonal color into ones guitar playing.
$8.99
E Ionian to E Locrian (Playing Through the Seven 'E' Modes)
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Guitare notes et tablatures
#
INTERMÉDIAIRE
#
Traditional
#
Danny Crocome
#
E Ionian to E Locrian
#
Danny Crocome Music
#
SheetMusicPlus
Guitar - Level 3 - SKU: A0.1329525 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Rock,Traditional. Guitar Tab. 3 p...
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Guitar - Level 3 - SKU: A0.1329525 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Rock,Traditional. Guitar Tab. 3 pages. Danny Crocome Music #917508. Published by Danny Crocome Music (A0.1329525). These info sheets show guitarists how to play all of the seven modes, starting from the root note E.1. E Ionian (also known as the E Major Scale)2. E Dorian (2nd mode of D Ionian)3. E Phrygian (3rd mode of C Ionian)4. E Lydian (4th mode of B Ionian)5. E Mixolydian (5th mode of A Ionian)6. E Aeolian (6th mode of G Ionian)7. E Locrian (7th mode of F Ionian)The exercise plays through each of the 7 modes in order, before returning in reverse sequence. All modes shown are full 2-octave patterns, with note names, picking and fingering written into the score. Backing track included for play-along purposes. An excellent resource for learning how to play the various E modes, and to incorporate more tonal color into ones guitar playing.
$8.99
Prelude 22 in B Minor Phrygian
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Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brian Golden
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Brian Golden
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Prelude 22 in B Minor Phrygian
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Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494). Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 15 in B Major Mixolydian
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Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brian Golden
#
Brian Golden
#
Prelude 15 in B Major Mixolydi
#
Brian Golden
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843064. Published by Brian Golden (A0.1248572). Prelude 15 in B Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
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B Ionian to B Locrian
