| Cross Over-jazz Rock Training Impro - Advanced Schott
C-, Bb- and Eb-instruments - advanced SKU: HL.49014890 Jazz & Rock Tra...(+)
C-, Bb- and Eb-instruments - advanced SKU: HL.49014890 Jazz & Rock Training. Composed by Herb Geller. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 63 pages. Schott Music #ED 12364. Published by Schott Music (HL.49014890). ISBN 9790220115622. English. Preface * Why Rhythm Changes? * Diatonic Studies * Scale Studies * Pentatonic Scales * Diminished Scale/Semitone * Whole-tone Scale * Rhythm Changes * Diatonic Approach to Rhythm Changes * A-phrase Variations * The Bridge * Inside Harmonies * Scales and Tips for Improvising and Practising * Postscript. $27.95 - See more - Buy online | | |
| Mikrokosmos for piano Volume 5-6, BB 105 Piano solo EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ20085 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano SKU: BT.EMBZ20085 Urtext (1932-1939). Composed by Bela Bartok. Arranged by Yusuke Nakahara. EMB Music of Bela Bartok. Educational Tool. Book Only. Composed 2021. 116 pages. Editio Musica Budapest #EMBZ20085. Published by Editio Musica Budapest (BT.EMBZ20085). English-Hungarian. Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a classical piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from Imitation and Inversion, Ostinato, and Free Variations, concerning compositional technique, to mood pieces and pieces with programmatic ideas such as Notturno, Boating, From the Diary of a Fly, or the famous Six Dances in Bulgarian Rhythm. Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos. $28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Ten-Minute Jazz Scale Inventory Jazz Ensemble - Intermediate Southern Music Ltd
(Modes, Blues, Pentatonic and Wholetone Scales in Three Keys). By Jim Mahaffey. ...(+)
(Modes, Blues, Pentatonic and Wholetone Scales in Three Keys). By Jim Mahaffey. For Jazz Ensemble (Score and Parts). Jazz Band - Methods. Southern Music. Grade 4. Southern Music Company #O39. Published by Southern Music Company
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| I Love Scales Flute [Sheet music] - Beginner AMA Verlag
By Robert Winn. For Flute. Technique. AMA Verlag. All Styles. Level: Beginning. ...(+)
By Robert Winn. For Flute. Technique. AMA Verlag. All Styles. Level: Beginning. Book. Size 9x12. 44 pages. Published by AMA Verlag. ISBN 3932587561.
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| Volume 26 - The Scale Syllabus B Flat, E Flat, C and Bass clef Instruments [Book + CD] - Intermediate/advanced Jamey Aebersold Jazz
Volume 26 - The Scale Syllabus by Jamey Aebersold. For any C, Eb, Bb, bass instr...(+)
Volume 26 - The Scale Syllabus by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Along series with accompaniment CD. Jamey Aebersold Play-A-Long series. Hear David Liebman solo over every scale listed in the Scale Syllabus.. Intermediate, advanced. Book and 2 CDs. 32 pages. Published by Jamey Aebersold Jazz
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| Exercises for Three Finger Banjo Banjo - Beginner Mel Bay
Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay ...(+)
Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay Publications, Inc (MB.99783).
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Claire de Lune and Reverie with CD (Late Beginner - Early Intermediate) Piano solo [Sheet music + CD] - Easy Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For easy piano. Lat...(+)
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For easy piano. Late Beginner - Early Intermediate. Book and accompaniment CD
(1)$10.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gifted Pianist: Book 3 [piano method] Roger Dean
(The Conceptual Core). Composed by Walter Noona. For piano. Piano Method. Level ...(+)
(The Conceptual Core). Composed by Walter Noona. For piano. Piano Method. Level 3. Piano method. Roger Dean Publishing #KM107. Published by Roger Dean Publishing
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Claire de Lune (Clarinet and Piano) Clarinet and Piano [Set of Parts] - Intermediate Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Clarient solo a...(+)
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Clarient solo and piano accompaniment. Set of parts
$8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Claire de Lune (Trumpet and Piano) Trumpet, Piano [Set of Parts] - Intermediate Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Trumpet solo an...(+)
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Trumpet solo and piano accompaniment. Set of parts
$8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Claire de Lune (Alto Saxophone and piano) Alto Saxophone and Piano [Set of Parts] - Intermediate Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Alto Saxophone ...(+)
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Alto Saxophone solo and piano accompaniment. Set of parts
$8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Claire de Lune (Flute or Violin and Piano) Flute and Piano [Set of Parts] - Intermediate Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Flute solo or V...(+)
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Flute solo or Violin solo and piano accompaniment. Set of parts
$8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Claire de Lune (Trombone and Piano) Trombone and Piano [Set of Parts] - Intermediate Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Trombone solo a...(+)
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Trombone solo and piano accompaniment. Set of parts
$8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 50 Essential Bebop Licks You Must Know DVD Guitar [DVD] EMedia | | |
| Piano Lessons, Level 4 Piano solo [Sheet music] - Easy Kjos Music Company
By James Bastien. For piano. Bastien Piano. Bastien Piano Library. Level: Level ...(+)
By James Bastien. For piano. Bastien Piano. Bastien Piano Library. Level: Level 4. Music Book. Published by Neil A. Kjos Music Company.
$6.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Beginner Cello Theory for Children, Book 3 Cello [Sheet music] - Beginner Mel Bay
By Melanie Smith. For Cello. Theory & Harmony. Bill's Music Shelf. Children. Be...(+)
By Melanie Smith. For Cello. Theory & Harmony. Bill's Music Shelf. Children. Beginning. Book. 174 pages. Published by Mel Bay Publications, Inc
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| John Thompson's Modern Course for the Piano - The First Grade Book
Piano solo [Sheet music] - Beginner Willis Music
(Something New Every Lesson) Written by John Thompson. Instructional book for pi...(+)
(Something New Every Lesson) Written by John Thompson. Instructional book for piano. With introductory text, instructional text, instructional photos, illustrations, easy piano notation, fingerings and lyrics (on some songs). 79 pages. Published by Willis Music Company.
(26)$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| John Thompson's Modern Course for the Piano - First Grade (Book/Audio) Piano solo [Sheet music + Audio access] - Beginner Willis Music
First Grade - Book/Audio. Willis. Instruction, Method. Softcover book with onlin...(+)
First Grade - Book/Audio. Willis. Instruction, Method. Softcover book with online audio. 84 pages. Willis Music #12815. Published by Willis Music
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