A travers cette méthode d'apprentissage Clarinette vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Key Jazz Rhythms Clarinet Cd a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV14706. / Clarinette / Partition Cd

A travers cette méthode d'apprentissage Guitare Basse vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Jazz Bass Compendium Sigi Bush a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV15000. / Guitare Basse / Partition

A travers cette méthode d'apprentissage Saxophone vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Key Jazz Rhythms Sax Tenor Cd a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV14702. / Saxophone / Partition Cd

A travers cette méthode d'apprentissage Violon vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Easy Jazz Conception Violin Cd a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV14770. / Violon / Partition Cd

A travers cette méthode d'apprentissage Formation Musicale vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Training The Ear Vol.2 4 Cds a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV16302. / Théorie Solfège / niveau : Débutant/Intermédiaire / Partition Cd

A travers cette méthode d'apprentissage Flûte Traversière vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Key Jazz Rhythms Flute Cd a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV14705. / Flûte Traversière / Partition Cd

The Essence of Bebop est la nouvelle série du saxophoniste new-yorkais Jim Snidero, acclamé par la critique. The Essence of Bebop révèle le cœur et l'âme de ce style de jazz révolutionnaire et constitue le premier véritable « manuel » pour maîtriser le bebop. Les 10 études bien jouables sont inspirées de Miles Davis, Charlie Parker, John Coltrane, Sonny Rollins et bien d'autres et offrent une base unique d'étude et d'analyse. Des aperçus historiques ainsi que des recommandations d'écoute et de lecture font de cette édition un élément indispensable de la formation en jazz. Le soliste Anders Bostrom est connu, entre autres, comme un flûtiste polyvalent dans de nombreuses productions de Broadway. / Partitions jazz&blues / Bois / Flute traversiere / ADVANCE MUSIC

Completely revised and newly engraved ‘97 edition. This classic cross-over work by the legendary Phil Woods is now published exclusively by Advance Music.

The Essence of Bebop est la nouvelle série du saxophoniste new-yorkais Jim Snidero, acclamé par la critique. The Essence of Bebop révèle le c?ur et l'âme de ce style de jazz révolutionnaire et constitue le premier véritable « manuel » pour maîtriser le bebop. Les 10 études bien jouables sont inspirées de Miles Davis, Charlie Parker, Hank Mobley, Horace Silver, Dizzy Gillespie et bien d'autres et offrent une base unique d'étude et d'analyse. Des aperçus historiques ainsi que des recommandations d'écoute et de lecture font de cette édition un élément indispensable de la formation en jazz. / Partitions jazz

for Alto & Tenor Saxopone. Par KOCH CLAUS HENRY. Though I consider myself to be primarily a jazz performer, classical music - above all instrumental baroque music and Viennese Classicism - have always been very important to me. For quite a long time, particular elements characterizing these styles of music have occasionally been integrated in some of my jazz compositions. With these pieces, I am now presenting my very first purely classically inspired compositions for 2 woodwind instruments. The duets have been designed as both performance pieces as well as educational music for teaching ensemble playing. I have not intended composing music of a certain style, but have rather used and integrated various elements out of my overall experience as an active listener of music. The repetitions indicated should be played on principle in order to maintain the proportions of the pieces. This edition for alto and tenor saxophone is not compatible with the edition for 2 clarinets. Claus Koch, December 2007 / Niveau : 3 / Répertoire / Saxophone Alto ou Ténor

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians students teachers and all those who take a general interest in this field of music.The focus of this series is on the language of instrumental music nowadays performed in Brazil based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music which are presented in the following versions:1. Complete takes in other words the full versions of the pieces included in the book which are performed by all the instruments playing simultaneously;2. Without melody / solo part so that the melodic instruments can play along with the recording executing their own interpretations and practicing improvisations;3. Without harmony so that the harmonic instruments can practice the language of accompaniment especially with regard to the rhythmic vocabulary of each style.4. Without bass so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects;5. Without drums so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations.Each book contains the scores in the form of lead sheets in four different versions: in C Bb Eb and bass clef. Due to the widely defined concept of this method it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution.The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos rhythmic comping phrases bass lines and drum grooves for instance can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians students teachers and all those who take a general interest in this field of music.The focus of this series is on the language of instrumental music nowadays performed in Brazil based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music which are presented in the following versions:1. Complete takes in other words the full versions of the pieces included in the book which are performed by all the instruments playing simultaneously;2. Without melody / solo part so that the melodic instruments can play along with the recording executing their own interpretations and practicing improvisations;3. Without harmony so that the harmonic instruments can practice the language of accompaniment especially with regard to the rhythmic vocabulary of each style.4. Without bass so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects;5. Without drums so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations.Each book contains the scores in the form of lead sheets in four different versions: in C Bb Eb and bass clef. Due to the widely defined concept of this method it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution.The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos rhythmic comping phrases bass lines and drum grooves for instance can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition

Par ADOLFO ANTONIO. Phrasing is the way the elements of music (melody, harmony and rhythm) are interpreted by different cultures (or different musicians, including vocalists). In Phrasing In Brazilian Music, Antonio Adolfo demonstrates through written and recorded musical examples on the piano, how the different elements of music play an important role when musicians are performing Brazilian Music. The book covers Phrasing in different Brazilian styles in two beat and is enhanced by a very didactic text. Despite almost all examples have been played on the piano (many times accompanied by shaker), the book will be of much interest for any musician of any instrument. / Méthode / Méthode / Tout Instrument

This volume is a step-by-step approach to improvisation in jazz, rock and pop music. Each chapter is based on easy music which can be practised together with the play-along CD. The textbook can also be used by a band at schools or music schools (for pupils with at least 2 years of instrumental lessons). / Contrebasse