Guitar Training Session:-By offering you the possibility to evolve in actual group situations this coursebook not only teaches you how to perform but also how to spice up your jazz accompaniments. By offering you the possibility to evolve in actual group situations this coursebook not only teaches you how to perform but also how to spice up your jazz accompaniments.The enclosed CD contains 11 complete backing tracks (Drums Bass

By offering you the possibility to evolve in actual group situations this coursebook not only teaches you how to perform but also how to spice up your rock accompaniments. The enclosed CD contains 19 complete backing tracks (Drums Bass

Acquired wisdom has always put Sgt. Pepper at the head of the class but it was Revolver that truly signalled The Beatles' sea change from a functional band to a studio-based ensemble. These changes began before Rubber Soul but came to fruition on Revolver which took an astonishing 300 hours to produce far more than any rock record before it.The making of Revolver hunkered down in Abbey Road with George Martin is in itself a great Beatles story but would be nothing if the results weren't so impactful. More than even Sgt. Pepper and Pet Sounds Revolver fed directly into the rock 'n' rollzeitgeist and its influence could be heard everywhere: from the psychedelic San Francisco sound (Jefferson Airplane Grateful Dead); to the first wave of post-blues hard rock (Sabbath Zeppelin); through movie soundtracks and pretty much everything that followed it including every generation of guitar-based pop music and even heavy metal. More than any record before or after Revolver was the game-changer and this is finally the detailed telling of its storied recording and enormous impact.

This beautiful rendering of the love verses from I Corinthians 13 is a small masterpiece by Richard Burchard. Beginning with a simple chant sung in canon over a pedal point the textures soon expand and evolve into dense flowing lines that typify Burchard's style. High school choirs college choirs and good church choirs will enjoy this expressive composition.

Par GORDON ANDREW D.. I have created various Blues riffs and has transposed them into all 12 keys along with backing tracks to practice with giving you the student a fun way of learning how to play in all keys. We all learned how to play our scales in all 12 keys so I have taken that concept and applied it to learning to play the Blues so that you can try to become equally adept at playing in as many keys as possible. I have heard from teachers who have used my ?100 Ultimate Blues Riffs? book who will only allow a student to move on to the next riff once they have mastered playing the riff they are working on in all 12 keys, certainly a great but challenging musical exercise. Each of the riffs are either 2 or 4 measures in length that are notated and recorded around the cycle of 4th.s Also, there is a notation page whereby the riff is being used in a 12 bar blues progression so that you can see how to apply the riff to a real world situation. Each riff has been recorded 4 times: 1. Piano with rhythm tracks recorded around the cycle of 4th.s 2. Rhythm tracks recorded around the cycle of 4th.s to practice with 3. Piano with rhythm tracks recorded in a 12 bar blues progression in a designated key. 4. Rhythm tracks recorded in a 12 bar blues progression in the same key. Reasons for practicing in all 12 keys. Often a singer cannot reach certain notes in the key that you have learned the song in, therefore you will probably be asked to change the key of the song which you can do with confidence knowing all 12 keys. Having the knowledge of playing in all 12 keys, it will then become easier to learn new songs, whatever key they are in. Blues often use the keys of C, F, G, Bb, Eb, Guitar music often uses the keys of E, A, D, by learning as many keys as possible will enable you to adapt to the musical situation you are playing in. Taking riffs, chord progressions etc. through all 12 keys is a great ear training tool relying on your ears to play in keys that you are not used to before the muscle memory sets in. Practicing in all 12 keys is a great exercise for the brain, it is obviously hard work but the more you do it the benefits will become apparent. By practicing in all 12 keys you will start to see various musical patterns evolve that will help you speed up the process of learning music. It is my hope that as you practice playing in the various keys you will eventually not need the music and be able to transpose in your head. / Date parution : 2022-09-07/ Etude / Piano

Block Rockin? Beats? has tons of cool grooves and fills for the intermediate to advanced drummer. This book reflects recent musical trends by focusing on funky rock hip hop jungle and drum ?n? bass influenced patterns for thedrum kit. As time marches on popular music continues to evolve and change. ?Block Rockin? Beats? is designed to give the drummer more ideas and tools to help function in a musical environment that was not only influenced byjazz blues gospel country soul latin and funk styles but also shaped by D.J.s samplers and electronic music. Drummers are often called upon now to replace or ad to programmed drums in the recording studio. For liveshows live drumming might be melded together with electronic elements or D.J.s or both Rock and popular music are incorporating so many different elements and styles at this point it?s hard to keep track! Update your rhythmicvocabulary with some ?Block Rockin? Beats.

This book ideal for beginners includes 30 easy pieces for pianists. Each track has been carefully chosen to acquire a strong level of experience on the Piano while also having fun playing enjoyably short pieces.  Each piece in the book is progressive meaning the pieces start off at a lower level of difficulty then get harder meaning your abilities will evolve gradually with the book. The book is also a great way for the beginning pianist to get a taste of a number of different styles from contemporary to classical including jazz ragtime blues rock there is something for everyone here.  Withthe accompanying CD every piece is presented twice once with the Piano as a demonstration and another time with the Piano part removed to get the player used to playing with other musicians.

For Bob is arranged for Cello and Piano. First performed by Elisabeth Smalt and Kevin Volans London 2016. Composers Note: I have no idea where this piece came from and how it is structured. Butbefore and after I wrote it I was nagged by the question: what does the viola have to do with the piano? Did this combination evolve by unfortunate accident? The viola was perfected in the 18th century. Itsnatural métier is (private) chamber music. The piano on the other hand kept growing and blossomed in the 19th century as the ultimate public instrument. If the piano is to play with the viola it has to rein back its powerand pose as an accompanist. Maybe a third instrument perhaps from the 20th century is needed to mediate between these two very different sound worlds. So when we play this ‘trio’ with 2 instruments Iinvite the listener to mentally add the silent part(ner). - Kevin Volans 

Cahier 4 Piano-Conceived for Piano beginners who have already been introduced to music reading  Le Voyage Magique - Level 4 Traveller follows up on Piano Discoveries - Level 3 A & B Adventurer. Seventh of a series of eight it familiarises the young Pianist to more complex melodies and rhythms to minor chords and minor tonalities and to the techniques of playing. This volume uses the same characters as the previous books who evolve through new illustrations to guide the young pianists. Le Voyage Magique is the translation and adaptation by Stéphane Blet of the American series Piano Discoveries by JanetVogt and Leon Bates. The pedagogy of this book has been studied to be quite close to the language of children in order to develop their interest and concentration. A CD is provided to accompany the player while learning with Le Voyage Magique offering some small melodic pieces to develop a musical ear. Janet Vogt is an American Pianist professor at the College-Conservatory of Music. She also composed pieces for Keyboards for Choirs and some pop music. Leon Bates (born 1949) is a renowned American Pianist who performed with the New York Symphony the Cleveland Symphony and many others. He is also a professor and participated to the conception of this method. Stéphane Blet is an international Solo Pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the École Normale de Musique “Alfred Cortot”.

Humming And Ah-ing Machine is an innovative and fun composition by John White for Unaccompanied SATB chorus. The work is made up of short repeated phrases that evolve and entwine creating a hypnotic and exciting overall work.

Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 inits original version for English Horn Violin and Cello the Lyric Interlude for English Horn and Piano (Op.110b) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) Violin and Cello Op.110a (AL 30 751)