The Bluesier Side of Jazz by Andrew D. Gordon was inspired by the Piano students he teaches at Shepherd University School of Music in Los Angeles and is dedicated to those students: Jungwon, Yumiko, Yoko, Eunice, Sooji, Hae Ji and Ok Kyu. As with many students that come from a classical background (including himself) it is a difficult transition to learn to play Blues & Jazz. When a musician improvises they usually play a variety of riffs or phrases that they have developed and learnt over a period of time and can access these phrases instantaneously whatever key they are playing in to create a seamless improvised solo from the phrases they havelearnt. Andrew's idea for this book is to create phrases or riffs over two measures of various Blues progressions. He sub-divided each of the 12 Bar Blues progressions used in this book (the chord progression for Watermelon Man is a 16 measure progression) into six sections (two measures each) and within each of the six sections created four different phrases or riffs so that the student has a choice of four different phrases to play over every two measures. They can then create a solo based on which phrase they choose for each two measures. By breaking down these phrases to two measures each, he has found that the students have an easier time of learning to improvise than by trying to transcribe a whole solo from an audio recording or leaving them to their own devices in trying to play a solo based on the Blues scale or other related scales. Each of the ten examples are based on common Jazz/Blues chord progressions from Jazz songs such as 'Watermelon Man', 'Blue Monk', 'Tenor Madness', 'Route 66', 'Blue Trane', 'Bag's Groove' starting off with basic I-IV-V chords and increasing in complexity throughout the book. There are over 200 phrases/riffs to choose from that can be learned and applied to many types of jazz songs./ Recueil / Flûte Traversière

For 10 players. Par COULT TOM. These mature and well-crafted pieces for an ensemble of ten players showcase Coult 's ear for beguiling, burnished sonorities and his ability to harness the most complex of technical devices to rich emotional ends. Whilst his musical schemas are often audacious and innovative, the security and light touch with which Coult carries them out ensures that his Four Perpetual Motions are always as expressive as they are impressive. Coult was one of the winners of the 2012 Royal Philharmonic Society Composition Prize and was consequently commissioned to write this 13-minute work for the Philharmonia's Music of Today Series. Scored for: fl.ob.cl - tpt - perc(1): vib/mar/glsp/crot/2 bongos - harp - vln.vla.vlc.db / Niveau : 5 / Contemporary / Répertoire / Musique de Chambre

The Practical Handbook for Mastering Rhythm - UK & Europe Edition. Par HARRISON DAVID. Hal Leonard Rhythm and Counting is the essential, practical handbook for mastering rhythm. Designed for students and musicians of any instrument or voice, this book provides a comprehensive and systematic approach to understanding rhythms, rhythmic devices, and how to count them. Packed full of practical exercises, this book also makes for an ideal self-instruction method. Every exercise is accompanied by play-along online audio, featuring useful metronome clicks for rigorous practice. For use in individual or group instruction, Hal Leonard Rhythm and Counting is the must-have guide to rhythm for all music teachers and students. With UK-specific musical vocabulary. Concepts Include: • Fundamentals of Rhythm • Counting Method • Note Values and Rests • Beat Subdivision • Simple Time Signatures • Compound Time Signatures • Ties and Extended Notes • Syncopation/ Solfège/Formation Musicale / Rythme

Par DESSAU PAUL. Paul Dessau described his Third String Quartet, begun at Laguna Beach near Los Angeles in 1943, as predominantly lyrical. The song-like, melodious main theme of this one-movement work emerges from a series of notes grounded in tonality. A contrapuntally separated little semiquaver figure acquires increasing importance and points the way ahead to the greater rhythmical turbulence of the middle section. Syncopated imitative devices add intensity to the music until all this activity is calmed down again in the extended Coda. By working names into his music as quotations Dessau pays musical homage to two of his aesthetic forefathers - Bach and Schoenberg - during a creative period spent in exile./ Répertoire / Quatuor à Cordes

C-Instruments Edition. Par CHRISTIANSEN COREY. Many of the devices and techniques used by 'Cannonball' Adderley are covered in this text. In addition to the theory chapters, many melodic lines and phrases in the style of 'Cannonball' Adderley are presented. All the lines have been transposed into one key and grouped by the harmonic background they can be played against. The accompanying play-along CD enables the students to first practice the material in one key, and then master each line in all twelve keys, working around the circle of fourths. Also available in Japanese from ATN, Inc. / Niveau : Intermédiaire / Jazz - Improvisation / Recueil / Instruments en Do

Par DUBOIS THEODORE. At just 34 years of age, Theodore Dubois became a professor of harmony at the Paris Conservatoire. Whilst much of his compositional works have disappeared from primary classical repertoire, his teaching has had a lasting influence. Having taught successful composers, including Paul Dukas, it is clear that Dubois' Traite D'Harmonie is well-informed. This music theory study guide covers a considerable range of theoretical aspects, from the varying musical clefs to the use of pedal notes, as well many other harmonic devices with expertise. In the preface, Dubois explains the need for his book, stating that it fills gaps in harmonic theory exercises which preceding guides had missed. With no harmonic elements left out, this Theodore Dubois theory guide is necessary to accompany all music studies./ Autre FM / Pédagogie Musicale

These two extraordinary works of late Mozart, KV 594 and KV 608, were both composed to fulfill a commission for a memorial exhibit in Vienna, to be played in a 'mechanical clock organ.? The term 'fantasy? or 'fantasia? came to be affixed to these works later, and is more descriptive and less cumbersome than the term Mozart listed in his own catalogue, 'Ein Stüke für ein Orgelwerk in ein Uhr.? They are also variously titled 'Adagio und Allegro in f für ein Orgelwerk? and 'Allegro und Andante (Fantasie in f) für eine Orgelwaltze.?The first of these, composed between the monumental String Quintet in D and the Piano Concerto in Bb KV 595, is an A-B-A form, comprised of an f minor Adagio opening and closing, with a contrapuntal Allegro at its heart. KV 608 is more complicated, opening with an f minor section reminiscent of a French Overture, followed by a fugue in f minor, then an Andante aria, followed by a return to the opening and then a more complex version of the fugue.Despite the frustration that Mozart expressed (in a letter to Constanze) with the sound world of these mechanical devices, KV 594 and 608 are remarkable works which stand at an intersection, incorporating what he learned about counterpoint studying at the foot of Bach, while looking ahead to the emotional and harmonic poignancy of Schubert. / Quintette A Vent

Par CHRISTIANSEN COREY. Many of the devices and techniques used by 'Cannonball' Adderley are covered in this text. In addition to the theory chapters, many melodic lines and phrases in the style of 'Cannonball' Adderley are presented. All the lines have been transposed into one key and grouped by the harmonic background they can be played against. The accompanying play-along CD enables to students to first practice the material in one key, and then master each line in all twelve keys, working around the circle of fourths. / Niveau : Intermédiaire / Jazz - Improvisation / Recueil / Guitare

Par CHRISTIANSEN COREY. Clifford Brown was one of the most influential jazz trumpeters and was a true master of jazz. His fantastic tone, time, feel and command of the jazz language have been inspiring jazz musicians on all instruments for decades. This book breaks down many of the one and two-bar phrases played by Clifford and helps students apply them to their own playing. Lines played over minor, dominant, and major chords as well as short, long and minor ii-V material can be mastered by practicing with the accompanying play-along CD. Chapters on Guide Tones, Bebop Scales, Targeting, and Playing the Upper-Structure will help students analyze and memorize the lines presented in the book. There is also a chapter with further insight in Clifford's style which discusses his phrasing as well as other musical devices he used to get his sound. A must have for aspiring students wanting the master the jazz language. / Niveau : Intermédiaire / Jazz - Improvisation / Recueil / Instruments en Clé de Fa

The Bluesier Side of Jazz for Alto Saxophone and Eb instruments by Andrew D. Gordon and Frank Villafranca was inspired by the piano students Andrew teaches at Shepherd University School of Music in Los Angeles and is dedicated to those students: Jungwon, Yumiko, Yoko, Eunice, Sooji, Hae Ji and Ok Kyu. As with many students that come from a classical background it is a difficult transition to learn to play Blues & Jazz. When a musician improvises they usually play a variety of riffs or phrases that they have developed and learnt over a period of time and can access these phrases instantaneously whatever key they are playing in to create a seamless improvisedsolo from the phrases they have learnt. Andrew's idea for this book is to create phrases or riffs over two measures of various Blues progressions. He sub-divided each of the 12 Bar Blues progressions used in this book (the chord progression for Watermelon Man is a 16 measure progression) into six sections (two measures each) and within each of the six sections created four different phrases or riffs so that the student has a choice of four different phrases to play over every two measures. They can then create a solo based on which phrase they choose for each two measures. By breaking down these phrases to two measures each, he has found that the students have an easier time of learning to improvise than by trying to transcribe a whole solo from an audio recording or leaving them to their own devices in trying to play a solo based on the Blues scale or other related scales. Each of the ten examples are based on common Jazz/Blues chord progressions from Jazz songs such as 'Watermelon Man', 'Blue Monk', 'Tenor Madness', 'Route 66', 'Blue Trane', 'Bag's Groove' starting off with basic I-IV-V chords and increasing in complexity throughout the book. There are over 200 phrases/riffs to choose from that can be learned and applied to many types of jazz songs. The package includes: Book or PDF file 30 audio tracks to play on your CD player or computer Over 200 mp3 files Over 200 MIDI files/ Recueil / Saxophone Alto

Lessons and TAB for 75 extreme guitar tapping ideas. * Blues and Classic Tapping licks * Scalar Tapping Licks * Triadas and Arpeggios * Advanced Tapping Licks * String skipping, Multi-Finger Tapping, Tapped Bends, Pedal Points, Open Strings, and Other Devices * Standard Notation and Tablature / Guitare

Description The most complete guide to jazz/blues soloing ever written! This comprehensive book details the sounds, elements, and approaches that make the blues such an integral part of the jazz vocabulary. Moving from blues progressions to fingerboard organization to phrasing, essential blues scales, riffs, lick development, and an array of advanced concepts and devices, including substitute scales & extended super arpeggios are covered. Throughout this process 38 solos, over 100 music examples, and hundreds of licks are featured. Written in notation and tablature.