This essential guide to GarageBand on iPad and iOS devices is your foundation for learning music production in the classroom. Written by Dr. Floyd Richmond, noted iPad music expert and the president of TI:ME (Technology Institute for Music Educators), Learning Music with GarageBand on the iPad provides instant insight and wisdom through Dr. Richmond's many years of experience. With this book, students will be able to create music on a higher level than ever before regardless of the depth of their previous musical training. Includes over 40 GarageBand song files. Recording * Record digital audio * Record MIDI and virtual instruments * Record wherever your iOS device goes Performing with Smart Instruments * Perform in numerous styles for each instrument (keys, guitar, bass, percussion) * Perform with authentic musical gestures (keyboard arpeggiator, string articulations) * Perform chords of your choosing Teaching and Learning * Create iPad ensembles * Perform solos with included accompaniments * Create loop-based compositions / Divers

Par GORDON ANDREW D.. 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 have learnt. Andrew's idea for thisbook 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 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. / Niveau : 3 / Recueil / Piano

Book 7. Par BRADLEY DOROTHY / TOBIN RAYMOND. Keys to include a few in five flats and sharps, more difficult passage and scale work, more antiphonal detail, sustained inner or lower voices, pedal notes and wider skips in L. H. , melodies and counter-melodies, melody and accompaniment shared by hands or working independently, test of interpretative skill and pedalling devices. Graded tests show how to reduce horizontal harmonies, to connect melodic lines, spot key changes, pedal for different effects. Keys to include a few in five flats and sharps, more difficult passage and scale work, more antiphonal detail, sustained inner or lower voices, pedal notes and wider skips in L. H. , melodies and counter-melodies, melody and accompaniment shared by hands or working independently, test of interpretative skill and pedalling devices. Graded tests show how to reduce horizontal harmonies, to connect melodic lines, spot key changes, pedal for different effects. / Niveau : Facile / Etude / Piano

C-Edition. 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 Do

This collection of ten jazz etudes with accompanying audio provides intermediate to advanced tenor sax students with a fun and effective way to learn to play in the specific odd meters: 3/4, 5/4, 7/4, and 9/4. Each etude is based on the chord progression of a different jazz standard, and includes an in-depth analysis of the melodic, harmonic, and rhythmic devices used. The addition of the odd-time ingredient, along with completely original melodies and improv lines, converts what would be mere academic etudes to a delightful jazz listening and playing experience.If you want to improve your fluency in reading, performing, and improvising in odd time signatures, this is the book for you! A generous number of preparatory exercises gradually introduce the student to not only reading music, but also 'hearing how phrases land within a measure” of odd time. Play-along audio tracks featuring a professional rhythm section (piano, bass, and drums) minus the sax track allow you to play as the soloist. Includes access to online audio. / Niveau : Intermédiaire à Avancé / Jazz / Etude / Saxophone Ténor

Par BACH JOHANN SEBASTIAN. Bach ’s Christmas Oratorio, composed in 1734, narrates the story of the birth of Jesus in a cycle of six cantatas with a text probably by Christian Friedrich Henrici (known as Picander) who provided several libretti for Bach during his Leipzig period. Like the St. Matthew and St. John Passions, the Christmas Oratorio is narrated by an Evangelist and includes devices from Italian opera such as the recitative and aria. It was written to be performed during the thirteen days of Christmas of the Lutheran Church calendar (25 December – 6 January) allowing the wondrous story of the Gospel to gradually unfold. - Fullscore and performance material (BA5014), vocal score (BA5014-90) and study score (TP85) available for sale. - Urtext of the New Bach Edition. / Oratorio / Répertoire / Solistes, Choeur Mixte et Orchestre

for Piano Solo. Par . What would composer such as Bach, Beethoven, Chopin, Debussy, or Rachmaninoff have done if they had arranged ?Dust in the Wind? for solo piano? Would Bach have penned a prelude or minuet? Would Chopin have crafted a nocturne or mazurka? What about Mozart, Tchaikovsky, or Bartok? Here are 16 songs arranged for solo piano, arranged as if they were covered by these composer giants. The focus is on classic accompaniment styles, devices, figurations and forms, the compositional hallmarks of centuries of great music. Includes: Ain't No Sunshine ? Blackbird ? Don't Stop Believin' ? Dust in the Wind ? God Only Knows ? Kiss from a Rose ? Time in a Bottle ? What's Love Got to Do with It ? You Can't Hurry Love ? and more. / Date parution : 2021-11-03/ Recueil / Piano

3rd Edition. Par PHILLIPS PAMELIA S.. Go from singing in the shower to taking your audience\'s breath away Whether you picture yourself as the next Ariana Grande or just feel like picking up a new hobby, Singing For Dummies walks you through the surprisingly straightforward steps you\'ll need to take to develop your voice. It\'s a practical guide to every important aspect of singing, from vocal techniques to performance tips. You\'ll learn exercises and practice songs that gradually improve your craft and receive instruction on the latest technology and recording devices to capture and play back your songs. Singing For Dummies also shows you how to: Understand and use important singing techniques, improve your tone, upgrade your posture, and maximise your breath Maintain your voice with preventative self-care that keeps your vocal cords in tiptop shape Sing with instrumental accompaniment or with a partner in a duet Perfect for men, women, boys, and girls, Singing For Dummies is the most intuitive and accessible resource on the market for anyone who hopes to find their voice. / Date parution : 2022-06-08/ Méthode / Chant

15 Traditional Favorites. Using classical compositional devices, Phillip Keveren has developed these 15 enduring hymns into character pieces for piano solo. / Musique religieuse / Date parution : 2018-05-04/ Recueil / Piano

Dvorák, AntonínMass in D major op. 86Organ version- The organ version includes violoncello and double bass parts edited for the first time- Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) by the editorDvorák composed the “Mass in D major” in 1887 at the suggestion of his patron Josef Hlávka for the inauguration of the Lužany castle chapel. It is written for choir and organ with sporadic passages for soloists, uses simple expressive devices and makes light technical demands. Thus, this work is easy to perform, also by amateur church choirs; all that is needed is a small choir and the solo parts can be sung by members of the choir.The full score includes an additional violoncello/double bass part edited for the first time. Dvorak himself had written this additional part into a copy of the organ version.11.95 €incl. VATplus delivery costsLieferbarkeitsanzeigeavailableCopies / Choeur et ensemble vocal / Barenreiter

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

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

for piano. Par LARCHER THOMAS. Smart Dust' devices are tiny wireless microelectromechanical sensors (MEMS) which are able to sense everything from light to vibrations. Thanks to new developments in silicon processing, these 'motes' are no larger than a sand grain even though they are provided with sensors, circuits, wireless communications and a power supply. They collect enormous amounts of data, perform calculations and are able to exchange such information even over distances of 300 metres. Today, one is developing commercial application possibilities, such as for the search for manufacturing defects or for the care of patients, but of course this 'Smart Dust', this barely visible intelligent dust, is particularly suited to spy on people and detect movements of the enemy in the case of war. Perhaps, one day, we will get rid of a potential observer when rubbing a sand grain from our eyes. They are tiny cells which are able to communicate with each other, build up a network among themselves, observe the environment and, above all, they can be blown through open windows into rooms without being noticed. The music too is about similar tiny cells, about strange sounds of a sound-reduced piano, 'simple circuits', i.e. basic information which are retransmitted, musical motifs from the everyday urban environment which then have to be aligned with each other and processed in a control centre, in the head of the listener. Omnipresent, dangerous elements. The motor energy (the power from the battery) decreases in the course of the little pieces, the flow of information slows down. The piano is deprepared during its course, the elements become more readable and audible. A broad stylistic expanse is traversed in a very brief space, as if a 'smart dust transmitter' lands on the turban of a muezzin and the next one a hundred metres farther in a discothèque. Or even better: one transmitter in a Lachenmann score, the next one in the beard of Arvo Pärt. - Thomas Larcher/ Répertoire / Piano