Par FREDD JUDGE / SAUVIAT E.. Cet ouvrage, destiné à faire travailler l'improvisation Blues, est proposé avec un CD, comportant de nombreux play-backs complets (basse - guitares - batterie), et permettant ainsi au guitariste de s'entraîner à interpréter en situation des solos, des improvisations, résolument Blues. Le livre présente des exemples de solos pour chaque grille ainsi que de nombreux conseils pour l'improvisation (outil mélodique...) Un ouvrage indispensable à tous les solistes en herbe !/ Méthode / Guitare

A genre-crossing delight Eric Clapton's 20th studio CD is a winning mix of new material and heartfelt covers. Our matching folio offers notes

Apprendre à jouer de la guitare de l'artiste de Blues du Delta plus influent de tous les temps ! Chant surnaturel de Robert Johnson et guitare slide complexes ont inspiored d'innombrables musiciens depuis sa mort prématurée en 1938. Sur cette leçon bourrée de DVD, guitariste gagnant de prix Rory Block demystifys the licks, pistes, Strum, lignes de basse, tunrarounds et autres éléments vitaux qui se combinent pour créer le son unique de Robert Johnson. Bien que ce DVD vous donnera la polyvalence de jouer des chansons de Johnson vous apprendrez les restitutions détaillées de si j'avais Possession Judgement Day, Terraplane Blues et prédication Blues. Convenant de niveau intermédiaire début ce didacticiel contient onglet dans une brochure d'accompagnement et musique. / Guitare

Apple Records was a noble experiment created in the spirit of the 1960s by four musicians who came to represent everything that was best about those tumultuous, experimental, and liberating times. The Beatles started out with the greatest of intentions, but reality soon got in the way. Much has been written about this period in the history of The Beatles' evolution and dissolution---some of it true, some of it wildly exaggerated, but not much of it first-hand. The Longest Cocktail Party is a rare exception. Written by Richard DiLello, who served as Apple Record's 'House Hippie' from 1968 to 1970, this unusual first-hand glimpse into The Beatles' empire humorously chronicles the stranger-than-life stories that were to become legendary, including visits by the Hell's Angels and endless tales of celebrity antics. Alfred Music is proud to offer this latest edition, which features a new and insightful foreword by the author. Originally published by Playboy Press in 1972, The Longest Cocktail Party has proven itself a timeless chronicle of this most colorful period in pop history. / Divers

S'il est un souci commun à tous les guitaristes, c'est bien d'avoir LE SON. Quels que soient ses goûts, son style ou son jeu, tout guitariste a besoin de se sentir porté, enveloppé par son propre son. Il est une des composantes essentielles de notre personnalité d'instrumentiste. Dans cet ouvrage, nous commencerons par analyser les différents types d'effets existants (distorsion, delay, flanger, reverb, etc.), leur principe, leurs réglages, leur fonctionnement et leur incidence sur votre son. Nous nous consacrerons ensuite à l'étude de tout ce qui touche à la lutherie (guitare, micros), à l'amplification (préamplis, amplis, HP) et aux accessoires (médiator, cordes, câbles, bottleneck, vibrato, etc.) Enfin, et dans le but de mettre tout cela en pratique, nous étudierons le son des plus grands guitaristes à partir de réglages de simples pédales d'effets. Et comme le son est avant tout une question d'oreille, le CD vient illustrer de façon sonore le contenu du livre. Véritablement THE guide du son ! / Guitare

Creation 04/11/2018 - Cologne (Germany), Philharmonie - Anaïs Gaudemard (harp) Sponsor Calouste Gulbenkian Foundation and Philharmonie de Paris Dedication to Anaïs Gaudemard Notice Nighthawks is a work for solo harp. When Anaïs Gaudemard [1] asked me to write this work, she wanted to integrate it into a program on the theme of birds. I immediately thought of the work Nighthawks (1942) - or Night Birds - by the American realist painter Edward Hopper (1882-1967). Inspired by this work, I designed the piece in one piece as a trip to the heart of this painting. Hopper projects there a snapshot of American daily life. The scene takes place at a late hour of the night and several atmospheres emerge from it. Indeed, the eye is at the same time attracted by this dark, deserted, and immaculate street of an American downtown; intrigued by the frozen situation of the four characters inside a brightly colored diner; and hypnotized by the glare of the huge bar window. Contrasting with the darkness of the street, the light from this neon-lit window is striking. It thus separates the two atmospheres of the painting. The view of the spectator through it is from outside to inside the bar. The absence of an exit door gives the impression that the characters are isolated and their solitude is further reinforced by this glass which surrounds the illuminated stage - as if they were under a bell . Inside the diner, a man seen from behind is eating; a couple stand side by side (the man smokes; the woman is dressed in red); a server is busy. We don't know anything about them. What are they doing at such a late hour? Where is the exit? What are they discussing? Do they know each other? I wanted to musically conceive this scene from the viewer's point of view, as if we were caught up, sucked into the very interior of the painting. The introduction - Mysterious, dark - sounds the twelve strokes of midnight and plunges us into the darkness of this typically American street. From this nocturnal atmosphere is born a strange song - almost padded with xylophonic sounds - as if we could not hear it distinctly through the luminous glass which separates the street and the bar. Caught up in this bright light, we pass through the window and gradually return inside the diner by means of a hypnotic loop repeated tirelessly, as if we were entering a state of trance - Hypnotic. It is the underlying tension of this frozen situation of the characters that I wanted to represent in the central passage - Rhythmic and pulsed. Then, we come out of this feeling of hypnosis by passing through the bar window again and rediscover the nocturnal atmosphere of this deserted and immaculate street - Hypnotic - Mysterious. Camille Pepin [1] Creator and dedicatee of the piece Hurry What a simply beautiful work here! Camille Pépin, born in 1990, had a career marked by dance and composition. But we discover here quite simply an artist, who invites us to the contemplation of a work of the painter Edward Hopper. Having worked on composition and orchestration with Thierry Perrine as well as with Thierry Escaich, Guillaume Connesson and Marc-André Dalbavie, she has forged an original language which allows her here to bewitch us both by her music and by contemplation of the painting. We can judge by the interpretation of this piece on YouTube that we will listen to while looking at the painting. Of course, you can also listen to the work as it is: it is sufficient. But with the painting ... Daniel blackstone Music Education n ° 128 (Jan-Feb 2020)

By offering you the possibility to practice blues improvisations this coursebook teaches you how to solo in this very particular style letting you perform in a musical environment which simulates actual group situations.The enclosed CD contains 12 complete backing tracks (Drums Bass

An exceptionally wide-ranging selection of 22 of the best audition songs for female voices. From Jazz and Soul to Pop, Rock and R'n'B, this collection has something to suit every occasion, whether you are auditioning for a band or a stage production, or impressing the judges at a competition. Each song has been carefully identified with the relevant vocal range, so you can tell at a glance which songs are best suited to your unique voice. The book is complete with 2 CDs of outstanding backing tracks, professionally recorded to give you the very best virtual backing band! With songs ranging from From A Distance and The Closest Thing To Crazy to Murder On The Dancefloor and Toxic, this package represents the ultimate audition sourcebook for women