Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

150 des plus célébres standards de jazz, speciallement arrangés pour piano, chant et guitare (accords) / Variétés Internationale / Partition /

There aren't many banjos players more widely heard, or who have performed before more people, than Ron Block. Working with Alison Krauss and Union Station since 1991, Ron's distinctive banjo sound has become nearly as much a part of the group sound as Alison's voice. Ron has taught in a limited number of worshops, but this is his first instructional DVD of any kind, offering a detailed look at his unique approach to the banjo. This 2 DVD release from AcuTab begins with Ron explaining how he learned, and what resources have been useful to him, plus how he looks at both left and right hand patterns. AcuTab's John Lawless leads him through a discussion of several topics, including tone production, Ron's use of bends and chokes, how he arranges solos, and improvisation. Ron goes into great detail about his practice routine, showing examples of exercises and drills he uses to stay in shape. He discusses how to use a metronome in your practice, with several examples. He also describes a number of guitar techniques and concepts which have informed his banjo playing, such as working within 'boxes,? or blocks of frets, and learning to visualize and play scales and patterns both vertically and horizontally. The meat of the DVD is in the songs Ron teaches, which are played in a number of keys and tunings. You'll learn Cluck Old Hen, Tiny Broken Heart, Man Of Constant Sorrow, I'll Remember You Love In My Prayers, Everytime You Say Goodbye, Bright Sunny South, My Poor Old Heart and Smashville. Each song is played with a band before Ron breaks it down lick by lick, and is then shown (medium and slow) in a split screen orientation. Three screen orientations are available for the split screen sections, based on whether the left or right hand is of greater interest - or seeing them both at equal size. Two audio mixes are available for the band sections: normal, and banjo-heavy. 3 hours and 45 minutes on 2 DVDs, with tab booklet. / Banjo (5 Cordes) / 225 pages / niveau : Débutant/Intermédiaire / 2-Dvd Set - Format: 7,5 X 5,25

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Drama Schemes by Mark Wheeller is the first book to look at the teaching practices of this internationally-renowned playwright.Features include:A scheme of work for each year of key stages 3-4 all of which have been conceived and developed through Wheeller’s own teaching experiences.Two schemes which focus on Wheeller’s use of drama across the curriculum including his growing admiration for the Mantle of the Expert system of learning.An exploration into the crucial role of the much-maligned school production. Through this he illustrates his development of plays such as Too Much Punch forJudy and Hard To Swallow which have become staple parts of the curriculum both in the UK and overseas.Wheeller also reflects on his ongoing career as a secondary school drama teacher after 30 years in the profession. He refers to his many influences: the famous (Dorothy Heathcote and Andy Kempe to name but two) and those not so well-known.The book's fascinating biographical detail makes a valuable resource for both those already familiar with Mark Wheeller's output and those discovering his work for the first time.'Every secondary teacher should read this book. Mark has at last written about his great skill his unique style of drama teaching using such an irresistible series of ideas. But what is so good about them is that they all work. He also has no time for 'ideological camps' and refers to the great influence Dr Dorothy Heathcote's methods (including Mantle of the Expert)has had on him even as he reaches the pinnacle of his career. If only more people in the field had the vision expressed in the book. I especially liked the way he weaves his own story as a learner and as a teacher gathering the vast and international experience he now brings to secondary drama teaching. These lessons have been tried and tested as Mark just wouldn't dare to do anything else. I also like

Dirt Simple Upright Bass. Although designed for newcomers to the upright bass and bluegrass music in general, this unique approach to creating basslines has something for everyone! The first half focuses on bass-playing essentials, giving the reader a solid technical footing with the instrument. Then, using his own baritone voice and the classic bluegrass song, ?Going Down the Road Feeling Bad,? author Nate Sabat reveals his creative process in crafting effective basslines from the song?s melody and chord progression. The second half focuses on bass playing within the specific context of complementing bluegrass vocals. Well beyond what you might expect from an introductory method, Nate tastefully guides the reader by presenting multiple composed bassline options for each of five well-known bluegrass songs: Rabbit in the Log, Don?t this Road Look Rough and Rocky?, Long Journey Home, I Am a Pilgrim, and Angel Band.Nate?s warm, pitch-perfect vocals can be heard on virtually every track, giving this method an undeniable musicality. A lightly accompanied vocal track with no bass is also provided, so you can be the sole upright or electric bassist in the band. You?ll not only want to back Nate up?but sing harmony with him too! The impulse to sing can?t help but influence your bass playing in a natural and positive way. Nate provides notated versions of the eight major scales most commonly used in bluegrass. Once you get them under your fingers, you?ll soon be able to play along with the book?s 50 companion online recordings.With its simple harmonic palette and repetitive nature, bluegrass music offers bassists the perfect opportunity to become musically literate. If you?ve hesitated to learn to read music, this is the time and place to eliminate that drawback. Working through these 46 pages will provide the tools and confidence needed to create your own engaging and musical basslines and hopefully, you?ll be inspired to continue your bluegrass bass journey for years to come. Includes access to online audio.

Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major

It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major