Sing Along With Easy Fingerpicking Guitar Accompaniment is a songbook featuring 30 popular songs arranged for Guitar and Voice in standard notation and tablature. Whether you're performing solo or backing up another singer the Guitar arrangements in this book will provide the perfect accompaniment. The chords and overall harmony of each song are especially tailored for fingerstyle performance and written in both standard notation and tab. The melody and chord symbols are also shown above the Guitar part for reference. The online audio tracks contain a demonstration of the complete Guitar part. Songs include Ain't NoSunshine Black Hole Sun Don't Know Why Fields of Gold Imagine Let It Be Wonderful Tonight and more.

Imagine someone who has worked as an international saxophonist, an educator, a technician, a consultant, and as a designer, and you can imagine Peter Ponzol. For the first time, Peter offers details from his famous Saxophone Workshops. Learn about: ? Maintenance ? Reeds ? Mouthpieces ? Ligatures ? Sound ? Flexibility This exciting and informational pocket book will be a much needed addition to your musical library! Convenient pocket-sized book - 3.5 x 5.5 - perfect to toss in your gig bag! 64 pages. Peter has been around saxophones for decades, doing it all from manufacturing horns to reeds to mouthpieces. As well, he is a seasoned player. What he discusses in this book is coming from one of the sources-read carefully! - David Liebman, Sax artist/ author/ clinician. Read this review from Sax On The Web: The information in this book is right up SOTW?s alley, with answers regarding reeds, necks, mouthpieces, saxes, maintenance, and the like. I would assume that the number of redundant threads started could be reduced almost in half simply with a reading of this book and those owning it could refer back to it at their leisure, as needed. And there is enough info in this book which contradicts some of our SOTW urban legends to make an episode of MythBusters. If you catch the right posts at the right time, much of the info in this book is already posted here on SOTW. But you have to see it and if hunting for it, you have to find it. OTOH it?s all conveniently gathered and organized here in this primer - plus more. There are suggestions such as replacing the neck cork once or twice a year, which I would, if posting a response, say is not necessary. But here?s the difference. Many of us on the forum are experienced musicians but few have the experience and depth that Ponzol has. We can write with credibility - Ponzol writes with authority. And this is based on decades not only as a top-echelon player, but as a successful and innovative sax, neck and mpc designer. The book is a 61 page pocket reference booklet which, in addition to topics mentioned above, include thoughts on ligatures, sound and flexibility. It is based on items of interest asked by attendees at workshops he has given over the years, hence the title. He begins by pointing out that at these workshops one of the first things he does is look at the condition of attendees' equipment with the observation that at least 90% of them need some kind of work and adjustments. What follows in the book?s 61 pages are recommendations generated by this observation. Included are interesting comments such as: aging store-bought reeds by letting them sit for several years is fairly useless since the aging process stops once the bark has been cut away from the reed; not earth-shattering but interesting and certainly myth debunking. Again something that fits right in with many of the conversations on this forum. Interesting thoughts follow regarding the future of natural cane reeds, or how to select and get the most from your reeds - things I wouldn?t think of like sanding the heel of your reed. SOTWers might also get a kick out of, and relate to, the title of his section on mouthpieces, ?Now the Fun Begins?. There are also interesting side comments we don?t often hear like: in the 70s so many young players like Ponzol were trying to get Trane?s recorded sound by working on metal Links because that?s what they saw in photos and yet, Trane often recorded with hard rubber mpcs because, in Trane's opinion, it didn?t have as much spit in the sound for him. It?s interesting how some things come around back to you. There are two exercises I recommend to my students and have recommended on the forum regarding volume and embouchure control and flexibility. I?ve never heard anyone else recommend these exercises and yet here they are in Peter?s book. Then it hit me. The only other one I know who uses them is a former teacher of mine and I remembered that years ago he said he had had some lessons with Ponzol. So ?the circle is unbroken? LOL. I would highly recommend it for beginners and intermediates, as well as for more advanced players to recommend to their students. It has made me re-think even some of my most basic assumptions regarding equipment and maintenance, which has made the read well worth it. I wish every SOTW newbie would start out their Forum time with this booklet at their disposal.

Composer Ted Dicks and songwriter and lyricist Myles Rudge were the team behind this Top Ten hit for Bernard Cribbins along with its B-side Right Said Fred. The Hole In The Ground begins with a working man standing in the hole he’s digging and a ‘bloke in a bowler hat’ standing above him who’s offering criticism. By the end of the song their positions have somewhat changed.British actor Bernard Cribbins had a hit in 1962 with The Hole in the Ground produced by The Beatles’ own George Martin for Parlophone. It’s a jaunty tune with a cheeky lyric -- a crowd-pleaser all around.

In a magical kingdom beneath the sea a beautiful young mermaid named Ariel longs to leave her ocean home to live in the world above. But first she'll have to defy her father the king of the sea to escape the clutches of an evil sea witch and convince a prince that she's the girl with the perfect voice. Based on one of the most beloved Disney films of all time and the classic Hans Christian Andersen fairy tale The Little Mermaid is the sparkling new Disney musical that's poised to make a splash on Broadway. Some of Disney's most popular songs are featured in show including ?Part of Your World ? ?Kiss the Girl ? and the Academy Award-winning BestOriginal Song ?Under the Sea? by the songwriting team of 8-time Academy winner Alan Menken and the renowned Howard Ashman. The stage adaptation also features new songs by Menken and Glenn Slater plus a book by Tony Award-winning playwright Doug Wright.

Twelve easy to intermediate songs. Par DICKBAUER KLAUS. Whether together with the professional Play Along MP3-CD or the available piano accompaniment, the collection of twelve original compositions by Klaus Dickbauer and Martin Gasselsberger grooves from the first to the last note. The solo pieces are within the easy to intermediate degrees of difficulty, and are stylistically based on jazz, world, cinema and pop genres. Their interpretation is perfectly complemented by the accompanying CD, on which the complete versions are recorded at a high-quality level. The entertaining pieces already stimulate the most diverse imaginations through their attractive titles. In ?Your Fairy Tale? or in ?The Story of the Angry Rabbit?, for example, you can enter fairy tale worlds, it becomes thoughtful in ?Melancholia?, lively and cheerful in ?Joyful Dance? and ?Come and Show your Bright Side!? ?Tricky 7? incorporates the 7/4 time into its brisk tempo with rhythmic demands, while the ?Wedding Waltz? tirelessly turns in circles. Dickbauer's ?Let the Cat In? shows that a cat has no patience. At many points in the twelve character pieces there is room for improvisation and creativity, which should encourage the listener to develop their own ideas. Harmonies or scales are noted in the score. The chord symbolism is generally completed in the clarinet part above the melody. A notated piano part is available for download, but can also be purchased as a print edition (UE 38046). An ideal volume to achieve fun and audience appeal. Twelve easy to intermediate songs without words for clarinet Characterful compositions spanning jazz, world, cinema and pop Professionally recorded CD featuring a variety of instruments with full demonstration performances and play-along tracks The piano accompaniment is available as either a free printout or as a printed edition (UE 38046)/ Recueil / Clarinette

Album for organ solo from the composer of the much-recorded 'Miroir?. The album consists of four pieces of between 2½ and 4 minutes' duration respectively. 'Play it cool!? was composed as the mandatory test piece in the 2012 First Breda International Organ Competition, with the Grote Kerk's four-manual Flentrop/Van den Heuvel instrument in mind. As the title suggests, the piece makes great play on syncopated, jazz- and rock-inflected figures. Suitable for advanced standard performers. 'The Messenger on the Hill?, while similarly syncopated and witty, is within easy reach of intermediate standard players. Laid out for two-manual instrument it features an almost continuous oscillating left-hand figure with right-hand melody and a very simple pedal part. 'Rejoice!? is an arrangement of a work for saxophone and organ, made at the request of, and in collaboration with, Thomas Trotter. A duo for contrasting manuals, with a simple, syncopated bass part in the pedals. Suitable for advanced standard performers. '­Passacaglia?, also for two-manual instrument, is composed almost entirely for the white notes. The simple passacaglia theme is repeated throughout on the pedals. Above this, melodic material derived from the theme is played in the right hand against a sustained, chordal left-hand accompaniment. Later on, there is dialogue between the hands, with some optional ornamentation in the right hand. Suitable for intermediate standard performers. / Orgue

Symphony No. 3. ?All men are born free and equal in dignity and rights. They are endowed with reason and conscience and are to meet one another in a spirit of brotherhood.? This article 1 of the Universal Declaration of Human Rights forms the basic idea behind this majestic Symphony of Freedom. In each of the three movements, the composer picks another angle on this universal theme of freedom. In the first ?Cry for Freedom? it?s the Dalai Lama of which the composer is a great admirer. The second movement ?Dream of Freedom? takes the photograph of the deceased three-year-old refugee boy Ailan Kurdi on the beach at Bodrum as a basis. The finale ?Freedom Above All? refers, besides a Bruckner quote, to the music of Ludwig van Beethoven. This movement should be seen first and foremost as an affirmation of life, faith and hope for a better world.

Kevin Volans' L?Africaine for Piano solo. Duration: 22 minutes. Composers Note: Most of the piano music I have written has focussed on a number of 20th century musical concerns: withcomplex rhythmic patterning a- and poly-tonality multiple layering of parts on occasion introducing different tone colours (like playing inside the instrument or electronic modulation) ? but above all resonance. The development of the piano in 19th century with its increased size pitch and dynamic range led above all to an instrument capable of rich and full resonance that could rival even an orchestra. All centred around thepedal ? in Anton Rubinstein's words: The soul of the piano. This time I thought it would be interesting to write a piece which pays no attention to this tradition; to write a piece from the point of view ofsome African compositional methods and ways of patterning ? mainly interlocking parts which result in shifting downbeats. For a large part of the piece I treat the left and right hands as two complementaryperformers. So hardly any pedal no concerns with contemporary harmony style structure or technology. I did slip in a slightly concealed reference to Debussy's L'Isle Joyeuse however. The pieceis roughly 22 minutes long in three sections and the title is a slightly tongue-in-cheek reference to Couperin. 

On this groundbreaking docu-instructional DVD Jack teams up with legendary guitarist Gary Moore and powerhouse drummer Gary Husband to revisit some of the classic Cream songs that he wrote and sang on. In addition to showing the correct way to play the bass lines to the songs listed above Jack also offers an in-depth look at his unique right-hand picking style use of pedal tones and melodic playing and shares his invaluable thoughts on improvisation and practicing. 62 minutes.

Une sélection d'airs américains arrangé pour être adapté à tous les instruments, avec les accords de guitare simples. Vous voulez quelques airs honnêtes à la bonté facile? Vous êtes un débutant sur ??votre instrument choisi? Peut-être que vous avez appris dans le passé, abandonné et sont prêts à essayer de faire la musique à nouveau. Peut-être que vous êtes à la recherche d'un bon nombre de grands airs qui sont simples à lire et à jouer. Toots and Twiddles sont faites en pensant à vous-là une richesse de mélodies, certains vous le savez, certains vous n'aimez pas, arrangé pour jouabilité avec une gamme limitée de billets et plus facile des clés. / Tout Instrument / 40 pages / niveau : Facile / Partition

For String Quartet Volume 1-The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets' Op. 20. The spirit and influence of J.S. Bach in particular his Well Tempered Clavier Book II courses through these three miraculous Haydn fugues. Like the viol consort the string quartet suits this kind of composition (the fugue) with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content telling yousomething about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations there's little fugal writing for string quartet at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire – lightness of sound and rhythmic fluidity for example - willbe very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces mostly fast bright and in major keys show Bach at his most playful funny and mischievous composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues written by my favourite composer - a violinist and violist himself but above all a