| Stomping 'Em Along Slow Guitar [Sheet music + Audio access] - Intermediate Mel Bay
Guitar (fingerpicking) - Intermediate SKU: MB.30780M The Guitar Playin...(+)
Guitar (fingerpicking) - Intermediate SKU: MB.30780M The Guitar Playing of Lonnie Johnson, Bo Carter, Rev. Gary Davis, Buddy Moss, Josh White and Tommy McClennan. Composed by Stefan Grossman. Squareback saddle stitch, Solos, Blues, Technique, Theory and Reference. Grossman Audio. Style. Book and online audio. 136 pages. Mel Bay Publications, Inc #30780M. Published by Mel Bay Publications, Inc (MB.30780M). ISBN 9781513462714. 8.75 x 11.75 inches. Transcribed by Stefan Grossman. This collection presents six legendary blues guitarists from the 1920s to early 1940s. Each has his own unique approach, style and techniques for playing. Some like Rev. Gary Davis favored regular tuning while Josh White was equally at home playing in Open D tuning as well as standard tuning. Lonnie Johnson is unique in his playing techniques as well as use of a D G D G B E tuning. Buddy Moss??s recordings influenced generations of Piedmont guitarists, especially Blind Boy Fuller. Bo Carter had one of the most unusual tonal approaches for playing blues, ragtime and novelty songs. And lastly there is Tommy McClennan. His recordings sound ??rough and tumble? but once you explore the intricacies of his playing you will discover a powerful blues guitarist. REV. GARY DAVIS: Cincinnati Flow ? Piece without Words ? Children of Zion ? Twelve Gates to The City BO CARTER: Let??s Get Drunk Again ? Nobody??s Business ? Honey ? What You Want Your Daddy to Do BUDDY MOSS: Oh Lordy Mama ? Sleepless Night ? Someday Baby (I??ll Have Mine) JOSH WHITE Crying Blues ? Bad Depression Blues ? High Brown Cheater ? My Soul Is Gonna Live With God ? Pure Religion Hallilu LONNIE JOHNSON: Away Down In the Alley Blues ? Stomping ??Em Along Slow ? Blue Ghost Blues There Is No Justice ? Helena Blues ? Sittin?? On A Log ? Corn Bread Blues TOMMY McCLENNAN: Blues as I Can Be ? I??m Goin??, Don??t You Know ? Love With a Feeling ? New Highway No.51 ? Drop Down Mama HOW TO USE THIS BOOK: 1) Listen over and over to the original recordings available via the download link for this collection. 2) Get a program that can control digital audio files. Use this with the transcriptions and the recordings. 3) Be patient!! Practice, practice and practice some more!! $24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pointer System For Piano - Complete Pointer System EditionFor Piano - Pointer System Pi Piano solo - Intermediate Hal Leonard
Pointer System Piano Education. Size 9.2x12 inches. 160 pages. Published by Hal ...(+)
Pointer System Piano Education. Size 9.2x12 inches. 160 pages. Published by Hal Leonard.
(2)$26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lead Guitar 101 Guitar notes and tablatures [Sheet music + Audio access] Hal Leonard
An Introduction to Scales and How to Use Them to Improvise Solos. Guitar Educa...(+)
An Introduction to Scales and
How to Use Them to Improvise
Solos. Guitar Educational.
Instruction, Scales.
Softcover Audio Online. With
guitar tablature. 160 pages.
Published by Hal Leonard
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Very Best of Billy Idol - Idolize Yourself Piano, Vocal and Guitar [Sheet music] Hal Leonard
By Billy Idol. Piano/Vocal/Guitar Artist Songbook. Softcover. 160 pages. P...(+)
By Billy Idol.
Piano/Vocal/Guitar Artist
Songbook. Softcover. 160
pages. Published by Hal
Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Visual Improvisation for Jazz Guitar Guitar notes and tablatures [Sheet music + Audio access] Hal Leonard
Understand and Command the Fretboard. Guitar Educational. Softcover Audio Onl...(+)
Understand and Command the
Fretboard. Guitar
Educational. Softcover Audio
Online. 144 pages. Published
by Hal Leonard
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The 7 Basic Elements of Voice Training Breitkopf & Härtel
Voice(s) solo SKU: BR.EB-8948 Voice Exercises of Franziska Martienssen...(+)
Voice(s) solo SKU: BR.EB-8948 Voice Exercises of Franziska Martienssen-Lohmann, handed down by Reinhard Becker. Composed by Barbara Hoos de Jokisch. Voice; Softbound. Edition Breitkopf. How Do I Actually Teach?- Video lecture by Barbara Hoos de Jokisch on the occasion of the EUROVOX Congress 2020. Music pedagogy. Score. 152 pages. Breitkopf and Haertel #EB 8948. Published by Breitkopf and Haertel (BR.EB-8948). ISBN 9790004186176. 9 x 12 inches. German. Conscious Singing and Teaching This compact workbook for singing teachers, students of singing, and singers offers a comprehensive summary of classical voice training, based on the voice-training qualities of German speech sounds (with IPA symbols). The rich store of vocal exercises from the teachings of the renowned German pedagogue Franziska Martienssen-Lohmann (1887-1971) is systematically organized according to the three functional areas of the voice - stimulation of phonation, voice production, shaping of sound. The clear layout also makes it possible to find exercises for specific tasks. The book will help students of singing find ways to practice on their own. Experienced singers and teachers of singing will find here ideas for structuring and expanding their own repertoire of vocal exercises. This is the book I've been hoping for for many years! I studied for a while with Elisabeth Grummer, who studied with Franziska Martienssen-Lohmann, the great German singing teacher of the 20th century. Her teaching was rooted in bel canto and the then new knowledge of vocal physiology, but also infused with her love of language and use of the imagination. Imagining the sound you want to make before the voice is heard was one of her main concepts, before the scientists ever discovered prephonatory tuning. The book is only available in German at the moment, but feelers have been put out to an English publisher. I recognize many exercises in this book that I learnt from Grummer and still use today in my own teaching. The descriptions are clear, with step by step tips for their execution. This is a book that many will want to possess! Prof. Eleanor Forbes | Berlin. $58.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Pointer System For The Piano - Instruction Book 2 Piano solo Hal Leonard
Pointer System Piano Education. Size 4.5x12 inches. 32 pages. Published by Hal L...(+)
Pointer System Piano Education. Size 4.5x12 inches. 32 pages. Published by Hal Leonard.
$6.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 1-2-3 Fingerstyle Guitar DVD Guitar notes and tablatures [DVD] EMedia
For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced fl...(+)
For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced flat-pick players who are ready to throw down that pick for a while to finally get a handle on fingerstyle. That's the secret ingredient of this study program -- its a beginning fingerstyle. DVD. Published by eMedia Music
$24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Lead Guitar Secrets Guitar notes and tablatures [Sheet music + Audio access] Hal Leonard
Unlock the Mysteries of Creating Great Solos. Guitar Educational. Rock Instructi...(+)
Unlock the Mysteries of Creating Great Solos. Guitar Educational. Rock Instruction. Softcover Audio Online. With guitar tablature. 128 pages. Published by Hal Leonard
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Level System Snare drums Alfred Publishing
(A Natural Method for Developing Control of Accents and Dynamics). By Jeff W. Jo...(+)
(A Natural Method for Developing Control of Accents and Dynamics). By Jeff W. Johnson. For Snare Drum. Book; Method/Instruction; Percussion - Snare Drum Method. 52 pages. Published by Alfred Music Publishing
(1)$10.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Joe Bonamassa Legendary Licks Guitar notes and tablatures [Sheet music + Audio access] Cherry Lane
An Inside Look at the Guitar Style of Joe Bonamassa. By Joe Bonamassa. Guitar Ed...(+)
An Inside Look at the Guitar Style of Joe Bonamassa. By Joe Bonamassa. Guitar Educational. Blues Instruction, Instruction, Rock Instruction. Softcover Audio Online. With guitar tablature. 80 pages. Published by Cherry Lane Music
$22.90 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bobby Thompson from Job for a Cowboy - Metal Guitar Guitar notes and tablatures [DVD] Hal Leonard
Dark Metal, Triads and Chugging Level One. By Job for a Cowboy. Songbooks...(+)
Dark Metal, Triads and Chugging Level One. By Job for a Cowboy. Songbooks and Methods. Rock House. Rock Instruction, Heavy Metal. DVD. With guitar tablature. 24 pages. Hal Leonard #FR00997. Published by Hal Leonard (HL.14022170).
$24.99 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| AMA-Circle of Fifths for Keyboards Piano solo [Key & Note References] AMA Verlag
For Keyboard (All). Reference. AMA Verlag. All Styles. Level: Multiple Levels. C...(+)
For Keyboard (All). Reference. AMA Verlag. All Styles. Level: Multiple Levels. Chart. Size 8x8. Published by AMA Verlag.
$8.70 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| AMA-Circle of Fifths for Guitar Guitar [Key & Note References] AMA Verlag
For Guitar (All). Reference. AMA Verlag. All Styles. Level: Multiple Levels. Cha...(+)
For Guitar (All). Reference. AMA Verlag. All Styles. Level: Multiple Levels. Chart. Size 8x8. Published by AMA Verlag. ISBN 3899220633.
$8.70 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Aaron Copland: The Music of an Uncommon Man Hal Leonard
Choral (clASSrm kit) SKU: HL.9971239 Lessons and Activities Based on t...(+)
Choral (clASSrm kit) SKU: HL.9971239 Lessons and Activities Based on the Works of Aaron Copland. Resource. Americana, Classical, Classroom Resources, Music History. Published by Hal Leonard (HL.9971239). ISBN 9781423461845. UPC: 884088270995. 8.5x11 inches. Patrick Bolek/Norma Freeman/Linda Rann. We are pleased to announce the launch of the Leonard Bernstein Young People's Classics, a new series for the music classroom that presents essential selections from the Leonard Bernstein recorded library with units of study built around them. The first in this series features some of the more popular works of Aaron Copland, including Fanfare for the Common Man, and his ballets Billy the Kid, Appalachian Spring and Rodeo.
Make music listening engaging and active with beautifully-designed full-color listening maps, easy-to-follow lesson plans and full-length recorded orchestral versions of Copland's music. Included in the Classroom Kit is the Bernstein Century Copland CD featuring Leonard Bernstein conducting the New York Philharmonic. The Enhanced CD in the Teacher book contains audio folksong recordings, full-color PDFs of the student booklet, student handouts and bonus materials, all for duplication or projection.
Part II features an in-depth study of Copland's ballet Rodeo, specifically “Hoe-down,” based on the Artful Learning transformative learning system inspired by Leonard Bernstein. Working together in learning centers, students engage in cross-curricular activities that are incorporated into the music lessons. Available separately: Teacher Book/Enhanced CD, Student Book 5-Pak, the Bernstein Century Copland CD, and a Classroom Kit (1 Teacher Edition/Enhanced CD, 20 Student Books, 1 Copland CD). Suggested for Grades 5-9. $119.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Scales
Violin [Sheet music] Peters
By Simon Fischer. For Violin. Education. Method book. 201 pages. Published by Ed...(+)
By Simon Fischer. For Violin. Education. Method book. 201 pages. Published by Edition Peters
$44.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cello Playing Vol 4 Schott
Cello (Vol 4) SKU: HL.49003448 A system of study from the very beginni...(+)
Cello (Vol 4) SKU: HL.49003448 A system of study from the very beginning to a stage of perfection. Composed by Joachim Stutschewsky. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 48 pages. Schott Music #ED1588-02. Published by Schott Music (HL.49003448). ISBN 9790001033909. UPC: 842819102984. 9.0x11.75x0.153 inches. German - English. $28.99 - See more - Buy online | | |
| Exercises for the Cello in Various Combinations of Double-Stops Carl Fischer
Chamber Music Cello SKU: CF.BF126 Composed by Roland Vamos. Edited by Hor...(+)
Chamber Music Cello SKU: CF.BF126 Composed by Roland Vamos. Edited by Horacio Contreras. SWS. Book. With Standard notation. 64 pages. Carl Fischer Music #BF126. Published by Carl Fischer Music (CF.BF126). ISBN 9781491150009. UPC: 680160907502. 9x12 inches. Written by world renown pedagogue, Roland Vamos, this collection of double-stop exercises fill a void in the literature of technical exercises for cellists. These etudes feature a systematic series of fixed double-stops that enables the player to practice and master every possible combination of finger patterns across two strings without shifting. Mr. Vamos says of the book, The most important accomplishment is the development of a strong left handà These exercises, when practiced slowly and carefully, will help to develop a keen sense of pitch and intonation. Adapted for cello by Horacio Contreras, teacher, chamber musician, and recitalist. When I first became familiar with Roland Vamos’ Exercises, I was impressed with itsclarity and effectiveness. The book focuses on a few important fundamentals of string playing,and it is accessible to students of every age. Moreover, its tonal organization in C major makesit simple and easy to understand. I recognized the potential this book could have for cellists,and after spending several months working on an adaptation, I witnessed its results in buildingand maintaining important fundamentals of technique.Mr. Vamos’ Exercises is comprised of simple patterns of double-stops in sevenpositions. There are two basic groups of variations: seven double-stop variations in differentcombined rhythms that develop finger coordination and independence of the left hand, andnine bowing variations that use détaché at the frog, middle and tip of the bow to work onstring crossings, coordination, and balance of the bow. The whole work provides training thatimproves intonation, sound, and ease of playing in all positions and all parts of the bow.In order to adapt Mr. Vamos’ book for cello, I needed to make some modifications tothe original. To address the different needs of the neck and the thumb positions, I chose to writetwo separate books. I kept the original ascending stepwise motion for subsequent variationsin Book I by following a diatonic scale on the top line of the patterns. However, I modifiedthe tonal framework to adjust to the more limited range of the cello. Therefore, unlike in Mr.Vamos’ book, variations in Book I do not ascend through the positions in a uniform pattern.I also switched the order of patterns to create a gradual increase in difficulty. In Book II, Iadded options that work on the fourth finger and an extended left hand frame, and at the end, Iincluded five sets of variations with different bowing alternatives.Mr. Vamos provides a number of specific instructions regarding left hand techniquein his exercises. For his original version, two fingers must remain down for almost the entireset of variations, providing a solid reference for the frame of the hand. In variations H and I,he instructs students to lift these fingers when they are not being used. In the case of thumbposition on cello, lifting the thumb could make the hand unstable; therefore, I suggested thatthe thumb remains down while the other fingers are lifted alternately in H and I. I have foundthis exercise quite useful to work on thumb independence and relaxing the thumb while usingother fingers.Mr. Vamos gives precise instructions for the bowing exercises as well. Following hisdirections, the exercises should be performed with a relaxed hand and flexible fingers. Thenotes should be consistently connected even when crossing strings. The bowing patterns shouldbe performed at the frog, the middle and the tip of the bow in every position. $19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Roll Down, Justice! Choristers Guild
(Sacred Songs and Social Justice). Composed by Mark A. Miller. For voice(s). Spi...(+)
(Sacred Songs and Social Justice). Composed by Mark A. Miller. For voice(s). Spiral-bound. Songbook. 108 pages. Published by Chorister's Guild
$39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonata (Spirit of the Hudson) Flute and Piano Theodore Presser Co.
Chamber Music Bass Flute, Piano SKU: PR.114418900 Composed by Daniel Dorf...(+)
Chamber Music Bass Flute, Piano SKU: PR.114418900 Composed by Daniel Dorff. Set of Score and Parts. 24+8 pages. Duration 14 minutes. Theodore Presser Company #114-41890. Published by Theodore Presser Company (PR.114418900). ISBN 9781491129517. UPC: 680160668632. A welcome addition to the bass flute repertoire, Dorff’s 14-minute sonata is designed as two pairs of slow-fast movements. While composed as a complete 4-movement sonata, either half may be performed alone as a 7-minute recital work. The movement titles are: I. Sprawling, burbling; II. Sparkling, glistening; III. Under Winter; and IV. Spring Spirits. When Peter Sheridan commissioned me to write a piece for bass flute and piano, his only requests were a sonata-like multi-movement work, and some kind of reference to New York, where we both grew up. Just the thought of a bass flute, with its broad and mighty airstream, already reminded me of the mighty Hudson River: from the dense woods of upstate New York, through the beautiful landscapes of New Paltz and Poughkeepsie, down through the celebrated Manhattan waterway.As I daydreamed how to build a sonata inspired by the Hudson, I thought of its deep primal nature carved by the Ice Age, and the life within the river and on its shores long before humans arrived. I thought of how the river’s magnetism drew Native Americans who honored and built their lives around it. I thought of beautiful trees and wildlife, the annual cycles of ecosystems, and the natural symbiosis between the river itself, the life within, and the life on land spawned by the river’s resources.I wondered what if Thoreau had sat by the Hudson rather than by Walden Pond; I wondered what if Hesse had set Siddhartha in the Hudson Valley with this river as his metaphor for the flow of life and time.I wondered whether the sonata should flow from north to south, or have chronological references. I wondered if I should allude to the many poets and painters who have drawn inspiration from the mighty Hudson. Every thought led to the river’s essence, its own spirit and life — flowing through raw nature, from skinny trickles to mightiness spawning cities; supporting subtle life, and becoming a central commons for human societies.The subtitle Spirit of the Hudson brings it all together.* * *The sonata is built in 4 movements, with formal inspiration from the Baroque: A slow Mvt. 1 “Sprawling, burbling” leads directly to the rapid Mvt. 2 “Sparkling, glistening,” followed by another slow-fast pair: Mvt. 3 “Under Winter” which leads directly into Mvt. 4 “Spring Spirits.” In addition to performances of the complete sonata, either pair of movements may be performed on its own for a shorter concert segment.SONATA (SPIRIT OF THE HUDSON) was premiered at the International Low Flutes Festival in April 2018 by its commissioner, bass flutist Peter Sheridan, with Hyeeun Hahm as pianist. $21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Instrumental Jazz Arranging Musical course - Solfege [Sheet music + Audio access] Hal Leonard
A Comprehensive and Practical Guide. Instructional. Jazz Reference, Instruction,...(+)
A Comprehensive and Practical Guide. Instructional. Jazz Reference, Instruction, Composition, Jazz Instruction. Softcover Audio Online. 536 pages. Published by Hal Leonard
$59.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Granger's Fiddle Tunes for Guitarß Guitar notes and tablatures [Sheet music + Audio access] - Beginner Mel Bay
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire bound. World. Book and online audio. 236 pages. Mel Bay Publications, Inc #31103M. Published by Mel Bay Publications, Inc (MB.31103M). ISBN 9781513468792. 8.75x11.75 inches. Adam Granger self-published the first edition of Granger??s Fiddle Tunes for Guitar in 1979. A second edition was published in 1994. Now Mel Bay Publications presents the third edition of the book. This 236-page book is the most extensive and best-documented collection of fiddle tunes for the flatpicking guitar player in existence, and includes reels, hoedowns, hornpipes, rags, breakdowns, jigs and slip-jigs, presented in Southern, Northern, Irish, Canadian, Texas and Old-time styles. There are 508 fiddle tunes referenced under 2500 titles and alternate titles. The titles are fully indexed, making the book doubly valuable as a reference book and a source book. In this new edition, all tunes are typeset, instead of being handwritten as they were in the previous editions, making the tabs easier to read. The tunes in Granger??s Fiddle Tunes for Guitar are presented in Easytab, a streamlined tablature notation system designed by Adam specifically for fiddle tunes. The book comes with a link which gives access to mp3 recordings by Adam of all 508 tunes, each played once at a moderate tempo, with rhythm on one channel and lead on the other. Also included in Granger??s Fiddle Tunes for Guitar are instructions for reading Easytab, descriptions of tune types presented in the book, and primers on traditional flatpicking and rhythm guitar. Additionally, there are sections on timing, ornamentation, technique, and fingering, as well as information on tune sources and a history of the collection. Mel Bay also offers The Granger Collection, by Bill Nicholson, the same 508 tunes in standard music notation.
$45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 36 Celebrated Studies for the Cornet Carl Fischer
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited b...(+)
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited by Joey Tartell Edwin Franko Goldman. SWS. Softcover. With Standard notation. 44 pages. Carl Fischer Music #O88X. Published by Carl Fischer Music (CF.O88X). ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches. These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within. IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Violinist’s Daily Warm-Ups and Scale System Carl Fischer
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131). ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches. Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike. ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.”Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios. I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017. $29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Monster Nashville Guitar Guitar [DVD] Music Sales
Guitar Sherpa Presents. By Ladd Smith. Music Sales America. Tuition. DVD Only. M...(+)
Guitar Sherpa Presents. By Ladd Smith. Music Sales America. Tuition. DVD Only. Music Sales #HL14018484. Published by Music Sales
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| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500103F Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F). ISBN 9781491131763. UPC: 680160680290. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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