Suggested Prerequisites: Volume 2 And Volume 1.Probably the most important musical sequence in modern jazz! A must for all aspiring jazz players. Book contains all the needed scales and chords to each of the recorded tracks. These are written in the staff. Contains 120 written patterns that can be played with the various tracks on the recording, also includes three full pages of piano voicings that correspond to the tracks on the recording. Booklet contains a Scale Syllabus which allows you to find and use various substitute scales, just like professional musicians use. If you have been working on scales and chords, this book and recording set should be what you are looking for. A new concept in learning and applying basic jazz harmony. Allows you tracks to practice major, minor, dom. 7th, diminished, whole tone, half-diminished, Lydian and dim. whole tone scales and chords. II/V7/I All Major Keys; G Minor Blues; Bebop Tune; V7+9/I All Keys; II/V7/I ln Three Keys; F Blues With An 8-Bar Bridge; Il/V7 Random Progressions; Ø/V7+9/I All Minor Keys.

Par . 66 of the best tunes and themes are compiled into one convenient collection for your playing pleasure! This popular title has been updated to a third edition to include a collection of classic and contemporary favorites in pop, classical, Broadway, Hollywood, folk, and the Great American Songbook. Titles include: All I Ask of You · All the Things You Are · Autumn Leaves · Blackbird · Body and Soul · Canon in D · City of Stars · Clocks · Downton Abbey (Theme) · Edelweiss · The Entertainer · Fur Elise, WoO 59 · Hallelujah · Imagine · Linus and Lucy · Memory · Moon River · Over the Rainbow · Pure Imagination · Raindrops Keep Fallin' on My Head · Sunrise, Sunset · You Raise Me Up · You've Got a Friend · and more. / Date parution : 2023-10-31/ Recueil / Piano

A range of fabulous educational and concert guitar music by the UK's top guitar composers educators and performers.Rush originally started out as a study for the right hand thumb. The piece opens in five with a darting weaving bass melody and harmonic language similar to the Cuban feel of Leo Brouwer's first study. As the piece progresses I played around with some poly-rhythms and syncopations in 3/4 time with a Venezuelan flavour similar to the music of Antonio Lauro.The title Metropolis was created like many of my pieces retrospectively. It was suggested to me by Mark Eden and resonated with much of what I felt the piece conveyed essentially the non-stop hustle and bustle of a musical 'city' where influences combine from many different ages and musical cultures. The initial ideas for the piece came from trying to formulate a study for the left hand where the 4th finger jumps from the first string to the lower bass strings. As is often the case on finishing the piece I now hear many things which although not used consciously have emerged in the music to remind me of music I have listened to or studied in the past.At various points a musical quote taken from the end of the first movement of La Catedral by the Paraguayan guitarist and composer Agustin Barrios Mangore appears which I have syncopated and used as a musical junction with the music taking a different direction each time it appears.Towards the end of the piece the performer combines left hand hammered chords with right hand finger clicks and tamboura creating a visual juggling effect when performed. Something resembling the sound of a siren can then be discerned before the piece moves into the closing E major section. I did most of the work for the final version of this piece in the autumn of 2005 just after the birth of my second daughter!I think the music reflects something of the pace of my life around then!Birds Flew Over The Spire is a short lyrical piece which was also

A Journey of American Heritage Through Rhyme Rhythm and Song-EXPERIENCE major historical events and people who helped shape America into what it is today. Through rhyme rhythm and song meet people like Betsy Ross Paul Revere and Benjamin Franklin and experience historical events likethe Alamo the Lewis and Clark Expedition the Oregon Trail and many other adventures. Feel the embarrassment and pain George Washington felt when he had to have false teeth! These and other delightful stories await you in thismasterful resource of American heritage designed to appeal to people of all ages. EXPLORE the unique character of each of the 50 states through a variety of popular folk melodies that have survived hundreds of years along withhand-clapping games rounds as well as newly-composed pieces. Rhythmic ostinato patterns have even been provided if you want to accompany the numerous raps and rhymes with unpitched and body percussion. Movement activities games dances and Orff instrumental accompaniments will further enhance your enjoyment and understanding of the plethora of folk songs in this book. SHARE in the creative way the history of America has been presented here and seehow ordinary people throughout America expressed and continue to express their values traditions and life experiences through song! Over 100 songs including: Alabama Gal; America the Beautiful; Arkansas Traveler; Battle Hymnof the Republic; The Colorado Trail; Goin' to Boston; Home on the Range; I've Been Working on the Railroad; Mississippi Boatman's Song; My Home's in Montana; Old Brass Wagon; Old Paul Bunyan's Camp; Old Dan Tucker; On the Banks ofthe Sacramento; On Top of Old Smoky; Simple Gifts; The Star Spangled Banner; Swanee River; Sweet Betsy From Pike; There Are Many Flags; and more! Available: collection (with reproducible pages). For all ages.

46 fabulous songs from the inspirational Sam Cooke, the American gospel, R&B, soul, and pop singer, songwriter, and entrepreneur. He is considered to be one of the pioneers and founders of soul music. Cooke had 29 Top 40 hits in the U.S. between 1957 and 1965. Major hits like You Send Me, Chain Gang, Wonderful World and Bring It on Home to Me are some of his most popular songs. Cooke was also among the first modern black performers and composers to attend to the business side of his musical career. He founded both a record label and a publishing company as an extension of his careers as a singer and composer. (Ain't That) Good News; (Somebody) Ease My Troublin' Mind; (What A) Wonderful World; Another Saturday Night; Basin Street Blues; Bring It On Home To Me; Chain Gang; Change Is Gonna Come; Cousin Of Mine; Cupid; Everybody Loves To Cha Cha Cha; Falling In Love; Good Times; Having A Party; Home When Shadows Fall; I Love You For Sentimental Reasons; I'll Come Running Back To You; I'm Just A Country Boy; It's Got The Whole World Shakin'; Jesus Gave Me Water; Just For You; Keep Movin' On; Little Red Rooster; Loveable; Meet Me At Mary's Place; Nothing Can Change This Love; Only Sixteen; Riddle Song; Rome (Wasn't Built In A Day); Sad Mood; Shake; Sittin' In The Sun; Sugar Dumpling; Summertime; Tennessee Waltz; That's Where It's At; There'll Be No Second Time; Touch The Hem Of His Garment; Try A Little Love; Twisting The Night Away; When A Boy Falls In Love; Win Your Love For Me; Yeah Man; You Send Me; You Were Made For Me; You're Nobody 'Til Somebody Loves You.

Michael Nyman is a composer pianist librettist writer musicologist photographer and film-maker whose work encompasses opera concert music and film soundtracks of which The Draughtsman's Contract and The Piano arethe best-known. Since founding the Michael Nyman Band in 1977 which tours the world he has worked with leading film directors and has collaborated with artists such as Mary Kelly Damon Albarn Carsten Nicolai and the recentOscar winning Man on Wire star Phillippe Petit.Songs For Tony for String Quartet was composed in 1993 in memory of Tony Simmons.'I began writing a saxophone quartet on New Year's Eve 1992. Inthe early afternoon of 5th January 1993 I was informed that my friend and business manager Tony Simmons had died after a long and heroic fight against cancer. I immediately sat down and wrote the music which became the fourthsong in what became a 'memorial' quartet. The previously composed music was scrapped as I decided to give each player in turn an 'aria' of his own.The first song is a transcription of an actual song - 'Mozart onMortality' - which I wrote for the Composers Ensemble in the spring of 1992. The text by Mozart himself is all too appropriate: 'I may not see another day'. The second song is adapted from the music for the scene in JaneCampion's film The Piano where the mute Ada (Holly Hunter) pushes her chief means of communication her piano overboard. This film was the last major deal that Tony negotiated on my behalf. The third song a soprano sax solo isbased on a tune I composed some years ago but was saving for a special occasion.' - Michael Nyman

The Ramon Ricker Improvisation Series. Par RICKER RAMON. A new Play along system for learning to play jazz. Each set contains a book with transposed parts for all instruments and a play along CD with Ray playing many of the book examples on his saxophone. Volume one is for the absolute beginning jazz student who knows his/her major scales. Subjects covered in this book include: VOCABULARY: Intervals, Roman Numerals, Scales, Modes, Diatonic Seventh Chords, Major, Minor, Dominant, and Suspended Chords, Chord/Scale Relationships, The Blues Progression, Using Pentatonic Scales with Blues, Pentatonic Chord/Scale Relationships, The II-V-I Progression, Rhythm Changes, The Circle of Fifths, and The Circle of Fourths, and Steps for Playing on Changes. STYLE: Swing Eighth Notes, Use of the Metronome, Scale Practice, and Scat-Singing Solos. EAR TRAINING: Specific examples and suggestions with recorded tracks for practice. REPERTOIRE: A suggested basic repertoire. This improvisation method is more than just another play-along. It is a series of books and CDs that progress step by step, offering concrete suggestions and advise that shows you how and what to practice. Drawing on twenty-five years of teachingexperience at the Eastman School of Music, Ramon Ricker uses text, recorded demonstrations by him and his students, and practice and play-along tracks that present the material in a clear and concise manner. Most of the play-along tracks feature the rhythm section of the 1980 Thad Jones/Mel Lewis Big Band with Harold Danko on piano, Rufus Reid on bass and the late, great Mel Lewis on drums. Since they performed and recorded together consistently over aperiod of several years, they played as a unit - a true jazz rhythm section. The recordings were brought up to meet todays higher CD standards and served as an inspiration for Ramon Ricker to write three entirely new books. In addition, new demonstration, ear training, and play-along tracks were added. / Niveau : Débutant / Jazz / Recueil / Tout Instrument

Two beautiful pieces of Irish influence. Recorded by Gary Ryan on his CD 'Visions and Vistas'.The composer writes:'Out of Clonmel' - Over the past few years I have explored different tunings on the guitar. The instrument sounds fresh with a new tuning and harmonies or patterns that have become stale or are difficult to play with the traditional tuning can suddenly become reinvigorated idiomatic and resonant in different ways. You are also forced as a player to explore the fingerboard differently and the different tension of the strings produces a subtly different timbre.Out of Clonmel is tuned so that all of the open strings form a D major chord (D A D F# A D). This can be confusing at first but you get used to it pretty quickly and tablature helps when notating the score. Both of these pieces were originally commissioned by Rebecca Baulch a very fine player who I used to teach at the Royal College of Music. She was very good at reading tablature hence the idea to retune the guitar.Clonmel was the place my grandfather came from in Co. Tipperary Ireland and the piece has an energetic Irish flavour which reflects Irish folk music something I have always loved. The melody is decorated with ornaments which imitate those often played on the pipe or whistle. I dedicated this piece to my second daughter Caitlin so full of life who has of course in part come out of Clonmel.'Lough Caragh (Glenbeigh)' - Lough Caragh is influenced by the traditional Irish ballad and expresses for me something of the incredible beauty of the South West of Ireland. When my eldest daughter Jenny was only one year old in the summer of 2004 we stayed on the shores of Lough Caragh a beautifully tranquil lake west of Killarney visiting Glenbeigh where Jenny first played in the sea. I was trying to convey through the music the memory of those early magical childhood days which can never be recaptured. I had the melody going round in my head for a very long time before writing it down. When I compose I like to think that if what I have written is good I will remember it several weeks or months later in my head. My aural memory therefore acts as a filter retaining the best ideas before I put pen to paper. Lough Caragh uses a

Par BACH JOHANN-SEBASTIAN. It was 1995 when I had the fortune to listen to the freshly published recording of the suites performed by Mstislav Rostropovich. I would have given anything to be able to play them, and this was what inspired me to study the bass clarinet. The series of diverse emotions which I subsequently experienced made me see Music in a completely new way. I began learning them slowly, inevitably adapting the text. As I discovered their educational value, the knowledge of harmonic structures, forms and stylistic features gradually evolved within me. Over 20 years I have studied various editions and listened to the meaning which these suites have had for many famous performers. Ipleasantly discovered the commendable work of other clarinettists who in turn have dedicated themselves to approaching this composer with the bass clarinet. The objective of this version isn't to impose conditions on how to play the suites. We carried out unique research into the coherence of the text, based on the manuscripts of Anna Magdalena Bach and Johann Peter Kellner. The choice to remove any type of articulation and agogic was made in order to encourage the development of personal interpretation, which obviously requires a fundamental investigation of the sources. This edition comes with 4 versions of the suite. The reason behind producing four versions (which are in different keys and tones) is because every musician has their own tastes and tendencies. Personally, I prefer the bass clef transposed to B flat because I find the bass clef to be the most appropriate for the spirit of the low instrument. It was 1995 when I had the fortune to listen to the freshly published recording of the suites performed by Mstislav Rostropovich. I would have given anything to be able to play them, and this was what inspired me to study the bass clarinet. The series of diverse emotions which I subsequently experienced made me see Music in a completely new way. I began learning them slowly, inevitably adapting the text. As I discovered their educational value, the knowledge of harmonic structures, forms and stylistic features gradually evolved within me. Over 20 years I have studied various editions and listened to the meaning which these suites have had for many famous performers. Ipleasantly discovered the commendable work of other clarinettists who in turn have dedicated themselves to approaching this composer with the bass clarinet. The objective of this version isn't to impose conditions on how to play the suites. We carried out unique research into the coherence of the text, based on the manuscripts of Anna Magdalena Bach and Johann Peter Kellner. The choice to remove any type of articulation and agogic was made in order to encourage the development of personal interpretation, which obviously requires a fundamental investigation of the sources. This edition comes with 4 versions of the suite. The reason behind producing four versions (which are in different keys and tones) is because every musician has their own tastes and tendencies. Personally, I prefer the bass clef transposed to B flat because I find the bass clef to be the most appropriate for the spirit of the low instrument./ Répertoire / Clarinette Basse Solo