Composed by Meredith Willson (1902-1984). Recorded Promo - Stockable. Broadway, ...(+)
Composed by Meredith
Willson (1902-1984).
Recorded Promo -
Stockable. Broadway,
Musicals, Movies.
Softcover with CD.
Published by Hal Leonard
(HL.151879).
SKU: HL.355740 Berklee Press. Music Business. Softcover. 272 pages. Publi...(+)
SKU: HL.355740
Berklee Press. Music
Business. Softcover. 272
pages. Published by
Berklee Press
(HL.355740).
ISBN
9780876392102. UPC:
073999480092.
6.0x9.0x0.724
inches.
Top
songwriters know that to
make it in today's music
business, you need to
understand music
publishing. Whether you
are an independent
songwriter or a music
business entrepreneur,
this book will help you
set up a publishing
company so that you can
generate income from your
songs. You will
understand how the
current music industry
works: who is buying,
what they are looking
for, how to find your
audience, and how to
create the mechanisms
necessary for you to get
paid. Essential sample
agreements and language
are presented and
discussed. â??I
recommend this book to
both novices and
professionals that want
to expand the way they
market their music. Eric
presents so many
resources that the reader
sees that with talent and
determination, there is
always a way.â?
â??Steve Diamond,
Emmy® award winner and
six-time GRAMMY®
award-nominated
songwriter, whose hits
have been recorded by
Faith Hill, Eric Clapton,
and John Michael
Montgomery.
Book/CD Pack SKU: HL.121352 Reference. Biography/Composers & Musicians, G...(+)
Book/CD Pack
SKU:
HL.121352
Reference.
Biography/Composers &
Musicians, Guitar
Reference. Softcover with
CD. 60 pages. Published
by Centerstream
Publications (HL.121352).
ISBN 9781574242935.
UPC: 884088922344.
8.5x11.0x0.21 inches.
Frank Green Featuring
Sons Michael Charvel and
the Charvel Twins - Bob &
Rick - 2nd
Generation.
Wayne
Charvel started Charvel
Manufacturing in San
Dimas, California and has
been designing and
building guitars for 49
years, working for B.C.
Rich and Gibson, and for
Fender in the 1970s.
Wayne has built guitars
for a who's who of
players, including Eddie
Van Halen, Billy Gibbons,
John Kay, Paul Gilbert,
Pete Townsend, Warren
Haynes, Hank Williams
Jr., Jim Root, Joe Perry
and many others. The
Charvel name on the
headstock of a solid-body
electric guitar is a mark
of value for buyers and
collectors; the brand -
which has been sold and
re-sold and is now owned
by Fender - has taken its
place among other premium
American brands. Under
the Wayne logo, Wayne
Charvel continues to
build high-end guitars
made in the USA. Here is
the whole story, told by
Wayne and his sons. As a
bonus, the book includes
a CD of songs by The
Charvel Twins, Bob and
Rick!
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231).
ISBN
9781491153314. UPC:
680160910816.
Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley.
Alto Saxophone - late intermediate SKU: BT.1334-06-400-DHI Nobuya Sugawa ...(+)
Alto Saxophone - late
intermediate
SKU:
BT.1334-06-400-DHI
Nobuya Sugawa Presents.
Studies & Exercises. Book
with CD. Composed 2006.
36 pages. De Haske
International
#1334-06-400 DHI.
Published by De Haske
International
(BT.1334-06-400-DHI).
ISBN 9789043124560.
Japanese.
The title
Performance
Studies tells you
exactly why these pieces
have been composed - to
improve your complete
performance while
learning the saxophone.
The pieces are meant for
saxophone players who
have been playing for a
couple of years, but they
will also be useful for
experienced player,
helping bring perfection
to any performance. The
pieces have been written
exclusively for this book
and with their colourful
and melodic character
they’re not only
very useful for
practising saxophone
techniques but also make
perfect pieces for exams
or concerts. A demo CD is
also included with this
book with the famous
Japanese sax player
Nobuya Sugawa performing
each
study.Japaneseedition
Japanese
edition
Der Titel
Performance
Studies
(Vortragsetüden) gibt
exakt an, worum es bei
diesen Stücken geht:
das umfassende Spiel auf
dem Saxophon. Die
Stücke sind für
Saxophonisten mit wenigen
Jahren Spielerfahrung
gedacht, aber auch
Fortgeschrittene
können mit ihnen ihr
Spiel perfektionieren.
Die Etüden wurden von
Komponisten aus aller
Welt speziell für
dieses Buch geschrieben.
Sie sind nicht nur
praktische technische
Ãœbungen, sondern auch
ideal für Prüfungen
oder Konzerte geeignet.
Nobuya Sugawa gibt auf
der CD ein
ausgezeichnetes
Interpretationsbeispiel
aller
Stücke.Japanische
Ausgabe
Flute and Piano SKU: IS.FP7398EM Composed by Nico Schoeters. Woodwinds - ...(+)
Flute and Piano
SKU:
IS.FP7398EM
Composed
by Nico Schoeters.
Woodwinds - Flute.
Metropolis Music
Publishers #FP7398EM.
Published by Metropolis
Music Publishers
(IS.FP7398EM).
ISBN
9790365073986.
Nico
Schoeters took his first
percussion lessons with
Eric Buyle in the Academy
for Music and Word in
Boom, near Antwerp, after
getting the hang of it
through private lessons
by Jozef Vervliet.
Afterwards he continued
his music studies at the
Royal Conservatory of
Antwerp, where he was
taught by Leo Ouderits,
Carlo Willems and Koen
Wilmaers. In 1998 he
graduated there with
great distinction as
Master in percussion.
After cooperating on
various projects in
Belgium and abroad as a
freelance percussionist,
Nico took up a position
as a percussionist in the
National Orchestra of
Belgium. However, despite
of all his achievements
as a percussionist, Nico
Schoeters didn’t
take his first musical
steps by playing
percussion, but by
playing the piano. His
love for the piano
remained a common thread
in his musical career.
For example, he played
numerous gigs as a
pianist with his jazz
quartet ‘Just
Friends, consisting of a
number of top musicians
who are his friends. In
addition he started
composing piano works in
2012.
