(Bass Clef Edition) By J.J. Johnson. Instructional book (leadsheet notation) for...(+)
(Bass Clef Edition) By
J.J. Johnson.
Instructional book
(leadsheet notation) for
trombone (and bass clef
instruments). 159 pages.
Published by Hal Leonard.
Guitar - Intermediate SKU: MB.30943M Advanced Professional Techniques<...(+)
Guitar - Intermediate
SKU: MB.30943M
Advanced Professional
Techniques. Composed
by Pablo Pescatore.
Saddle-stitched.
Technique. Book and
online audio. Mel Bay
Publications, Inc
#30943M. Published by Mel
Bay Publications, Inc
(MB.30943M).
ISBN
9781513476933. 8.75 x
11.75 inches.
In
this expansive book,
versatile Argentine
guitarist and teacher
Pablo Pescatore provides
a masterclass in the
theory behind creative
rock soloing. From the
ground up, he presents
the theoretical building
blocks of major, minor,
pentatonic, and modal
scales followed by triads
and seventh chords in all
keys, not just the
guitar-friendly ones.
Then he proceeds to
analyze rhythm in all
common and uncommon time
signatures before delving
into 20 exotic
scales.Written in
standard notation and
tablature, the truly
unique aspect of this
book is the authors
insistence on improvising
with an acute awareness
of rhythmic, melodic,
harmonic, and dynamic
valuesnot just playing
fast and loud in
predictable patterns.
Demonstrating his ideas
in 120 audio examples and
a final knock-out blues
progression, Pablo
encourages readers to
write, sing and otherwise
incorporate their own
variations into their
music, dramatically
changing the audio
landscape of rock guitar
soloing. Includes access
to online audio.
Piano, Vol. 2 Piano seul Editorial de Musica Boileau
Piano SKU: BO.BC0006 Composed by Pau Casals. Published by Editorial de Mu...(+)
Piano
SKU:
BO.BC0006
Composed by
Pau Casals. Published by
Editorial de Musica
Boileau (BO.BC0006).
Despite a
strong vocation for the
cello, which he studied
and began to play with a
distinctive character,
Pau Casals, like most
ambitious, creative
musicians, wrote at the
piano and for the piano,
as it is the ultimate
teaching instrument,
summarising the full
vision of the creative
process. Any creative
musician habitually
worked at the piano,
whether for this
instrument alone or for
piano accompanied by
other solo instruments.
To date, it has not been
possible to document
whether Casals had
systematic training on
this instrument, although
at that time it was more
common than it is today
because, considering its
qualities of timbre and
combination, it was
particularly attractive
for creating test pieces
and different kinds of
compositions.
Th
e piano works contained
in this second volume
include part of the salon
repertoire, a
continuation of the first
volume, and four sardanas
for piano of diverse
origin: some are
reductions of more
complex forms and others
sketches for instrumental
groups. In the first
group, some works
intended for children are
published, a
demonstration of the
tenderness the
‘cellist felt for
the children of his
closest friends. In the
second case, the sardanas
are works from his first
exile in Prada and show
the nostalgia of the
composer, away from his
country against his
will.
In
general, the works are
not especially complex;
their purpose and nature
are diverse. They come in
the context of salon
music, with the
appearance of creative
entertainments
characterised by a
basically tonal,
transparent language with
a widespread tendency to
modulate to nearby keys
more as a momentary
expressive resource than
as a structural
evolutionary procedure.
They show a lack of
systematic work on the
instrument as well as the
commonplaces of piano
composition of their
time. In some of these
works, the piano thread
breaks, the works do not
have the thrust of
finished products; the
occasional appearance of
chords that are difficult
or impossible to finger
leads us to think of
intentions closer to test
pieces than to products
intended for normal
performance. But not all
these piano works are
circumstantial. There is
also a prelude and a
minuet of a certain piano
writing complexity.
Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
A
Period Piece for Bands of
Winds. Composed by
Carter Pann. Spiral.
Large Score. 58 pages.
Duration 12:30. Theodore
Presser Company
#115-40233L. Published by
Theodore Presser Company
(PR.11540233L).
ISBN
9781491129418. UPC:
680160674367. 11 x 14
inches.
At Her
Ladyship's Request (2016)
was an idea born out of
admiration for the wind
works of Percy Grainger -
most notably his
Lincolnshire Posey. The
names and places here are
all fictitious. Four
countrymen have come
forward at Her Ladyship's
request as we commoners
(and for as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship. I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father's fortune.
Cecil Abel may be the
richest man in the land
save for His Lordship.
Tom, his only son, will
run his face straight
into that pile the moment
his old man kicks. II. It
is rare to spy Father
Daniel Bennett, High
Priest from the Abbey at
Lockwood Cross, loitering
in our very own town
square...but not as of
late. III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway? IV. Pettybone!
Conniving... insidious. I
don't believe there has
been a greater rivalry
among men for
generations. The Duke's
ego alone could run our
nation. The grudges he
grows are notorious. His
mount is legendary. The
day has come to collect
his toll. At Her
Ladyship’s Request
(2016) was an idea born
out of admiration for the
wind works of Percy
Grainger – most
notably his Lincolnshire
Posey.The names and
places here are all
fictitious. Four
countrymen have come
forward at Her
Ladyship’s request
as we commoners (and for
as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship.I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father’s
fortune. Cecil Abel may
be the richest man in the
land save for His
Lordship. Tom, his only
son, will run his face
straight into that pile
the moment his old man
kicks.II. It is rare to
spy Father Daniel
Bennett, High Priest from
the Abbey at Lockwood
Cross, loitering in our
very own town
square…but not as
of late.III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway?IV. Pettybone!
Conniving…
insidious. I don’t
believe there has been a
greater rivalry among men
for generations. The
Duke’s ego alone
could run our nation. The
grudges he grows are
notorious. His mount is
legendary. The day has
come to collect his
toll.
A Systematic Approach to Understanding Guitar Fingerboard Harmony. Reh Publicati...(+)
A Systematic Approach to
Understanding Guitar
Fingerboard Harmony. Reh
Publications. Book and CD
package. With notes and
tablature. Size 9x12
inches. 40 pages
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS.
Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano.
Vertex Effects. Guitar
Pedal. Duration 162
seconds. Vertex Effects
#BI. Published by Vertex
Effects (HL.1158247).
UPC: 749350578400.
6.25x4.0x3.0
inches.
VERTEX
BUFFERS NOW AVAILABLE TO
THE MASSES! For over a
decade, every buffer
that's come out of Vertex
Effects has been custom
made, bespoke, for the
pedalboard it was
designed for or the
customer that ordered it.
Needless to say, our
buffers were very
limited, with only a few
hundred made over the
last ten years. Over that
time, and through
hundreds of custom buffer
interfaces being made,
several common
applications for buffer
combinations and routing
emerged as the most
common uses as it comes
to placing buffers on a
pedalboard for the most
optimal results. Routing
schemes such as mono,
stereo, audition loops
(inserts), four-cable
method, five-cable
method, and wet/dry/wet
were all common requests
from our customers, but
there was never an
all-in-one solution that
provided all of these
options for buffering and
routing your pedalboard
in a pedalboard-friendly
enclosure – until
now. Introducing the
Vertex Buffer Interfaces
and Buffer Modules. The
first all-in-one solution
that covers 99% of all
pedalboard routing
options, whether you have
multiple amps, amps with
effects loop, a
wet/dry/wet rig, an
impedence sensitive fuzz,
or want to side-chain
pedals off the board in
the middle of your signal
path with an insert loop,
these boxes have a
solution for you that
won't compromise on tone.
WHY ARE OUR BUFFERS
BETTER? Firstly, our
buffers are designed to
have no sound of their
own – totally
transparent, no color, no
EQ, no distortion
– just your tone
as though you plugged
your guitar directly into
your amp with a 10ft
cable (even if you're
running a dozen or more
pedals between the guitar
and amp with over 100 ft.
of cable). So often
buffers in our industry
will be described by the
manufacturers with words
like “warmâ€
or “fat†when
really the buffer should
NOT be imparting anything
to the sound other than
1) loading the guitar
pickups properly with the
same loading as your
guitar would see if
plugged into a tube amp
and 2) converting the
signle to low impedence,
driving the line so it is
the least susceptible to
environmental factors
that might alter the
tone. Unfortunately, 99%
of the buffers available
on the market don't do
this – they add a
color to the signal and
lack the proper
specifications to dive
even 20 feet of cable
without introducing
artifacts into the
sound.
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Bass guitar - Beginning SKU: MB.99933M Composed by Jay Farmer. Saddle-sti...(+)
Bass guitar - Beginning
SKU: MB.99933M
Composed by Jay Farmer.
Saddle-stitched, Electric
Bass, Method,
Contemporary, Children
and Young Beginner. First
Lessons. Style. Book and
online audio/video. 32
pages. Mel Bay
Publications, Inc
#99933M. Published by Mel
Bay Publications, Inc
(MB.99933M).
ISBN
9780786693184. UPC:
786693185. 8.75 x 11.75
inches.
First
Lessons Bass is intended
to introduce beginning
students to the
fundamental concepts of
playing the electric
bass. The material
covered in this book is
approximately the
material covered in the
first 8 lessons of
private bass instruction.
This book makes use of
the 3-finger left hand
position commonly found
in double bass technique.
The emphasis on left hand
technique allows the
student to develop a
consistent fingering
approach to the
fingerboard, reduces
unnecessary strain on the
left hand, and makes the
bass more accessible to
younger students or
students with small
hands. After the left
hand technique has been
established, the book
introduces the student to
important elements of
bass line construction
including blues patterns,
the root-fifth
relationship, and common
rhythmic patterns.
Includes access to online
audio and
video.
â?¢
Introduction for
beginning students to the
fundamental concepts of
playing the electric
bass. â?¢ Book is
approximately the
material covered in the
first 8 lessons of
private bass
instruction. â?¢
Makes use of the 3-finger
left hand position
commonly found in double
bass technique. â?¢
Offers student important
elements of bass line
construction: blues
patterns, root-fifth
relationship, and common
rhythmic
patterns. â?¢
Includes access to online
audio and video.
(The Easiest Ukulele Method Ever!). By Ron Manus and L. C. Harnsberger. For Ukul...(+)
(The Easiest Ukulele
Method Ever!). By Ron
Manus and L. C.
Harnsberger. For Ukulele.
Book; CD; DVD;
Method/Instruction;
Ukulele Method or
Supplement. Alfred's Kids
Course. Children.
Beginner. 120 pages.
Published by Alfred Music
Publishing
Choral Cello, Piano, SATB chorus SKU: CF.CM9714 Composed by Z. Randall St...(+)
Choral Cello, Piano, SATB
chorus
SKU:
CF.CM9714
Composed by
Z. Randall Stroope. 16
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #CM9714.
Published by Carl Fischer
Music (CF.CM9714).
ISBN 9781491160329.
UPC: 680160918904. Key: F
major. English. Robert
Frost.
About the
work ... Few American
poems are as well known
as The Road Not Taken.
Robert Frost, the author,
is an international icon,
not unlike Pablo Picasso,
Winston Churchill or Mark
Twain in their own
disciplines.The poem is
full of contradictions
and quirks of form and
structure. Perhaps that
illusiveness is part of
the poem's intrigue. But
beyond all of the
literary devices that
only a few scholars may
fully appreciate, this
poem has taken on a sort
of fanfare for the common
person credo - a
challenge to
individualism, stepping
out on one's own, and
breaking the mold out of
sheer determination if
nothing else. Frost
connects to the core of
the human spirit in just
a few stanzas using the
analogy of a fork in a
road. The message super
cedes geography, culture,
race or creed. Rather, it
is part of the DNA of
most every person on the
planet - the inner desire
to feel empowered to
create one's own destiny,
to forge a road not
taken, and ultimately in
doing so, to make a
difference. Rehearsal
notes ... Research
strongly suggests that
there is a direct
connection between the
first rehearsal and the
performance. First
impressions last. I find
it helpful to immediately
lock three concepts into
place - mechanics
(notes/rhythms),
text/phrasing (intent and
motivation) and color
(timbre). Performers need
to think musically from
the first reading forward
(first impression). The
cello is very much a
collaborative instrument
in this work, and should
be located in front of
the ensemble (not to
side). Lastly, let the
text speak. The simplest
melodic lines are often
the most exposed. Keep
the voices clear and
transparent, floating
over the top in softer
passages, and singing
with vibrancy and forward
focus throughout. Z.
Randall Stroope A
definitive recording was
made by the New American
Voices, with Randall
conducting. This can be
found on Spotify,
YouTube, his website
(www.zrstroope), and
other social media. About
the composer ... Z.
Randall Stroope is an
American composer and
conductor. His
composition teachers were
Normand Lockwood and
Cecil Effinger, both
students of the Nadia
Boulanger, the famous
French teacher (and
student of Gabriel
Faure). He is the
artistic director of two
international summer
music festivals, is an
Honorary Member of the
National Association of
Italian Choral Directors,
and has conducted in 25
countries. He has
directed over 40 times at
Carnegie Hall, and is a
frequent conductor at
other prestigious concert
venues. Randall has 190
published works, and his
music can be heard on
Spotify, YouTube and
other platforms,
including his website
(www.zrstroope.com). A
bout the work ...Few
American poems are as
well known as The Road
Not Taken. Robert Frost,
the author, is an
international icon, not
unlike Pablo Picasso,
Winston Churchill or Mark
Twain in their own
disciplines.The poem is
full of contradictions
and quirks of form and
structure. Perhaps that
illusiveness is part of
the poem's intrigue. But
beyond all of the
literary devices that
only a few scholars may
fully appreciate, this
poem has taken on a sort
of fanfare for the common
person credo - a
challenge to
individualism, stepping
out on one's own, and
breaking the mold out of
sheer determination if
nothing else. Frost
connects to the core of
the human spirit in just
a few stanzas using the
analogy of a fork in a
road. The message super
cedes geography, culture,
race or creed. Rather, it
is part of the DNA of
most every person on the
planet - the inner desire
to feel empowered to
create one's own destiny,
to forge a road not
taken, and ultimately in
doing so, to make a
difference.Rehearsal
notes ...Research
strongly suggests that
there is a direct
connection between the
first rehearsal and the
performance. First
impressions last. I find
it helpful to immediately
lock three concepts into
place - mechanics
(notes/rhythms),
text/phrasing (intent and
motivation) and color
(timbre). Performers need
to think musically from
the first reading forward
(first impression). The
cello is very much a
collaborative instrument
in this work, and should
be located in front of
the ensemble (not to
side). Lastly, let the
text speak. The simplest
melodic lines are often
the most exposed. Keep
the voices clear and
transparent, floating
over the top in softer
passages, and singing
with vibrancy and forward
focus throughout.Z.
Randall StroopeA
definitive recording was
made by the New American
Voices, with Randall
conducting. This can be
found on Spotify,
YouTube, his website
(www.zrstroope), and
other social media.About
the composer ...Z.
Randall Stroope is an
American composer and
conductor. His
composition teachers were
Normand Lockwood and
Cecil Effinger, both
students of the Nadia
Boulanger, the famous
French teacher (and
student of Gabriel
FaureÌ). He is the
artistic director of two
international summer
music festivals, is an
Honorary Member of the
National Association of
Italian Choral Directors,
and has conducted in 25
countries. He has
directed over 40 times at
Carnegie Hall, and is a
frequent conductor at
other prestigious concert
venues. Randall has 190
published works, and his
music can be heard on
Spotify, YouTube and
other platforms,
including his website
(www.zrstroope.com).
Percussion - Beginning; Intermediate; Advanced SKU: MB.30974M The Comp...(+)
Percussion - Beginning;
Intermediate; Advanced
SKU: MB.30974M
The Complete Guide for
the Working Drummer!.
Saddle-stitched. Rock.
Book and online audio. 60
pages. Mel Bay
Publications, Inc
#30974M. Published by Mel
Bay Publications, Inc
(MB.30974M).
ISBN
9781513467931. 8.75x11.75
inches.
The Groove
Schoolbook is a
complete guide to the
most common drum set
patterns used in rock,
pop, funk, and shuffle
music. It is also a handy
source of more than 2500
possible technical
combinations that will
prepare a drummer for the
stylistic variety of the
most common grooves in
modern
drumming.
Written
in standard drum set
notation, the book can be
used by students and
drummers of all ages,
levels, and backgrounds.
It can also be used by
professionals as a
reference book, or by
anyone preparing for a
university percussion
program. The bookâ??s
intricate and interesting
patterns will help
students develop
ambidexterity and
four-limb independence.
Includes access to online
audio.
Hailed by
Billboard
Magazine as
â??â?¦one of the best
Latin-American drummers
nowadays,â? Randolf
Jimenez is a respected
drummer, percussionist,
composer and educator who
has worked with many
Grammy and Latin-Grammy
award-winning artists and
musicians. He is also an
outstanding drum
instructor in the Toronto
area. Visit:
www.randolfjimenez.com
â??I love this book
because it starts with a
basic foundation for
beginning students and
advances into patterns
that all drummers of
different levels can use
musically.â? Walfredo Reyes
Jr.â??Drummer with
Chicago, Santana,
Traffic, Cristina
Aguilera. Visit:
www.walfredoreyesjr.com
span>
Don Mock's Modal Mojo Guitare notes et tablatures [Partition + CD] Alfred Publishing
Don Mock's Modal Mojo. (The "No Mystery" Approach to Modal Improvising). By Don ...(+)
Don Mock's Modal Mojo.
(The "No Mystery"
Approach to Modal
Improvising). By Don
Mock. For Guitar. Guitar
Method or Supplement;
Method/Instruction. Audio
Workshop Series. Book and
CD. 84 pages. Published
by Alfred Music
Publishing
A beginning/intermediate guide to hearing the chord changes. By Roberta Radley. ...(+)
A beginning/intermediate
guide to hearing the
chord changes. By Roberta
Radley. Instructional.
Level:
beginning/intermediate.
Book and 2 CDs. 168
pages. Published by Sher
Music Company.
By Corey Christiansen and Mike Christiansen. For Guitar (All). Methods. First Le...(+)
By Corey Christiansen and
Mike Christiansen. For
Guitar (All). Methods.
First Lessons. Blues.
Level: Beginning. Book/CD
Set. Size 8.75x11.75. 40
pages. Published by Mel
Bay Publications, Inc.
A Comprehensive Guide to Mastering the Blues. Composed by David DiGiuseppe. S...(+)
A Comprehensive Guide to
Mastering the Blues.
Composed by David
DiGiuseppe. Squareback
saddle-stitched. Book and
online audio. 96 pages.
Published by Mel Bay
Publications, Inc
Real Stories, Real Strategies, Real Solutions. Composed by Ann Kaczkowski Kimp...(+)
Real Stories, Real
Strategies,
Real Solutions. Composed
by
Ann Kaczkowski Kimpton
and
Paul Kimpton. Music
Education.
162 pages. GIA
Publications
#9216. Published by GIA
Publications