SKU: AP.1-ADV9035

UPC: 805095090352. English.

Hear the composer perform his Preludes (Vol. 4) plus unique arrangements/reharmonizat ions of Beethoven's Adagio Cantabile from the Pathetique Sonata, Op. 13 and the traditional Amazing Grace.

Titles: Prelude XIX * Prelude XX * Prelude XXI * Prelude XXII * Prelude XXIII * Prelude XXIV * L.v. Beethoven: Adagio Cantabile * C. Fischer: Ornithardy * C. Fischer: Igor * B. Evans: Comrade Conrad * Amazing Grace (Traditional).

SKU: BT.BHL6201094

Classroom Music music for variable ensembles.

Diese Bearbeitung von Bernsteins Klassiker ist geeignet für Schulorchester und -ensembles. Sie zeichnet sich durch variable Besetzungsmöglichkeite n aus.

SKU: BT.WMP2001

ISBN 9789810579067. English.

Teacher s' Choice, Piano Examination Pieces 2007-2008 for Grades 6 to 8 are specially compiled to provide teachers and students with good options for the ABRSM Piano examinations.

Contains a variety of relevantalternative choice pieces especially selected and edited by Josephine Koh and a team of experienced music teachers.

SKU: KN.52805S

UPC: 822795528053.

Recor ded by the University of North Texas Lab Band, this medium advanced swing tune brings to mind the legendary collaborations of Gil Evans and Miles Davis. Written to portray the vibrant arts district of the same name in Pittsburgh, the challenges here involve compositional rather than technical elements since the texture is largely contrapuntal and requires a linear approach by all players. Flute doubles appear in the soprano and alto sax parts, all trumpets double on flugelhorn, and there are five parts for each brass section. Solos are given to tenor and trumpet.

SKU: KN.52805

UPC: 822795528053.

Recor ded by the University of North Texas Lab Band, this medium advanced swing tune brings to mind the legendary collaborations of Gil Evans and Miles Davis. Written to portray the vibrant arts district of the same name in Pittsburgh, the challenges here involve compositional rather than technical elements since the texture is largely contrapuntal and requires a linear approach by all players. Flute doubles appear in the soprano and alto sax parts, all trumpets double on flugelhorn, and there are five parts for each brass section. Solos are given to tenor and trumpet.

SKU: M7.AHW-3008

English.

Eine einmalige und informative Stilstudie von 24 der einflussreichsten Pianisten der Jazzgeschichte.

A comprehensive approach to keyboard improvisation.Both a continuation of the study of styles in Volume 3 and a representation of these style as developed by 24 of the most influential soloists ever, including Jelly Roll Morton, Earl Hines, Art Tatum, Monk, Cecil Taylor, Oscar Peterson, Chick Corea, and Keith Jarrett.

SKU: M7.AHW-3027

English.

This theoretical book is meant to improve contemporary jazz styles techniques for all musician players of modern jazz. We will divide this book into scale exercises, arpeggio exercises, jazz line phrases as well as contemporary chord progressions. Exercises consist of diatonic and chromatic exercises; and, line phrases, consist of jazz solos by great musicians such as Miles Davis, Bill Evans, John Coltrane, Freddy Hubbard, Woody Shaw, Wayne Shorter, Joe Henderson, Chick Corea, Herbie Hancock, Joe Farrel, Dave Liebman, Bob Berg, Michael and Randy Brecker, Jerry Bergonzi, George Garzone, Tom Harrel, Chris Potter, Brad Mehldau, Joey Calderazzo, Kenny Garrett, Branford Marsalis, Walt Weiskopf, Rich Perry, Seamus Blake, Alex Sipiagin and many other well known musicians these days. The majority of these exercises should be transposed to all twelve (12) tones, so we can achieve perfect coordination. Major chords, Minor chords and Dominant chords will be extended to their highest level, in scales, arpeggios and chromatic form. There will not be key signature centres, so we will work all exercises in accidental way. These exercises were made as an extension of my first book 'Improvise Now'. There are as well many improvisational lines transcribed from some of the previously mentioned musicians.

Lullaby (Op. 57, No. 2) was first composed in 1908 for Voice and Piano, with lyrics by Christina Rosssetti. It was transcribed for Cello or Violin and Piano by the famous cellist Charles Warwick Evans (1885-1974) in 1918