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.

SKU: BT.AMP-246-010

9x12 inches. English-German-French-Dut ch.

Kentish Dances is een suite op basis van dansen uit het Engelse graafschap Kent. Dit graafschap heeft zijn eigen dansmelodieën, wat in Engeland bekend is geworden als ‘country dancing’. Deze danswijsjes waren de bron van ditdriedelige werk van Philip Sparke, waarin levendige en opgewekte melodieën worden afgewisseld door melancholische en zangerige passages. Een betoverend werk!

Wie der Titel schon andeutet, besteht Kentish Dances aus traditionellen Tanzmelodien aus der englischen Grafschaft Kent. Die seit dem 17. Jahrhundert beliebten Volkstänze sind zahlreich überliefert und boten Philip Sparke eine reichhaltige Quelle für dieses dreisätzige Werk, in dem sich lebhafte und beschwingte Melodien, mit melancholischeren Weisen und lieblichen Passagen abwechseln. Bezaubernd!

Kentish Dances (“Danses du Kent”) est une commande du Bromley Youth Music Trust pour le Bromley Youth Concert Band (Orchestre d’Harmonie Junior de Bromley) placé sous la direction de Michael Purton. L’œuvre a été donnée en création par la formation dédicataire, le 16 mars 2008 au St John’s, Smith Square Londres.La ville de Bromley est située dans le comté du Kent l’extrémité sud-est de l’Angletrerre. Le Kent possède un riche patrimoine culturel traditionnel et notamment de nombreux airs de danses comme beaucoup d’autres régions anglaises. Connue en Angleterre sous le nom de country dancing, la contredanse fut plébiscitée par les classes moyenne et aiséeanglaises la période élisabéthaine, supplantant les formelles gaillardes et pavanes en vigueur la cour royale. La contredanse connut une telle notoriété que de nombreux ouvrages lui furent consacrés tels que l’English Dancing Master de Thomas Playford, publié en 1651, qui constitue la plus importante source de mélodies de danses traditionnelles léguée la postérité.Michael Purton, Directeur du Bromley Youth Music Trust, suggèra l’idée d’une œuvre basée sur des airs de danses typiques du Kent. Philip Sparke accepta et composa cette suite de danses en trois mouvements. Le premier mouvement est construit sur un moto perpetuo qui développe deux mélodies pétillantes en 6/8 : Dover Castle et The Fair Maid of Wickham. Le mouvement central s’articule autour de l’air Blackheath dont la sombre mélodie contraste de façon charmante et opportune avec la mélodie Bromley Bells. Le finale expose les sémillants We Are All Right at Canterbury et Ramsgate Pier. La valse cadencée Northdown Waltz offre un délicieux contraste expressif.

SKU: FP.FCG08

ISBN 9790570504084.

Born in Bury in 1937, Gordon Crosse is one of the most distinguished composers of his generation. He studied at Oxford University under Egon Wellesz and, during a long academic career, was Composer-in-Residence at King's College Cambridge from 1973-75. His best known works include the oboe concertante Ariadne, the Three Choirs Festival Oratorio Changes, the opera Purgatory, the children's entertainment Meet my Folks, to words by Ted Hughes, the orchestral Dreamsongs (a homage to the music of Benjamin Britten) and Memories of Morning: Night (a monodrama for mezzo-soprano and orchestra).

Three Twitchings was first performed by John Turner (recorder) and Nathan Williamson (piano) in the Library at The Red House, Aldeburgh, on October 4th 2018. Two scores are provided, rather than a separate recorder part, so that the recorder player can see and respond to the pianist's part as they play.

SKU: BT.YE0009

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.

The sonatasare both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata Violino e Violoncino â?¦ di Giovannino del Violone. Giovannino (=Little, or Young John)musthave been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, be assumed to be theirauthor.

The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone, orVioloncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or a bass Viol, and notnecessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intended harmony. (The use ofa Violone/Double Bass continuo or 16' organ tone would overcome this problem.)

The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether aViolone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenth century traditions thatare known today (see Dart.

SKU: ST.EM8

ISBN 9790220206320.

Well -known in his day as one of the most important contributors to East's Whole Book of Psalms (1592), Farmer was in the service of the Earl of Oxford who, more than any other nobleman, established the professional Elizabethan theatre. In the year that Burbidge opened the Globe Theatre, these 18 madrigals (the most famous is probably Fair Phyllis) gave the composer an attractive place in the history of English music.

CONTENTS
A little pretty bonny lass (SATB)
Cease now thy mourning (SAT(or A) B (or T))
Compare me to the child (SAT(or A) B)
Fair nymphs, I heard one telling (SSAT(or A) TB)
Fair Phyliss, I saw (SATB)
I thought, my love (SATB)
Now each creature joys the other (SATB)
O stay sweet love (SATB)
Soon as the hungry lion (SATB)
Sweet friend, thy absence (SAT(or A) B)
Sweet Lord, your flame still burning (SATB)
Take time while time doth last (SATB)
The flattering words (SATB)
Who would have thought that face? (SAAT)
You blessed bowers (SSATTTBB)
You'll never leave still tossing (SATB)
You pretty flowers that smile (SAT(or A) B.

SKU: HL.14048021

6.75x10.0x0.037 inches. English.

Blest Are The Pure In Heart is a work by Alan Bullard for 2-Part Choir and Piano or Organ Accompaniment. A setting of a poem by John Keble, after whom the Oxford college is named, the piece lasts around 2 and a half minutes.

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.

Thesonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone.Giovannino(=Littl e, or Young John) must have been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, beassumed to be their author.

The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino(=Little Violone, or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or abass Viol, and not necessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intendedharmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)

The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It isopen to debate whether a Violone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenthcentury traditions that

SKU: BT.ALB10655

ISBN 9789043145305. Dutch.

Following on from the material in Gitaar Starter 1, this book/CD set covers even more techniques that are vital for the beginning guitarist to learn. It discusses, amongst other topics, playmaking, legato, positionchanges, harmonics and chords.

In addition to the individual exercises, the techniques are mainly used in the playing materials, which contains pieces in many different styles from all around the world.

When thewhole Gitaar Starter series has been worked through, the student will have mastered the most important basics of Guitar playing.