(BUCH BR)

SKU: HL.49032273

Von Folk und Blues zu Rock und New Wave. Composed by Kramarz. This edition: Paperback/Soft Cover. Book. Edition Schott. 212 pages. Schott Music #ED 7100. Published by Schott Music (HL.49032273).

ISBN 9783795717858. German.

Beginnend bei Folk und fruhem Blues wird ein roter Faden bis zum modernen Rock und Richtungen wie Punk und New Wave gezogen. Hier wird ein zusammenfassender musiktheoretischer Uberblick uber den Rock und seine Vorlauferstile ermoglicht, der sowohl wissenschaftlichen Anforderungen genugt als auch dem interessierten Laien einen hilfreichen Einblick in Rock-Harmonik und -Melodik gewahrt.

By Joe Liles. (VoiceTrax CD). Close Harmony for Men. CD only. Published by Hal Leonard.

by L. Dean Bye. For all instruments. All styles, student. Level: Beginning. Book. Theory and harmony. Size 8.75x11.75. 72 pages. Published by Mel Bay Pub., Inc.

2 Blasinstrumente in B oder Es (Klarinetten, Saxophone, Trompeten, Flugelhorner) und Klavierbegleitung (Harmonie-und Rhythmusbegleitung ad libitum) (HARMST) - intermediate

SKU: HL.49021407

Tanz- und Jazzduette. Composed by Heinz Both. Sheet music. Edition Schott. Separate part, Harmony-/Rhythm-Instrumen ts. 20 pages. Schott Music #BLK322-14. Published by Schott Music (HL.49021407).

(Video)

SKU: HL.49039504

Composed by Baker. Edition Schott. Video. Schott Music #MH8099550. Published by Schott Music (HL.49039504).

UPC: 884088587376. 4.75x8.0x1.185 inches.

Don Baker, ein Virtuose der Weltklasse, gibt Euch eine umfassende Anleitung in die Spieltechniken der Diatonischen Harmonika.Auf informative und lockere Art verrat dieser Spitzenspieler und Juryvorsitzende der Hohner Welt Harmonika Wettbewerbe alle Tricks und Techniken, die einen echten Konner ausmachen. Dieser Meisterkurs ist leicht und verstandlich. Alle Spieltechniken werden klar und anschaulich demonstriert.Don Baker, zweifellos weltweit die fuhrende Kapazitat seines Fachs, prasentiert diesen Videokurs. Er hat mit vielen legendaren Harmonika-Grossen wie Larry Adler, Sonny Terry usw. gespielt. Seine Tourneen fuhren Ihn durch alle Kontinente und er ist in den beruhmten Chicagoer-Blues-Clubs zu Hause.

Jazz Ensemble - Grade 2.5

SKU: AP.49616

Composed by Kris Berg. Jazz Ensemble; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Young Jazz Ensemble. Jazz. Score and Part(s). Duration 4:30. Alfred Music #00-49616. Published by Alfred Music (AP.49616).

ISBN 9781470651381. UPC: 038081572291. English.

It's the annual chicken chart! No Harm / No Fowl by Kris Berg is a very accessible rock groove played around 146 BPM, and features written-out solo opportunities for all saxes and all brass, and lead trumpet range is to written G on the staff. This chart has a catchy melody, is fun to play, and will please the band and the audience---we promise! (4:30) This title is available in MakeMusic Cloud.

Jazz Ensemble - Grade 2.5

SKU: AP.49616S

Composed by Kris Berg. Jazz Ensemble; Performance Music Ensemble; Single Titles. Young Jazz Ensemble. Jazz. Score. 24 pages. Duration 4:30. Alfred Music #00-49616S. Published by Alfred Music (AP.49616S).

ISBN 9781470651398. UPC: 038081572307. English.

It's the annual chicken chart! No Harm / No Fowl by Kris Berg is a very accessible rock groove played around 146 BPM, and features written-out solo opportunities for all saxes and all brass, and lead trumpet range is to written G on the staff. This chart has a catchy melody, is fun to play, and will please the band and the audience---we promise! (4:30).

Advanced Blues Reharmonizations and Melodic Ideas for Guitar. Taught by Bruce Saunders. For Guitar (All). technique. Private Lessons Series. Jazz. Level: Intermediate-Advanced. Book/CD Set. Size 8.75x11.75. 48 pages. Published by Mel Bay Publications, Inc.

(BR)

SKU: HL.49039399

Composed by Berg. This edition: Paperback/Soft Cover. Book. Edition Schott. 58 pages. Schott Music #MH 7075078. Published by Schott Music (HL.49039399).

ISBN 9783920468938. German.

Bereits seit 1857 produziert HOHNER Musikinstrumente wie Mundharmonikas, Akkordeons, Blockfloten, Melodicas, Gitarren und Ukulelen auf hochstem Niveau. Was in kleinen Werkstatten begann, entwickelte sich im Lauf der Jahrzehnte zu einer festen Grosse der globalen Musikkultur. Legendare Instrumente und Kooperationen mit Weltstars setzten unvergessliche Meilensteine in der Welt der Musik.

Musical Education

SKU: HL.50575445

Composed by Alfred Desenclos. Editions Durand. Harmony. Book Only. Composed 2001. Editions Durand #DF14031. Published by Editions Durand (HL.50575445).

Musical Education

SKU: BT.RP-00202800

Composed by Yvonne Desportes. Harmony. Book Only. Composed 1985. Ricordi #RP 00202800. Published by Ricordi (BT.RP-00202800).

French.

Musical Education

SKU: HL.50575446

Composed by Alfred Desenclos. Editions Durand. Harmony. Book Only. Composed 2001. Editions Durand #DF14032. Published by Editions Durand (HL.50575446).

Composed by David Berkman. Instructional book & 2 CDs. Published by Sher Music Company

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.165001000

Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12 +8+4+4+4+4+8+8+8+8+4+4+4+ 4+8+8+8+8+8+8+8+8+4+16+4+ 8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000).

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more.

SKU: PR.16500100F

Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F).

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: AP.1-ADV11215

German Language Edition. Composed by Barrie Nettles and Richard Graf. Improvisation; Method/Instruction; Reference Textbooks; Textbook - Jazz; Theory. Advance Music. Jazz. Book. Advance Music #01-ADV11215. Published by Advance Music (AP.1-ADV11215).

ISBN 9783892210559. UPC: 805095112153. German.

Jazz-Harmon ik, wie sie am Berklee College of Music gelehrt wird, basiert auf der sogenannten Akkord-Skalen-Theorie. Diese Methode ist nun in weiterentwickelter Form erstmals als umfassendes Lehrwerk verfügbar. Aus der Praxis hervorgegangen und für die Praxis bestimmt, bietet dieses Buch das notwendige theoretische Wissen für Improvisation, Komposition und Arrangement.

Titles: Vorwort * Einleitung * Harmonische Strukturen * Diatonische Harmonik * Dominant-Akkorde und ihre diatonische Funktion * Moll-Harmonik * Blues * Verminderte Sept-Akkorde * Dominant-Akkorde mit speziellen Funktionen * Modaler Austausch * Voicing/spezifische Akkord-Symbole und Strukturen * Modulation * Modale Systeme * Nicht-funktionale Harmonik * Einführung ins Arrangieren * Anhang * Index.

Jazz harmony, as taught at the Berklee College of Music, based on the so-called chord-scale theory. This method is now in a developed form for the first time, and available as a comprehensive textbook. It emerged from practice and is intended for practice---this book provides the necessary theoretical knowledge on improvisation, composition, and arranging.

Titles : Preface * Introduction * Harmonic Structures * Diatonic Harmonies * Dominant Chords and Their Diatonic Function * Minor Harmony * Blues * Diminished Seventh Chords * Dominant Chords with Special Functions * Modal Exchange * Voicing / Specific Chord Symbols and Structures * Modulation * Modal Systems * Non-Functional Harmonies * Introduction to Arranging * Appendix * Index. (German Edition).

(HC)

SKU: HL.49033148

Cajkovskijs Harmonielehre von 1871/72. Composed by Magolt. Edited by Thomas Kohlhase. This edition: Hardback/Hard Cover. Book. Edition Schott. 176 pages. Schott Music #ED 9525. Published by Schott Music (HL.49033148).

ISBN 9783795704681. 7.0x9.5x0.535 inches. German.

It is not widely known that the popular composer Petr Ilyich Tchaikovsky was also a music critic, nor that he was professor of musical theory and harmony, instrumentation and free composition at the Moscow Conservatoire (1866-1878). His teaching there bore fruit in the form of the 'Manual for the practical mastering of harmony' printed in Moscow in 1872. This textbook played an important part in Russian musical training: it was written before the manuals by Rimsky-Korsakoff and Arensky and is thus the very first originally Russian book of harmonic theory, which may be of interest and of some use to readers today.

By Kevin Puts. For Concert Band (Score and Parts). BandQuest. Grade 3-4. Published by American Composers Forum

(Concert Band Score Only). By Kevin Puts. For Concert Band (Score). BandQuest. 22 pages. Published by American Composers Forum

SKU: BR.BV-479

Subjects - Exercises - Solutions. Composed by Thomas Kramer. Softbound. Buchverlag Breitkopf & Hartel (Music Books). Music pedagogy. Book. Breitkopf and Haertel #BV 479. Published by Breitkopf and Haertel (BR.BV-479).

ISBN 9783765104794. 8.5 x 11.5 inches. German.

Useful SupplementThe Praktische Harmonieubungen are to be seen as a supplement to the widely used Harmonielehre im Selbststudium (BV 261). In addition to numerous writing and analyzing exercises together with solution models, the exercise book also contains a wealth of helpful hints. The material ranges stylistically from the Baroque, Classic and Romantic epochs through gospel music up to popular songs of our time, making it suitable for anyone involved with harmony issues. A special feature of the book is that it also contains proposals for those exercises of the basic book Harmonielehre im Selbststudium whose solutions are omitted there. Thus, the author and publisher are responding to a number of ideas and wishes that have been submitted to them. Anyone using the Praktische Harmonieubungen along with Kramer's Harmonielehre im Selbststudium - whether for their own work or in the classroom - will go through a methodical, carefully considered harmonic writing and analysis course comprehensively unfolding the fundamentals of major/minor tonal music from about 1600 to the present day.

SKU: BR.BV-261

Composed by Thomas Kramer. Softbound. Buchverlag Breitkopf & Hartel (Music Books).

A competently formulated harmony textbook for private study, which answers all questions and gives the student a solid introduction to harmony, with many practical exercises.

Music pedagogy. Book. 240 pages. Breitkopf and Haertel #BV 261. Published by Breitkopf and Haertel (BR.BV-261).

ISBN 9783765102615. 6.5 x 9.5 inches. German.

Thomas Kramers ,,Harmonielehre im Selbststudium bietet in erster Linie eine methodische Anleitung zur Eigenarbeit. Dieser Aspekt ist seit der Neuausgabe 2006 noch starker betont. Durch die systematische Gliederung und den umfangreichen Losungsteil ist das Buch jedoch auch weiterhin fur die padagogische Arbeit hervorragend geeignet. Zahlreiche Beispiele aus der Musikliteratur aller Epochen veranschaulichen die einzelnen Fragestellungen.

A competently formulated harmony textbook for private study, which answers all questions and gives the student a solid introduction to harmony, with many practical exercises.

by Misha V Stefanuk. For Piano. theory and harmony. Jazz. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 128 pages. Published by Mel Bay Publications, Inc.