(Sample solos by Mike Steinel) At last, a jazz play-along book for developing players! In addition to being a perfect introduction to some of the best-known jazz standards, Essential Elements Jazz Standards includes hints for improvising on each tune, a guide to jazz articulations, a scale/chord correlation chart, and biographical sketches of key jazz figures. And if that wasn't enough, each tune comes with its own sample solo for reference or performance! The professionally recorded audio CD has tempo adjustment software for use in your computer. Includes: Now's the Time, Killer Joe, Blue Bossa, C-Jam Blues, Footprints, Song for My Father, Autumn Leaves, Freddie Freeloader, St. Thomas and Blue Train. · Play-along CD with choice of full recording (with melody) or rhythm section only · Tempo adjustment software (computer required) · Sample written solos and improvising hints · Rhythm book includes bass lines, piano voicings, and drum patterns / Section Rythmique (Piano, Guitare, Basse, Batterie)

Instrumental Play-Along. Features solo arrangements of 15 powerful songs from the Christian/gospel genre. The full-accompaniment, play-along CD with tempo adjustment software lets solo instrumentalists sound just like the pros!/ Recueil / Alto

This giant two-volume resource will be indispensable for teachers working with children singing solos. There is a large variety of material, from classic Disney songs to Broadway to movie favorites to songs from 'Sesame Street.? Each volume has songs for both girls and boys and includes a CD (Volume 2) or online audio (Volume 1) with Piano accompaniments for each song. In addition, the CD contains tempo adjustment and transposition software for use on your computer.Kids' Musical Theatre Collection: Volume 2 includes 30 songs from stage, screen and television musicals, these are by far Hal Leonard's largest collections of solos for children. Songs in this volume include: Baby Mine (Dumbo), Be Kind to Your Parents (Fanny), Bein' Green (Sesame Street), Dream for Your Inspiration (The Muppets Take Manhattan), Friend (Snoopy!!!), Gary, Indiana (The Music Man), Getting to Know You (The King and I), God Help the Outcasts (The Hunchback of Notre Dame), I Always Knew (Annie Warbucks), I Don't Want to Live on the Moon (Sesame Street), I Won't Grow Up (Peter Pan) and more. / Voix

Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Franz Schubert's Impromptus Op. 90 (D 899) are among the most frequently played of his piano works and have become well-established in music lessons and in the concert repertoire. This Wiener Urtext Edition presents a new edition based on the latest research and performance practice. In this edition, numerous details have been added to the text and fundamental problems like the distinction between accents and crescendo hairpins or the adjustment of dotted rhythms to triplets are solved in a new and undogmatic way, closely following Schubert's original manuscript. Also new are the notes on interpretation by Robert D. Levin which look into even the most subtle shades of meaning of expression markings. Score image and page layout have been designed in a user-friendly way. / Piano

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Take your baritone uke playing to the next level with this great package that will teach you how to: strum backup chords all over the fretboard, in any key, play chord solos up and down the fretboard, solo in any key using first-position major scales, chord-based licks, and moveable major and blues scales, understand chord progressions, increase your chord vocabulary, and more. Tunes and exercises that illustrate each technique are written in standard notation and tablature and played on the accompanying audio. An absolute beginner can follow the diagrams and instruction from the beginning. Intermediate and advanced players can use the chapters non-sequentially to increase their understanding of the baritone ukulele. Audio is accessed online using the unique code in each book and includes PLAYBACK+ tools such as tempo adjustment, looping, and more. / Ukulélé Baryton

IntonationContent : Introduction - 1. Intonation exercises - 2. Examples from the literatur - A) Examples from the literature in more than one voice - B) Examples from the literature in octaves and in unison - 3. The theory - 4. The practice - A) The clarinet - B) The basic tuning of the instrument - C) Tuning up - D) Adjusting the intonation - E) Dynamics and reeds - F) Special hints

Ballet Heroïque With A Prologue And Four Acts. Par RAMEAU JEAN-PHILIPPE. The main body of the new edition of Les Indes galantes, published in Opera Omnia Rameau (OOR IV.2, 7), restores the version authorised by Rameau in 1736. This basic editorial decision has made it possible to present a fully coherent and authenticated reading of the work (after the adjustments from the earliest performances). All other versions before and after 1736 are gathered together in 19 appendices. Sylvie Bouissou' s new edition differs markedly from previous modern editions and all existing recordings. With its appendices she does justice to the performer' s need for Rameau' s various revisions while finally making accessible a version actually authorised by Rameau. For the first time it is presented in its complete stylistic and dramatic context. - Practical vocal score by François Saint-Yves for keyboard accompaniment - Based on a reassessment of all sources and versions - Destined to have a clear impact on performances of Rameau' s magnum opus/ Répertoire / Chant et Piano

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians, students, teachers and all those who take a general interest in this field of music. The focus of this series is on the language of instrumental music nowadays performed in Brazil, based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music, which are presented in the following versions:1. Complete takes – in other words, the full versions of the pieces included in the book, which are performed by all the instruments playing simultaneously; 2. Without melody / solo part – so that the melodic instruments can play along with the recording, executing their own interpretations and practicing improvisations; 3. Without harmony – so that the harmonic instruments can practice the language of accompaniment, especially with regard to the rhythmic vocabulary of each style. 4. Without bass – so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects; 5. Without drums – so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations. Each book contains the scores in the form of lead sheets in four different versions: in C, Bb, Eb, and bass clef. Due to the widely defined concept of this method, it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution. The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos, rhythmic comping phrases, bass lines and drum grooves, for instance, can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition / Jazz / Recueil / Instruments Mélodiques

Imagine someone who has worked as an international saxophonist, an educator, a technician, a consultant, and as a designer, and you can imagine Peter Ponzol. For the first time, Peter offers details from his famous Saxophone Workshops. Learn about: ' Maintenance ' Reeds ' Mouthpieces ' Ligatures ' Sound ' Flexibility This exciting and informational pocket book will be a much needed addition to your musical library! Convenient pocket-sized book - 3.5 x 5.5 - perfect to toss in your gig bag! 64 pages. Peter has been around saxophones for decades, doing it all from manufacturing horns to reeds to mouthpieces. As well, he is a seasoned player. What he discusses in this book is coming from one of the sources-read carefully! - David Liebman, Sax artist/ author/ clinician. Read this review from Sax On The Web: The information in this book is right up SOTW's alley, with answers regarding reeds, necks, mouthpieces, saxes, maintenance, and the like. I would assume that the number of redundant threads started could be reduced almost in half simply with a reading of this book and those owning it could refer back to it at their leisure, as needed. And there is enough info in this book which contradicts some of our SOTW urban legends to make an episode of MythBusters. If you catch the right posts at the right time, much of the info in this book is already posted here on SOTW. But you have to see it and if hunting for it, you have to find it. OTOH it's all conveniently gathered and organized here in this primer - plus more. There are suggestions such as replacing the neck cork once or twice a year, which I would, if posting a response, say is not necessary. But here's the difference. Many of us on the forum are experienced musicians but few have the experience and depth that Ponzol has. We can write with credibility - Ponzol writes with authority. And this is based on decades not only as a top-echelon player, but as a successful and innovative sax, neck and mpc designer. The book is a 61 page pocket reference booklet which, in addition to topics mentioned above, include thoughts on ligatures, sound and flexibility. It is based on items of interest asked by attendees at workshops he has given over the years, hence the title. He begins by pointing out that at these workshops one of the first things he does is look at the condition of attendees' equipment with the observation that at least 90% of them need some kind of work and adjustments. What follows in the book's 61 pages are recommendations generated by this observation. Included are interesting comments such as: aging store-bought reeds by letting them sit for several years is fairly useless since the aging process stops once the bark has been cut away from the reed; not earth-shattering but interesting and certainly myth debunking. Again something that fits right in with many of the conversations on this forum. Interesting thoughts follow regarding the future of natural cane reeds, or how to select and get the most from your reeds - things I wouldn't think of like sanding the heel of your reed. SOTWers might also get a kick out of, and relate to, the title of his section on mouthpieces, 'Now the Fun Begins'. There are also interesting side comments we don't often hear like: in the 70s so many young players like Ponzol were trying to get Trane's recorded sound by working on metal Links because that's what they saw in photos and yet, Trane often recorded with hard rubber mpcs because, in Trane's opinion, it didn't have as much spit in the sound for him. It's interesting how some things come around back to you. There are two exercises I recommend to my students and have recommended on the forum regarding volume and embouchure control and flexibility. I've never heard anyone else recommend these exercises and yet here they are in Peter's book. Then it hit me. The only other one I know who uses them is a former teacher of mine and I remembered that years ago he said he had had some lessons with Ponzol. So 'the circle is unbroken' LOL. I would highly recommend it for beginners and intermediates, as well as for more advanced players to recommend to their students. It has made me re-think even some of my most basic assumptions regarding equipment and maintenance, which has made the read well worth it. I wish every SOTW newbie would start out their Forum time with this booklet at their disposal.