Modern Piano propose 90 pièces originales faciles des 20e et 21e siècles. Les oeuvres sélectionnées témoignent d'une grande variété de styles et englobent musique nouvelle et néoclassique, danses modernes, jazz, blues, pop, rock, pièces pédagogiques, musique méditative, musique new-age et bien d'autres choses encore : un spectre multicolore de styles variés jetant des ponts entre musique classique et populaire, avec des pièces 'crossover' où se rejoignent de différents mondes musicaux.Les miniatures sélectionnées ici invitent à un voyage de découvertes musicales riches en expériences nouvelles autour de sonorités et de rythmes modernes. Toutes les pièces peuvent être utilisées aussi bien dans le cadre de l'enseignement que pour les auditions, les examens et les concours d'élèves, ou tout simplement comme répertoire à jouer par tous les pianistes aux oreilles grandes ouvertes. / Piano

Par . The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio. / Date parution : 2021-11-03/ Recueil / Guitare

The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

Description Margaret Hamilton. This unique collection of songs from South Africa contains 35 songs of the people, performed in churches, workplaces and at gatherings. This book provides the first opportunity for churches, schools and colleges to perform these wonderful songs of liberation and Christian praise. Transcribed and introduced, including performance notes, by Maggie Hamilton and written for unaccompanied voices with guitar symbols for use with unison or two-part singing. The simplicity of many of the tunes and remaining parts makes them suitable for playing on glockenspiels, recorders or other melodic instruments. Published by Novello in association with Christian Aid. Songlist A Ndi Bonanga Umfana (I Did Not See The Shepherd) Abasundu Nabamhlope (Blacks And Whites) Afika Baba Mandela Daai Stones (Those Stones) Ehlatin'e Lusaka (In Lusaka Bush) Hamba Kahle (Go Well) Hamba Vangeli (Spread The Word) Hayo O Tshwanang Le Yena (There's No-one Like Him) Inzima Lendlela (This Road Is Heavy) Klim Op Die Wa (Get Onto The Wagon) Lerato Ia Jeso Le A Makatsa (The Love Of Jesus Is Wonderful) Mandela Prescribes For Freedom Mandela Wethu (Our Mandela) Manyanani Basebenzi (Workers Unite) Monateng Kapele (In Joy We Will Be Together) Nkosi Sikelel' Iafrika (Lord Bless Africa) Organize And Mobilize Parna Junda (The Flag) Release Mandela Rolihlahla Mandela Say'ilim Ingqolowa (We Are Ploughing Wheat) Senzenina (What Have We Done') Siku Rin Gwana (One Day) Siyay Epitori (We Are Goin To Pretoria) Songena Sirubuluza (We Enter Crawling) Stop Killing Our Children Studente Sal Nooit Verloor (Students Will Never Lose) Thula Sizwe (Be Silent, Nation) Thuma Mina (Send Me) Tshollela Moya Wa Hao, Jesu (Pour Down Your Spirit, Jesus) Tumelo Yaka Ha Nkeke Ka E Lathla (My Faith, I Will Never Lose It) Umzabalazo (We Are The Woman) Uthando Lwakhe (God's Love) We! Mshlamane Uzungakholwa (Hey! My 'Friend', Don't Foget)

Enregistreur Express est la voie pour devenir un joueur de grande enregistreur et s'amuser ! Plus de 120 chansons folkloriques, pop et originales et exercices sont inclus ainsi que des conseils technique et de la théorie de la musique début. Les niveaux 1 et 2 sont combinées dans cette un édition ! Notes sont enseignées dans cet ordre : faible de B, A, G, C, D, E, D faible, F #, C, F, faible élevé e. Cette méthode a été bien conçue et testée soigneusement par maître professeur clinicien et lecteur enregistreur professionnel Artie Almeida. Un CD-ROM distinct est disponibles 99 pistes branches. La plupart des pistes sont accompagnement seulement, mais certains en vedette un lecteur enregistreur professionnel afin que les étudiants peuvent s'efforcer de correspondre son ton beau et la musicalité. / Flûte A Bec / 48 pages / Partition

22 fiddle tunes from the golden age of sail, featuring dance tunes, shanties (work songs), recreational 'forebitters' and composed melodies which give the landlubber's take on the romance of the sea. Edward Huws Jones explains that 'during the heyday of sail, the busiest sea-routes of all were the North Atlantic crossings, especially between Liverpool and the American cotton ports- it was the heady mixture of African-American and Irish music which gave birth to the mid-century flowering of the sea shanty. Meanwhile English-speaking vessels were sailing to the Cape, India, Australia and many other far-flung destinations, carrying a two-way traffic of song and dance.? The tunes in this collection can all be played as unaccompanied fiddle tunes, which is how they would have been played in the days of sail. But as in other books in the Fiddler series, the flexible format allows a wide variety of different combinations and ensembles. Suitable for intermediate and elementary standard performers. / Violon

Description Over 150 songs from across the unique and remarkable career of this master songwriter. From his roots as a folk musician, to his phenomenal success with Art Garfunkel and his subsequent inventive and collaborative solo work, Paul Simon has remained a figurehead in song craft. Each song presented here is arranged with melody line, full lyrics and chord guide. Songlist (Everything I Do) I Do It For You 7 O'clock News/Silent Night A Church Is Burning A Hazy Shade Of Winter A Most Peculiar Man A Poem On The Underground Wall A Simple Desultory Philippic Ace In The Hole Adios Hermanos All Around The World All Because Of You Allergies America American Tune April Come She Will Armistice Day At The Zoo Baby Driver Bernadette Blessed Bookends Born At The Right Time Born In Puerto Rico Bridge Over Troubled Water Can I Forgive Him Can't Run But Cars Are Cars Cecilia Cloudy Congratulations Crazy Love Vol.II Darling Lorraine Diamonds On The Soles Of Her Shoes Duncan El Condor Pasa (If I Could) Everything Put Together Falls Apart Fakin' It Father And Daughter Fifty Ways To Leave Your Lover Flowers Never Bend With The Rainfall For Emily, Whenever I May Find Her Further To Fly God Bless The Absentee Gone At Last Graceland Gumboots Have A Good Time Hearts And Bones Hey Schoolgirl Hobo's Blues Homeless Homeward Bound How The Heart Approaches What It Yearns Hurricane Eye I Am A Rock I Know What I Know Jonah Kathy's Song Keep The Customer Satisfied Killer Wants To Go To College Killer Wants To Go To College 2 Kodachrome Late In The Evening Learn How To Fall Leaves That Are Green Let Me Live In Your City Long, Long Day Look At That Love Loves Me Like A Rock Me And Julio Down By The Schoolyard Mother And Child Reunion Mrs Robinson My Little Town Night Game Nobody Oh, Marion Old Old Friends One Man's Ceiling Is Another Man's Floor One-trick Pony Overs Papa Hobo Paranoia Blues Patterns Peace Like A River Pigs, Sheep And Wolves Proof Punky's Dilemma Quality Quiet Red Rubber Ball Rene And Georgette Magritte With Their Dog After The War Richard Cory Run That Body Down Satin Summer Nights Save The Life Of My Child Scarborough Fair/Canticle Senorita With A Necklace Of Tears She Moves On Shelter Of Your Arms Shoplifting Clothes Silent Eyes Slip Slidin' Away So Long, Frank Lloyd Wright Some Folks Lives Roll Easy Something So Right Somewhere They Can't Find Me Song About The Moon Song For The Asking Sparrow Spirit Voices St Judy's Comet Still Crazy After All These Years Stranded In A Limousine Sunday Afternoon Take Me To The Mardi Gras Ten Years Tenderness That Was Your Mother That's Where I Belong That's Why God Made The Movies The 59th Street Bridge Song (Feelin' Groovy) The Big Bright Green Pleasure Machine The Boxer The Boy In The Bubble The Coast The Cool, Cool River The Dangling Conversation The Late Great Johnny Ace The Obvious Child The Only Living Boy In New York The Rhythm Of The Saints The Sound Of Silence The Teacher The Vampires Thelma Think Too Much (A) Think Too Much (B) Time Is An Ocean Trailways Bus Train In The Distance Under African Skies Virgil Was A Sunny Day Wednesday Morning, 3 A.M. We've Got A Groovy Thing Going When Numbers Get Too Serious Why Don't You Write Me? You Can Call Me Al You Don't Know Where Your Interest Lies You're Kind You're The One

Par JOHNSON TIMOTHY. Based on the African-American spiritual “Ev’ry Time I Feel the Spirit”, Feel the Spirit captures the essence of the traditional spiritual. These songs were created by African-Americans oppressed by slavery. A deeply religious people, the slaves would use singing as an expression of both their enthusiastic joy and profound sadness. Feel the Spirit enables you to play a great gospel song with your band / Niveau : 2 / Répertoire / Concert Band ou Harmonie

Par JOHNSON TIMOTHY. Based on the African-American spiritual “Ev’ry Time I Feel the Spirit”, Feel the Spirit captures the essence of the traditional spiritual. These songs were created by African-Americans oppressed by slavery. A deeply religious people, the slaves would use singing as an expression of both their enthusiastic joy and profound sadness. Feel the Spirit enables you to play a great gospel song with your band / Niveau : 2 / Hymnes et chorals / Répertoire / Concert Band ou Harmonie

Par HOSAY JAMES L.. Kum Ba Yah is one of the most popular and loved of all American folk songs. It is sung in places of worship, around campfires and at social gatherings all over the world. This bright and happy arrangement makes use of African percussion and rhythm underneath velvety-smooth chords and flowing lines. It can also be enhanced by the use of an optional electric bass part. / Niveau : 2.5 / Hymnes et chorals / Répertoire / Concert Band

Par HOSAY JAMES L.. Kum Ba Yah is one of the most popular and loved of all American folk songs. It is sung in places of worship, around campfires and at social gatherings all over the world. This bright and happy arrangement makes use of African percussion and rhythm underneath velvety-smooth chords and flowing lines. It can also be enhanced by the use of an optional electric bass part. / Niveau : 2.5 / Musique légère originale / Répertoire / Concert Band ou Harmonie