Partitions arrangées pour sax tenor un CD audio contenant 2 versions de chaque titre: une démonstration complète puis une version sans le saxophone qui vous permettra de jouer accompagné. / Saxophone / Partition Cd

for Tenor Sax. Par . Les musiciens apprécieront cette fabuleuse collection de 101 chansons classiques apaisantes : Ave Maria, Op. 52, No. 6 - Bridge over Troubled Water - Come Away with Me - Desperado - Edelweiss - Faithfully - In Your Eyes - Misty - Nobody Does It Better - Yesterday - et plus encore. / Date parution : 2022-05-31/ Recueil / Saxophone Ténor

Includes 13 great tunes from the famous "Gypsy Jazz" era and a tribute song, all performed in an authentic style by a masterful guitar trio. Swinging and fun to play! Be sure to listen to the demonstration tracks under the "audio samples" tab, above. For all instruments.

Frühe Lieder II (1911-1915) - Erstausgabe. Par SIMON KLAUS. All songs and lieder composed in the years 1910-1937 by the composer Erwin Schulhoff from Prague, who was persecuted by the National Socialists, are now published in three volumes for the first time, documenting his very different creative phases and stages of life: Whereas Vol. I and II stand for the emancipation from being a successor to Wagner and Debussy, Vol. III contains not only the well-known atonal Fünf Gesänge from 1919 but also fresh jazzy popular songs and political songs for the masses written after 1933 when he turned to communism./ Recueil / Chant et Piano

Released in 1970, Neil Young's third CD, After the Gold Rush, is hailed as a masterpiece.This song book contains note-for-note transcriptions with tab for all 11 songs off the album, including After the Gold Rush, Don't Let It Bring You Down, Only Love Can Break Your Heart, Till the Morning Comes and more.This souvenir edition also features Neil's hand-written lyric sheets and full-page photos. / Guitare

Par VAN NUETEN GUY. Contact by Guy Van Nueten originated from the feeling of being abandoned, such as a person who treks through a barren desert following a great disaster and asks himself if there's any point in carrying on when every day brings just more of the same - still more desert. I suspect that each of us has such a desert within himself, but that it depends on circumstances whether or not we choose to make the journey through it. Contact lays out a path that we can share. This music seems especially romantic to me, in the sense that the sounds have much to say about loneliness. There are moments where this album emphasises its own seriousness, then immediately afterwards invites us todance. Contact sticks out a hand, sometimes two, mostly to show the internal process of the composer - firstly the lack of fire and the abandoned longing for this, followed by the bewilderment that there is something that is still smouldering and that can be fanned into a blazing forest fire to burn away all the pain of desolation. For this reason it is also moving music - because it wants the recognition of the listener, wants us to feel our own desolation while the piano explores further depths and heights. At times a composition is almost carelessly abandoned and another one begun. Whoever looks closely at feelings and is honest with himself and the world is always a little cruel. But finally there is an end to that desert - he sees an oasis and also a beautiful hotel. Upon entering, he sees no-one, not even at the desk, but the reigning play of light and colour is of an otherworldly power. Maybe no other people are needed here and the beauty that prevails is enough. Then sounds of music arise and some people move across to the immense hall where a wing has been set up, behind which a man is sitting, his fingers moving across the keyboard. And only one thing is real: after desolation comes comfort. That person is you and that person is me. And that music is called Contact, directly from the soul of Van Nueten. Contact by Guy Van Nueten originated from the feeling of being abandoned, such as a person who treks through a barren desert following a great disaster and asks himself if there's any point in carrying on when every day brings just more of the same - still more desert. I suspect that each of us has such a desert within himself, but that it depends on circumstances whether or not we choose to make the journey through it. Contact lays out a path that we can share. This music seems especially romantic to me, in the sense that the sounds have much to say about loneliness. There are moments where this album emphasises its own seriousness, then immediately afterwards invites us todance. Contact sticks out a hand, sometimes two, mostly to show the internal process of the composer - firstly the lack of fire and the abandoned longing for this, followed by the bewilderment that there is something that is still smouldering and that can be fanned into a blazing forest fire to burn away all the pain of desolation. For this reason it is also moving music - because it wants the recognition of the listener, wants us to feel our own desolation while the piano explores further depths and heights. At times a composition is almost carelessly abandoned and another one begun. Whoever looks closely at feelings and is honest with himself and the world is always a little cruel. But finally there is an end to that desert - he sees an oasis and also a beautiful hotel. Upon entering, he sees no-one, not even at the desk, but the reigning play of light and colour is of an otherworldly power. Maybe no other people are needed here and the beauty that prevails is enough. Then sounds of music arise and some people move across to the immense hall where a wing has been set up, behind which a man is sitting, his fingers moving across the keyboard. And only one thing is real: after desolation comes comfort. That person is you and that person is me. And that music is called Contact, directly from the soul of Van Nueten./ Répertoire / Piano

Bb Tenor Saxophone. Par STEINEL MIKE. Mike Steinel's follow-up book to his popular Essential Elements for Jazz Ensemble features a wealth of instructional material that can be used in a full band setting or individually. After a brief review of style basics, this comprehensive method includes a section of daily warm-ups and workouts for rehearsal, followed by a variety of lessons covering specific styles and improvisation concepts. Each lesson ends with a full band performance piece. Take your students to the next level with this masterful approach! Features · Review of important concepts from Book 1 · Warm-ups and workouts for the start of rehearsals · Lessons covering a variety of jazz styles and improvisation concepts · Nine rewarding full band pieces that reinforce each lesson · Information on the cities, regions, and people influencing the evolution of jazz · Recordings of all exercises, including full band arrangements and sample solos* · Grade/Level 3 * Each book includes an access code for audio files on MyLibrary (internet required.) Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right./ Recueil / Saxophone Ténor

Un peu d'amour va un long chemin et ce livre vous emmènera au paradis et à l'arrière! Donc, si vous aimez 'amour' et de chanter des chansons alors ce livre est fait pour vous! Une collection pétillante de quelques-uns des plus chaleureux et des chansons déchirantes jamais! Ces chansons seront amener à l'esprit les images et les souvenirs de vos proches avec mous, des ballades aux chansons reflètent émotive et puissante, la centaine de pièces de cette collection englober les différentes facettes de l'amour. Chansons en vedette incluent Always On My Mind, chose la plus proche fou et Dieu seul sait. L'aide a écarté un peu d'amour avec ce superbe volume arrangé avec les paroles complètes pour Piano, Chant et Guitare. / Piano/Vocal/Guitare (PVG) / Partition

For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

Béla Bartók's series of piano pieces For Children, based on folk melodies, was written around the end of the first decade of the 20th century. The pieces were published shortly afterwards by the Hungarian publisher Károly Rozsnyai. That first publication was in four volumes, the first two containing a total of 42 pieces based on Hungarian folk tunes, the third and fourth containing 43 pieces based on Slovakian folk tunes.In 1943, whilst in the United States, Bartók prepared a revised version of the collection for the publishers Boosey and Hawkes. The revisions were minimal: two Hungarian and four Slovakian songs were eliminated, there were a few minor alterations incorporating new ideas, some of the pieces previously written with accidentals had key signatures added, a few pieces were rewritten with changed meters - some fingerings were added or changed.The composer prepared the revised 1943 edition by using copies of the first edition on which he marked minor changes - where the changes were more extensive, fresh manuscript was written and a new version engraved. However, much of the engraving of the first edition was preserved in the 1943 edition. Publication took place in 1946, after the composer's death - it is not known if he saw final proofs prior to printing.The revised edition was published in two volumes, which now have been published together as one volume for the first time. / Piano

It's time to take center stage to deliver all the pyrotechnics usually associated with six-string guitar shredders! Shredding Bass Guitar takes you there through in-depth lessons on building technique, dexterity, and speed. It shows you how to shred using chords, arpeggios, and scales, and covers heavy metal and funk techniques like tapping, string skipping, and slap and pop. Lessons and examples are in the styles of bass masters Billy Sheehan, Les Claypool, Steve Harris, Victor Wooten, Stanley Clarke, and others. Shredding Bass Guitar provides a fresh perspective on the four-string electric bass and is a must-have for any bassist looking to take their playing to a new level. The accompanying CD features all the examples from the book. Features * In-depth lessons for developing technique, dexterity, and speed * For pick-style and fingerstyle players * Covers techniques like string skipping, tapping, two-handed tapping, wide-interval skipping, slap and pop, double thumbing, double popping, and more About the Author David Overthrow is an author, educator, and virtuoso bassist. After attending Berklee College of Music, he began performing with a wide variety of artists throughout the U.S. and Europe, playing rock, funk, jazz, and R and B. David is Director of Music at the Canterbury School in New Milford, Connecticut. He has written for Bass Guitar magazine, authored numerous electric bass methods, and taught three instructional videos for Alfred Music. David has performed with such luminaries as Pat Metheny, Stanley Clarke, Mike Stern, Trey Anastasio, Paul Gilbert, Zakk Wylde, and Sonny Landreth. / Guitare Basse