This popular method starts young children on their musical journey by teaching basic principles of guitar playing. It begins with the parts of the guitar, how to comfortably hold the instrument, right and left hand positioning and tuning. Easy step-by-step playing examples are used to teach chords, picking, strumming patterns and single note melodies. This course book uses plain language that makes it easy to understand key concepts such as major and minor chords as well as rhythm and timing. Have fun playing complete song rhythms with full band backing tracks that give children the feel and excitement of playing with other musicians.INCLUDES DVDThis popular method starts young children on their musical journey by teaching basic principles of guitar playing. It begins with the parts of the guitar, how to comfortably hold the instrument, right and left hand positioning and tuning. Easy step-by-step playing examples are used to teach chords, picking, strumming patterns and single note melodies. This course book uses plain language that makes it easy to understand key concepts such as major and minor chords as well as rhythm and timing. Have fun playing complete song rhythms with full band backing tracks that give children the feel and excitement of playing with other musicians.BONUS: BEATS, RHYTHMS and TIMINGIn this program you will learn the important elements to understand and apply rhythm and timing. Learn to use your body clock to count whole, half, quarter, eighth and sixteenth note timing. Play common chords with strum patterns along with full band bracking tracks in song form. Learn about syncopation, accents, rests, legato and staccato. The key rhythm elements of the most popular music styles are explained and outlined. Triplets, the shuffle feel and much more are covered in this comprehensive rhythm program. A must for all aspiring young guitar players! / Guitare

A Guide to Authentic and Adventurous Song Interpretation. Par ECKERT ROSANA. Great singing can inspire us, surprise us, make us laugh, or make us cry. It can draw the listener in, creating a shared experience of stories and emotions, communicating the singer's unique point of view. Singing with Expression presents a step-by-step guide to help vocalists of any style or genre find their voice and connect with their audience. This book has five sections: Timing, Tone, Melodic Alteration, Style and Other Factors, each with several chapters detailing various concepts and exercises. You'll find over 145 downloadable listening tracks with the author's demonstrations, as well as backing tracks in three different keys. Spontaneity exercises are featured inseveral chapters, aimed at helping singers sharpen their real-time-reaction reflexes in a performance situation. Included in the back of the book is a listening list of songs that specifically demonstrate a groove or approach discussed in th book. Great singing can inspire us, surprise us, make us laugh, or make us cry. It can draw the listener in, creating a shared experience of stories and emotions, communicating the singer's unique point of view. Singing with Expression presents a step-by-step guide to help vocalists of any style or genre find their voice and connect with their audience. This book has five sections: Timing, Tone, Melodic Alteration, Style and Other Factors, each with several chapters detailing various concepts and exercises. You'll find over 145 downloadable listening tracks with the author's demonstrations, as well as backing tracks in three different keys. Spontaneity exercises are featured in several chapters, aimed at helping singers sharpen their real-time-reaction reflexes in a performance situation. Included in the back of the book is a listening list of songs that specifically demonstrate a groove or approach discussed in th book. / Pédagogie / Etude / Voix

Par WHIGHAM JIGGS. Timing, Phrasierung, Warm-Ups Für Bläserensembles/ Recueil / Ensemble à Vent

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms conceived an alternate version of the works for viola from the beginning and already before the publication of these two versions he intended to do another one for violin, a version which was to require changes and was to result in an independent edition. While the clarinet and viola versions have developed a rich performance tradition, the violin version is almost unknown. Yet for the violin version the composer revised the original clarinet part much more extensively than he did for the viola version and also rewrote the piano part to achieve a thoroughly convincing violin and piano idiom. This Bärenreiter edition aims to bring the neglected violin sonatas op. 120 back into players' hands.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violon Et Piano

Drum Set Beats And Fills For Today'S Musician. Par JIM RYAN. Un tambour la valeur Manuel d'instruction pour début intermédiaires étudiants visant à perfectionner le timing du batteur. Lorsqu'il est utilisé dans le cadre d'une routine de pratique régulière, ce livre améliorera la synchronisation et fournir des idées sur la création de votre propre remplissages. Fournit une application pratique pour jouer du tambour ensemble définir notamment le petit, moyen et plancher tom. Vous serez surpris les nombreuses combinaisons, que vous pouvez créer des parties écrites de ce livre. / Niveau : Débutant à Intermédiaire / All Styles - Technic / Méthode / Batterie

Jazz Play-Along Vol. 24. Tous les niveaux (Mediteranée pour les débutants) pour tous les instrumentistes et chanteurs. Enregistrements contiennent 30 titres étendus d'arrière-plan enregistrée. Grand amorce pour l'apprentissage des compétences de base en Major et Minor keys. Joueurs avancés voudront travailler sur ' double-timing, 'jouant ' à l'extérieur' et 'côté-sg' dans toutes les clés à des cadences confortables. Ce jeu vous aidera à acquérir la confiance. Il est conçu pour aider tout musicien n'importe quel leur niveau de capacité. Un des plus utilisés play-a-longs dans la série. Pistes spéciales ont Jamey Aebersold jouant variorcises et isolation sur son saxophone avec des réductions réelles du Volume 24, donc vous pouvez ' entendre et voir 'comment utiliser ce jeu de pratique. Tous les exercices et les solos de sax sur les pistes de démonstration ont été transcrites et écrits dans le livre ! Utilisez cet ensemble chaleureux tout ensemble. Choisissez une clé différente chaque jour/semaine/pratique. Jamey Aebersold, piano - John Goldsby, basse - et Charlie Craig, batterie. / Niveau : Débutant à Intermédiaire / Méthode en anglais / Méthode / Tout Instrument

Par BLANKEN JOHN. John Blanken schuf eine schwungvolle Bearbeitung zu dem bekannten schottischen Volkslied Scotland the Brave. Der Bearbeiter passte das wieder erkennbare Thema dem Swing-Stil an und auch die langen, Bordun ähnlichen Töne erinnern an das beliebte Dudelsackstück. Swingin' Kilts ist eine Herausforderung für jede Formation. Es stellt gewisse Anforderungen an Timing und Technik, die diesem Werk die Bravour verleihen, welche das Publikum ebenso wie die Musiker in Schwung versetzen wird. / Niveau : 3 / Musique légère originale / Répertoire / Fanfare

Un cour particulier de Basse métal avec David Ellefson. Travailler le jeu au médiator et au doigt, les silence, les gammes, les différents accordage, les rythmes et timing... David Ellefson vous enseigne comment jouer avec un batteur et d'un guitariste. Niveau débutant. En anglais. / Guitare Basse

16 short and easy compositions with strong melodies. Par DEHNHARD TILMANN. Colours that mix, shades that change and rhythms that develop are just some of the aspects that make Dehnhard's compositions so special. The short, light miniatures are small, self-contained works of art with great melodic expressiveness, which are not only fun to work on in class, but also convincing on the concert stage. In gentle images that tell of our world's treasures, positive feelings, quiet experiences or silent moments, each piece traces moments that show themselves with each breath in a new light and change from all sides. Whether it is the spray of the waves, the sparkle of a gemstone or a dragon in the sky, there are always new nuances in color and sound, and thus infinite possibilities that are composed kaleidoscopically before our eyes. As if by itself, it carries on one piece by piece, creating moods and igniting images in front of the inner eye. In addition to their inspiring melodies, the miniatures focus on a characteristic rhythm whose timing, in combination with the jazzy harmonies, turns them into little pearls of modern flute literature. They almost exclusively use traditional playing techniques and rarely exhaust the range of the recorder in the high register. The enclosed CD of full, play-along recordings supports and completes the edition./ Répertoire / Flûte à Bec Soprano et Piano

A great primer for the beginning upright bass player taught in Tammy Fassaert's clear, concise teaching style. Let bluegrass musician Tammy Fassaert introduce you to the upright bass in her articulate, relaxed manner. Some of what you will learn includes: --Holding and Tuning Your Bass --Right Hand Techniques --Muting and Damping --Chord Progressions --Learn Handsome Molly --Left Hand Notes and the Chromatic Scale --Marking the Stops on Your Bass --Learn East Virginia Blues --Timing and working effectively with a metronome --Waltz Time --And more! / Contrebasse / 69 pages / niveau : Débutant / Dvd - Format: 7,5 X 5,25

Disponible pour plus d'une douzaine d'instruments, ces livres de méthode coordonnées apprendre à jouer dans un groupe de rock.Apprenez ce que tous les grands musiciens semblent savoir d'instinct - écouter, interagir et réagir, improviser, et de faire partie de la gorge. Ce livre et la lecture sur CD aideront à améliorer votre timing, la technique et la capacité de lecture de devenir le grand joueur d'alto que tout le monde veut avoir dans leur groupe!Sujets dans le livre Viola comprennent: l'échauffement, les routines de pratique, l'apprentissage à l'oreille, la théorie et la technique, l'interprétation rythmique, la lecture, l'improvisation, l'interprétation des feuilles de plomb, et plus encore.Le CD d'accompagnement comprend des joueurs de Berklee et couvre une grande variété de styles. / Alto

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted viola parts to his two sonatas. In any case the viola and clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms' authorship of the viola parts. They include important differences from the clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Alto Et Piano