Cet ouvrage a pour objectif de vous faire travailler le contrôle des quatre membres à la batterie. Ce n?est en effet que grâce à un parfait contrôle de ses membres (mains et pieds, gauches et droits) que le batteur peut avoir accès à tous les types de grooves, breaks ou soli, et ce dans tous les styles de musique. Ce qui rend le travail proposé ici tout à fait primordial... Divisée en deux parties, cette méthode aborde aussi bien le contrôle horizontal (supérieur et inférieur) que le contrôle vertical (gauche et droit), qui permettent de relier les mains et les pieds et ainsi d?appréhender plus facilement les multiples combinaisons rythmiques que propose la batterie. Mais plutôt que d?enchaîner des tas d?exercices techniques les uns derrière les autres, sans en distinguer la finalité musicale, l?accent est avant tout mis ici sur la pratique, avec un travail spécifique sur des grooves et des breaks de tous styles. Ainsi, chaque partie commence par quelques inévitables exercices de préparation, avant d?enchaîner sur des applications purement musicales à jouer sur des playbacks. Pour chacune de ces applications musicales, sont disponibles cinq enregistrements différents sur le CD'MP3 joint, répartis de la façon suivante : la batterie seule, au tempo normal puis ralenti, la même partie de batterie jouée cette fois sur son playback, et enfin le playback seul, là encore au tempo normal puis ralenti... pour que chacun puisse apprendre et jouer à son rythme, selon son niveau et ses capacités. Soit près de 4 heures de musique en tout !

Par VAN DER ROOST JAN. This 4-movement suite is based on authentic folktunes from the beautiful southern province in France: the 'Provence'. The composer used an harmonic language respecting the popular characteristics, but on the other hand also contains some 'spicy' notes (. . . just like the wellknown 'Provençal sauce'! . . . ). The instrumentation is very colourful, paying a lot of attention to the different timbres of both brass and wood winds as well as to the percussion section. Every movement has its own character: 'Un Ange a fa la crido' (= An angel brought the creed / credo) is like a bourrée, 'Adam e sa Coumpagnou' (= Adam and his companion) is an old love song, 'Lou Fustié' (= the carpenter)a fast dance and finally 'Lis Escoubo' (= a whistle tune / popular ballad) is a farandole. In the latter, the old tradition of folk musicians who play a whistle with one hand and a drum with the other hand, is clearly represented during the first presentations of the one and only theme)Although this piece is not too demanding, a well balanced band is necessary to perform it successfully. Thanks to the contrasts and the varying colours, it keeps on holding the attention. / Niveau : 3 / Répertoire / Concert Band ou Harmonie

Par VAN DER ROOST JAN. This 4-movement suite is based on authentic folktunes from the beautiful southern province in France: the 'Provence'. The composer used an harmonic language respecting the popular characteristics, but on the other hand also contains some 'spicy' notes (. . . just like the wellknown 'Provençal sauce'! . . . ). The instrumentation is very colourful, paying a lot of attention to the different timbres of both brass and wood winds as well as to the percussion section. Every movement has its own character: 'Un Ange a fa la crido' (= An angel brought the creed / credo) is like a bourrée, 'Adam e sa Coumpagnou' (= Adam and his companion) is an old love song, 'Lou Fustié' (= the carpenter)a fast dance and finally 'Lis Escoubo' (= a whistle tune / popular ballad) is a farandole. In the latter, the old tradition of folk musicians who play a whistle with one hand and a drum with the other hand, is clearly represented during the first presentations of the one and only theme)Although this piece is not too demanding, a well balanced band is necessary to perform it successfully. Thanks to the contrasts and the varying colours, it keeps on holding the attention. / Niveau : 3 / Répertoire / Fanfare

Par GORDON ANDREW D.. Due to the high demand of two of Andrew D. Gordons blues piano/keyboard books, 100 Ultimate Blues Riffs and the 12 Bar Blues Bible, he has adapted examples from the two books along with new examples into a blues organ book and Ultimate Blues OrganRiffs is the result. There is an increased interest in playing the organ these days as many keyboard players are adding organ modules, organs, software etc. , to their array of instruments. This book consists of 96 riffs, in many different keys, and covers a wide range ofblues organ styles including Blues, Funk, Gospel, Jazz & Rock. The music notation consists of the right and left hand parts as well as a bass line. Although primarily written and recorded with the organ in mind, pianists and keyboard players willalso find the material in this book very useful. All the 96 examples have been recorded twice, the first time with the organ right and left hand parts, guitar rhythm, bass and drums. The second time, has the rhythm guitar part, bass and drums so thatthe keyboard player can practice along with the rhythm tracks. Due to the high demand of two of Andrew D. Gordon's blues piano/keyboard books, 100 Ultimate Blues Riffs and the 12 Bar Blues Bible, he has adapted examples from the two books along with new examples into a blues organ book and Ultimate Blues Organ Riffs is the result. There is an increased interest in playing the organ these days as many keyboard players are adding organ modules, organs, software etc. , to their array of instruments. This book consists of 96 riffs, in many different keys, and covers a wide range of blues organ styles including Blues, Funk, Gospel, Jazz & Rock. The music notation consists of the right and left hand parts aswell as a bass line. Although primarily written and recorded with the organ in mind, pianists and keyboard players will also find the material in this book very useful. All the 96 examples have been recorded twice, the first time with the organ right and left hand parts, guitar rhythm, bass and drums. The second time, has the rhythm guitar part, bass and drums so that the keyboard player can practice along with the rhythm tracks./ Tablatures / Guitare Tablatures

Good King Wenceslas. Par JOHNSON TIMOTHY. Young band directors are always on the lookout for something new and a little different for the winter concert. Timothy Johnson’s new Christmas arrangement for Beginning Bands fits the bill perfectly. It remains technically accessible to the young band while exploring this old familiar tune in new and different ways. You even have the option of including a 'set' drummer by using the Optional Percussion 1 Advanced part. Lots of unison rhythms in the Winds ensure that you can prepare The Good King Rocks in time for that winter concert, and there are enjoyable parts for every instrument, which keeps the whole group focused and involved during rehearsal. Fun! / Niveau : 0.5 / Pièce de concert / Répertoire / Concert Band

Par GORDON ANDREW D.. The Art Of Successful Rhythm Piano/Keyboard Playing by Andrew D. Gordon is for keyboardists and pianists that need a practical approach to playing in various styles such as: blues, rock, jazz, latin, gospel and rhythm and blues, whether accompanying a singer, solo instrumentalist or playing in a band. There are 19 different 36 measure examples showing many great ways of voicing chords and playing various rhythmic patterns. The one hour cassette consists of melody, rhythm Keyboard part, Bass and Drums so that you can hear how the rhythm Keyboard part is played in conjunction with the other instruments. The Art Of Successful Rhythm Piano/Keyboard Playing by Andrew Gordon is for keyboardists and pianists that need a practical approach to play in various styles such as: Blues, Rock, Jazz, Latin, Gospel and Rhythm and Blues, whether accompanying a singer, solo instrumentalist or playing in a band. There are 19 different 36 measure examples showing many great ways of voicing chords and playing various rhythmic patterns. The recording consists of melody, rhythm keyboard part, bass and drums so that you can hear how the rhythm keyboard part is played in conjunction with the other instruments. / Niveau : 3 / Etude / Piano

Par DE HAAN JACOB. A collection of 5 short works in pop style which can be performed by any kind of compilation. The titles can be presented on the programme as separate works but the Universal Band Collection can also be performed as a complete suite. From a didactic point of view it is a suitable work to teach musicians something about the structure in music. For this purpose not only the big structure but also the small structure was kept very clear. Western Girl : A girl from the west of the USA rides her horse across the prairie, dreaming of her future. The rough structure: introduction - theme in a blues scale - the same thing in a different instrumentation - finale. Just a ballad : A balladin pop style with a rough A-B-A form. First there is the introduction of the main theme (A), then follows a tenor melody in minor with a rhythmical reference to the main theme (B). Finally there is the main melody, performed tutti with a different rhythm in the drums (A'). Play the Game : An English saying meaning: play fairly. Playful music in up-tempo with a wink to China, where almost all games are manufactured nowadays. Once again an A-B-A structure here. San Diego : A Mexican fugitive enjoys his freedom in America but also remembers his place of birth with melancholy. A sad minor melody with a straight trendy beat appears twice. The second time it has a slightly different instrumentation, in which the muted trumpets represent the Mexican feeling. Final Dance : Eventually there is a dance with an introduction in renaissance style, followed by a fast dance in rock style. All this composed in a classical song structure: introduction, verse, bridge, chorus, shortened verse, bridge, chorus, chorus. / Niveau : 2 / Musique légère originale / Répertoire / Brass Band

The idea for this book series is to give instrumentalists the opportunity to practice solo improvisational techniques while playing along to rhythm tracks of keyboards, guitar, bass, drums/percussion in various different Latin styles including Calypso, Mambo, Salsa, Songo, Bossa, Guaracha, Samba and Latin-Blues. The 24 grooves totalling over 200 riffs/phrases and play-a-long tracks consists of a variety of tempos and keys. Each groove has a variety of riffs to learn that are generally 4 or 8 measures in length. It would be beneficial if you could memorize these riffs so that you can experiment using different permutations of the riffs as well as being used as a starting off point for one's own improvisations. Each riff has been recorded with a rhythm track with each style having an extended play-a-long track, around 3 minutes in length, recorded without the solo part so you can practice the riffs that you have learned. Also, these musical phrases or riffs may be interchanged from one groove to another and should be learned in as many keys as possible. / Niveau : Intermédiaire / Etude / Piano et Clavier

The idea for this book series is to give instrumentalists the opportunity to practice solo improvisational techniques while playing along to rhythm tracks of keyboards, guitar, bass, drums/percussion in various different Latin styles including Calypso, Mambo, Salsa, Songo, Bossa, Guaracha, Samba and Latin-Blues. The 24 grooves totalling over 200 riffs/phrases and play-a-long tracks consists of a variety of tempos and keys. Each groove has a variety of riffs to learn that are generally 4 or 8 measures in length. It would be beneficial if you could memorize these riffs so that you can experiment using different permutations of the riffs as well as being used as a starting off point for one's own improvisations. Each riff has been recorded with a rhythm track with each style having an extended play-a-long track, around 3 minutes in length, recorded without the solo part so you can practice the riffs that you have learned. Also, these musical phrases or riffs may be interchanged from one groove to another and should be learned in as many keys as possible. / Niveau : Intermédiaire / Recueil / Flûte Traversière

Par GORDON ANDREW D.. The idea for this book series is to give instrumentalists the opportunity to practice solo improvisational techniques while playing along to rhythm tracks of keyboards, guitar, bass, drums/percussion in various different Latin styles including Calypso, Mambo, Salsa, Songo, Bossa, Guaracha, Samba and Latin-Blues. The 24 grooves totalling over 200 riffs/phrases and play-a-long tracks consists of a variety of tempos and keys. Each groove has a variety of riffs to learn that are generally 4 or 8 measures in length. It would be beneficial if you could memorize these riffs so that you can experiment using different permutations of the riffs as well as being used as a starting off point for one's own improvisations. Each riff has been recorded with a rhythm track with each style having an extended play-a-long track, around 3 minutes in length, recorded without the solo part so you can practice the riffs that you have learned. Also, these musical phrases or riffs may be interchanged from one groove to another and should be learned in as many keys as possible. / Niveau : Intermédiaire / Etude / Orgue