Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

Everything you need to know about Blues scales in one convenient deck! The Blues Guitar Scale Deck features over 40 scales with arpeggios and covers only the scales you really need to know. Learn about the modes of the major, harmonic, and melodic minor scales, symmetrical scales (diminished and whole tone), and much more. The basics, from strumming chords to reading TAB, are all illustrated with the help of the life-size guitar neck cutouts that fan out and show you where to place your fingers. The Blues Guitar Scale Deck includes: All scales are movable (no open strings) to play in any key, with roots and arpeggios clearly marked Easy-to-read scale frames with extended and alternate fingerings for each scale Detailed analysis of each scale (scale degrees) Chord choices are covered for each scale (where and when to use) Sections on Scale Construction, Theory, and applying scales to chord functions and progressions / Guitare

Legendary guitarist Albert Lee has played with Emmylou Harris, Ricky Skaggs, Rodney Crowell, Eric Clapton, the Everly Brothers, Dave Edmunds, Rosanne Cash, George Harrison, and Bill Wyman among many others. His speed, phrasing, feel, and choice of notes have earned him the reputation as the premier country guitarist. This DVD combines two of Albert Lee's most well-known videos, Advanced Country Guitar and Virtuoso Technique.
Advanced Country Guitar features Albert at his best, playing some of his all-time favorite tunes and analyzing his baffling technique in depth. Songs include Fun Ranch Boogie, Tiger Rag and That's All Right Mama. Albert discusses his hybrid Travis-picking style, chord voicings, scalar ideas, creating long seamless lines based off chord shapes, double-stop concepts, as well as analyses of his classic songs.
Virtuoso Technique focuses on the components which make up Albert's brilliant style. Songs include Country Boy, T-Bird to Vegas, and Sweet Little Lisa. Using dozens of practical examples, Albert covers: classic intros and endings; chicken picking; lines using thirds, sixths and tenths; banjo-style picking; chord progressions using open strings rolls; pedal steel-type bends; and voice-leading. Also included is a section on playing with a string bender and a great jam with Albert on six-string bass.
Extra features include an interview with Albert about his experience playing at the Concert for George, a Steve Morse bonus lesson, an internet link to Albert's signature guitar, and a DVD-ROM with full PDF transcriptions of the companion books. / Méthodes et pédagogie / Guitare / Guitare électrique / ALFRED PUBLISHING

Par GONZALEZ RAYMOND. This collection presents 22 lyrical American tunes including traditional 19th century songs, melodies from the WWII era, and modern-day pieces by William Bay, president of Mel Bay Publications.Whether it's a Civil War ballad or a jazz inspired tone poem, Raymond Gonzalez has a gift for creating unique settings that occasionally blend harmonics with normally fretted notes and open strings. The end result is a flowing melody/chord/bass arrangement that is challenging but accessible to the intermediate guitarist.All of the notation and tab settings in this book appear in standard or dropped-D tuning and are suitable for both steel and nylon-string guitar performance. To keep page clutter to a minimum, the reader is referred to the tablature for string, fret, and harmonic locations. Includes access to online audio of every tune recorded by the author. / Date parution : 2022-07-20/ Recueil / Guitare

This comprehensive approach to basic guitar skills includes varied repertoire, theory, detailed instruction about seating and hand position, standard music notation, an introduction to tablature, basic improvisation, and teaches both the pickstyle and fingerstyle techniques. Great for college non-music majors, continuing education classes, music dealer in-store programs, and group guitar classes at the middle and high school levels. Book 1 contains 16 units, each with a variety of repertoire, exercises, and timed tests at the end. Unit 16 provides instructions for playing 11 hit songs. Students can cut out flashcards provided at the back of the book to use for home study. The comb binding creates a lay-flat book that is perfect for study and performance. / Guitare

In Fa Op.X N.5 - Rv 442, F.Vi-1 - Tomo 46 - . Par VIVALDI ANTONIO. Vivaldi's Concerto in F RV 433 for Flute, Strings, and Basso Continuo. Called in both cases 'La tempesta di mare, ' the work's opening Allegro has a characteristic thumping unison repeated-note theme with the flute soloist trading short lines in imitation with the orchestral violins in the outer sections and warbling maniacally above the ripieno in the central episodes. The opening closes on a big half cadence and then moves into the quiet central Largo, with the flute soloist becalmed in the eye of the storm and haunted by memories and ghosts. The closing Presto opens with a powerful unison theme with the flute soloist performing the first long lyrical lines of the workagainst the thrusting violins and basso continuo./ Répertoire / Flûte Traversière ou Plusieurs Flûtes Traversières

Par NORTON CHRISTOPHER. Ce disque interactif contient des représentations de toutes 37 pièces en Microjazz pour les débutants, chacun complètes avec les orchestrations de jouer avec. Il peut être joué sur un séquenceur ou un joueur capable de jouer des fichiers midi standard. / Niveau : Débutant / Pédagogie / Recueil / Piano ou Clavier

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

Par CHAPMAN CHARLES. Drop-2 chord forms have been used by guitarists in all musical genres for years. The concept refers to 4-way, closed voicings in root position or any inversion, dropping the second note from the top by 1 octave, hence the term 'drop-2'. In practice, a nifty guitar harmonic symmetry occurs as drop-2 chords are invariably played on any four successive strings, muting or avoiding the remaining 2 strings. This collection will open up a new world of harmonic possibilities for the beginning to intermediate guitarists, and will shore up the basics and provide added harmonic visualization for the advanced player. Chapter on comping the chord soloing applications are also included. Written in notation and tablature. / Niveau : Intermédiaire / Jazz - Theory and Harmony / Tablatures / Guitare Tablatures Flatpick et Fingerpick

Martin Simpson brings brilliant harmonic colors and resonant voicings to every song he plays, achieving his trademark sounds by retuning his strings to open chords and DADGAD along with more unusual configurations. Martin takes the 'fear factor? out of retuning, teaching players to discover their own ideas through some of his favorite guitar pieces: Come Write Me Down - The Green Linnet - Icarus and others. Early intermediate level. 1 hr., 30 min. / Guitare

Randy Vincent's 200-page complete guide to three-note jazz guitar voicings and related topics. For everyone from intermediate newcomers to jazz guitar up to very advanced players, the book develops a unique 'dynamic' concept of harmony where three independently moving lines team up to create beautiful harmonies that are valuable for comping, chord melodies and chordal jazz improvisations. Topics include: three-note 'shell' voicings and special derived comp voicings; complete triad review including all close and open inversions on all strings; triad applications such as 'slash' chords, upper structures, hexatonic triad-pairs and special 'hybrid' voicings; quartal and secundal voicings perfect for modal comping and soloing;and much, much more. Hundreds of examples in both music notation and guitar grids are included. / Methods & Tutors / Recueil / Guitare