Description The distinctive sound of the Cuban tres underpins many Cuban styles of music. Here is a unique method that explains all aspects related to learning this traditional Cuban instrument. You'll also find an extensive introduction to son and the other Cuban styles, including nengon, changui, danzon, gauguanco and mambo! Discover the traditional technique and true essence of this Cuban Folk instrument. In English and Spanish. Also includes a specially recorded CD with demonstration tracks.

Par SPARKE PHILIP. Three Klezmer Miniatures is Philip Sparke’s third work based on traditional Jewish klezmer melodies, after Shalom! and A Klezmer Karnival. Klezmer music originated in the ’shtetl‘ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ’klezmorim‘, had performed at celebrations, particularly weddings, since the early Middle Ages. In Three Klezmer Miniatures Philip Sparke used the traditional tunes Sham Harei Golan Nigun Shel Yossi, Tumbalalaika, and Hava Nagila. / Niveau : 3 / Musique klezmer / Recueil / Brass Band

A Simple Approach. Par MAT MARUCCI. The drum rudiments are the language of drummers. They are to us what scales and chords are to the other instruments. Understanding the rudiments allows the drummer to communicate with other drummers and also have the ability to interpret terminology and rhythms that are so often seen in music and music publications. This book is designed for drummers of all levels who would like knowledge of the snare drum rudiments but haven't had the advantage of studying them formally. It is a quick, simple approach that can be learned by any drummer who can do single strokes and double strokes (strokes using the stick rebound). While this method is not meant to be a substitute for the traditional way of learning the drum rudiments, which I totally recommend, one of the advantages of it is that it is a fast, easy alternate method that will give an understanding of the how the rudiments are played and should sound. If nothing else, this book will improve the drummer's overall technique and playing. After studying the approach described, it will be an easy transition to take the study of the rudiments further learning to play them in the traditional way and apply them to the drumset. / Niveau : Débutant / All Styles - Technic / Méthode / Caisse Claire

Concepts and techniques for traditional and modern blues guitar. Par FISCHER PETER. An in-depth look at the practical and theoretical concepts of traditional and modern blues guitar, covering all the important technical, rhythm and improvisational ideas. The book is divided into three stages: easy blues, blues and blues rock styles, and jazz blues. Stage 1 describes the development and basis of blues guitar, and is particularly appropriate for beginners. Stage 2 goes off more in the rock direction and gives the reader an insight into the concepts and licks of several influential guitarists including Clapton, Hendrix, Robben Ford, Stevie Ray Vaughan, Gary Moore, and others. Stage 3 features a number of concepts that come from jazz that can also be used in a blues context. A great number of examples and blues jam tracks appear on the accompanying CD. In notation and tablature. / Niveau : Débutant / Blues - Methods / Recueil / Guitare Electrique

Messa d'morti. Par DURANTE FRANCESCO. The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. - First publication - Urtext edition - Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) - Full score and orchestral material also available (EP73044) The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. - First publication - Urtext edition - Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) - Full score and orchestral material also available (EP73044)./ Répertoire / Solistes, Choeurs et Piano

4 Studies on Contrary Motion. Par VANDE GINSTE STEPHANE. On January 1st, 2016, Stephane Vande Ginste had an extraordinary intention: he planned to compose a 1-minute piece for piano every single day for the whole year. The result is an impressive collection of piano miniatures which - although contemporary - result in a variety of musical styles: apart from some experimental pieces, there are jazzy- and poppy pieces, more traditional 'etudes', polyphonic compositions and so on... The 366 pieces also tell various stories: from very emotional events like the terrorist attacks in Brussels over homages in honor of deceased artists (David Bowie,...) to birthdays and festive occasions,... . More than once, even poetry (Heinrich Heine,Anna Enquist, ..) or other pieces of art inspired Stephane to compose his daily one-minute piece. Every single composition originated from the 'here and now', and therefore capture the unfiltered feelings and emotions of that very unique moment in time: joy, enthusiasm, but also melancholy and sadness. On January 1st, 2016, Stephane Vande Ginste had an extraordinary intention: he planned to compose a 1-minute piece for piano every single day for the whole year. The result is an impressive collection of piano miniatures which - although contemporary - result in a variety of musical styles: apart from some experimental pieces, there are jazzy- and poppy pieces, more traditional 'etudes', polyphonic compositions and so on... The 366 pieces also tell various stories: from very emotional events like the terrorist attacks in Brussels over homages in honor of deceased artists (David Bowie,...) to birthdays and festive occasions,... . More than once, even poetry (Heinrich Heine,Anna Enquist, ..) or other pieces of art inspired Stephane to compose his daily one-minute piece. Every single composition originated from the 'here and now', and therefore capture the unfiltered feelings and emotions of that very unique moment in time: joy, enthusiasm, but also melancholy and sadness./ Etude / Piano

36 pièces pour travailler les démanchés.
Contenu :
A Tribute to Handel (Dezaire, Nico)
Position changing cha cha (Dezaire, Nico)
French folk song (Traditional)
Django plays the violin (Dezaire, Nico)
Mourning Mary (Dezaire, Nico)
Shift Rap (Dezaire, Nico)
Sadness (Dezaire, Nico)
The Elephant (Saint-Saëns, Camille)
Brigg Fair (Delius, Frederick)
Pomp and circumstance March No. 4 (Elgar, Edward William)
Sally\'s skirts (Dezaire, Nico)
Playing Monopoly (Dezaire, Nico)
Les Sylphides (Chopin, Frédéric François)
Hungarian Dance No. 5 (Brahms, Johannes)
Little flower (Dezaire, Nico)
Hurdy-Gurdy (Dezaire, Nico)
Blues (Dezaire, Nico)
Greensleeves (Traditional)
Farandole (Bizet, Georges)
Sad Waltz (Dezaire, Nico)
Piano Concerto 1st Movement (Grieg, Edvard)
Bad girls (Dezaire, Nico)
Farewell (Dezaire, Nico)
Please Sir, have a cigar (Dezaire, Nico)
Frère Jacques Variations (Dezaire, Nico)
Jupiter (Holst, Gustav)
Olga\'s Song (Dezaire, Nico)
Hungarian Dance (Dezaire, Nico)
Allegretto (Theme from Symphony No. 6 5th Movement ) (Beethoven, Ludwig van)
One fine day (from Madame Butterfly) (Puccini, Giacomo)
You and me (Dezaire, Nico)
In the wood (Dezaire, Nico)
La donna e mobile (from Rigoletto) (Verdi, Giuseppe)
Jumpin\' jig flash (Dezaire, Nico)
Nick\'s little rabbit (Mussies, Martine)
Largo (from Winter) (Vivaldi, Antonio) / Partitions classique / Cordes / Violon / DEHASKE

Learn how to play Latin jazz Piano based on traditional Latin music from Cuba and Brazil. Latin Jazz Piano addresses the three roles that the jazz pianist typically plays: as a member of an accompanying rhythm section, as a lead instrument within an ensemble and as a solo instrument. The CD features many examples in the book and combo tracks with which to play along.The book is divided into three sections. The first covers Afro-Cuban (Afro-Caribbean) jazz, the second section deals with Brazilian influenced jazz - Bossa Nova and Samba, and the third contains lead sheets of the tunes and instructions for the play-along CD.The Afro-Cuban section contains a chapter on some basic concepts of traditional Afro-Cuban music, including the clave, tumbao, and montuno. Also, there is a chapter on typical piano voicing used in Afro-Cuban music Latin jazz in general.Next is a chapter on typical comping patterns used in various Afro-Cuban styles such as Mambo, Cha-cha, etc. The last chapter in this section features tunes written in these various styles and arranged for lead instrument, piano and bass, piano lead, and piano solo. The next section on Brazilian-related jazz begins with a chapter on the many varied rhythms typically used in comping for Bossa Novas and Sambas, and concludes with a chapter featuring tunes arranged in the same ways as the first section.The third section contains lead sheets of all the tunes so the reader can play and improvise on them along with the accompanying CD. The reader is encouraged to continually change the way he or she plays these tunes and apply the principles found in this book to other tunes in the Latin jazz repertoire. / Piano

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Andante (Fesch) * Evening Song (Snell) * The Filial Crow (Traditional) * Fughetta (Pachelbel) * Intrada (Haussman) * Little Minuet (Mozart) * Little Song (Beethoven) * Little Song (Mozart) * Lullaby (Snell) * March (Gurlitt) * March (Snell) * Minuet (Snell) * Rigaudon (Handel) * Sonatina in D (Andre) * Sonatina (Schmitt) * Ten Easy Duets For Flute (Snell) * Toccata (Snell).

Par TIPPETT MICHAEL SIR. Like Robert Schumann who often favoured the horn, Sir Michael Tippett who died on 8 January 1998 makes full use of the instrument‘s tonal possibilities in this work. He translated the Romantic genre of horn quartet into a modern tonal language: “All movements contain characteristic calls and triad arpeggios. Sometimes the call itself is the theme, as in the fugue. Sometimes the calls are the accompaniment to a solo, such as in the nocturne.” (Tippett) The forms of the four movements, however, are traditional. The structure of the ?rst movement is reminiscent of the form of a strophic song. The second movement is an allegro, the slow third a nocturne in the traditional ABA form. And ?nally the last movement is a capricious fugue./ Répertoire / 4 Cors

The Welsh traditional song Suo Gân is here arranged for SATB Chorus and Organ Accompaniment by Stephen Cleobury. Written by an anonymous composer, in Welsh it literally means 'Lullaby'. This beautiful arrangement is sure to be a favourite with audiences and choirs alike. It features lyrics in both English and Welsh.This traditional Welsh song has been a favourite within the repertoire for many years, after having been first documented by folklorist Robert Bryan. With versions sung by Charlotte Church, Katherine Jenkins and the Choir of King's College, Cambridge, Suo Gân is one of the most recognisable and well-loved tunes in the Welsh and English repertoire. This new arrangement by Stephen Cleobury will be a welcome addition to any choir's performance, with the combination of such a new take on an established classic with simple beautiful music. / Choeur Mixte (SATB) Et Orgue

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano