Basics, Reading, Rhythm, Technique, Rudiments. Par BECKER HANS-PETER. Thorough and easy-to-understand drum method from Germany’s most versatile drummer: the basics including reading, rhythm, technique and rudiments. Teaches beginners the necessary fundamentals in order to play drums creatively and in a variety of differing styles. / Niveau : Débutant / All Styles - Methods / Méthode / Batterie et Percussions

Valssi nro 2 sarjasta varieteeorkesterille - Nelikätinen piano. Par CHOSTAKOVITCH DIMITRI. A new arrangement four piano duet (four hands) of Dmitri Shostakovich's famous Waltz no. 2 for Suite for Variety Orchestra divides melody and accompaniment equally between the two voices. / Date parution : 2023-06-01/ Répertoire / Piano 4 Mains

Par CHOSTAKOVITCH DIMITRI. Shostakovich composed a wide variety of music. His music includes Symphonies, String Quartets, Concertos, Sonatas, Film Music and Jazz inspired pieces. In this publication we feature the very famous Waltz No.2 from his Suite for Variety Orchestra arranged for treble recorder and piano by Irmhild Beutler and Sylvia Rosin. Familiar to many as the title music to the movie Eyes Wide Shut, Dmitri Shostakovich's Waltz No. 2 from the Suite for Variety Orchestra - which is better known as Jazz Suite No. 2 - has mysterious and lascivious qualities that call to mind circus or variety music. Sylvia Rosin and Irmhild Beutler have arranged this dramatic Russian performance piece for treble recorder and piano, thus adding another well-known classic to the instrumental literature available. Shostakovich's stirring Waltz No. 2 will be thoroughly enjoyed by players and audiences alike. Effective Russian performance piece Easy arrangement for treble recorder and piano Famous title music from the film 'Eyes Wide Shut' / Date parution : 2015-11-20/ Répertoire / Flûte à Bec Alto et Piano

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

In Full Score. . Par MOZART WOLFGANG AMADEUS. Outstanding in their variety and degree of innovation, Mozart's piano concertos reflect his genius as a composer and demonstrate just why he has remained so popular. The first of the works was precociously written in 1767, when he was merely 11 years old, and yet the pieces all possess his characteristic keyboard mastery, experimentation with texture and a natural sensitivity to form and balance. The Concerto form, most notably for piano, continued to be a lifelong preoccupation for Mozart, though it could be said that these formative pieces foreshadow the larger and greater works to come. This volume contains the full score for each of the Concertos and has been reproduced complete and unabridged from authoritative editions, it offers a revealing look at the development of a budding master. Outstanding in their variety and degree of innovation, Mozart's piano concertos reflect his genius as a composer and demonstrate just why he has remained so popular. The first of the works was precociously written in 1767, when he was merely 11 years old, and yet the pieces all possess his characteristic keyboard mastery, experimentation with texture and a natural sensitivity to form and balance. The Concerto form, most notably for piano, continued to be a lifelong preoccupation for Mozart, though it could be said that these formative pieces foreshadow the larger and greater works to come. This volume contains the full score for each of the Concertos and has been reproducedcomplete and unabridged from authoritative editions, it offers a revealing look at the development of a budding master./ Répertoire / Piano

Additional books to complement the tutor for adults and young people. Play the Piano! Levels 1 & 2, are now available providing specially arranged favourite pieces in keeping with the technical level attained by the end of each course book. Whilst still under Mike's guiding hand, here is the chance for players to explore and enjoy more beautiful music in a variety of styles, confident that the technical levels are within their capabilities. Includes popular classics by Purcell, Handel, Bach, Mozart, Grieg, Humperdinck, Schumann, Chopin, Rimsky-Korsakov, Brahms, Elgar and more. Also included are traditional folksong favourites along with selections of Jazzy, Latin and Ragtime pieces by Scott Joplin, Mike Cornick and Duke Ellington. • Includes 'In the Shed' by Mike Cornick • Easy arrangements of favourite pieces in a variety of musical styles • Pieces for any middle-grade pianist seeking to broaden their repertoire and ideal for those who have completed the tutor PLAY THE PIANO! Level 2 – for more music to play and enjoy • Helpful advice is provided with each piece and, in some cases, suggestions for further listening • FREE DOWNLOADS of play-along versions and/or demonstration performances of some pieces are available from: www.universaledition.com/pianorepertoire2/ Recueil / Piano

Additional books to complement the tutor for adults and young people Play the Piano! Levels 1 & 2, are now available providing specially arranged favourite pieces in keeping with the technical level attained by the end of each course book. Whilst still under Mike's guiding hand, here is the chance for players to explore and enjoy more beautiful music in a variety of styles, confident that the technical levels are within their capabilities. Includes popular classics by Purcell, Handel, Bach, Mozart, Grieg, Humperdinck, Schumann, Chopin, Rimsky-Korsakov, Brahms, Elgar and more. Also included are traditional folksong favourites along with selections of Jazzy, Latin and Ragtime pieces by Scott Joplin, Mike Cornick and Duke Ellington. • Easy arrangements of favourite pieces in a variety of musical styles • Pieces for any easy-level pianist seeking to broaden their repertoire and ideal for those who have completed the tutor PLAY THE PIANO! Level 1 - for more music to play and enjoy • Helpful advice is provided with each piece and, in some cases, suggestions for further listening • FREE DOWNLOADS of play-along versions and/or demonstration performances of some pieces are available from: www.universaledition.com/pianorepertoire1/ Recueil / Piano

This book is designed to help saxophonists develop fluency in the jazz language by providing mainstream jazz vocabulary (swing/bop/post-bop) that nails the changes and lays great on the horn. Think of Hip Licks for Saxophone Volume 2 as a musical reference book, like a dictionary of great licks in all twelve keys, available when you need it. You can open the book to any page and just start playing. Hip Licks for Saxophone Volume 2 is an indispensable resource that shows you how a professional player would deal with many of the complex chord progressions found in popular standards and jazz compositions.

Sound Innovations: Ensemble Development for Advanced Concert Band builds upon the concepts in Ensemble Development for Intermediate Concert Band with 399 new exercises that are more technically and musically challenging, including over 70 chorales written by some of today's most renowned composers for concert band, including: Roland Barrett, Chris Bernotas, Andrew Boysen, Ralph Ford, Rossano Galante, David Gillingham, Stephen Melillo, Robert Sheldon,Todd Stalter, Jack Stamp, Randall Standridge, and Michael Story. This book is a valuable resource in helping students grow in their understanding and abilities as ensemble musicians. Exercises are grouped by key and presented in a variety of intermediate to advanced difficulty levels. Where possible, several exercises in the same category are provided to allow variety while accomplishing the same goals. Its flexibility makes it perfect for large ensemble rehearsals, lessons, and studio use. / Baryton

Here we have a typical minor blues in all 12 keys. Few chord progressions offer the freedom and variety of expression found in the minor blues progression. Great players have all approached this chord progression in a variety of ways from attacking each chord vertically in its pure form to playing horizontally ?across? the progression, usually with a blues or minor pentatonic scale, to taking all or part of the changes totally harmonically ?out?. A perfect practice set for all musicians! Rob Schneiderman, piano Akira Tana, drums Rufus Reid, bass.

Eb Alto 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 Alto

Sound Innovations: Ensemble Development for Advanced Concert Band builds upon the concepts in Ensemble Development for Intermediate Concert Band with 399 new exercises that are more technically and musically challenging, including over 70 chorales written by some of today's most renowned composers for concert band, including: Roland Barrett, Chris Bernotas, Andrew Boysen, Ralph Ford, Rossano Galante, David Gillingham, Stephen Melillo, Robert Sheldon,Todd Stalter, Jack Stamp, Randall Standridge, and Michael Story. This book is a valuable resource in helping students grow in their understanding and abilities as ensemble musicians. Exercises are grouped by key and presented in a variety of intermediate to advanced difficulty levels. Where possible, several exercises in the same category are provided to allow variety while accomplishing the same goals. Its flexibility makes it perfect for large ensemble rehearsals, lessons, and studio use. / Cor

Par HARRIS PAUL. Two by Two (flute and clarinet) brings you a variety of mixed ability duets for clarinet and flute. Including a variety of original pieces by Paul Harris, plus arrangements of works from composers such as Mozart, Schubert, Bach and Handel.  / Instrumental Music / Recueil / Flûte Traversière et Clarinette

Arrangeur: Shelley Collins. Par BEETHOVEN LUDWIG VAN. Ludwig van Beethoven's Variations on 'La ci darem la mano' from Wolfgang Amadeus Mozart's Don Giovanni was originally composed in 1795 for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes. Ludwig van Beethoven's Variations on 'La ci darem la mano' from Wolfgang Amadeus Mozart's Don Giovanni was originally composed in 1795 for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes./ Répertoire / 3 Flûtes Traversières