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Puttin
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Sheetmusic to print
17 sheet music found
<
1
Puttin' On The Ritz
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Taco
#
Danny Coyne
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Puttin' On The Ritz
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Danny Coyne
#
SheetMusicPlus
Euphonium,Tuba - Level 4 - Digital Download SKU: A0.1176774 By Taco. By Irving Berlin. Arranged by Danny Coyne. 20th Century,Chamber,Jazz. 19 pages. Dann...
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Euphonium,Tuba - Level 4 - Digital Download SKU: A0.1176774 By Taco. By Irving Berlin. Arranged by Danny Coyne. 20th Century,Chamber,Jazz. 19 pages. Danny Coyne #775191. Published by Danny Coyne (A0.1176774). Puttin' on the Ritz was written by Irving Berlin in 1927 and was unpublished until Harry Richman introduced it in the musical Puttin' on the Ritz in 1930. Now arranged for the Portland State Tuba Ensemble in February 2023.
$12.99
Puttin' On The Ritz
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Jazz
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Taco
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Andrew Middleton
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Puttin' On The Ritz
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Andrew Middleton
#
SheetMusicPlus
Small Ensemble Bassoon,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.735131 By Taco. By Irving Berlin. Arranged by Andrew Middleton. Jazz. Score a...
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Small Ensemble Bassoon,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.735131 By Taco. By Irving Berlin. Arranged by Andrew Middleton. Jazz. Score and parts. 19 pages. Andrew Middleton #3543621. Published by Andrew Middleton (A0.735131). Irvine Berlin's classic, Puttin on the Ritz, arranged for Woodwind Quintet.For a full list of available arrangements please visit https://www.sheetmusicplus.com/publishers/andrew-middleton/5200?aff_id=653449For more updates on new arrangements follow my Facebook page on https://www.facebook.com/a.middletonmusic/ Or subscribe to my Youtube page at https://www.youtube.com/channel/UCClIYqddA2wMpdaxSq3BKEw?view_as=subscriber
$14.99
Puttin' On The Ritz
#
Jazz
#
Taco
#
Andrew Will
#
Puttin' On The Ritz
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Andrew Will
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Bass Guitar,Drum Set,Keyboard,Tenor Saxophone,Trombone,Trumpet,Voice - Level 4 - Digital Download SKU: A0.983005 By Taco. B...
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Large Ensemble Alto Saxophone,Bass Guitar,Drum Set,Keyboard,Tenor Saxophone,Trombone,Trumpet,Voice - Level 4 - Digital Download SKU: A0.983005 By Taco. By Irving Berlin. Arranged by Andrew Will. Jazz. Score and parts. 27 pages. Andrew Will #3686053. Published by Andrew Will (A0.983005). A great show band chart. Suitable for student and community bands. Score and Parts included. Enjoy!
$20.00
I'm Putting All My Eggs In One Basket
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Contemporary
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Irving Berlin
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Patrick McAlexander
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I'm Putting All My Eggs In One
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Patrick McAlexander
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SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.777374 Composed by Irving Berlin. Arranged by Patrick McAlexander. Contemporary. Score and parts. 6 p...
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Small Ensemble - Level 4 - Digital Download SKU: A0.777374 Composed by Irving Berlin. Arranged by Patrick McAlexander. Contemporary. Score and parts. 6 pages. Patrick McAlexander #3909339. Published by Patrick McAlexander (A0.777374). Irving Berlin classic, in the barbershop style. As sung by Australian barbershop quartet, Skyline.
$12.99
The Trombonist's Toolkit Method book
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Brink, Philip
#
#
The Trombonist's Toolkit Metho
#
Gordon Cherry
#
SheetMusicPlus
Bass Trombone,Tenor Trombone,Trombone Solo - Level 4 - Digital Download SKU: A0.810966 Composed by Brink, Philip. Instructional,Standards. Individual par...
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Bass Trombone,Tenor Trombone,Trombone Solo - Level 4 - Digital Download SKU: A0.810966 Composed by Brink, Philip. Instructional,Standards. Individual part. 134 pages. Gordon Cherry #4286489. Published by Gordon Cherry (A0.810966). Philip Brink has spent his entire career building the knowledge to assemble this major book on the pedagogy of the Trombone. Below are his words to describe what the book entails. Trombonist’s Toolkit was conceived as exactly that: a resource for troubleshooting one’s playing, for working out problems, for advancing one’s playing skills. It is NOT a method in the traditional sense – no weekly lessons, no planned schedule for arriving at a certain point after a year, two years, etc. The player [you, the reader] can search the topic list for specific problems in need of solution. Most of the topics are organized by general subject areas: air, embouchure, range building, etc. The source for most of what I write is my own personal experience as student, teacher, freelancer and orchestral performer. I owe a great debt of gratitude to teachers, mentors, colleagues and students past and present, for listening to my playing, trying out my concepts, putting up with my questions and so forth. Some of those people are present, some are far away, and sadly, some are no longer living. To all of them I say Thank you, and I hope those of you who read this can recognize what you told me! A word about the organization of the book: most of the concepts requiring practice and/or a physical approach are written out in a special manner; explanatory text is interspersed with exercises detailing a gradual approach to the topic at hand. The appendix contains a number of exercises all together, most of which were developed for my class at Mahidol University College of Music in Thailand. Philip Brink - 2019
$35.00
Summertime
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Contemporary
#
Dorothy Heyward, Du Bose Heywa
#
David Heywood
#
Summertime
#
David Heywood
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.910432 Composed by Dorothy Heyward, Du Bose Heyward, George Gershwin, and Ira Gershwin. Arra...
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Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.910432 Composed by Dorothy Heyward, Du Bose Heyward, George Gershwin, and Ira Gershwin. Arranged by David Heywood. Contemporary. 74 pages. David Heywood #6423731. Published by David Heywood (A0.910432). Summertime by George Gershwin is a song like a beautiful woman, and as such, has many different outfits. In this adaptation, she is putting on her dancing shoes and wearing a Cuban Mambo, and is out to have some fun! This arrangement features a subtle harmonic makeover, easy open solos for everyone that wants one, and a layered entrance section that builds to an open drum solo. Scored for two C flutes with alto and bass flute, with piano/bass/drums with optional guitar. The chart includes written bass lines, piano voicings, and notated drum grooves.
$19.99
Cara e Dolce-Scarlatti-Woodwind Trio 4
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Alessandro Scarlatti
#
Phil Beaman
#
Cara e Dolce-Scarlatti-Woodwin
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Phil Beaman
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bass Clarinet,Flute - Level 4 - Digital Download SKU: A0.844886 Composed by Alessandro Scarlatti. Arranged by Phil Beaman...
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Woodwind Ensemble,Woodwind Trio Bass Clarinet,Flute - Level 4 - Digital Download SKU: A0.844886 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,Standards. 6 pages. Phil Beaman #5969595. Published by Phil Beaman (A0.844886). The Italian Baroque composer Alessandro Scarlatti wrote Cara e Dolce as a Vocal Aria for his opera Fidalba e Oreste (ca 1679). It was originally written with just melody and a figured bass line. I have arranged it for an Instrumental Trio. I began by putting the original melody and bass line in place with minor changes. Then I realized a single inner voice according to the figured bass. Since there were no lyrics now, I needed to add interest musically. I next elaborated each of the lines with extra notes to create a more melodic line for each part. Then in several places I also elaborated the figured bass and used period chord substitutions to strengthen texture. Next I devised detailed new phrasing to create a more polyphonic feeling. Finally I decorated with numerous baroque ornaments and dynamics. Don't worry, all that effort was just to make it easy and fun for you to play and absolutely gorgeous. This piece is a fantastic addition to Baroque period repertoire.
$6.99
Cara e Dolce-Scarlatti-Mixed Trio 3
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Alessandro Scarlatti
#
Phil Beaman
#
Cara e Dolce-Scarlatti-Mixed T
#
Phil Beaman
#
SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Violin - Level 4 - Digital Download SKU: A0.844889 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Ope...
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Small Ensemble Bassoon,Clarinet,Violin - Level 4 - Digital Download SKU: A0.844889 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,Standards. Score and parts. 6 pages. Phil Beaman #5969615. Published by Phil Beaman (A0.844889). The Italian Baroque composer Alessandro Scarlatti wrote Cara e Dolce as a Vocal Aria for his opera Fidalba e Oreste (ca 1679). It was originally written with just melody and a figured bass line. I have arranged it for an Instrumental Trio. I began by putting the original melody and bass line in place with minor changes. Then I realized a single inner voice according to the figured bass. Since there were no lyrics now, I needed to add interest musically. I next elaborated each of the lines with extra notes to create a more melodic line for each part. Then in several places I also elaborated the figured bass and used period chord substitutions to strengthen texture. Next I devised detailed new phrasing to create a more polyphonic feeling. Finally I decorated with numerous baroque ornaments and dynamics. Don't worry, all that effort was just to make it easy and fun for you to play and absolutely gorgeous. This piece is a fantastic addition to Baroque period repertoire.
$6.99
Are You Gonna Go My Way
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Pop music
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Lenny Kravitz
#
Bill Swick
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Are You Gonna Go My Way
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Bill Swick
#
SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.810640 By Lenny Kravitz. By Craig Ross and Lenny Kravitz. Arranged by Bill Swick. Pop. Score and part...
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Small Ensemble - Level 4 - Digital Download SKU: A0.810640 By Lenny Kravitz. By Craig Ross and Lenny Kravitz. Arranged by Bill Swick. Pop. Score and parts. 34 pages. Bill Swick #6596449. Published by Bill Swick (A0.810640). This arrangement of Are You Gonna Go My Way? is written for a guitar quartet and two electric guitars, piano, drums, and bass. It may be performed with a large ensemble as well. The range and rhythms are at the intermediate level for acoustic guitars. The electric guitars have more complex rhythms and an extended range to high G putting those parts in the advanced level. This would be ideal for Year 2, Quarter 3 for acoustic guitars and Year 3, Quarter 3 for electric guitars.
$30.00
Wolf Skin
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Elizabeth Skola Davis
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Wolf Skin
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Elizabeth Ann Davis
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SheetMusicPlus
Double Bass,Piano Accompaniment,Tenor Voice - Level 4 - Digital Download SKU: A0.826963 Composed by Elizabeth Skola Davis. Children,Contemporary. 19 page...
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Double Bass,Piano Accompaniment,Tenor Voice - Level 4 - Digital Download SKU: A0.826963 Composed by Elizabeth Skola Davis. Children,Contemporary. 19 pages. Elizabeth Ann Davis #2849785. Published by Elizabeth Ann Davis (A0.826963). Wolf Skin, an original song for male voice, upright bass, and piano, was written to accompany a prose poem of the same name by Mary McMyne, which originally appeared in the Los Angeles Review and was subsequently reprinted as the title poem in McMyne's Elgin-Award-nominated collection (Wolf Skin, Dancing Girl Press, 2014). The lyrics and music retell the Little Red Riding Hood folktale from the huntsman's perspective, putting the listener into the position of the hero in the Brothers Grimm variant as he enters the grandmother's house. Inside, the baritone sings, the shadows shape a riddle, a story. The half-burnt candle in the kitchen, the unwashed dishes. The cloth-covered basket by the door. With these lines, we travel into the grandmother's house with the huntsman, the bass conjuring the strange buzzing sound of the wolf's snores, the piano manifesting the huntsman's realization of what happened before he arrived. The discord between the three voices in the trio, like the poem, questions the classic tale, interrogating the familiar trope of huntsman as hero at the same time as it pays homage to Franz Schubert's Erlkönig with its driving rhythm and dark tone.Bass part may be played by cello.Baritone version also available.
$3.99
Wolf Skin
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Elizabeth Skola Davis
#
Wolf Skin
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Elizabeth Ann Davis
#
SheetMusicPlus
Double Bass,Medium Voice,Piano Accompaniment - Level 4 - Digital Download SKU: A0.826962 Composed by Elizabeth Skola Davis. Children,Contemporary. 18 pag...
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Double Bass,Medium Voice,Piano Accompaniment - Level 4 - Digital Download SKU: A0.826962 Composed by Elizabeth Skola Davis. Children,Contemporary. 18 pages. Elizabeth Ann Davis #2849783. Published by Elizabeth Ann Davis (A0.826962). Wolf Skin, an original song for male voice, upright bass, and piano, was written to accompany a prose poem of the same name by Mary McMyne, which originally appeared in the Los Angeles Review and was subsequently reprinted as the title poem in McMyne's Elgin-Award-nominated collection (Wolf Skin, Dancing Girl Press, 2014). The lyrics and music retell the Little Red Riding Hood folktale from the huntsman's perspective, putting the listener into the position of the hero in the Brothers Grimm variant as he enters the grandmother's house. Inside, the baritone sings, the shadows shape a riddle, a story. The half-burnt candle in the kitchen, the unwashed dishes. The cloth-covered basket by the door. With these lines, we travel into the grandmother's house with the huntsman, the bass conjuring the strange buzzing sound of the wolf's snores, the piano manifesting the huntsman's realization of what happened before he arrived. The discord between the three voices in the trio, like the poem, questions the classic tale, interrogating the familiar trope of huntsman as hero at the same time as it pays homage to Franz Schubert's Erlkönig with its driving rhythm and dark tone.Bass part may be played by cello.Tenor version also available.
$3.99
This Is Halloween
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Halloween
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Danny Elfman
#
Micaiah Bennett
#
This Is Halloween
#
Micaiah Bennett
#
SheetMusicPlus
String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.518070 Composed by Danny Elfman. Arranged by Micaiah Bennett. Broadwa...
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String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.518070 Composed by Danny Elfman. Arranged by Micaiah Bennett. Broadway,Christmas,Film/TV,Halloween,Holiday,Musical/Show. 50 pages. Micaiah Bennett #128798. Published by Micaiah Bennett (A0.518070). A fan favorite, The Nightmare Before Christmas; featuring the opening song This Is Halloween, written by the one and only Danny Elfman. Many know this piece to be a prime example of the Danny Elfman style. A style so unique a single key signature can't be used. This arrangement is a fun arrangement for an advanced solo string chamber group to perform, putting the technical abilities of the player to a test. Alternating between near-spiccato, to flowing phrases everyone involved is sure to enjoy it.
$50.00
Cara e Dolce-Scarlatti-Mixed Chamber Trio 2
#
Alessandro Scarlatti
#
Phil Beaman
#
Cara e Dolce-Scarlatti-Mixed C
#
Phil Beaman
#
SheetMusicPlus
Small Ensemble Bassoon,Oboe,Violin - Level 4 - Digital Download SKU: A0.844884 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,S...
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Small Ensemble Bassoon,Oboe,Violin - Level 4 - Digital Download SKU: A0.844884 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,Standards. Score and parts. 6 pages. Phil Beaman #5969527. Published by Phil Beaman (A0.844884). The Italian Baroque composer Alessandro Scarlatti wrote Cara e Dolce as a Vocal Aria for his opera Fidalba e Oreste (ca 1679). It was originally written with just melody and a figured bass line. I have arranged it for an Instrumental Trio. I began by putting the original melody and bass line in place with minor changes. Then I realized a single inner voice according to the figured bass. Since there were no lyrics now, I needed to add interest musically. I next elaborated each of the lines with extra notes to create a more melodic line for each part. Then in several places I also elaborated the figured bass and used period chord substitutions to strengthen texture. Next I devised detailed new phrasing to create a more polyphonic feeling. Finally I decorated with numerous baroque ornaments and dynamics. Don't worry, all that effort was just to make it easy and fun for you to play and absolutely gorgeous. This piece is a fantastic addition to Baroque period repertoire.
$6.99
Cara e Dolce-Scarlatti-Woodwind Trio 2
#
Alessandro Scarlatti
#
Phil Beaman
#
Cara e Dolce-Scarlatti-Woodwin
#
Phil Beaman
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bass Clarinet,Oboe - Level 4 - Digital Download SKU: A0.844885 Composed by Alessandro Scarlatti. Arranged by Phil Beaman....
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Woodwind Ensemble,Woodwind Trio Bass Clarinet,Oboe - Level 4 - Digital Download SKU: A0.844885 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,Standards. 6 pages. Phil Beaman #5969589. Published by Phil Beaman (A0.844885). The Italian Baroque composer Alessandro Scarlatti wrote Cara e Dolce as a Vocal Aria for his opera Fidalba e Oreste (ca 1679). It was originally written with just melody and a figured bass line. I have arranged it for an Instrumental Trio. I began by putting the original melody and bass line in place with minor changes. Then I realized a single inner voice according to the figured bass. Since there were no lyrics now, I needed to add interest musically. I next elaborated each of the lines with extra notes to create a more melodic line for each part. Then in several places I also elaborated the figured bass and used period chord substitutions to strengthen texture. Next I devised detailed new phrasing to create a more polyphonic feeling. Finally I decorated with numerous baroque ornaments and dynamics. Don't worry, all that effort was just to make it easy and fun for you to play and absolutely gorgeous. This piece is a fantastic addition to Baroque period repertoire.
$6.99
Cara e Dolce-Scarlatti-Woodwind Trio 3
#
Alessandro Scarlatti
#
Phil Beaman
#
Cara e Dolce-Scarlatti-Woodwin
#
Phil Beaman
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bass Clarinet,Flute,Oboe - Level 4 - Digital Download SKU: A0.844882 Composed by Alessandro Scarlatti. Arranged by Phil B...
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Woodwind Ensemble,Woodwind Trio Bass Clarinet,Flute,Oboe - Level 4 - Digital Download SKU: A0.844882 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,Standards. 6 pages. Phil Beaman #5969543. Published by Phil Beaman (A0.844882). The Italian Baroque composer Alessandro Scarlatti wrote Cara e Dolce as a Vocal Aria for his opera Fidalba e Oreste (ca 1679). It was originally written with just melody and a figured bass line. I have arranged it for an Instrumental Trio. I began by putting the original melody and bass line in place with minor changes. Then I realized a single inner voice according to the figured bass. Since there were no lyrics now, I needed to add interest musically. I next elaborated each of the lines with extra notes to create a more melodic line for each part. Then in several places I also elaborated the figured bass and used period chord substitutions to strengthen texture. Next I devised detailed new phrasing to create a more polyphonic feeling. Finally I decorated with numerous baroque ornaments and dynamics. Don't worry, all that effort was just to make it easy and fun for you to play and absolutely gorgeous. This piece is a fantastic addition to Baroque period repertoire.
$6.99
Cara e Dolce-Scarlatti-Mixed Chamber Trio
#
Alessandro Scarlatti
#
Phil Beaman
#
Cara e Dolce-Scarlatti-Mixed C
#
Phil Beaman
#
SheetMusicPlus
Small Ensemble Cello,Flute,Oboe - Level 4 - Digital Download SKU: A0.844883 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,Stan...
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Small Ensemble Cello,Flute,Oboe - Level 4 - Digital Download SKU: A0.844883 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,Standards. Score and parts. 6 pages. Phil Beaman #5969519. Published by Phil Beaman (A0.844883). The Italian Baroque composer Alessandro Scarlatti wrote Cara e Dolce as a Vocal Aria for his opera Fidalba e Oreste (ca 1679). It was originally written with just melody and a figured bass line. I have arranged it for an Instrumental Trio. I began by putting the original melody and bass line in place with minor changes. Then I realized a single inner voice according to the figured bass. Since there were no lyrics now, I needed to add interest musically. I next elaborated each of the lines with extra notes to create a more melodic line for each part. Then in several places I also elaborated the figured bass and used period chord substitutions to strengthen texture. Next I devised detailed new phrasing to create a more polyphonic feeling. Finally I decorated with numerous baroque ornaments and dynamics. Don't worry, all that effort was just to make it easy and fun for you to play and absolutely gorgeous. This piece is a fantastic addition to Baroque period repertoire.
$6.99
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
#
Instructional
#
Nathan Petitpas - Dots and Bea
#
Pitch and Rhythm - Treble Clef
#
Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - Digital Download SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00
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