| Guitar Chords 101 Guitare notes et tablatures - Facile Hal Leonard
Over 800 Common Chords, Plus Helpful Music Theory Sections. Guitar Educationa...(+)
Over 800 Common Chords,
Plus
Helpful Music Theory
Sections. Guitar
Educational. Chords.
Softcover. 96 pages.
Published by Hal Leonard
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Acoustic Guitar Method Chord Book Guitare [Diagrammes] - Facile String Letter Publishing
Learn to Play Chords Common in American Roots Music Styles. By David Hamburger. ...(+)
Learn to Play Chords
Common in American Roots
Music Styles. By David
Hamburger. String Letter
Publishing. Size 9x12
inches. 48 pages.
Published by String
Letter Publishing.
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Guitar Chords DVD Guitare [DVD] - Facile MJS Music Publications
Common Rhythms and Progressions. By Mark John Sternal. For Guitar. Instructional...(+)
Common Rhythms and
Progressions. By Mark
John Sternal. For Guitar.
Instructional DVD.
Published by MJS.
$12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Refining The March Style Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2 SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105). ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major. Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march. $70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Brasstown Bald Overture - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bells, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Triangle and
more. - Grade 2.5 SKU:
CF.YPS244 Composed by
R. Alan Carter. Set of
Score and Parts.
19+16+4+8+8+4+10+4+4+8+8+
8+12+6+4+6+1+2+1+4+6
pages. Duration 3
minutes, 58 seconds. Carl
Fischer Music #YPS244.
Published by Carl Fischer
Music (CF.YPS244).
ISBN 9781491159859.
UPC:
680160918447. Brass
town Bald is the highest
point in the U. S. state
of Georgia standing at
4,784 ft. It is located
in the northeastern part
of the state and is part
of the southern
Appalachians. The
mountain received its
name from the Cherokee
word Itse'yi (New Green
Place) or (Place of Fresh
Green) referring to its
grassy, instead of
timbered summit. The term
Brasstown came from a
confusion of Itse'yi with
Untsaiyi (brass). The
mountain itself is known
to the native Cherokee
people as Mt. Enotah. The
term Bald is common
terminology describing
mountaintops that have
360-degree unobstructed
views. Brasstown Bald
Overture was written to
depict the beauty and
grandeur of the panoramic
views from the top of
this mountain. The
opening fanfare sets the
mood for the majesty of
the Appalachians. The
addition of the woodwinds
during the second time
through the fanfare
portrays the dancing
sunlight across the
mountain peaks. The
middle section is a
quaint folk tune to
represent the quiet
stillness of the night.
The fanfare return and a
new day breaks
forth. Brasstown Bald
is the highest point in
the U. S. state of
Georgia standing at 4,784
ft. It is located in
the northeastern part of
the state and is part of
the southern
Appalachians. The
mountain received its
name from the Cherokee
word Itse’yi
(“New Green
Placeâ€) or
(“Place of Fresh
Greenâ€) referring
to its grassy, instead of
timbered summit. The term
“Brasstownâ€
came from a confusion of
Itse’yi with
Untsaiyi
(“brassâ€).
The mountain itself is
known to the native
Cherokee people as Mt.
Enotah. The term
“Bald†is
common terminology
describing mountaintops
that have 360-degree
unobstructed
views.  Brasstown
Bald Overture was written
to depict the beauty and
grandeur of the panoramic
views from the top of
this mountain. The
opening fanfare sets the
mood for the majesty of
the Appalachians. The
addition of the woodwinds
during the second time
through the fanfare
portrays the dancing
sunlight across the
mountain peaks. The
middle section is a
quaint folk tune to
represent the quiet
stillness of the night.
The fanfare return and a
new day breaks forth. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Understanding DADGAD Guitare notes et tablatures [Partition + Accès audio] - Facile Mel Bay
For Fingerstyle Guitar. Composed by Doug Young. Perfect binding, Theory a...(+)
For Fingerstyle
Guitar. Composed by
Doug Young. Perfect
binding, Theory and
Harmony. Book and online
audio. Published by Mel
Bay Publications, Inc
(MB.21166M).
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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