I Recommend

Imagine someone who has worked as an international saxophonist, an educator, a technician, a consultant, and as a designer, and you can imagine Peter Ponzol. For the first time, Peter offers details from his famous Saxophone Workshops. Learn about: ? Maintenance ? Reeds ? Mouthpieces ? Ligatures ? Sound ? Flexibility This exciting and informational pocket book will be a much needed addition to your musical library! Convenient pocket-sized book - 3.5 x 5.5 - perfect to toss in your gig bag! 64 pages. Peter has been around saxophones for decades, doing it all from manufacturing horns to reeds to mouthpieces. As well, he is a seasoned player. What he discusses in this book is coming from one of the sources-read carefully! - David Liebman, Sax artist/ author/ clinician. Read this review from Sax On The Web: The information in this book is right up SOTW?s alley, with answers regarding reeds, necks, mouthpieces, saxes, maintenance, and the like. I would assume that the number of redundant threads started could be reduced almost in half simply with a reading of this book and those owning it could refer back to it at their leisure, as needed. And there is enough info in this book which contradicts some of our SOTW urban legends to make an episode of MythBusters. If you catch the right posts at the right time, much of the info in this book is already posted here on SOTW. But you have to see it and if hunting for it, you have to find it. OTOH it?s all conveniently gathered and organized here in this primer - plus more. There are suggestions such as replacing the neck cork once or twice a year, which I would, if posting a response, say is not necessary. But here?s the difference. Many of us on the forum are experienced musicians but few have the experience and depth that Ponzol has. We can write with credibility - Ponzol writes with authority. And this is based on decades not only as a top-echelon player, but as a successful and innovative sax, neck and mpc designer. The book is a 61 page pocket reference booklet which, in addition to topics mentioned above, include thoughts on ligatures, sound and flexibility. It is based on items of interest asked by attendees at workshops he has given over the years, hence the title. He begins by pointing out that at these workshops one of the first things he does is look at the condition of attendees' equipment with the observation that at least 90% of them need some kind of work and adjustments. What follows in the book?s 61 pages are recommendations generated by this observation. Included are interesting comments such as: aging store-bought reeds by letting them sit for several years is fairly useless since the aging process stops once the bark has been cut away from the reed; not earth-shattering but interesting and certainly myth debunking. Again something that fits right in with many of the conversations on this forum. Interesting thoughts follow regarding the future of natural cane reeds, or how to select and get the most from your reeds - things I wouldn?t think of like sanding the heel of your reed. SOTWers might also get a kick out of, and relate to, the title of his section on mouthpieces, ?Now the Fun Begins?. There are also interesting side comments we don?t often hear like: in the 70s so many young players like Ponzol were trying to get Trane?s recorded sound by working on metal Links because that?s what they saw in photos and yet, Trane often recorded with hard rubber mpcs because, in Trane's opinion, it didn?t have as much spit in the sound for him. It?s interesting how some things come around back to you. There are two exercises I recommend to my students and have recommended on the forum regarding volume and embouchure control and flexibility. I?ve never heard anyone else recommend these exercises and yet here they are in Peter?s book. Then it hit me. The only other one I know who uses them is a former teacher of mine and I remembered that years ago he said he had had some lessons with Ponzol. So ?the circle is unbroken? LOL. I would highly recommend it for beginners and intermediates, as well as for more advanced players to recommend to their students. It has made me re-think even some of my most basic assumptions regarding equipment and maintenance, which has made the read well worth it. I wish every SOTW newbie would start out their Forum time with this booklet at their disposal.

Par RICHMOND JEFF / BENJAMIN NELL. This 2018 Broadway adaptation of the hit 2004 movie about the cut-throat social status of a group of teenage girls features lyrics by Nell Benjamin with music by Jeff Richmond and was nominated for several Tony Awards®. Our folio includes 10 songs in easy piano arrangements: / Niveau : Facile / TV, Film, Comédie musicale / Répertoire / Piano

Fg. Par GERNOT WOLFGANG. ...clever, finely-crafted, interesting modern work for the bassoon (...) Wolfgang's style is fundamentally atonal, but highly developmental, utilizing very interesting melodic and rhythmic motives to bind the music together. The influences of jazz and rock are clearly audible, and the entire structure has a wonderful sense of finesse and completion. (...) If you are looking for a tough-but-fun composition for your next performance, this neat work will fill the bill very well. I recommend it strongly to all you brave bassoonists out there looking for a nifty challenge. (Double Reed, Vol. 31.No. 2) ...This little sketch for bassoon, which highlights both its energetic and its lyrical capabilities, is quite delightful. Even multiphonics are used imaginatively and to musically sensible effect, rather than displaying their more common function as exercises in ugliness. ...' (Walter Simmons, Fanfare Magazine, August 2008)/ Répertoire / Basson

Publié par Bántai Vilmos, Kovács Gábor Instrument: Flute Série: Music Lesson - Exercises, Studies Genre: Studies Pages: 36 pp Date du parution: 1980 The three volumes contain 176 studies by 25 composers. The selection was made according to technical usefulness and musical value. The studies follow in order of the grade of difficulty and are grouped around certain problems. All three volumes can be applied as supplementary material to any flute tutor. Their use should be determined by the progress of the student and not by the class he attends. We recommend the first volume (Z. 8591) for beginners, the second (Z. 8592) one for advanced students on the lower level, the third (Z. 8593) for intermediate students.

Description This book is designed to teach the guitarist the technique of chord soloing. This technique is extremely valuable to all guitarists because chords and melodies are played together; there is no need for an accompanying instrument. Each chapter focuses on a different aspect of chord soloing. I would recommend that novice guitarists start at the beginning and work through the book slowly. Intermediate players may want to find a chapter that looks challenging and start at that point. By the end of this book, you will be able to take any lead sheet and turn it into a guitar arrangement. Enjoy the journey into the fascinating world of chord soloing.

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted viola parts to his two sonatas. In any case the viola and clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms' authorship of the viola parts. They include important differences from the clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Alto Et Piano

The first three movements of Johannes Brahms' E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms' life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann's advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists' van Vliet, Becker and Klengel's fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked urtext part.An important part of this edition is the extensive preface. Firstly it informs about the works' origins, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight in Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano

A must have for all pianists seeking a creative approach to developing left and right hand coordination. The exercises and solos (based on the chord changes to well-known standards) are rhythmic, colorful, and fun to play. The chapters cover six specific areas of left hand development and left/right hand integration, with practical application from standard jazz tunes in the form of musical solo piano pieces. This book will definitely be an essential part of your practice routine. Besides improving your hand coordination, it will challenge you to think differently about it. All of the concepts are easily applicable to the real world. Highly endorsed! Pianist Emiko Hayashi has written a very comprehensive, challenging yet very accessible method book. With exercises designed for left hand alone and exercises designed to develop interplay between the hands, I wholeheartedly recommend this book. I\'ve already started practicing! - Kenny Barron In Etudes for Jazz Piano Emiko Hayashi illuminates a challenge that faces scores of jazz pianists at all levels; that of integrating the left hand in improvisation in a meaningful way, not only as an accompanist, but as an integral part of the whole. By taking various jazz standards and creating etudes specifically for the left hand as well as for developing coordination and the conversational aspects between the left and right hands, Ms. Hayashi illustrates many possibilities for expanding one�s technical and expressive range. I would think this set of etudes would be extremely useful to jazz pianists at any stage of development since the obvious outcome of the study will improve one�s ability to play melodically and expressively throughout the keyboard, without regard to the traditional roles of the left and right hands. - Todd Coolman It is understood that all musicians must play piano. Emiko\'s book fills a void for non-pianists addressing specific technical problems which will help towards being able to use the piano to improve and enlarge one\'s playing and composing, no matter what instrument you play. This is a hands-on book directed towards immediate results. - David Liebman

Piano Pieces op. 118 Editor: Katrin Eich Fingering: Andreas Boyde Urtext Edition, paperbound revised edition replaces HN 122 Pages: 35 (VII, 28), Size 23,5 x 31,0 cm Order no. HN 1215 · ISMN M-2018-1215-1 When his contemporaries heard the works that Johannes Brahms had composed during his summer holiday in Ischl in 1893 – the Piano Pieces op. 118 –, they were delighted. Clara Schumann was one of the first to be allowed to get to know the new pieces, and she attested that they contained “a wealth of sentiment in the smallest of dimensions”. Philipp Spitta fittingly said that the works were “perfect for slowly absorbing in solitude and tranquillity”. Opus 118 contains two of the composer’s bestknown miniatures – the Intermezzo in A major and the Romanze in F major. We particularly recommend this volume, based on the musical text in the New Brahms Complete Edition, to all those who wish to immerse themselves in the world of Brahms’ late works. Contenu : Ballad g minor op. 118,3 Intermezzo A major op. 118,2 Intermezzo a minor op. 118,1 Intermezzo e flat minor op. 118,6 Intermezzo f minor op. 118,4 Romance F major op. 118,5

Ecrit en 01/01/14 et 01/01/15, Praxipode est constitué d'un ensemble de vingt pièces regroupées en trois suites distinctes, Elles ont été écrites dans le but d'aider les organistes à user du pédalier de manière progressive, Le recueil fait suite à Dactylopraxie, destiné au manuel seul, et en adopte exactement la même structure, Si les différentes pièces qui composent chaque suite peuvent être isolées ou regroupées selon les envies des interprètes, elles sont néanmoins reliées entre elles par un propos identique qui en assure la cohérence et apparente les trois ensembles au genre des Partitas, This collection of concise works by Christophe Marchand is an excellent introduction for beginning organ students to develop a good, solid pedal technique and independence for the performance of 21st century music, I highly recommend this superb collection without any reservations,James David Christie Ce nouveau recueil de Christophe Marchand est une musique charmante et inspirante qui prépare à l'écoute de la musique d'aujourd'hui,Bernhard Haas Praxipode est à la fois original, bien construit, et surtout très adapté à l'évolution des jeunes organistes grâce à l'acquisition de réflexes bien ciblés, le tout sous un aspect ludique qui, j'imagine, doit facilement séduire les plus jeunes, Bref, une réussite !Olivier Latry Christophe Marchand réconcilie travail et jeu, ce qui n'est pas un mince défi ! Une oeuvre à mettre entre toutes les mains, et tous les pieds oserait-on dire,Aude Heurtematte et Christophe Mantoux / Orgue

Learn the art of jazz vocal improvisation! This book will help you hear, understand and apply jazz theory so that you can solo as a complete musician?in the same way that instrumentalists do. Each lesson offers a core musical concept related to harmony, melody, and rhythm, integrating skills such as conducting and analysis. All concepts are reinforced with practical exercises. The accompanying audio tracks demonstrate techniques and let you practice improvising along with a piano accompaniment.
You will learn to:
Develop your sense of timing and swing
Understand jazz harmony, such as tensions and non-diatonic chords, as well as chord progressions such as II V and cycle V progressions, and use harmony as your basis for creating expressive solos
Navigate song forms, such as AABA, blues forms, turnarounds, and other common jazz structures
Improve your ear for jazz harmony through studying intervals and chord progressions, and by memorizing emblematic jazz melodic patterns
Create expressive vocal lines that work well over jazz chords and integrate well within the context of a jazz ensemble
?Mili Bermejo?s Vocal Jazz Improvisation is the most comprehensive vocal book I have ever seen on improvisation. Her years of research and her wisdom and artistry leave no stones unturned. I would recommend this book to instrumentalists as well, to develop their ears and breadth of expression.?
?Jerry Bergonzi, Jazz Saxophonist, Composer, Author, Educator

?I have been a huge fan of Mili as an artist for many years now, and have admired her impeccable skills as a teacher for just as long. Seeing Mili perform in duo with Dan Greenspan is one of the great wonders of the world. They make voice and bass seem like an orchestra, harmonically rich and complete, and emotionally compelling. How lucky for us that Mili has written a book on improvisation from her own assured and gracious vantage point. Her approach is accessible, organic, personal, and best of all, inspiring! She takes the fear factor out and provides tools to make improvisation a truly creative and joyful experience.?
?Peter Eldridge, Jazz Singer, Pianist, Composer (New York Voices)

?Creating awareness is at the core of this beautiful material that was very much needed in the vocal jazz field. Here is a book with clever, effectively organized information for all vocalists to develop a practical framework that covers the foundation to find confidence, strength and ultimately freedom as a vocal improviser.
Mili?s music speaks to the heart, overflowing with humanity, joy, and compassion, and this book does the same. Mili traces a clear path, guiding us step by step along the way. She draws on her own experience, which I must say reflects all vocalists? experience, as we walk this fascinating journey of jazz singing.?
?Magos Herrera, GRAMMY-nominated Jazz Singer

?How lucky for all of us that Mili Bermejo put her decades of experience and skill as both performer and teacher into this book. What a gift! Thank you, Mili.?
?Tierney Sutton, Multi-GRAMMY Nominated Jazz Singer
/ Méthodes et pédagogie / Chant / / BERKLEE

Par FAURE GABRIEL. The Trumpet?s powers of expression are not limited to the pompous accents and ringing tones of the Triumphal March of Verdi?s Aida. To all doubters, we strongly recommend opening Volume 2 ofMélodies Et Pièces Diverses by Gabriel Fauré, transcribed for Trumpet and Piano by internationally acclaimed soloist Guy Touvron. In this volume,gentleness and express­iveness prevail. With its slow tempo and dolce opening indication, the well-known melody Après un rêve floats a legato song that goes straight to the heart, asdoesTristesse with its fluid, subtle melodic gesture. While Le Papillon et la Fleur still bow to the aesthetics of the romance, the Absent (also based on Hugo?s verse) erects a vast dramaticnarrative with very simple means. Au Cimetière completes this selection of melodies that is enhanced by two originally instrumental pieces, the Berceuse Op. 16 for Violin and Piano and the Romance sansparoles No. 3 for Piano. Faithful to the Faurian spirit as defined by Jankelevitch, these transcriptions ?whisper into the ear of those who deserve to hear?. / Date parution : 2022-02-26/ Recueil / Trompette et Piano

Par O'NEILL JOHN. These methods provide complete courses for players off all ages, guiding students from their first note to 'classics', together with compositions by contemporary writers. Each book is accompanied by high quality rhythm section tracks recorded on compact disc. Right from the start, students can enjoy authentic jazz sounds, playing in the company of professionals. With step-by-step instruction and a progression of specially written pieces, the fundamental elements of good technique are introduced alongside the rhythmic subtleties of jazz. Improvisation is encouraged from an early stage and is given direction through the systematic study of scales and arpeggios and advice on ear-training and chord patterns. With supplementary suggestions for listening and reading, and an Appendix containing all the chord progressions for 'live' accompaniment of the tunes, 'The Jazz Methods' are ideally suited to both students working alone and those learning with a teacher. 'John O'Neill has a solid understanding of jazz and how it can be taught. I highly recommend his educational jazz materials.' (Jamey Aebersold) '...a rare opportunity for a new player (or a more experienced one) to develop a really musical facility. A rare addition to the jazz improvising library.' (Lee Konitz, international jazz saxophone soloist) The Saxophone is, for many, the instrument of jazz and there is an enormous and exciting repertoire waiting to be explored by newcomers to the instrument. 'The Jazz Method for Saxophone' will guide beginners of all ages from producing their first note on the saxophone to the performance of full-blown jazz pieces, including 'classics' by Thelonious Monk, Charlie Parker, Sonny Rollins and Horace Silver, as well as contributions from leading contemporary jazz players and composers. Backing for all the music-specially recorded for this method is provided on the accompanying CD so that, right from the start, student saxophonists can enjoy an authentic jazz sound, playing in the company of a top-class rhythm section (bass, guitar, drums) used later to support first attempts at improvisation. With step by step instruction and a progression of specially written pieces, the fundamental elements of good saxophone technique-breath control, tone-production, embouchure, tonguing and fingerings-are introduced alongside the rhythmic subtleties of jazz (for example, 'swung' and syncopated rhythms). Improvisation is encouraged from an early stage, given direction through the systematic study of scales and arpeggios and advice on ear-training and chord patterns. With additional information on practical matters such as choosing reeds and earing for the instrument, as well as supplementary suggestions for listening and reading, 'The Jazz Method for Saxophone' is ideally suited both to students working alone and those learning with a teacher. / Méthode / Recueil / Saxophone