SKU: AP.1-ADV14708
UPC: 805095147087. English.
With this book/audio set you will learn essential jazz rhythms first-hand from world-class professionals ! Reading Key Jazz Rhythms is a collection of 24 easy to medium level jazz etudes, and 24 simplified guide tone versions of the etudes. They are ideal for learning the basic language of jazz, swing phrasing, and articulation. A perfect tool for preparing for the jazz ensemble or for any other ensemble/orchestra which performs jazz related music (pops orchestras, musical, studio, movie scores, concert and marching bands, etc.). Each etude is based on a specific rhythm or a combination of rhythmic figures. Some etudes sound like very lyrical improvised jazz solos, while others are more like a melody to a standard. On the downloadable audio tracks the soloist demonstrates the 24 melodious etudes together with a professional rhythm section. You can also improvise along with the play-along tracks using the chord symbols. The guide tones are the essential or defining notes for each given chord type. So if improvising is new to you and you find yourself getting lost, you can always return to a guide tone and play rhythmically around it. Any etude and its corresponding simplified guide tone version can be played together as a duet (with or without the audio accompaniment) with your teacher or a friend.
SKU: AP.36-52703303
ISBN 9781621567455. UPC: 660355097294. English.
Arrangers Bud Caputo, Bert Ligon, Martin Norgaard, Matt Turner and Thom Sharp bring you jazz in the string quartet world! These seven standards are ideal for students and professionals alike. Includes: It's Only A Paper Moon (Ligon); It Had To Be You (Norgaard); Bye Bye Blackbird (Caputo); Blue Moon (Turner); Take Five (Ligon); How High The Moon (Sharp); and A Day In The Life Of A Fool (Ligon).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AD.ADG245
ISBN 9781958017357. UPC: 663389124523. 9 x 12 inches.
The Blues Scale for Violin is one of a series by Andrew D. Gordon is a comprehensive collection of educational books that explores the intricacies, techniques, and applications of the blues scale in contemporary music. Designed for musicians of all levels, this series serves as an indispensable resource for guitarists, pianists, saxophonists, and other instrumentalists looking to delve into the expressive and soulful world of blues music. Andrew D. Gordon, an accomplished musician and renowned educator, combines his vast knowledge and experience to provide a step-by-step guide for mastering the blues scale. Each book in the series offers a well-structured curriculum, progressing from fundamental concepts to advanced improvisation techniques, ensuring a thorough understanding of the blues scale's potential. Through detailed explanations, musical examples, exercises, and play-along tracks, readers will embark on a transformative journey, gaining fluency and confidence in playing the blues. The books cover various styles showing how the blues scale can be used, including , jazz, funk , new age, Latin, pop, gospel, acid jazz and rock enabling musicians to expand their repertoire and adapt their skills to different musical contexts. The Blues Scale series not only equips musicians with the technical aspects of playing the blues but also emphasizes the importance of creativity and personal expression. Gordon encourages readers to develop their improvisational skills, providing tools and strategies to create unique solos and express their musical personality within the framework of the blues scale. Whether you are a beginner seeking to explore the foundations of the blues scale or an advanced player looking to refine your improvisational abilities, The Blues Scale series by Andrew D. Gordon offers a comprehensive and accessible approach to learning and mastering the blues. With its clear instruction, engaging exercises, and practical examples, this series is an invaluable resource for musicians passionate about incorporating the soulful and timeless sounds of the blues into their playing.
SKU: LM.26849
ISBN 9790230968492.
With Gab - Care-Free - Two Stomp for you - Walkin'in a Louisiana street - As she like it - So goes the life - Robert's tune - Hi chazz - Eastern nostalgia - Around it - Goodbye Take - Whistling in the street - Leave me here - One Note for you - For Chris and Michel.
SKU: PR.14440265S
UPC: 680160027910.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’ It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
SKU: HL.49045929
9.0x12.0x0.057 inches.
The Austro-Hungarian composer Erwin Schulhoff (1894-1942) was musically precocious: At the suggestion of AntonÃn Dvorák, he receivedpiano lessons at the age of seven, and at the age of ten became a student at the Prague Conservatory. Further piano studies in Vienna, Cologne and Leipzig as well as composition lessons with Max Reger supplemented his education. His Jewish heritage, which defamed his music as “degenerateâ€, and his sympathy for communism, however, cost him his life. In Prague and finally interned in Wülzburg near Weissenburg in Bavaria, he died of tuberculosis. Schulhoff's musical significance lies in the integration of jazz into art music, for example in his oratorio H.M.S. Royal Oak or in his Hot Sonata for alto saxophone and piano. He earned his living as a jazz pianist for a long time. In August 1922 he wrote four short piano pieces, his Rag Music, to which he added four more phrases in November: released as Partita, also known as Jazz-like Partita - with the fashion dances Ragtime, Foxtrott, Shimmy, Boston and - as No. 7 - a tango. From a piano to a string quartet movement, the arrangement presents itself as a delicate and smart, technically not too difficult sweet, suitable as a diversion or addition in a quartet program.
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SKU: AP.1-ADV14907
UPC: 805095149074. English.
Playing Through the Blues: Violin Edition is an intermediate-level reading book with accompanying CD (12 listening tracks; 12 play-along tracks) that contains very melodic, fun-to-play blues lines and riffs in various styles and feels. The keys and tempos are comfortable. It's an excellent tool for learning what jazz soloing is all about. You can also improvise over the play-along tracks using the chords for the tracks shown in the book. Titles: Blues for Michael Brecker * On the Spot * Sus Sounds * Goin' Home * Funky Blue * Blues Ascension * Four in Three * Diggin' In * Nightfall * Medieval Blues * Tradin' Ones & Twos * Shuffle Them Blues.
