This collection of etudes by the virtuoso Sebastian Lee was used as a standard work for cello lessons at the Paris Conservatoire back in the 19th century. For thorough technical training and education, the etudes remain just as relevant today. In this new edition, in two volumes, any departures from the original are clearly marked. In addition useful tips and suggestions for practising have been added. / Violoncelle

From Four Original Warm-Ups For Band-Riche de mon expérience de chef d?orchestre et de membre de jury j?ai remarqué que nombre d?orchestres rencontraient des problèmes typiques d?interprétation : manque de maîtrise du timbre difficultés d?intonation articulation non contrôlée et phrasé insuffisant. S?exercer dans ces domaines n?est pas chose aisée pour un orchestre et il existe peu de matériel qui soit également agréable à jouer.« Four Original Warm-Ups » est donc avant tout destiné à remédier à ce manque sous forme de quatre morceaux d?entraînement agréables. Chaque morceau traite d?un des éléments mentionnés ci-dessus sans que la musique n?en devienne pour autant ennuyeuse.3e partie : ArticulationTrainToutes les facettes de l?articulation sont mises en lumière au cours de ce trajet en train. L?accélération progressive suggère non seulement le train qui roule de plus en plus vite mais permet également de s?exercer au jeu en staccato. Avant le concert vous pouvez éventuellement déguiser un enfant ou un musicien en mécanicien et le faire siffler pour faire partir le train. Un véritable sifflet de chef de gare vous mettra encore plus dans l?ambiance. Cette partie peut également ?tre utilisée comme morceau de rappel lors d?un concert.Il n?est pas nécessaire d?enchaîner ces quatre parties à la suite bien que ce soit possible. Chaque partie peut ?tre utilisée indépendamment pour une répétition ou un concert. J?espère sincèrement que ces quatre parties contribueront à l?amélioration du niveau de nombreux orchestres sans pour autant gâcher le plaisir de jouer !

From Four Original Warm-Ups For Band-Riche de mon expérience de chef dorchestre et de membre de jury jai remarqué que nombre dorchestres rencontraient des problèmes typiques dinterprétation : manque de maîtrise du timbre difficultés dintonation articulation non contrôlée et phrasé insuffisant. Sexercer dans ces domaines nest pas chose aisée pour un orchestre et il existe peu de matériel qui soit également agréable à jouer.« Four Original Warm-Ups » est donc avant tout destiné à remédier à ce manque sous forme de quatre morceaux dentraînement agréables. Chaque morceau traite dun des éléments mentionnés ci-dessus sans que la musique nen devienne pour autant ennuyeuse.3e partie : Articulation TrainToutes lesfacettes de larticulation sont mises en lumière au cours de ce trajet en train. Laccélération progressive suggère non seulement le train qui roule de plus en plus vite mais permet également de sexercer au jeu en staccato. Avant le concert vous pouvez éventuellement déguiser un enfant ou un musicien en mécanicien et le faire siffler pour faire partir le train. Un véritable sifflet de chef de gare vous mettra encore plus dans lambiance. Cette partie peut également ?tre utilisée comme morceau de rappel lors dun concert.Il nest pas nécessaire denchaîner ces quatre parties à la suite bien que ce soit possible. Chaque partie peut ?tre utilisée indépendamment pour une répétition ou un concert. Jespère sincèrement que ces quatre parties contribueront à lamélioration du niveau de nombreux orchestres sans pour autant gâcher le plaisir de jouer !

Bob Marley is perhaps the most important voice of Reggae music, crossing-over and achieving an iconic status in the mainstream pop industry. His songs of protest, freedom, liberation, love and equality have become some of the best-loved songs of the era, poignantly evoking the struggles, hardships and injustices of a troubled time. This special addition to the Chord Songbook series presents all 124 Bob Marley songs as featured on such albums as African Herbsman and Catch A Fire, right up to Uprising and Confrontation, including extra songs from later compilations. All the songs have been arranged with a full chord guide and complete lyrics.

A superb collection of classic rock hits arranged for easy piano by Dan Coates. Complete with guitar chord symbols and full lyrics. Songs include After Midnight Hotel California Maggie May Something About The Way You Look Tonight and Proud Mary.

Graded Piano Pieces In Popular Styles. Par NORTON CHRISTOPHER. Pièces faciles dans des styles populaires comme le jazz, de blues, de rock ' ne roll et de reggae. Cette collection contient toutes les pièces anciennement contenues dans ' Microjazz 2 ' et ' Plus Microjazz 1 ' avec quelques pièces neuves trop ! Microjazz est la célèbre série de monde de pièces / Microjazz / Recueil / Piano

The Ramon Ricker Improvisation Series. Par RICKER RAMON. A new Play along system for learning to play jazz. Each set contains a book with transposed parts for all instruments and a play along CD with Ray playing many of the book examples on his saxophone. Volume one is for the absolute beginning jazz student who knows his/her major scales. Subjects covered in this book include: VOCABULARY: Intervals, Roman Numerals, Scales, Modes, Diatonic Seventh Chords, Major, Minor, Dominant, and Suspended Chords, Chord/Scale Relationships, The Blues Progression, Using Pentatonic Scales with Blues, Pentatonic Chord/Scale Relationships, The II-V-I Progression, Rhythm Changes, The Circle of Fifths, and The Circle of Fourths, and Steps for Playing on Changes. STYLE: Swing Eighth Notes, Use of the Metronome, Scale Practice, and Scat-Singing Solos. EAR TRAINING: Specific examples and suggestions with recorded tracks for practice. REPERTOIRE: A suggested basic repertoire. This improvisation method is more than just another play-along. It is a series of books and CDs that progress step by step, offering concrete suggestions and advise that shows you how and what to practice. Drawing on twenty-five years of teachingexperience at the Eastman School of Music, Ramon Ricker uses text, recorded demonstrations by him and his students, and practice and play-along tracks that present the material in a clear and concise manner. Most of the play-along tracks feature the rhythm section of the 1980 Thad Jones/Mel Lewis Big Band with Harold Danko on piano, Rufus Reid on bass and the late, great Mel Lewis on drums. Since they performed and recorded together consistently over aperiod of several years, they played as a unit - a true jazz rhythm section. The recordings were brought up to meet todays higher CD standards and served as an inspiration for Ramon Ricker to write three entirely new books. In addition, new demonstration, ear training, and play-along tracks were added. / Niveau : Débutant / Jazz / Recueil / Tout Instrument

for Piano Duet-In 1903 Satie composed his famous cycle for Piano duet with the provocative and ambiguous title 3 Morceaux en forme de Poire - In French ?poire? means ?pear? but also ?dimwit?. It is a detached and ironic commentary on the constraints of musical form.Here this cycle is being published in a scholarly-critical Urtext edition for the first time. Convenient page turns a score format translations of the French expression and tempo markings Satie?s enigmatic introduction performance suggestions by the Satie specialist Steffen Schleiermacher and a detailed foreword by the renowned musicologist Jens Rosteck make thestudy and performance of these pieces a true pleasure. First scholarly-critical Urtext edition.Easy to moderate level of difficulty.Includes translations of all expression and tempo markings (Fr/Ger/Eng).Detailed foreword (Ger/Eng) and Critical Commentary (Eng).

Learning to Hear Your Way Through Music-This comprehensive guide to jazz ear training focuses the student on developing the ability to hear and react to harmonic structures common to the modern jazz idiom while adhering to specific melodic phrases. Jazz Ear Training - Learning to Hear Your Way Through Music includes a variety of exercises derived from the major harmonic minor melodic minor and harmonic major scales and suggestions on how to play byear. It was designed with the intermediate to advanced jazz student in mind who needs to enhance the connection between his inner voice and instrument. It will also help the student 'hear' what he may intellectually 'know'. Thoughintended for guitarists this book can serve the needs of any aspiring jazz improviser. A basic understanding of jazz theory is recommended before using this book. Includes access to online audio.

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 onear-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) Following on from the best-selling Jazz Method for Saxophone Developing Jazz Technique for Saxophone will help intermediate players take their jazz skills to a new level. The 22 pieces are written in a variety of jazz styles including reggae jazz waltz bossa nova calypso New Orleans South African salsa samba blues and swing. Special emphasis is given to helping students improvise over chord sequences such as the II-V-I progression. Idiomatic effects such as vibrato subtone glissandi and ?bending? notes are dealt with and there is a special chapter on overtones. Several new scales are introduced including the whole tone and diminished scales and a special section on patterns contains many ideas for

A collection for diatonic crossharp and chromatic harmonica. The gospel songs presented here are written as the song has been presented throughout the years. Key changes have been made to accommodate the harmonica. The firstsection is standard harmonica key of C. The second section is in cross-harp (second) position. The third section uses a changed or retuned harmonica such as Lee Oskar's Melody Maker in G or the Country Tuned Hohner Harmonicain C. Written in standard notation and tablature for diatonic and chromatic harmonicas with lyrics and chord symbols. Includes 91 tunes such as The Old Rugged Cross; The Love of God; In the Garden; He's Got the Whole World inHis Hands; Oh When the Saints Go Marching In; This Train Is Bound For Glory; His Eye is on the Sparrow; and much more.