Questo metodo si rivolge a tutti coloro che desiderano imparare a suonare la chitarra… senza farsi venire pesanti mal di testa! In altri termini senza solfeggio senza teoria musicale senza note senza pentagramma… Il chesignifica che dovrete giusto saper leggere semplici diagrammi di accordi (molto visivi) per capire cosa fa la mano sinistra mentre le pennate effettuate dalla mano destra sono rappresentate da piccole frecce (molto giudiziose).Semplice vero? Volendosi molto progressivo il metodo vi propone all’inizio di scoprire i principali accordi della chitarra. Vi farà poi lavorare sulle concatenazioni di accordi e vi insegnerà poi a suonarli su dei ritmi pop rock e folk… fino ad essere capaci di suonare degli accompagnamenti alla maniera dei più grandi successi della chitarra di ieri e di oggi (The Rolling Stones Jimi Hendrix AC/DC Oasis…). L’altro vantaggio di questo metodorisiede nel disco dati allegato. Vi troverete in effetti numerosi file audio e video che vi permettono di ottimizzare l’apprendimento e tutte le nozioni didattiche fornite nel libro. I video (mp4) presentano tramite l’immaginetutti gli esempi così come devono essere suonati mentre le registrazioni audio (mp3) propongono le basi musicali per permettervi di suonare tali esempi in vere condizioni musicali… come se foste già un chitarrista in seno ad ungruppo.

Federico Ruiz finds constant inspiration in the rich popular and folkloric music of his country.No. 10 The little Peruvian girl is featured by the Associated Board of the Royal Schools of Music in their Grade 4 piano exam pieces 2013 & 2014.Clara has recorded these pieces on CD: The Music of Federico Ruiz - on Nimbus Alliance Records (Catalogue No. NI6179).They first met in 1993 and she became acquainted not only with his music but through it discovered the precision and the soft expressiveness of each of the numerous rhythms of Latin America and the Caribbean. His music is a sophisticated synthesis of Latin American styles that amongst manyother traits expresses the subtle interface between 'classical' and 'popular' music of the continent.Clara Rodriguez is often described as an Ambassador of Latin-American piano music recognising the great number of concerts she has given and CDs where this music features prominently. Born in Caracas Clara studied there with Giomar Narváez and with Phyllis Sellick after winning a scholarship from the Venezuelan Arts Council to train in London at the Royal College of Music. At the age of sixteen she made her debut playing Mozart's last piano concerto with the Simón Bol var Orchestra under the baton of José Antonio Abreu which was the starting point of her international career as a concert pianist.Her discography includes CDs of the piano music of Venezuelan composers Moises Moleiro (Nimbus NI6104) Teresa Carreño (Nimbus NI6103) VENEZUELA (Nimbus NI 6122) receiving glowing reviews from international publications such as Gramophone Magazine: 'Clara Rodriguez makes the most of her innate feel for the exuberant and languorous dispatching the toe-tapping cross-rhythms with panache and a light touch. This is a treasure chest from which to cherry-pick.' She regularly plays in London's Wigmore Hall Southbank Centre St. John's Smith Square St. Martin in-the-Fields and at Barbican Centre. Clara Rodriguez teaches the

Overture on a Traditional Arapaho Folk Song-Le thème principal de cette ouverture est basé sur une ancienne chanson amérindienne de la tribu des Arapahos. Le nom Colorado vient du mot espagnol qui signifie « coloré ». Ce mot fut utilisé à l?origine pour le fleuve puisque ses eaux érodaient la terre rouge en coulant à travers les canyons à pleine vitesse et devenaient donc rouges. L?Etat de Colorado est connu pour ses quatre Parcs Nationaux chacun fournissant des vues éblouissantes. Donnez libre cours à votre imagination pendant que vous voyagez à travers ces terres extraordinaires à l?aide de cette musique dynamique au rythme entraînant et aux couleurs fantastiques.

ADLER Samuel Etude de l'orchestration Discipline / Instrument : tous instruments Genre : Méthode - études Média : Livre Nombre de pages : 1136 (17,8 x 25,4 cm) Editeur : Lemoine Date de parution : 15/06/2011 ISBN / ISMN : 9790230982122 plus de 150 ans après Hector BERLIOZ, plus de 50 ans après Charles KOECHLIN ou Nikolaï RIMSKI-KORSAKOV, et quelques années après... un long travail, Les éditions Henry Lemoine ont le plaisir de vous présenter, enfin en langue française, de Samuel ADLER : Etude de l'orchestration TRAITE PRATIQUE Titre original : The Study of Orchestration, traité d'orchestration de réputation internationale Véritable défi éditorial, l'ouvrage est proposé ici sous la forme d'une édition française, augmentée de 280 pages (+33%) par rapport à la version traduite. En effet, le texte original, déjà riche, est complété : - par Gilbert Amy, d'un chapitre nous offrant son regard sur l'orchestre en musique contemporaine aujourd'hui, - par Bruno Gillet, de trois chapitres concernant la voix humaine, - de 60 pages de commentaires et annotations, à vocation pédagogique, du traducteur de l'ouvrage Philippe Vernier - enfin, d'un index complet et performant (accru de 150%) sans lequel une telle ampleur de contenu se révélerait assez rapidement vaine. Samuel Adler Compositeur et chef d'orchestre américain d'origine allemande parti très jeune aux états-unis, Samuel Adler a composé plus de quatre cents oeuvres publiées, dont cinq opéras, six symphonies, douze concerti, huit quatuors à cordes, quatre oratorios et bien d'autres pièces orchestrales, chorales, vocales ou pour band. Elève notamment de Paul Hindemith, Aaron Copland et Sergei Koussevitski, il enseigna à son tour à l'University of North Texas (1957-1966) puis à l'Eastman School of Music de l'university of Rochester (1966-1995), et depuis 1997 reste membre intervenant à la Juilliard School of Music au sein du département composition. Auteur d'autres ouvrages que celui-ci (Choral Conducting et Sight Singing), Samuel Adler a reçu plusieurs prix et distinctions pour sa contribution exceptionnelle au monde musical comme compositeur, chef d'orchestre et auteur - en 2001, il entre à l'American Academy of Arts and letters. En tant que chef, il s'est produit avec de nombreux orchestres prestigieux, aux états-unis ou ailleurs - plus d'une cinquantaine de ses oeuvres furent enregistrées et sont distribuées par des labels américains ou européens de premier plan. Gilbert Amy Elève de Milhaud et Messiaen au Conservatoire de Paris, Gilbert Amy est un compositeur dont le talent a été salué par de multiples prix et dont les oeuvres sont jouées dans les plus hauts lieux mondiaux de la création musicale. Succédant à Pierre Boulez à la direction des concerts du Domaine musical, Gilbert Amy a ensuite poursuivi une carrière de chef d'orchestre. Fondateur du Nouvel Orchestre Philharmonique de Radio-France, il en sera le premier chef et directeur artistique jusque dans les années 1980. Pédagogue reconnu, il a enseigné la composition et l'analyse musicale à l'Université de Yale puis occupé le poste de directeur du C.N.S.M. de Lyon de 1984 à 2000. Bruno Gillet Compositeur, Bruno Gillet a beaucoup écrit pour la voix, en formations de chambre, en duos avec divers instruments, en ensemble vocal, et avec orchestre. Au théâtre, il a collaboré, entre autres auteurs, avec Italo Calvino et Georges Perec. Au C.N.S.M. de Paris, il a inauguré la classe d'analyse et culture musicale spécialement destinée aux chanteurs, et assuré au C.N.A.D. la formation musicale des acteurs. Philippe Vernier Philippe Vernier se passionne très tôt pour les musiques orales dont il approfondit la connaissance d'abord en autodidacte (chanson, folk music...) puis sous l'impulsion du guitariste Alain Berkès (manouche, blues, jazz...). Après une expérience pop-rock, il étudie la théorie classique, suit l'enseignement des compositeurs Alain Roizenblat, Michel Decoust et Philippe Leroux - il reçoit alors plusieurs Premiers Prix (Orchestration, Composition...) et un D.E.M. en électro-acoustique. Compositeur de pièces pour bande, ensemble, chansons, musiques de film ou de scène, il a remporté le Prix de la Création Musicale au festival Paris-Tout-Court (2002).

A Cantata for Soloists Chorus Children's Chorus & Orchestra-This 15-minute narrative cantata is the central portion of Rodr guez's multi-media Mexican folk celebration Adoración Ambulante. The American premiere in October of 1998 was performed separately as a concert work withthe University of Miami chorus and orchestra conducted by Thom Sleeper and it was subsequently recorded for Albany Records.

A British Folk Song Fantasy-Philip Sparke a composé cette fantaisie basée sur des airs traditionnels en provenance des quatre coins des Îles britanniques. L?oeuvre débute avec Brighton Camp la version anglaise du chant The Girl I Left Behind Me qui subit une succession de contorsions. Le passage central plus lent s?inspire de la mélodie écossaise O Waly Waly. Vient ensuite l?exposition solide et puissante du célèbre air gallois Men of Harlech qui dit-on raconterait le passé captivant du château de Harlech. Une oeuvre au flair typiquement britannique !

Par HESS NIGEL. Chansons de Normandie was commissioned by the Central Band of the Royal Air Force and premiered on BBC Radio 2 as part of their D-Day broadcast from the Royal Albert Hall on June 6th, 2014. This 4 minute piece is based on three traditional Normandy folk songs: Les Metamorphoses, Le marchand de velours and Le corselet. An ideal concert opener, the work is in a lively dance tempo with suggestions of Renaissance dance music./ Répertoire / Orchestre à Vent

This colorful concert work is based on folk themes of central Africa. It features traditional concert band percussion instruments throughout and easy repetitive syncopation for the entire band. Sections include: Safari Voodoo Celebration and Sunset.

When you explore the contents of this book you will immerse yourself in the exotic world of Afro-Latin-Jazz an exciting form of music fusing African and Caribbean dance rhythms with American Jazz. Latin music has roots not only in Central and South-American folk music but is also strongly influenced by music from Africa. In particular the rhythmic richness and exotic flavour of Afro-Latin-Jazz can be traced to the traditions of African music which left its characteristic mark during the colonial period in America. These easy to moderately difficult saxophone duos serve as an introduction to the genre presenting some Latin and African grooves. Original compositions as well asarrangements of well-known melodies (some in several versions) will introduce new sound and rhythmic elements to help develop your technique and ensemble playing. Above all however this lively and diverse music is fun!

This is the central slow movement of Bassi's larger work Carol Symphony. The composer recommends that the overall presentation should be close to the folk tradition so the soloist doesn't need a full operatic voice and may be amplified to achieve an easy balance. An orchestral accompaniment to Carol Symphony is available on hire.

Wu Kui is a folk dance from northeast China which expresses the hunters' joy in work and life. Capturing the original style of the dance this solo piano piece opens with animated rhythmic patterns moves into a free-flowing lyrical central section and concludes with a return to the fiercely exultant rhythms of the opening.

Score and Parts-Samuel Scheidt's Canzone Bergamasca for Brass Quintet. Score and parts.Samuel Scheidt (1587-1654) was one of the influential trio of S's (with Heinrich Schutz and Johann Hermann Schein)who played an important part in both the development of German music of the early Baroque and in the survival of a high level of musical life during the devastation of the Thirty Years War.The son of a musical family of Halle in central Germany Scheidt spent most of his life in the city which saw both his birth and his death. From 1605 to 1608 however he went ot Amsterdam to study with the famous Ducth composer and organist Jan PietersSweelinck.Renowned in his day for his Vocal works - especially for his 'Concerti Sacri' - Scheidt achieved lasting fame for his revolutionary contributions to Organ literature. He introduced elements of tonal harmonyin his music and his masterwork 'Tabulatura Nova' marked the end of the German tablature system of notation for Organ.The Canzone Bergamasca marked by lively rhythms and contrapuntal inventiveness comesfrom an early collection of canzonas and dances published in Hamburg in 1621. The work is a 'chain' canzona (similar in form to the canzonas of Gabrieli) in which the material for one section develops out of the material of theprevious section uniquely linking all of the sections together. For additional contrast there is a tripla section in the middle and the work ends with a recapitulation of the first theme.The 'Bergamasca' of the title atthis period refers to the use of melodic material based on a harmonic ground derived from an Italian folk dance of the Bergamo region.