This valuable supplement has been written to present essential scales and scale studies for the beginning student. The scales are presented in various rhythms and patterns including arpeggios. All of the various patternspresented can be used with each scale. The fingerings included present viable ways to approach the scales but other fingerings can be explored. Various rhythms and bowings may also be applied to practicing the scales. All majorscales are presented in two and three octave patterns. All minor scales are presented in three octave patterns. Chromatic scales of two and three octaves are also included. These scales can form an important part of any violinstudent's practice.

Around 1960 Olivier Messiaen began a large-scale concerto based on the birds of the Hérault region (?Oiseaux de l?Hérault?) for piano various soloists and orchestra. Although the project remained unfinished the solo piano part was quite developed. The Olivier Messiaen Foundation entrusted Roger Muraro a renowned interpreter of Messiaen?s piano works with organizing the sketches and manuscripts found in the composer?s archives. This new publication emerged from Muraro?s research. The study that opens the volume describes his methods in detail discussing among other issues the relationship of this work to the later Sept Haïkaï. Richly illustrated with a number of facsimiles musical examples and photographs Muraro?s introduction retraces the origins and historic context of the work invites the reader to enter the composer?s workshop and offers suggestions for performance. Fauvettes de l?Hérault ? Concert des garrigues for solo piano is a ?concerto without orchestra? that blends reference to Claude Debussy a thinly veiled homage to Yvonne Loriod new birdsong from the Hérault region and the vast palette of rhythm timbre and colour that are typical of Olivier Messiaen?s musical universe. Around 1960 Olivier Messiaen began a large-scale concerto based on the birds of the Hérault region (?Oiseaux de l?Hérault?) for piano various soloists and orchestra. Although the project remained unfinished the solo piano part was quite developed. The Olivier Messiaen Foundation entrusted Roger Muraro a renowned interpreter of Messiaen?s piano works with organizing the sketches and manuscripts found in the composer?s archives. This new publication emerged from Muraro?s research. The study that opens the volume describes his methods in detail discussing among other issues the relationship of this work to the later Sept Haïkaï. Richly illustrated with a number of facsimiles musical examples and photographs Muraro?s introduction retraces the origins and historic context of the work invites the reader to enter the composer?s workshop and offers suggestions for performance. Fauvettes de l?Hérault ? Concert des garrigues for solo piano is a ?concerto without orchestra? that blends reference to Claude Debussy a thinly veiled homage to Yvonne Loriod new birdsong from the Hérault region and the vast palette of rhythm timbre and colour that are typical of Olivier Messiaen?s musical universe.

100 Ultimate Jazz Riffs for Clarinet. 100 Ultimate Jazz Riffs for Clarinet. by Andrew D. Gordon consists of, as the title suggests, 100 Jazz riffs based on common chord progressions used in jazz such as the II-V-I, III-VI-II-V etc. in both major and minor keys. There are five separate sections: Jazz Swing, Jazz Ballad, Jazz Funk, Jazz Waltz and Latin Jazz. Each musical example has a single note improvised melody line with the chord progression At the end of the book there is the chord progression for the popular jazz standard "Blue Moon" showing you how to use various examples from the 100 riffs to create an improvised solo over the chord progression. By demonstrating this technique you can pick most jazz standards and create your own improvisational ideas using the book. The audio files are recorded with the clarinet playing the melody line along with a rhythm section of guitar, piano bass and drums. All the examples are recorded with the clarinet and the rhythm section, as well as the rhythm section without the clarinet. An absolute must for musicians learning and playing various jazz styles. There are different versions: a version for Flute, Guitar, Bb and Eb Sax, Piano, Trumpet, Trombone and Violin

Musical Grafitti (II) for amplified Piano large Ensemble and Tape 'with cosmic sounds' by Asbjørn Schaathun (1983-84).Programme noteIn Musical Grafitti(II) 'virtuoso drawings for amplified piano large ensemble and tape with cosmic sounds von den herrn Asberion Ska-tune' (1983-84) Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture which are presented inthe initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON written especially for this work by Swedish composer Bo Rydberg governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece the computer establishes the chordal focal points of the work thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from 'white' noise to music characterized by an 'advanced' syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios 'points on the curve to find...' At one point Schaathun's 'curve' crosses Berios curve and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the 'coloured' noise into which the piece fades away.(+ Fransk versjon NMI)

Variationen über die Caprice Nr. 24 im Stil des Modern Jazz. Par SAY FAZIL. The concert piece Paganini Jazz by Fazil Say, which was inspired by classical, modern and jazz styles, is reminiscent of the music of such greats as Scott Joplin, Art Tatum, Gershwin and Bernstein, and was originally designed as a charming encore work (1988); following the appreciative response of music lovers and, in particular, that of music critics, it was transformed over a perion of time into a more substantial work for piano. Briefly, the piece was rewritten and expanded a number of times between 1988 and 1995. We can evaluate the work as having taken its inspiration from Paganini's renowned '24th Capriccio', transforming it into 'variations on jazz' requiring virtuoso rendition as well as being a creation open to the addition of improvisations and a variety of arrangements. Throughout music history a number of composers have written various works inspired by the '24th Capriccio'. We can count among them Liszt, Brahms, Rachmaninov and Lutoslavski. In Say's work, however, a different aspect must be noted: the composer is prepared to add various 'developmental passages' and 'transitional improvisations' while interpreting this work in concert. Furthermore, when the work is considered as a short encore piece, it is abbreviated in a manner deemed suitable by Say. / Niveau : 5 / Répertoire / Violon, Piano, Guitare Basse et Percussion

Par CHATROU PAUL. Paul Chatrou, born in the Netherlands, studied piano and composition in Utrecht. He played in various ensembles for which he also composed music. He is teaching the piano and composition both private and in various educational institutions. As a composer, he works mainly freelance. He writes both instrumental and vocal compositions in a romantic style based on classical technique. / Date parution : 2022-11-29/ Répertoire / Piano

This lovely contemporary Easter hymn has been masterfully crafted. The text has been appropriately set for handbells through the use of chimes LV and other various techniques. Utilizing optional handchimes and synth can further add to the ambiance of the piece. This lovely contemporary Easter hymn has been masterfully crafted. The text has been appropriately set for handbells through the use of chimes LV and other various techniques. Utilizing optional handchimes and synth can further add to the ambiance of the piece.

Theory-Looking for a way to develop your musical ear? By following the instructions given in this coursebook you will soon be able to effortlessly recognise and reproduce the first lick note chord rhythm or solo that comes your way! You wonder how you are going to accomplish this? By studying intervals (from thirds downwards to diminished thirteenths) by identifying chords (from major chords to M7(11#) chords) by recognising chords and melody played simultaneously by differentiating between various rhythmic values (between whole notes and eighth-note triplets for instance) or by melody dictations which are a synthesis of the elements previously studied. Whereas the two CDssupply you with exercises the coursebook offers you the possibility to write down and check your answers. Looking for a way to develop your musical ear? By following the instructions given in this coursebook you will soon be able to effortlessly recognise and reproduce the first lick note chord rhythm or solo that comes your way!You wonder how you are going to accomplish this? By studying intervals (from thirds downwards to diminished thirteenths) by identifying chords (from major chords to M7(11#) chords) by recognising chords and melody played simultaneously by differentiating between various rhythmic values (between whole notes and eighth-note triplets for instance) or by melody dictations which are a synthesis of the elements previously studied.Whereasthe two CDs supply you with exercises the coursebook offers you the possibility to write down and check your answers.

Book 1A-Mastering the Classical Guitar - Book 1A is the first in a progressive series using a wide variety of musical repertoire and educational material to provide a solid technical foundation for Classical Guitar students exposing the full range of the instrument???s potential and repertoire.Book 1A is most appropriate for students with no prior knowledge of the Guitar or music theory or for those who simply want a fresh start with theClassic Guitar. It is written in three broad sections: Progressive Studies and Pieces Technical Exercises and Rhythmic Reading. Tips on how to integrate the three sections are provided throughout the book. Every chapter beginswith exercises written specifically to improve a certain aspect of one???s playing followed by various examples from the classical music repertoire and traditional songs from various cultures.While every aspect of ClassicalGuitar technique is clearly described and illustrated students using this book would still benefit from the advice and constructive feedback of a competent teacher. Consequently teachers will find opportunities to assert theirindividual teaching perspectives within this method making it a perfect road map for the instructor and student???s musical journey.Written in standard notation only Mastering the Classical Guitar - Book 1A comeswith extensive online audio examples. Fingering is kept to a minimum to encourage effective sight reading allowing teachers and students to annotate their own ideas about digitation and contribute to their own learning process.Includes access to online audio.

The text is drawn from the various editions of Whitmans's 'Leaves of grass' (1855-97) and interspersed with excerpts from 'Specimen Days'. Together they form an autobiography in which both singer and pianist are Whitman at various stages of his life.

100 Ultimate Jazz Riffs for Flute by Andrew D. Gordon consists of as the title suggests 100 Jazz riffs based on common chord progressions used in jazz such as the II-V-I III-VI-II-V etc. in both major and minor keys. There are five separate sections: Jazz Swing Jazz Ballad Jazz Funk Jazz Waltz and Latin Jazz. Each musical example has a single note improvised melody line with the chord progression At the end of the book there is the chord progression for the popular jazz standard Blue Moon; showing you how to use various examples from the 100 riffs to create an improvised solo over the chord progression. By demonstrating this techniqueyou can pick most jazz standards and create your own improvisational ideas using the book. The audio files are recorded with the flute playing the melody line along with a rhythm section of piano bass and drums. All the examples are recorded with the flute and the rhythm section as well as the rhythm section without the flute and with the more difficult examples the rhythm section is recorded at a slowed down tempo. An absolute must for musicians learning and playing various jazz styles.  

You only have had a couple of months of lessons and already you are to play a solo at your band's annual gala concert. in a big concerthall on a huge platform and in front of people from your own town or village. Now there's something ! This circumstance inspired Jerry Bensman into writing your very first solo piece with band accompaniment. The solo part may be played by various instruments and was kept very simple indeed. Parts are available in various transpositions and keys.

Revised Piano-How often have piano students struggled with the Quick Study in their ABRSM diploma examinations? In most cases the shortcomings range from misreadings to imperfections in the execution; the inability to give a fluent stylistic performance with just too many hesitations and the lack of confidence. Quick Study Practice for Diploma Students contains selected piano works that aim to help students acquire the skills they need to meet the basic requirements of Quick Study and to demonstrate the musicianship expected of a convincing performance. Informative study points are provided as a useful guide which may be referred to prior or after having played the pieces.It is a recommended approach to assist students to attain success in their examinations. Teachers and students will find the pieces musically interesting and technically adequate for the various levels. Most of the pieces in this compilation have been chosen to present the various levels of difficulty. With the skills acquired from these pieces students are encouraged to explore works of similar standard in the piano repertory.

Primer Level Early Elementary Level-Ease of use for teachers: clear explanations and a logical pedagogical progression make it easy to teach. Fewer finger numers are used to help assure good music reading habits. Built-in finger workouts provide preparatory technic. Rhythmic preparatory drills precede pieces with new rhythms and new time signatures. Benefits for students: Very gradual learning steps are easily grasped increasing the likelihood of success. Student interest is maintained by use of assignments that are short and easy to learn. An appealing variety of musical styles provide motivation. This primer edition features new explanations and directions that are easier to teach and make more efficient use oflesson time. Note reading proficiency is promoted by an emphasis on training the eyes to recognize various melodic intervals up and down. Rudimentary form and analysis is introduced by identifying various melodic and rhythmic patterns.