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| Hymns of Grace and Glory Organ - Intermediate/advanced Lorenz Publishing Company
Composed by David Cherwien. For organ: 3-staff. Sacred. Moderately advanced. Lor...(+)
Composed by David Cherwien. For organ: 3-staff. Sacred. Moderately advanced. Lorenz Publishing Company #70/1927L. Published by Lorenz Publishing Company
$33.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jazzin' Americana for Two (Book 4) 1 Piano, 4 hands - Intermediate/advanced Alfred Publishing
Bk4. 5 Late Intermediate to Early Advanced Piano Duets That Celebrate American...(+)
Bk4. 5 Late Intermediate to
Early Advanced Piano Duets
That Celebrate American
Jazz. Composed by Wynn-Anne
Rossi. Duet or Duo; Piano
Duet (1 Piano, 4 Hands);
Solo Small Ensembles.
Jazzin' Americana. Jazz.
Book. 28 pages. Alfred Music
#00-46914. Published by
Alfred Music
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Improvisation Made Easier Guitar notes and tablatures [Sheet music + CD] Manhattan Beach Music
An Improvisation Course for Intermediate to Advanced Guitarists. Artist/Personal...(+)
An Improvisation Course for Intermediate to Advanced Guitarists. Artist/Personality; Guitar Method or Supplement; Improvisation; Method/Instruction. Manhattan Music Publications. Improvisation. Instructional book and 2 examples CDs. With standard notation, guitar tablature, guitar chord diagrams and instructional text. 103 pages. Manhattan Music #00-0005B. Published by Manhattan Music
(1)$29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Advanced Level Duos / Duos für Fortgeschrittene EMB (Editio Musica Budapest)
Mixed Chamber Duo SKU: BT.EMBZ14862 Kammermusikserie mit variabler Bes...(+)
Mixed Chamber Duo SKU: BT.EMBZ14862 Kammermusikserie mit variabler Besetzung. By László Zempléni. EMB Ad Libitum. Educational Tool. Set (Score & Parts). Composed 2014. 76 pages. Editio Musica Budapest #EMBZ14862. Published by Editio Musica Budapest (BT.EMBZ14862). The volume of duos for advanced players contains pieces or parts of compositions which are longer and more difficult than in the previous volume. They are often to be played in high positions and sometimes involve several movements. They include such special compositions as The Swallow by Louis-Claude Daquin, Romance & Rondo by Jacques Féréol Mazas and two canons by Max Reger. This publication is printed on high quality, durable paper made from renewable raw materials in an environmentally friendly way.
The volumes in this new series contain duos, trios and quartets, their degree of difficulty ranging from easy through intermediate to advanced. Every piece is a transcription or an arrangement, since in editing the volumes our primary concern was toprovide a collection of valuable and interesting compositions, as freely variable as possible as regards instrumentation, for music school students and also for adults who make music for their own pleasure. The range and pitch of the parts enable theworks to be performed on any required or possible combination of the given instruments.The volume of duos for advanced players contains pieces or parts of compositions which are longer and more difficult than in the previous volume. They are often to be played in high positions and sometimes involve several movements. They include suchspecial compositions as The Swallow by Louis-Claude Daquin, Romance & Rondo by Jacques Féréol Mazas and two canons by Max Reger.
Die Bände der neuen Serie beinhalten leichte, mittelschwere oder fortgeschrittene Duos, Trios und Quartette. Bei der Zusammenstellung lag das Hauptaugenmerk auf der höchstmöglichen Freiheit in der Kombinierbarkeit der Instrumente sowie darauf, dass die Kompositionen für Musikschuler und Hobbymusiker musikalisch interessant und wertvoll sind. Aus diesemGrund handelt es sich bei allen Stücken um Transkriptionen. Lage und Tonumfang der Stimmen sind so gesetzt, dass sich die Werke allen denkbaren Umständen und Anspruchen anpassen und entsprechend in jeder Kombination der angegebenen Musikinstrumentevorgetragen werden können. Instrumente: 1a: Violine / Querflöte / Oboe / Vibraphon / Klarinette 1b: Viola / Altsaxophon 2a: Violine / Vibraphon / Marimba / Viola / Klarinette 2b: Violoncello / Fagott
I volumi della serie Ad Libitum propongono trascrizioni o arangiamenti di opere per trio e quartetto di livello facile, intermedio e avanzato. L´estensione e il registro delle parti permettono a questi brani di adattarsi a tutte le esigenze edi essere eseguiti da ogni combinazione di strumenti. Strumentazione: Duos : I: Violino/Viola/Flauto/Oboe/Clar. Si/Sax contralto/Sax tenore/Vibra • II: Violino/Viola/Clar. Si /Vibr/Marimba/Violoncello/fagotto. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fundamentals of Guitar Guitar Mel Bay
(A Workbook for Beginning, Intermediate or Advanced Students). Composed by M...(+)
(A Workbook for Beginning,
Intermediate or Advanced
Students). Composed by Miles
Okazaki. For guitar. Spiral-
bound. Guitar Methods,
Scales, Arpeggios,
Technique, Theory, Harmony.
Book. 166 pages. Published
by Mel Bay Publications, Inc
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Advanced Techniques in Fingerpicking Guitar Guitar notes and tablatures - Advanced Mel Bay
Guitar - Advanced SKU: MB.GW1075 DVD, Solos. Fingerpicking. DVD. 95 pages...(+)
Guitar - Advanced SKU: MB.GW1075 DVD, Solos. Fingerpicking. DVD. 95 pages. Mel Bay Publications, Inc #GW1075. Published by Mel Bay Publications, Inc (MB.GW1075). 5.75x4 inches. This lesson is intended for advanced players looking for ways to voice chords and arrange tunes in ways that sound rich and complex but feel nimble under the hands. We?ll look mostly at arrangements I?ve made of blues and fiddle melodies, and also look at the playing of the remarkable Johnny St. Cyr.We begin our lesson with Ma Rainey?s Yonder Comes the Blues. This is followed by Jelly Roll Morton?s Jelly Roll Blues. Composed in 1915 and was one of the first published jazz compositions. Johnny St. Cyr was a famous New Orleans musician who played both guitar and the six-string banjo. He recorded with Louis Armstrongs Hot Five and Hot Seven bands. He also played with Jelly Roll Mortons Red Hot Peppers. His Guitar Blues is a tour-de-force and challenge for any fingerstyle guitarist. We finish our lesson with the Mineola Rag first recorded by the East Texas Serenaders. Titles include: Yonder Come The Blues, Jelly Roll Blues, Guitar Blues and Mineola Rag Detailed tab/music PDF file on the DVD. 96 minutes. DVD is region 0, playable worldwide. $29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jazzin' Americana for Two Books 3-4 (Value Pack) Piano solo Alfred Publishing
Piano - Early Advanced; Intermediate; Late Intermediate SKU: AP.107124 (+)
Piano - Early Advanced; Intermediate; Late Intermediate SKU: AP.107124 Intermediate, Late Intermediate, and Early Advanced Piano Duets That Celebrate American Jazz. Composed by Wynn-Anne Rossi. Duet or Duo; Piano Supplemental; Promotional Packet. Jazzin' Americana. Jazz. Other. Alfred Music #00-107124. Published by Alfred Music (AP.107124). UPC: 038081391939. English. Wynn-Anne Rossi's Jazzin' Americana for Two series is a personal journey through the jazz genre, honoring the history, the diverse styles, and the fabulous musicians who made this music great. Students will become familiar with the names of famous musicians while learning different jazz styles. Each evenly-leveled duet is enhanced with interesting facts that will awaken curiosity and enhance the musical experience. About Alfred Value Packs Alfred Value Packs are a great way to introduce yourself to new music from many of the top names in educational piano. These specially designed sets allow teachers to review the music to determine the best use for their students. Limit one per customer. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Shredding Paganini Guitar notes and tablatures [Sheet music + CD + DVD] - Intermediate/advanced Alfred Publishing
(Heavy Metal Guitar Meets 9 Masterpieces by Niccolo Paganini). By German Schauss...(+)
(Heavy Metal Guitar Meets 9 Masterpieces by Niccolo Paganini). By German Schauss. For Guitar. Book; CD; DVD; Guitar Method or Supplement; Method/Instruction. Metal; Rock. Advanced; Intermediate. 64 pages. Published by Alfred Music
$25.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Shredding Paganini Guitar [Sheet music + CD] Alfred Publishing
(Heavy Metal Guitar Meets 9 Masterpieces by Niccolo Paganini). By German Schauss...(+)
(Heavy Metal Guitar Meets 9 Masterpieces by Niccolo Paganini). By German Schauss. For Guitar. Book; CD; Guitar Method or Supplement; Method/Instruction. National Guitar Workshop. Metal; Rock. Advanced; Intermediate. 64 pages. Published by Alfred Music Publishing
(2)$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| John Newton : Amazing Grace Vibraphone - Intermediate/advanced Tapspace Publications
(arranged for solo vibraphone). By John Newton. Arranged by Eric Rath. For vibra...(+)
(arranged for solo vibraphone). By John Newton. Arranged by Eric Rath. For vibraphone solo (3-octave). Medium-advanced. Bound folio. 8 pages. Duration 4:50. Published by Tapspace Publications
$17.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Learn to Play Blues Piano Piano solo [DVD] - Intermediate Homespun
DVD 4: New Orleans Style Made Easy. By David Bennett Cohen. This edition: DVDCOH...(+)
DVD 4: New Orleans Style Made Easy. By David Bennett Cohen. This edition: DVDCOHKB24. Homespun Tapes (Instructional). DVD . Published by Homespun.
$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Teach Yourself to Play Blues and Boogie Piano Piano solo [Sheet music + Audio access] - Intermediate Hal Leonard
A Quick and Easy Introduction for Intermediate to Early Advanced Players. Pian...(+)
A Quick and Easy Introduction
for Intermediate to Early
Advanced Players. Piano
Instruction. Softcover Audio
Online. 64 pages. Published
by Hal Leonar
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Jazz Mandolin Appetizers Mandolin [Sheet music + Audio access] - Intermediate/advanced Mel Bay
Composed by Don Stiernberg. For mandolin. Saddle-stitched, Technique. Intermedia...(+)
Composed by Don Stiernberg. For mandolin. Saddle-stitched, Technique. Intermediate-Advanced. Book and online audio. Published by Mel Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Complete Classic Chicago Blues Harp Harmonica [Sheet music + Audio access] Mel Bay
Composed by David Barrett. Perfect binding. Complete. Book and online audio. Pub...(+)
Composed by David Barrett. Perfect binding. Complete. Book and online audio. Published by Mel Bay Publications, Inc (MB.95452M).
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| How Sweet the Sound! Piano solo - Intermediate Lillenas Publishing Co.
(Old Hymns Made New). By Heather Sorenson. For piano. Sacred. Moderately advance...(+)
(Old Hymns Made New). By Heather Sorenson. For piano. Sacred. Moderately advanced. Published by Lillenas Publishing Company
$26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Six Easy Pieces (based on Mozart's opera The Magic Flute, K. 620) 1 Piano, 4 hands Alfred Publishing
By Christian Gottlob Neefe [Wolfgang Amadeus Mozart]. Edited by Dmitry Rachmanov...(+)
By Christian Gottlob Neefe [Wolfgang Amadeus Mozart]. Edited by Dmitry Rachmanov. For Piano. Book; Duet or Duo; Masterworks; Piano Duet (1 Piano, 4 Hands). Alfred Masterwork Edition. Classical; Masterwork; Recital. Advanced. 52 pages. Published by Alfred Music
$9.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classics to Jazz Mozart Piano solo Santorella Publications
Classics to Jazz * Mozart composed by Wolfgang Amadeus Mozart (1756-1791). Arran...(+)
Classics to Jazz * Mozart composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Jonathon Robbins. For jazz piano. This edition: Paperback. Collection. Jazz. Book. Text Language: English. 48 pages. Published by Santorella Publications
$9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Septet Merion Music
Chamber Music Cello, Piano, Viola, Violin, Violin 1, Violin 2 SKU: PR.1444075...(+)
Chamber Music Cello, Piano, Viola, Violin, Violin 1, Violin 2 SKU: PR.14440757S Composed by Ellen Taaffe Zwilich. Full score. 64 pages. Duration 24 minutes. Merion Music #144-40757S. Published by Merion Music (PR.14440757S). ISBN 9781491136539. UPC: 680160689347. Ellen Taaffe Zwilich’s Septet is the first major work written for this combination of instruments, and the pioneering process was greatly enjoyed by the composer: “While the instrumentation of the Septet provides an almost orchestral palette, and it was interesting to explore that, I love the idea of seven artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results from those shifting roles.†Septet was written for the Kalichstein-Laredo-Robinson Trio and the Miami String Quartet, to whom it is dedicated. String parts available on rental. For advanced ensembles. Duration: 24’. Writing music is a labor of love for me. My greatest joy is writing for performers whom I can be sure will not only deliver the notes accurately, but will project the meaning behind the notes. To have performers in the wings who will bring their own imagination and deep understanding to a performance is an inspiration to me. So I approached the writing of my Septet for the Kalichstein-Laredo-Robinson Trio and the Miami String Quartet with great anticipation and pleasure.The fact that there is no model for such a Septet made the pre-composition process a most enjoyable exploration. I liked the idea of having two strong ensemble personalities in the mix, and I thought that there must be some sort of challenging interchange at the outset. The first movement, “Introductions,†(note the plural) starts with the piano trio throwing down the gauntlet and the string quartet entering quietly, but gradually (almost one by one) joining with the trio to make a true septet with multi-faceted relations. The second movement, “Quasi una Passacaglia,†is based on a repeated phrase pattern. Part of the formal design is a contrast between “Baroque†style performance and modern, more romantic ways of playing. “Games,†the third movement, involves much playful interplay and the fourth movement, “Au revoir,†offers both reminiscence and farewell – not “good-bye,†but “until we meet again.â€Throughout the piece, two of my persistent fascinations are explored: firstly, my interest in designing initial material that can evolve into large-scale form, and secondly, the pleasure I take in chamber music. While the instrumentation of the Septet provides an almost orchestral palette and it was interesting to explore that, I love the idea of 7 artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results form those shifting roles. $35.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Septet Merion Music
Chamber Music Cello, Piano, Viola, Violin, Violin 1, Violin 2 SKU: PR.1444075...(+)
Chamber Music Cello, Piano, Viola, Violin, Violin 1, Violin 2 SKU: PR.144407570 Composed by Ellen Taaffe Zwilich. Set of Score and Parts. 64+12+12+12+12+12+12 pages. Duration 24 minutes. Merion Music #144-40757. Published by Merion Music (PR.144407570). ISBN 9781491136522. UPC: 680160689330. Ellen Taaffe Zwilich’s Septet is the first major work written for this combination of instruments, and the pioneering process was greatly enjoyed by the composer: “While the instrumentation of the Septet provides an almost orchestral palette, and it was interesting to explore that, I love the idea of seven artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results from those shifting roles.†Septet was written for the Kalichstein-Laredo-Robinson Trio and the Miami String Quartet, to whom it is dedicated. String parts available on rental. For advanced ensembles. Duration: 24’. Writing music is a labor of love for me. My greatest joy is writing for performers whom I can be sure will not only deliver the notes accurately, but will project the meaning behind the notes. To have performers in the wings who will bring their own imagination and deep understanding to a performance is an inspiration to me. So I approached the writing of my Septet for the Kalichstein-Laredo-Robinson Trio and the Miami String Quartet with great anticipation and pleasure.The fact that there is no model for such a Septet made the pre-composition process a most enjoyable exploration. I liked the idea of having two strong ensemble personalities in the mix, and I thought that there must be some sort of challenging interchange at the outset. The first movement, “Introductions,†(note the plural) starts with the piano trio throwing down the gauntlet and the string quartet entering quietly, but gradually (almost one by one) joining with the trio to make a true septet with multi-faceted relations. The second movement, “Quasi una Passacaglia,†is based on a repeated phrase pattern. Part of the formal design is a contrast between “Baroque†style performance and modern, more romantic ways of playing. “Games,†the third movement, involves much playful interplay and the fourth movement, “Au revoir,†offers both reminiscence and farewell – not “good-bye,†but “until we meet again.â€Throughout the piece, two of my persistent fascinations are explored: firstly, my interest in designing initial material that can evolve into large-scale form, and secondly, the pleasure I take in chamber music. While the instrumentation of the Septet provides an almost orchestral palette and it was interesting to explore that, I love the idea of 7 artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results form those shifting roles. $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto for Trombone with Piano reduction Trombone and Piano - Advanced Cherry Classics
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Classical. Score and Parts. Cherry Classics #CC3136. Published by Cherry Classics (CY.CC3136). ISBN 9790530111055. 8.5 x 11 in inches. This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers. $40.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mitchell on Trumpet * Book 1 with DVD Trumpet [Sheet music + DVD] Santorella Publications
(82 balanced lessons). By Harold E. Mitchell. For trumpet. This edition: Paperba...(+)
(82 balanced lessons). By Harold E. Mitchell. For trumpet. This edition: Paperback. Instructional. Method. Method book and DVD. Text Language: English. 96 pages. Published by Santorella Publications
$18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Top Tones for the Trumpeter (30 Modern Etudes)
Trumpet [Sheet music] Carl Fischer
30 Modern Etudes. Composed by Walter Wallace Smith. Softcover. With Standard not...(+)
30 Modern Etudes. Composed by Walter Wallace Smith. Softcover. With Standard notation. 67 pages. Carl Fischer #O002487. Published by Carl Fischer
$18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Rudiments On The Drumset
(BERG ANDREA) Batterie et Percussions [Sheet music + CD] AMA Verlag
Grundlegende Technik spielend lernen!. Par BERG ANDREA. Supposedly rudiments are...(+)
Grundlegende Technik spielend lernen!. Par BERG ANDREA. Supposedly rudiments are the basis for playing the drums at all . . . . but for students who are not so advanced, it’s an absolute mystery why they have to struggle with these boring technical exercises when all they really want to do is just play. Thisbook can be introduced early in the instructional process or used supplementarily if youre learning on your own. As soon as the first contact with notation has been made and youre playing your first grooves, you can then have fun jumping into theworld of rudiments. To this end, this book is separated into two Tours. Tour 1 contains simple exercises for the beginner, Tour 2 is directed at the advanced student who extensively knows and plays the rudiments. / Niveau : Tous Niveaux / All Styles - Technic / Recueil / Batterie et Percussions
38.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Stuart Bull: Stuart
Bull's Advanced Blues In
6 Weeks - Week 1: Guitar: Roadrock International
Advanced Blues in Six Weeks is the next step from the already classic Electric B...(+)
Advanced Blues in Six Weeks is the next step from the already classic Electric Blues In Six Weeks. This series goes deep into the possibilities of blues soloing analysing the true diversity between between some of the best blues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by Robben Ford are demonstrated and taught for practical application.Week One includes rapid fire blues licks using hammer on and pull off ideas left hand strength development for playing stamina dynamics and 'digging in'. Phrasing ideas are analysed including length of licks used in blues vs rock. String bending ideas using one and two strings are utilized along with licks that progress from slow to fast to build 'drama' within a solo.Artists such as Larry Carlton also bring a jazz flavour to the blues and popular ideas such as playing off of the 'five chord' are discussed and utilized. For anyone trying to take their playing to the next level Advanced blues in six week will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
23.99 GBP - Sold by Musicroom UK | |
| Stuart Bull: Stuart
Bull's Advanced Blues In
6 Weeks - Week 3: Guitar: Roadrock International
Advanced Blues in Six Weeks is the next step from the already classic Electric B...(+)
Advanced Blues in Six Weeks is the next step from the already classic Electric Blues In Six Weeks. This series goes deep into the possibilities of blues soloing analyzing the true diversity between between some of the best blues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by Robben Ford are demonstrated and taught for practical application.Week Three includes Larry Carlton style lessons including building phrases repetition of phrasing mixing major and minor dynamics and playing around chord shapes. It also includes a medium shuffle blues jam track.Artists such as Larry Carlton also bring a jazz flavor to the blues and popular ideas such as playing off of the 'five chord' are discussed and utilized. For anyone trying to take their playing to the next level Advanced blues in six week will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
23.99 GBP - Sold by Musicroom UK | |
| Stuart Bull: Stuart
Bull's Advanced Blues In
6 Weeks - Week 5: Guitar: Guitar notes and tablatures [DVD] Roadrock International
Week five includes lessons on major and minor pentatonic motifs note placements...(+)
Week five includes lessons on major and minor pentatonic motifs note placements major pentatonics for soloing using the open high E string using the E diminished chord and dominant arpeggios. Advanced blues in six weeks is the next step from the already classic 'Electric Blues In Six Weeks'. This series goes deep into the possibilities of blues soloing analysing the true diversity between between some of the best blues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by Robben Ford are demonstrated and taughtfor practical application.Artists such as Larry Carlton also bring a jazz flavour to the blues and popular ideas such as playing off of the 'five chord' are discussed and utilized. For anyone trying to take their playing to the next level Advanced blues in six week will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
23.99 GBP - Sold by Musicroom UK | |
| Stuart Bull: Stuart
Bull's Advanced Blues In
6 Weeks - Week 2: Guitar: Roadrock International
Advanced Blues in Six Weeks is the next step from the already classic Electric B...(+)
Advanced Blues in Six Weeks is the next step from the already classic Electric Blues In Six Weeks. This series goes deep into the possibilities of blues soloing analysing the true diversity between between some of the best blues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by Robben Ford are demonstrated and taught for practical application.Week Two includes ideas that are a step away from traditional blues. An A minor backing track using some 'jazz' chord changes isused to demonstrate the use of jazz licks within the blues. Robben Ford style ideas using altered chromatic and lydian b7 scales are looked at and many exciting licks are drawn from these scales. Phrasing and dynamics are a major part of this DVD providing some new and exciting vocabulary for any one new to this style.Artists such as Larry Carlton also bring a jazz flavour to the blues and popular ideas such as playing off of the 'five chord' are discussed and utilized. For anyone trying to take their playing to the next level Advanced blues in six week will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
23.99 GBP - Sold by Musicroom UK | |
| Stuart Bull: Stuart
Bull's Advanced Blues In
6 Weeks - Week 6: Guitar: Guitar notes and tablatures [DVD] Roadrock International
Advanced Blues in Six Weeks is the next step from the already classic Electric B...(+)
Advanced Blues in Six Weeks is the next step from the already classic Electric Blues In Six Weeks. This series goes deep into the possibilities of blues soloing analysing the true diversity between between some of the best blues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by Robben Ford are demonstrated and taught for practical application. Artists such as Larry Carlton also bring a jazz flavour to the blues and popular ideas such as playing off of the 'five chord' are discussed andutilized. For anyone trying to take their playing to the next level Advanced blues in six week will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
23.99 GBP - Sold by Musicroom UK | |
| Stuart Bull: Stuart
Bull's Advanced Blues in
6 Weeks: Guitar Solo: DVD Lick Library
Week 6-Advanced Blues in Six Weeks is the next step from the already classic &ld...(+)
Week 6-Advanced Blues in Six Weeks is the next step from the already classic “Electric Blues In Six Weeks.” This series goes deep into the possibilities of blues soloing analyzing the true diversity between between some ofthe best blues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by RobbenFord are demonstrated and taught for practical application. Artists such as Larry Carlton also bring a jazz flavor to the blues and popular ideas such as playing off of the “five chord” are discussed and utilized. Foranyone trying to take their playing to the next level Advanced Blues in Six Weeks will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
20.50 GBP - Sold by Musicroom UK | |
| Stuart Bull: Stuart
Bull's Advanced Blues in
6 Weeks: Guitar Solo: DVD Lick Library
Week 5-Advanced Blues in Six Weeks is the next step from the already classic &ld...(+)
Week 5-Advanced Blues in Six Weeks is the next step from the already classic “Electric Blues In Six Weeks.” This series goes deep into the possibilities of blues soloing analyzing the true diversity between some of the bestblues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by Robben Ford aredemonstrated and taught for practical application. Artists such as Larry Carlton also bring a jazz flavor to the blues and popular ideas such as playing off of the “five chord” are discussed and utilized. For anyonetrying to take their playing to the next level Advanced Blues in Six Weeks will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
20.50 GBP - Sold by Musicroom UK | |
| Joe Bonamassa: Stuart
Bull's Advanced Blues In
6 Weeks - Week 4: Guitar: Roadrock International
Week four includes Joe Bonamassa style blues guitar techniques including phrasin...(+)
Week four includes Joe Bonamassa style blues guitar techniques including phrasing and timing accents and sliding between positions using the 9th and hybrid picking. Also includes a blues jam track.Advanced blues in six weeks is the next step from the already classic 'Electric Blues In Six Weeks'. This series goes deep into the possibilities of blues soloing analyzing the true diversity between between some of the best blues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by Robben Ford are demonstrated and taughtfor practical application.Artists such as Larry Carlton also bring a jazz flavor to the blues and popular ideas such as playing off of the 'five chord' are discussed and utilized. For anyone trying to take their playing to the next level Advanced blues in six week will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
23.99 GBP - Sold by Musicroom UK | |
| Stuart Bull: Stuart
Bull's Advanced Blues in
6 Weeks: Guitar Solo: DVD Lick Library
Week 4-Advanced blues in six weeks is the next step from the already classic &ld...(+)
Week 4-Advanced blues in six weeks is the next step from the already classic “Electric Blues In Six Weeks.” This series goes deep into the possibilities of blues soloing analyzing the true diversity between some of the bestblues guitar players who have explored the genre. From the string bending and jazz concepts of BB King to the amazing fast blues rock runs of Joe Bonamassa. Concepts such as diminished scale usage made popular by Robben Ford aredemonstrated and taught for practical application. Artists such as Larry Carlton also bring a jazz flavor to the blues and popular ideas such as playing off of the “five chord” are discussed and utilized. For anyonetrying to take their playing to the next level Advanced blues in Six Weeks will give you plenty of new ideas licks and inspiration to help you take a further step into better understanding and playing of blues guitar.
20.50 GBP - Sold by Musicroom UK | |
| BARRETT DAVID - COMPLETE
CLASSIC CHICAGO BLUES
HARP + AUDIO ONLINE -
HARP Harmonica [Sheet music + Audio access] Mel Bay
A comprehensive lesson and study book for the intermediate and advanced diatonic...(+)
A comprehensive lesson and study book for the intermediate and advanced diatonic Harmonica player, Classic Chicago Blues Harp presents techniques, progressive examples and accompanying twelve bar blues exercise and examples.
This book is meant to take an instrument and musical style and teach it to the people who made it so popular, the blues listening public.
Special attention is given to the accurate reading of blues rhythms and each notated tune is carefully marked with tablature indicating precisely where to find individual notes. Each chapter concludes with a chapter review of what was taught in that section and access to online audio is included.
This book is best suited to the intermediate player rather than the beginner, and will appeal strongly to those with a genuine desire to learn the Chicago blues harmonica style.
Complete Classic Chicago Blues Harp is excellent for self-teaching, yet is comprehensive enough to be used in a private instruction format. The audio recording insures accuracy of interpretation and ease in learning. Most of the exercises and examples are included on the audio with split-tracked back-up music. Each song is played once with Harmonica and then without.
This is a great all-around study book for blues Harmonica players at any level.
28.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| David Barrett: Complete
Classic Chicago Blues
Harp Book: Harmonica:
Instrumental Harmonica Mel Bay
With Online Audio-A comprehensive lesson and study book for the intermediate and...(+)
With Online Audio-A comprehensive lesson and study book for the intermediate and advanced diatonic Harmonica player Classic Chicago Blues Harp presents techniques progressive examples and accompanying twelve bar blues exerciseand examples. This book is meant to take an instrument and musical style and teach it to the people who made it so popular the blues listening public. Special attention is given to the accurate reading of bluesrhythms and each notated tune is carefully marked with tablature indicating precisely where to find individual notes. Each chapter concludes with a chapter review of what was taught in that section and access to online audio isincluded. This book is best suited to the intermediate player rather than the beginner and will appeal strongly to those with a genuine desire to learn the Chicago blues harmonica style. Complete ClassicChicago Blues Harp is excellent for self-teaching yet is comprehensive enough to be used in a private instruction format. The audio recording insures accuracy of interpretation and ease in learning. Most of theexercises and examples are included on the audio with split-tracked back-up music. Each song is played once with Harmonica and then without.This is a great all-around study book for blues Harmonica players at any level.
22.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Beanstalk's Basics for
Piano: Piano:
Instrumental Album Piano solo Willis Music
Theory Book-This latest classically-flavoured songbook for John Thompsons Easie...(+)
Theory Book-This latest classically-flavoured songbook for John Thompsons Easiest Piano Course introduces easy works by one of the greatest composers ever to have lived Ludwig Van Beethoven . Featuring some very fine compositions First Beethoven? isperfect for pupils reaching parts 2 to 4 of the world-renowned Piano course. These fun repertoire books contain some amazing pieces that have been specially collected and graded to be used in conjunction with the Easiest Piano Course. Pieces likeMinuet In G Major Rondo In C the sublime Moonlight Sonata 1st Movement ?and the classic Für Elise ?will reinforce essential technical ability while simultaneously enhancing a general sense of musicality and melodic playing. FirstBeethoven? is therefore ideal for pupils whove worked through the course at levels 2 to 4 but its also a great set of pieces for sight reading practice for more advanced students. The pieces in this songbook become progressively moredifficult and to this end dynamics and phrasing have been omitted for the earlier pieces since theyre not introduced until Part 3 of the course. Early pieces like Ode To Joy? and Turkish March? help to reinforce what pupils learn inthe beginning of the? John Thompson Method with a focus on playing notes and rhythms accurately. Towards of the end of the songbook more challenging pieces like Eroica Symphony and Sonata Pathétique ?will help pupils to enhance theirtechnical skills play more melodically and most importantly enjoy playing! Generally these pieces stay in the 5-finger position with handy hints and suggestions when a different fingering is called for. The pieces in this songbook arebeautiful to hear and to play making First Beethoven? a really great beginners songbook for pupils who want to learn some of the finest music ever composed. As an introduction for beginners to classical music and Beethoven in particular thissongbook is rewarding and enjoyable these pieces being timeless and never going out of fashion. The John Thompsons Easiest Piano Course First Beethoven? songbook is the ideal beginning book for classical music fans. Its tailor-made forpupils working through the renowned and revered Piano method so its authoritative and accurate helping you to enhance your technique and learn some amazing music at the same time.
12.99 GBP - Sold by Musicroom UK | |
| Early Jazz Dances, Songs,
Instrumentals (GROSSMAN
STEFAN) Guitar Mel Bay
For Fingerstyle Guitar. Par GROSSMAN STEFAN. As aspiring fingerpicking guitarist...(+)
For Fingerstyle Guitar. Par GROSSMAN STEFAN. As aspiring fingerpicking guitarists started expanding their horizons from folk, blues, and ragtime in the 1970s, it was only logical to look towards early jazz tunes as a vast source for new possibilities. For one thing, they could follow the same evolutionary path from ragtime to jazz that had been taken by pianists such as Jelly Roll Morton and Harlem stride players like James P. Johnson and Fats Waller. These musicians all composed in a variety of styles, but their most ambitious piano solos expanded on the classic ragtime format developed by the likes of Scott Joplin, James Scott, and Joseph Lamb, using several strains that usually changed keys at least once. Morton, the self-proclaimed inventor of jazz, would record versions of tunes like King Porter Stomp and The Original Jelly Roll Blues that are similar to straight ragtime performances, and others where there is lots of room left for embellishment and jazz improvisation. The present collection is a bonanza for guitarists who want to tackle advanced arrangements along the lines of ragtime but featuring jazz age harmonies from the playing of Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, WC Handy, the Original Dixieland Jazz Band and other early jazz legends. The 32 arrangements included are by a wide assortment of guitarists including Ernie Hawkins, Pat Donohue, Lasse Johansson, Duck Baker, Ton Van Bergeyk, Sandy Shalk, Steve McWilliam, and Dorian Henry. / Date parution : 2022-01-14/ Recueil / Guitare
31.54 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Mike Hannickel: Mission
Control: Concert Band:
Score & Parts Concert band [Score and Parts] Curnow Music
A Musical Space Adventure-Names like Mercury Gemini Soyuz Sputnik Apollo Sa...(+)
A Musical Space Adventure-Names like Mercury Gemini Soyuz Sputnik Apollo Salyut Eagle Skylab Space Shuttle and Mir have kindled the imaginations of millions.This new beginning band piece by Mike Hannickel honors all the brilliant and dedicated space visionaries who stayed here on Earth but whose efforts made space exploration a reality.The simplest of rhythms careful scoring and easily achieved instrument ranges are hallmarks of the Curnow Music Press Great Foundations Series which is carefully designed to get your beginning band off to an exciting start. This composition limits the upper brass range to a sixth while the low brass parts encompass a range of only a fifth. The basicflute part avoids difficult finger combinations and an optional ?advanced? flute part (playable simultaneously with the easier part) gives those who are progressing more rapidly a bit more challenge.You have the same choice of difficulty levels for your percussion section with a basic part and a slightly more difficult ?advanced? part.
64.99 GBP - Sold by Musicroom UK | |
| Wolfgang Amadeus Mozart:
Mozart - Concerto No. 11
in F Major KV413: Piano: Piano solo [Sheet music + CD] Music Minus One
Performed by Iliana Todorova piano Accompaniment: Plovdiv Chamber Orchestra Con...(+)
Performed by Iliana Todorova piano Accompaniment: Plovdiv Chamber Orchestra Conductor: Nayden Todorov This cheerful concerto is a perfect example of the maturing Mozart coming into his own. Not as lengthy as some of the concerti but still a substantial piece it is an excellent concerto for the less advanced pianist who still wants a workout at the keys. Shows Mozart's love of fun in his keyboard works and includes such clever techniques as hand-crossings in the first movement. The slow movement gives tremendous opportunity to the soloist. A truly enjoyable experience! Includes an authoritative newly engraved music score printed on high-quality ivory paper; adigital stereo compact disc featuring a complete performance of the concerto with orchestra and soloist and a second performance minus you the soloist; plus a special -20% slow-tempo version of the accompaniment for practice purposes. The concerto is voluminously indexed for your practice and performance convenience.
19.99 GBP - Sold by Musicroom UK | |
| Stuart Bull: Learn to
Play Your Own Jazz Solos:
Guitar Solo: DVD Lick Library
This superb DVD helps you create your own jazz solos from the simplest point thr...(+)
This superb DVD helps you create your own jazz solos from the simplest point through to advanced phrases and concepts inspiring you to take your existing ideas and develop them into something fresh and exciting. Eight jam tracksincluded! This DVD is presented by Stuart Bull who has taught tens of thousands of guitarists worldwide through the award winning TOTAL ACCURACY guitar series. He has made numerous TV appearances on the the Musicians Channel?sAdvanced Guitar programmes as well as working with major artists from the world of rock and pop.
21.50 GBP - Sold by Musicroom UK | |
| Fundamentals (OKAZAKI
MILES) Guitar [Sheet music] Mel Bay
Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skil...(+)
Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare
38.44 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Ponzol Peter - Saxophone
Workshop - Pocket Guide Saxophone Jamey Aebersold Jazz
Imagine someone who has worked as an international saxophonist, an educator, a t...(+)
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.
6.40 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| The Featured Pianist Piano solo [Sheet music + CD] - Intermediate/advanced Chester
The Featured Pianist is a splendid collection of fourteen classical favourites f...(+)
The Featured Pianist is a splendid collection of fourteen classical favourites for the intermediate to advancing pianist, providing a superb enrichment to their repertoire. Suitable for Grades 5-6, the book also comes with a CD and additional downloadable content.The book itself contains fourteen fantastic pieces that everybody is sure to know and love by the cream of classical composers. With Debussy's masterpieces Clair de Lune and Arabesque #1, the latter of which is a beautiful score merely to look at, let alone play. A couple of classic Beethoven pieces, Adagio Cantabile and Adagio Sostenuto, are included, as well as timeless compositions by Chopin, Schubert and Bach that are essential learning for any pianist worth their salt.The accompanying CD contains professional performances of each piece and includes free hints and tips which are downloadable to your computer. Either play along to the CD, or simply unwind and relax to this unbeatable compilation of inspirational performances. Other pieces include Solfeggietto by C. P. E. Bach and Sweet Remembrance by Mendelssohn, among many others that will undeniably delight any listeners within earshot. The pieces arranged in this book are between Grades 5 and 6 in standard, making them perfect for those who want to expand their repertoire and musical knowledge with some of the finest compositions of all time. The Featured Pianist, with its brilliant engravings, accompanying CD and downloadable content, is everything you'll need to learn these great pieces of music. / Piano
15.02 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Smith W.m. - Top Tones
For The Trumpeter (30
Modern Studies) -
Trompette Trumpet Carl Fischer
These studies have been written to provide the ambitious student with material w...(+)
These studies have been written to provide the ambitious student with material with which to carry on beyond the point where most methods and study books leave off, after which point the player is either compelled to continue on his own or is left with the idea that, having conquered all of the material at hand, he is well equipped to enter the ranks of professional players. However, these days the demands made upon brass players are beyond anything contained in the older methods, material which, however necessary for the student to conquer during the first years of study, was certainly never intended to develop the player to the point of present-day demands upon his lip, tongue, and breath. The pieces in this book were written as studies, not as musical compositions, that include, in more or less profusion, such figures as the student will be apt to meet with during the course of an active career. The studies are generally tuneful and pleasant in character. This book is not intended for beginners or students who have not already developed a good technique and strong embouchure by their work in the methods such as Arban´s and St. Jacome´s. It is intended for advanced players who have gone beyond the ordinary material and who are looking for exercises with which to develop higher register, extra technique and extra familiarity with the keys.
24.30 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| John W. Schaum: John W.
Schaum Piano Course B:
The Blue Book: Piano: Piano solo Alfred Publishing
The John W. Schaum Piano Course is a classic in the world of Piano tutors. This ...(+)
The John W. Schaum Piano Course is a classic in the world of Piano tutors. This Blue Book is best suited to players at around Grades 1 to 2 or for players who have progressed through the Red Book. The John W. Schaum series is a comprehensive tutor for beginners of all ages. It's really well-presented with colour pictures useful information and guidance material. The aim of the book is to teach in the most natural and enjoyable way through popular melodies. The method enables the student to progress in a logical fashion through Pre A to F. The BlueBook is ideal for beginners who have been working through the previous books in the series or for those who are working at Grades 1 or 2 standard. The brilliantly logical progression through the essentials of playing the Piano is exhibited here allowing you to really get a tangible sense of achievement. New concepts are introduced in this book while previously-learned ones are reinforced. At various stages throughout this book fun and exciting pieces are included that will demonstrate the theoretical background in a practical context. The John W. Schaum Blue Book will take you through sight-reading drills new concepts and techniques like syncopation arpeggios and chord inversions as well as more advanced versions of previously-learned ideas such as new time signatures new key signatures and pedal technique. The easy-to-use and easy-to-understand format of the Schaum series has made it a favourite among pupils parents and teachers allowing beginners to quickly become proficient and confident. If you struggle to choose between the vast number of Piano tutors out there that all claim to be the best check out the John W. Schaum series for a genuinely great introduction to learning and mastering the Piano.
9.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Miles Okazaki:
Fundamentals Of Guitar:
Guitar: Instrumental
Tutor Guitar [Sheet music] - Beginner Mel Bay
This book is designed to be useful for guitarists at any skill level. Beginners ...(+)
This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument intermediate players can use it for training and theoretical work and advanced players can explore the sections on advanced theory extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm.Part 1 (pitch) begins withthe properties of string harmonics and tuning systems. It then moves methodically through pitch information beginning with locating all versions of a single pitch building pentatonic heptatonic and all possible symmetricalscales. This is followed by a study of intervals with all possible locations of every two pitches and a long study that moves through every possible fingering of three pitches with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation.Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation with a focus on efficiency accuracy speed dynamics and groove. It is followed by a study of legato playing working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse playing two simultaneous tempos.The book concludes with a study of polyrhythm playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described
27.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Théo Charlier: 36 Etudes
Transcendantes: Trumpet:
Study Trumpet [Sheet music] Leduc, Alphonse
36 Études Transcendantes by Théo Charlier (1868-1944) is a study book for adva...(+)
36 Études Transcendantes by Théo Charlier (1868-1944) is a study book for advanced level Trumpet players using a chromatic trumpet in B flat. It can also be used by Cornet or Flugelhorn players. Written with some very technical parts 36 Études Transcendantes prepares the Trumpet players with challenges through all registers while involving some interesting lyrical parts. It is a must have for any advanced Trumpet players and a classic in the Trumpet literature. Théo Charlier was a Belgium Trumpet Master who differentiates himself by preferring the sound of Trumpet to thoseof the Cornet or the Flugelhorn during a period which was more used to military music. He was the first to interpret Bach's 2nd Brandenbourg Concerto in its full in 1898 with a tailor-made piccolo-Trumpet Victor Mahillon. In addition to 36 Études Transcendantes he also composed some contest pieces and some operas.
34.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Martin Norgaard: Getting
Into Gypsy Jazz Violin:
Violin: Instrumental
Tutor Violin [Sheet music + Audio access] Mel Bay
Learn to improvise in the Gypsy Jazz style. Suitable even for violinists who hav...(+)
Learn to improvise in the Gypsy Jazz style. Suitable even for violinists who have never improvised before this method covers specific key aspects of the Gypsy jazz Violin style as made famous by French jazz violinist StephaneGrappelli who played with Gypsy jazz Guitar player Django Reinhardt. The techniques in this book are presented sequentially and the underlying music theory is introduced on a 'need to know' basis.Getting IntoGypsy Jazz Violin includes charts of classic swing tunes such as Avalon The Sheik of Araby and After You've Gone and includes online audio featuring authentic accompaniment tracks and modelViolin performances. Because the Gypsy jazz Violin style maintains common elements of traditional classical Violin techniques such as vibrato and shifting the book is a perfect vehicle for the classical violinist to learn toimprovise without having to change their general approach to the instrument.? Any intermediate or advanced violinist can learn to improvise in the Gypsy jazz Violin style.? Perfectly suited toclassically trained violinists because the Gypsy jazz Violin style is closely related to traditional classical Violin techniques.? Includes charts of classic swing tunes such as Avalon The Sheik of Araby
18.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| John Thompson's Adult
Piano Course Book 2 &
Audio: Piano:
Instrumental Tutor Piano solo [Sheet music + Audio access] - Easy Willis Music
With a fully revised and updated edition Book Two of the renowned John Thompson...(+)
With a fully revised and updated edition Book Two of the renowned John Thompson's Adult Piano Course has been tailor-made for the adult beginner who is getting to grips with the basics of Piano playing. The accompanying download card will allow you to hear how each example should be played allowing you to continue your progression smoothly from Book One. John Thompson's Piano Course has long been the standard for beginning Piano tuition and now the Adult Piano Course ignites the flame for older beginners who have decided to take up that most valuable pastime in laterlife as it truly is never too late. Featuring authoritative instructions and advice that is practical and useful this second volume of the hugely popular Piano tutor series explores the techniques and theory that were introduced in the first book but in greater depth and detail as well as introducing new more advanced concepts that you will be learning for the first time. Book Two of the John Thompson's Adult Piano Course will guide you through concepts such as pedal points new chord studies grace notes syncopation arpeggios staccato major and minor scales and many more essential concepts all the while using fantastic music to illustrate and contextualise the ideas. With its authoritative tone and comprehensive instructions you'll be building on everything you learned in the first book in no time at all. As in the previous volume this book places equal emphasis on musical theory and musicality providing you with good examples on which to focus your practising of a particular technique. If you have a teacher they will be able to decide how best to use the book but if you are teaching yourself it's still an incredibly useful and efficient tool for helping you make the most of your abilities. The unique Download Card
14.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Quinque R. - Asa-methode
- Trompette
Français Trumpet BIM
Level: easy / advanced Format: English / French / German Embouchure building S...(+)
Level: easy / advanced Format: English / French / German Embouchure building Studies Elementary Intermediate Advanced High register training In the 17th century there were no studies in the modern sense of the word. Of J. S. Bach, however, we know that he wrote pieces of a study nature for his pupils, indeed he made them spend months, and in his own words preferably years, practising exercises for touch at the keyboard, that is, daily finger exercises, on the principle: There is little point in getting fit if you do nothing to stay fit. From this point of view, relating it to our instrument and to the lips, you ought to look at the following embouchure-building studies. They are not intended as warm-ups, although that term is quite appropriate for some of these exercises. Taken together they serve to build the muscles, rather like an athlete's training. Like him, we too must increase our capacity gradually. The muscles and organs involved adapt to the greater workload, but only if the increase proceeds systematically and rationally. Try to complete the full distance of each study, gradually reducing the time, like a long-distance runner. Adding one exercise, or at most three, according to the difficulty, to your daily workload will be enough. You should only start further exercises when you have fully mastered the preceding ones according to the directions in my embouchure method and have reached a satisfactory standard in rhythm and sound. The deliberately simple fingerings make it easier to check the actions of the diaphragm, the lips, and the tongue inside the mouth cavity. Form a mental picture of their movements and compare yourself constantly to an artist whose principle is: There are no secrets, at best some small tricks, which can be learned.
45.30 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Zdenek Gola: Violin
Technique - Volume II:
Violin: Instrumental
Album Violin - Intermediate Barenreiter
New methods to practice and improve shifting positionsWith brief descriptions in...(+)
New methods to practice and improve shifting positionsWith brief descriptions in three languages (Cz/Ger/Eng)Advanced level of difficultyThese exercises are intended for violinists who have a basic knowledge of shifting positions and how to play double stops. At first fixed positions and shifting are practised separately from one another in one and two part combinations. In the second volume these two techniques are combined and consolidated.The aim of these studies or études is to improve left-hand techniques enabling the student to execute shifting positions with greater confidence. Gola?s Violin Technique should accompany the violinist throughout his career.The authorZden kGola (*1929) studied at the Brunn Janá ek Academy and was subsequently Professor of Violin at the Music Conservatory in Ostrava. In 1966 he emigrated to Sweden where he made a name for himself as orchestral musician concert master and soloist as well as pedagogue. He is the author of numerous educational works.Also availableVolume 1: BA 9550
17.00 GBP - Sold by Musicroom UK | |
| Michael Tarro: Teach
Yourself to Play Blues &
Boogie Piano: Piano:
Instrumental Piano solo [Sheet music + Audio access] Hal Leonard
A Quick and Easy Introduction for Intermediate to Early Advanced Players-If you ...(+)
A Quick and Easy Introduction for Intermediate to Early Advanced Players-If you are a Pianist who has already developed some ability on your instrument and have an interest in learning about blues and boogie woogie this book is tailor-made for you. Jazz and swing are also discussed. You'll focus on many aspects of these styles proceeding slowly at first then progressing more quickly after the fundamentals have been introduced. Most of the songs and arrangements are at the intermediate level. The online audio features demo tracks as well as stylistic backing tracks ? with bass and drums only ? so you can play along as the soloist. Topics covered include: 12-bar blues ? left-hand bass patterns ?right-hand licks ? turnarounds
16.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
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