SKU: BT.REBFG1309
Funk Guitar JJ Rébillard
Volume 1 : 1950-1975 La totale sur le RandB, la soul et le funk
â?¢ RandB, Soul and Funk Story â?¢ 50 guitaristes et leur matos â?¢ Notions de base â?¢ Harmonie (50 positionsdâ??accords, analyse de 20 grilles standards) â?¢ 50 rythmiques â?¢ 20 Riffs et cot cot â?¢ Ballades soul â?¢ Groove et wah wah â?¢ 15 solos â?¢ Astuces and arrangements (10 formules pour 2 et 3 guitares) â?¢ CD 1 : Tous les plans de laméthode et les play-backsCD 2 : Exclusif !! 5 titres complets et 5 play-backs. Accompagnez trois grandes chanteuses de soul : Claudia Hoff, Sofia Nelson and Jean Carpenter (directrice du chÅ?ur US Gospel pour 100voix).Partitions sur www.jjrebillard.frâ?¢ The Coasters â?¢ Johnny Otis â?¢ The Drifters â?¢ Ray Charles â?¢ Sam Cooke â?¢ James Brown â?¢ Rufus Thomas â?¢ Solomon Burke â?¢ Aretha Franklin â?¢ Sam And Dave â?¢ Eddie Floyd â?¢ Otis Redding â?¢ TheStaple Singers â?¢ Isaac Hayes â?¢ Wilson Pickett â?¢ Al Green â?¢ Percy Sledge â?¢ The Four Tops â?¢ The Supremes â?¢ The Temptations â?¢ Stevie Wonder â?¢ Marvin Gaye â?¢ The Isley Brothers â?¢ Sly And The Family Stone â?¢ The Jackson 5 â?¢ KC and TheSunshine Band â?¢ Funkadelic â?¢ Earth Wind and Fire
SKU: BT.DHP-1053860-010
English-German-French-Dutch.
The operetta The Gipsy Baron is, together with Die Fledermaus (The Bat), the most famous theatre work by Johann Strauss Jr. A libretto full of romance, original musical ideas, compelling Viennese dances, fiery rhythmic Hungarian music and beautiful arias, were just some of the ingredients that lead to its huge success. The Gipsy Baron can also be thought of as a comic opera. The main motif of this overture won first prize in a contest that was to provide a new Hungarian anthem, however because Strauss did not have Hungarian nationality, another melody was chosen. A great transcription to bring a Hungarian twist to any programme.De operette Der Zigeunerbaron is, samen met Die Fledermaus, het beroemdste theaterwerk van Johann Strauss jr. Een libretto vol romantiek, originele muzikale ideeën, meeslepende Weense dansen, vurig ritmische Hongaarsemuziek, uitgewerkte aria’s: al deze ingrediënten moesten wel tot succes leiden. Het geheel is van een dusdanig hoog niveau dat Der Zigeunerbaron ook een komische opera genoemd mag worden. De ouverture is niet een bonte verzamelingvan ‘succesmotieven’ uit de operette. Ze is een (geslaagde) poging om het publiek in de sfeer te brengen van het land waar de handeling plaatsvindt: Hongarije.Die Operette Der Zigeunerbaron ist eines der berühmtesten Bühnenwerke von Johann Strauss (Sohn). Ein Libretto voll von Romantik, originellen musikalischen Ideen, bezaubernden Wiener Tänzen, feuriger ungarischer Musik und wunderschönen Arien waren die Zutaten, die zum Erfolg führten. Die Ouvertüre ist keine abwechslungsreiche Sammlung der schönsten Motive aus der Operette. Sie ist ganz klar ein (erfolgreicher) Versuch, dem Publikum die Atmosphäre des Handlungsortes Ungarn nahe zu bringen. Dies gelingt auch Ihrem Blasorchester mit Wil van der Beeks Transkription. mi-chemin entre l’opérette et l’opéra-comique, Le Baron tzigane de Johann Strauss renferme tous les ingrédients d’un succès annoncé : un livret romanesque souhait, des idées musicales originales, des airs merveilleux et une adroite fusion entre les sublimes danses viennoises et les rythmes pétillants de la musique hongroise. L’Ouverture plonge le public dans l’univers musical du pays où se déroule l’intrigue : la Hongrie. A met tra l’operetta e l’opera comica, Il Barone Gitano di Johann Strauss contiene tutti gli ingredienti del successo annunciato: un libretto romanzesco, idee musicali originali, arie meravigliose e un’abile fusione tra le sublimi danze viennesi ed i ritmi sfavillanti della musica ungherese. L’Ouverture accompagna il pubblico nell’universo musicale dell’Ungheria, paese dove si svolge l’intrigo.
SKU: BT.DHP-1053860-140
SKU: GI.G-8462
ISBN 9781622771004. English.
The volume you are holding is a vivid testimony …to the value of examining this variety and dynamism from multiple, overlapping points of view …to the value of both realist and idealist voices …to the value of articulating wisdom. From the foreword by John D. Witvliet, Calvin Institute of Christian Worship Since the publication of the first volume of Readings in African American Church Music and Worship, public and academic interest in the music and worship in black churches has significantly increased. This second volume makes available the most recent scholarship on twenty-first-century developments and trends, through a representative number of articles, essays, and chapters written by brilliant musicians, authors, and theologians of our time. The list of contributors includes some of the finest emerging scholars, whose voices we will be hearing for years to come, as well as offerings from seasoned authors, whose research and writings are well regarded by peers and the worshiping community at large. The significant contributions—from names new and familiar—greatly broaden the field of study. The 43 chapters of this volume are divided into 7 categories: Worship and Liturgical Practices Perspectives on Praise and Worship Liturgical Theologies Hip Hop and/in the Church Proclamation of the Word Perspectives on Women and Gender Hymnody: Sound and Sense Insightful, thought-provoking, challenging, hopeful—this volume will be a source of knowledge, a stimulus for discussion, and a call to (re)consider the many and varied viewpoints of the African American church. Featuring the writings of: James Abbington, LaTrese Adkins, Sandra L. Barnes, Tuere A. Bowles, Ruthlyn Bradshaw, Michael Joseph Brown, Melvin L. Butler, James H. Cone, David Douglas Daniels III, Robert Darden, Leo H. Davis Jr., Valerie Bridgeman Davis, Michael Fox, Kenyatta R. Gilbert, Daniel White Hodge, Birgitta J. Johnson, Alisha Jones, Tammy L. Kernodle, S T Kimbrough, Jr., Cheryl A. Kirk-Duggan, Cleophus J. LaRue, Monica T. Leach, Tamura Lomax, Pamela P. Martin, Marvin A. McMickle, Monica R. Miller, Stephanie Y. Mitchem, Thomasina Neely-Chandler, Deborah S. Pollard, Luke A. Powery, Samuel D. Proctor, Teresa L. Reed, Braxton D. Shelley, Martha Simmons, Josef Sorett, Rodney A. Teal, Frank Thomas, Kathleen S. Turner, Kenneth C. Ulmer, Gayle Wald, James Melvin Washington, Ralph C. Watkins, Lisa M. Weaver, Melinda E. Weekes, Christina Zanfagna James Abbington is Associate Professor of Church Music and Worship, Candler School of Theology, Emory University, Atlanta, Georgia. He also serves as Executive Editor of the African American Church Music Series, published by GIA Publications, Inc.
SKU: BR.KM-2296
ISBN 9790004502891. 9 x 12 inches.
An original by Bach Sr. and Jr. Klaus Hofmann has retraced the path to the ur-sonata! With convincing arguments, he has shown that two well-known Bach works were originally based on one and the same model that is no longer extant. He believes that both the Trio Sonata in G major BWV 1038 and the Violin Sonata in F major BWV 1022 are concealing an original work for violin, viola and basso continuo a work that can easily be reconstructed by a Bach expert. Hofmann has already given ample proof of his unerring sense of style and authenticity in the two B flat major Trio Sonatas (KM 2277 and M 2287). He diplomatically attributes the authorship of the newly recovered sonata to both Johann Sebastian and his son Carl Philipp Emanuel to equal extents. This should preclude any posthumous family arguments, and lovers of Baroque chamber music will be delighted with this rare example of an original Bach piece for viola!
SKU: AP.44719
ISBN 9781470627508. UPC: 038081508375. English.
Teach violin with the popular Suzuki Violin School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki violin teacher to develop their potential as a musician and as a person. This performance/accompaniment CD of the Suzuki violin method, Volume 8, is integral for Suzuki violin lessons and features recordings by William Preucil Jr. and piano accompaniments by Linda Perry, as well as piano accompaniments recorded alone. Titles: Sonata No. 11 in G Minor (Eccles) * Tambourin (Grétry) * Largo from Sonata No. 3 in C Major, BWV 1005 (Bach) * Preludio from Sonata in E Minor, BWV 1023 (Bach) * Allegro from Sonata in E Minor, BWV 1023 (Bach) * Largo Espressivo (Pugnani) * Sonata in E Minor (Veracini).
About Suzuki Method
The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.
SKU: GI.G-7112
UPC: 785147711209. English. Text Source: Primary text: Herman G. Stuempfle Jr., 1923–2007, alt., Secondary text: Samuel Longfellow, 1819–1892. Text by Samuel Longfellow.
This is a useful piece for three equal voices that can be sung unison or in two parts-and will work with SAB voices if the middle voice is given to the men (an octave lower, of course). The two texts provide morning and evening hymns. The former is useful anytime as a hymn of praise. Unison, two part or three part voices 2 or 3 octaves Handbells or Handchimes .
SKU: MH.188332-SCORE
Second Prize Winner, 2nd International Frank Ticheli Composition ContestPerformance on audio sample by University of New Hampshire Summer Youth Music School Wind Ensemble Andrew Boysen, Jr., conductor.
