Cette nouvelle édition de la célèbre méthode Really Easy Piano: Adele présente des arrangements pour pianistes débutants de 27 chansons légendaires d?Adèle, dont cinq titres extraits de son dernier album ?25? tels que Hello. Chaque chanson s?accompagne ici d?informations explicatives, de conseils et astuces, des paroles et d?un guide du doigté. Adèle a démarré sa carrière après qu?un ami ait posté ses démos sur Myspace en 2006. Elle a depuis enregistré trois albums en studio et sa popularité n?a cessé de croitre dans le monde entier. Cette nouvelle édition de Really Easy Piano Adele a sélectionné les chansons des éditions précédentes, auxquelles ont été ajoutées les fantastiques All I Ask, When We Were Young, Water Under The Bridge, Remedyand, et bien sûr Hello, soigneusement arrangées pour pianistes débutants. Chanteuse, auteur et musicienne, Adèle a marqué une pause dans sa carrière après la sortie de son album ?21? en 2011, avant de revenir plus triomphante que jamais en 2015 avec son nouvel album ?25?. L?édition Really Easy Piano Adele vous permet d?apprendre les plus belles chansons de cette artiste de légende rapidement ! / Variétés / Partition /

Songwriting Composing Remixing-Dot Bustelo's signature approach to teaching Logic will get you up and running quickly. She'll help you move beyond the basics to discover a professional-level Logic workflow taught through highly musical examples that expose Logic's essential features and powerful production tools. You'll find many of the tips tricks and insider techniques that powered Logic to its industry-leading status as the best tool for unleashing creativity in songwriting composing making beats and remixing. Plus find out why musicians over the years have sworn Logic ?grooves better.?Dot provides the powerful methodology for creating in Logic that she has shared with countlesshigh-profile bands and Grammy Award-winning producers and engineers. Here's just a sampling of what some of music's most successful artists say about Dot's approach to Logic:Ronnie Vannucci The Killers: ?Dot has made Logic well logical.?Ryan Tedder OneRepublic: ?Dot Bustelo has hands down the most extensive working knowledge of Logic and all its intricacies.?James Valentine Maroon 5: ?Dot was the first one to introduce me to Logic.... She knows this software inside and out and she breaks everything down in an easy-to-understand way. And she knows the best insider techniques that will make your recording more efficient and creative.... I wonder when Dot will get sick of me asking her Logic-related questions??Nathaniel Motte 3OH!3: ?Dot has provided me with an incredible source of in-depth and practical knowledge of Apple's Logic program. She has shown me tricks in Logic that have opened creative doors that I didn't even know existed.?Chad Hugo N.E.R.D. The Neptunes: ?When you got a Logic problem / Dot has wrote a book to solve 'em . . . / And this right here is it. Yeya!?

On your marks... Get set... Go! Get running skiing swimming and dancing your way to playing the piano with this lively collection of sporty exercises!When we learn a new sport we take for granted that we will need to do warming up exercises. Learning the piano is no different. Just as in any sporting activity a few technical exercises can increase control reduce muscle stress and prevent strain. This book introduces essential workouts for the hands in a gradual and fun way. Make these activities a regular part of lesson and practice time. Pick one or two each time you practice and use them to warm up.A very creative and helpful instrumentaltutor book written by Fiona Macardle. To be used in support of a graded method series this book is full of original ideas which help to make practicing and learning fun including warm ups midweek training and fitness level tests/pieces!

The song repertoire has its origins in the late nineteenth century when every household had a piano and for much of the twentieth century singers and their pianist collaborators were able to create recital programmes from a deepreservoir of European and North American song. The recital genre became more sophisticated as the century progressed and metamorphosed from a miscellaneous collection of lollipops to something altogether more sophisticated oftenfeaturing elaborate themes which would enable the music to be presented in a variety of new contexts. In the twenty first century opportunities for recitalists are fewer and programmes still tend to focus on the much-loved butwell-explored repertoire. We hope this collection will contribute to a broadening of possibilities for recitalists or anyone who just wants something new to sing.There are several songs for voice and piano but some requireother instruments. There is a wide range of styles. We have resisted the temptation to grade them by difficulty as our criteria were more broadly performative and musical rather than didactic. All selected composers have aparticular sympathy for the singing voice so there is nothing that cannot be sung by a competent performer. The songs generally have a designated voice type but this shouldn't be thought of as prescriptive; they are designed tobe flexible and to offer the maximum opportunity for creative interpretation. They range from the curious and quirky to the virtuosic and challenging the intense and mysterious to the sad and the light-hearted. We hope that manyperformers will find their tastes represented here.Compiled by David Blake and John Potter.Edited by Michael Hooper.

The Method For a New Generation-Designed for piano or electric keyboard learn the essential techniques knowledge and everything you need to start playing now! Start with proper posture and hand position for comfortable playing. Next follow a gradual andprogressive learning path to read music notation rhythm timing and how they are used to play songs. Techniques are demonstrated with audio play along backing tracks. Use quizzes to help reinforce new concepts and gauge yourprogress. Whether you are learning on your own or with an instructor this compressive book is a great place to start your musical journey!This step-by step-course has 60 pages of lessons and can be used with a teacher orself-guided. Includes: CD with backing tracks you practice with lifetime web membership for 24/7 lesson support. Also includes a quiz system that helps you track your progress digital version you get when you register forsupport at the web site and much more.

David Well composed 'Frida's Whiskers' in commemoration of his own cat who met an untimely end. Frida (whose real name was 'Godefrida van Coopersburg thoe Nieuwenhuys') was a lively creature who led a playful and uncomplicated life. She used to sleep in her basket for hours but when she woke up she upset the entire house and its furnishing. Curtains were inspected from top to bottom and flower pots fell from window-sills just like that! Outside in the open air she was in her element. She used to frolic bouncing into the air. After such playful moods she would return to her basket tired but satisfied where being the cleanly cat that shewas she subjected her entire body whiskers included to a thorough wash.

David Well composed 'Frida's Whiskers' in commemoration of his own cat who met an untimely end. Frida (whose real name was 'Godefrida van Coopersburg thoe Nieuwenhuys') was a lively creature who led a playful and uncomplicated life. She used to sleep in her basket for hours but when she woke up she upset the entire house and its furnishing. Curtains were inspected from top to bottom and flower pots fell from window-sills just like that! Outside in the open air she was in her element. She used to frolic bouncing into the air. After such playful moods she would return to her basket tired but satisfied where being the cleanly cat that shewas she subjected her entire body whiskers included to a thorough wash.

David Well composed 'Frida's Whiskers' in commemoration of his own cat who met an untimely end. Frida (whose real name was 'Godefrida van Coopersburg thoe Nieuwenhuys') was a lively creature who led a playful and uncomplicated life. She used to sleep in her basket for hours but when she woke up she upset the entire house and its furnishing. Curtains were inspected from top to bottom and flower pots fell from window-sills just like that! Outside in the open air she was in her element. She used to frolic bouncing into the air. After such playful moods she would return to her basket tired but satisfied where being the cleanly cat that shewas she subjected her entire body whiskers included to a thorough wash.

The word ‘tsunami’ is of Japanese origin. When you look it up in a dictionary you will find that it means ‘a great sea wave produced by submarine earth movement or volcanic eruption’. A megatsunami is the superlative of this awesome expression of power that nature can create and has catastrophic consequences. When Carl Wittrock completed this composition not many such big earth movements had occurred but since then we have become all too familiar with the disastrous consequences which a tsunami may have. On the 26th of December 2004 a heavy seaquake took place near the Indonesian island of Sumatra. Tidal waves 10 meters in height ravaged the coastal regions ofmany countries for miles around. The tsunami took the lives of thousands of people and destroyed many villages and towns. There are more areas which run the risk of being struck by a tsunami such as the island of La Palma one of the Canary Islands. This island is based on oceanic crust at a fracture zone and as such is one of nature’s time bombs. The consequences of a natural calamity like a megatsunami are immense. In the case of La Palma the tidal wave will move in the direction of South America where it may reach 50 km inland destroying everything on its way. In his composition Wittrock describes an ordinary day which will have an unexpected ending. Right from the beginning there seems to be something in the air the music creating an oppressive atmosphere of impending disaster. Themes are interrupted broken off suddenly followed by silence suggesting the calm before the storm. Suddenly a short climax (glissandi in the trombone part) indicates the seaquake and the megatsunami is a fact. Hereafter follows a turbulent passage symbolising the huge rolling waves. After nature’s force has spent itself resignation sets in and the composition ends with a majestic ode to nature.

The word ‘tsunami’ is of Japanese origin. When you look it up in a dictionary you will find that it means ‘a great sea wave produced by submarine earth movement or volcanic eruption’. A megatsunami is the superlative of this awesome expressionof power that nature can create and has catastrophic consequences. When Carl Wittrock completed this composition not many such big earth movements had occurred but since then we have become all too familiar with the disastrousconsequences which a tsunami may have. On the 26th of December 2004 a heavy seaquake took place near the Indonesian island of Sumatra. Tidal waves 10 meters in height ravaged the coastal regions of many countries for miles around. The tsunamitook the lives of thousands of people and destroyed many villages and towns. There are more areas which run the risk of being struck by a tsunami such as the island of La Palma one of the Canary Islands. This island is based on oceaniccrust at a fracture zone and as such is one of nature’s time bombs. The consequences of a natural calamity like a megatsunami are immense. In the case of La Palma the tidal wave will move in the direction of South America where it may reach 50km inland destroying everything on its way. In his composition Wittrock describes an ordinary day which will have an unexpected ending. Right from the beginning there seems to be something in the air the music creating an oppressiveatmosphere of impending disaster. Themes are interrupted broken off suddenly followed by silence suggesting the calm before the storm. Suddenly a short climax (glissandi in the trombone part) indicates the seaquake and the megatsunami isa fact. Hereafter follows a turbulent passage symbolising the huge rolling waves. After nature’s force has spent itself resignation sets in and the composition ends with a majestic ode to nature.

The word ‘tsunami’ is of Japanese origin. When you look it up in a dictionary you will find that it means ‘a great sea wave produced by submarine earth movement or volcanic eruption’. A megatsunami is the superlative of this awesome expressionof power that nature can create and has catastrophic consequences. When Carl Wittrock completed this composition not many such big earth movements had occurred but since then we have become all too familiar with the disastrousconsequences which a tsunami may have. On the 26th of December 2004 a heavy seaquake took place near the Indonesian island of Sumatra. Tidal waves 10 meters in height ravaged the coastal regions of many countries for miles around. The tsunamitook the lives of thousands of people and destroyed many villages and towns. There are more areas which run the risk of being struck by a tsunami such as the island of La Palma one of the Canary Islands. This island is based on oceaniccrust at a fracture zone and as such is one of nature’s time bombs. The consequences of a natural calamity like a megatsunami are immense. In the case of La Palma the tidal wave will move in the direction of South America where it may reach 50km inland destroying everything on its way. In his composition Wittrock describes an ordinary day which will have an unexpected ending. Right from the beginning there seems to be something in the air the music creating an oppressiveatmosphere of impending disaster. Themes are interrupted broken off suddenly followed by silence suggesting the calm before the storm. Suddenly a short climax (glissandi in the trombone part) indicates the seaquake and the megatsunami isa fact. Hereafter follows a turbulent passage symbolising the huge rolling waves. After nature’s force has spent itself resignation sets in and the composition ends with a majestic ode to nature.

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.