Become a better improvising harpist. Learn basic chords, chord symbols, and harmonic progressions used in a wide range of music, including jazz, folk, and other styles. Whether you play pedal or lever harp, this book will help you to explore your personal musicianship and creativity. You will learn techniques for soloing and for accompanying yourself or others. The harmony exercises will help you to master chord progressions in several grooves, practice modulating freely and without fear, and improve your chord recognition and smooth voice leading. The accompanying audio tracks, accessed online for download or streaming, include demonstrations and play-alongs. The audio tracks include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right - available exclusively from Hal Leonard. / Harpe

Lullay, my liking is scored for accompanied two-part choir, allowing for various upper-/lower-voice combinations: two-part trebles or sopranos, upper voices only (S/A), or men only (T/B). If performed by a four-part choir, sopranos and tenors should read the upper line, and altos and basses read the lower. The keyboard part can be played on piano or organ, or harp. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Graham Ross (b. 1985) is Director of Music and Fellow of Clare College, Cambridge, and Principal Conductor and co-founder of the Dmitri Ensemble. A composer and conductor of a wide range of repertoire, he has had works performed throughout Europe and beyond. He has recorded many rarely performed and newly composed works, including pieces by Ralph Vaughan Williams (Albion Records) - James MacMillan, Judith Bingham and Giles Swayne (Naxos) - and Imogen Holst (Harmonia Mundi). He guest-conducts throughout the UK and abroad, with recent engagements in Palestine, Australia, Nigeria, Denmark, Aldeburgh and Glyndebourne. As a composer, recent performances have been given by, among others, Aurora Orchestra, Australian Chamber Orchestra, comedian Barry Humphries, BBC Concert Orchestra, Choir of London, City of London Sinfonia, National Youth Choir of Great Britain, O Duo and the Solstice Quartet. / Choeur A 2 Parties Et Orgue

182 of the best European jazz tunes make The European Real Book a must have for any jazz player. This volume contains pieces by Michel Petrucciani, Florian Ross, George Shearing, Nguyen Le, Toots Thielemans, Philip Catherine, Bill Bruford, Tommy Smith, Enrico Rava, Django Reinhardt and almost 100 others. As with all Sher Real books this book features: 100% accurate composer-approved charts easy-to-read manuscript A great selection of tunes Many extra features like sample Bass lines, chord voicing, Rhythm section hits, harmony parts and an extensive Drum appendix. An exclusive and exciting feature of The European Real Book is that streaming MP3 files of over 100 tunes in the book are available free of charge from Sher Music.

Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ' a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy'he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book'encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation and pivot, and the application to tunes. The reader will be tempted to stop on every page and compose. I found the Lost Chord, but won't tell you the page number. Bert Ligon Jazz Pianist/Guitarist, Composer, Arranger, Educator, Director of Jazz Studies, University of South Carolina Ever wonder how to move harmony around instead of repeating the same chord voicing over and over' Then Chords in Motion is a must have book for you! Andy has included a ton of information that will open up your comping and should keep you busy with new ideas for a long time! I highly recommend it! Dan Haerle Jazz Pianist, Composer, Author, Educator, Professor Emeritus, University of North Texas Chords in Motion is an essential guide to expanding one's conception of modern Jazz Piano Harmony. Andy LaVerne has managed to outline in a very practical and concise way, modern principles of piano chord voicings, as they pertain to the Jazz Pianist's primary group function of comping. David Hazeltine Jazz Pianist, Composer, Educator, SUNY Purchase College Conservatory of Music Chords in Motion should be fun to take into the practice room to explore new ways of sustaining harmonies over the entire register of the piano. It is encyclopedic and thorough in its content. No stone is left unturned! Stephany Tiernan Pianist, Composer, Educator, Chair, Piano Department, Berklee College Of Music Chords In Motion is an excellent practicing resource that provides a garden of harmonic sonorities for a musician to choose and explore at the piano. I like the way that Andy has made the information accessible to any level of student. I look forward to discovering some different sounds with this book. Phil DeGreg Jazz Pianist, Author, Educator, University of Cincinnati College Conservatory of Music I am delighted to recommend Andy LaVerne's Chords In Motion to aspiring jazz pianists! Andy is a superb pianist, very capable of addressing this topic. Prior to pianists like McCoy Tyner, Herbie Hancock, Bill Evans, and others, most pianists were content to have acquired a small handful of chord voicings, generally with the chord roots on the bottom of the voicings. Though 'rootless voicings' were adopted in later years, they were primarily for the left hand and generally only used the 3rd or 7th on the bottom. But now the serious jazz pianist needs to be able to move his or her voicings in a more diatonic manner, as shown in Andy's book. Jerry Coker Jazz Saxophonist, Author, Educator Andy LaVerne's Chords in Motion is a study of encyclopedic scope on the use of harmonies based on fourth intervals in the context of jazz harmony. There is a wealth of information in terms of voicings, voice leading and chord/scale relationships and their application to common harmonic formulae (ii-V, etc.) and the chord progressions used in blues and common standard tunes. Jazz musicians interested in this vocabulary should find this book to be a useful launching pad for exploring this important corner of the world of jazz harmony. Bill Dobbins Jazz Pianist, Composer, Arranger, Author, Educator, Professor of Jazz Studies, Conductor, Coordinator Jazz Composition and Arranging, Eastman School of Music Chords in Motion is a highly detailed, informative and filling-in-the-gap text. It's an important and welcome addition to the jazz piano literature, which can be applied to any level of proficiency. Stefan Karlsson Jazz Pianist, Educator, Professor/Jazz Studies Division, University of North Texas Fantastic pianist Andy LaVerne has put together an amazing, detailed, and incredibly comprehensive guide for effectively implementing quartal and related voicings. He has honed in on the 'secret' to using these structures musically and creatively: moving the voicings through changes in logical and interesting ways. Clearly presented, extremely thorough, and loaded with information, Chords in Motion is a must-have for any pianist! Martin Bejerano Jazz Pianist, Composer, Educator, Assistant Professor, Jazz Piano, Frost School of Music University of Miami Chords in Motion is an in-depth look at fourth and related voicings that give an atmosphere that you want to improvise on. We play over the voicing, not the chord symbol. Chords in Motion targets that modal atmosphere that horn players love playing over. Love this book - can't wait to start practicing it! Jerry Bergonzi Jazz Saxophonist, Composer, Author, Educator, New England Conservatory I was thrilled when Jazz Piano Great Mulgrew Miller agreed to write a quote for this book. I was deeply saddened to hear of Mulgrew's passing just days before publication. All who loved Mulgrew and his music will sorely miss him, and are grateful for the rich musical legacy he left us. Rest easy, Mulgrew. Andy LaVerne

Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans music text faithful to the sources and reflecting the current status of Bach research developed for musical practice through the cooperation of scholars and performers contains all of Bach's keyboard works that require an independent pedal manual contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty features comprehensive introductions, extensive source descriptions and text-critical notes features supplementary material illustrated synoptically on CD-ROM (in printable quality) brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns 'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review) Subscription Conditions A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time. The subscription obliges the subscriber to purchase the entire collection. The New Edition of Bach's Complete Organ Works With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status, historically informed, edited with performers in mind: More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty. It offers incerta, early, and alternative versions on CD-ROM In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes. Edited by a competent team: With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes. Werner Breig (* 1932) studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition). Pieter Dirksen (* 1961) studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003. Reinmar Emans (* 1953) studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue

Par BEATLES THE. In over one thousand pages, the complete music and lyrics, in full 'rock score' transcriptions, of all the 203 songs they wrote and recorded as The Beatles, plus nine by others which they covered on their early albums. All transcribed with separate staves for vocals, each guitar (in tab and standard notation) and all other instruments...the essential Beatles collection. / Niveau : Intermédiaire / Rép International / Recueil / Conducteur

Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different expressive urge, shape themselves into a defi nite horn theme, spread themselves out architectonically over the whole piece, and place their stamp on everything that happens. Thus it turns out that they do not appear here merely as melody or as a purely impressionistic chord effect; their character permeates the total harmonic structure, and they are chords like all others.' (Arnold Schoenberg, Theory of Harmony, 1911) The Chamber Symphony Op.9 heralded a breakthrough in Schoenberg's compositional style. While the work did not go hand in hand with the complete destruction of the old tonal system it does show an extension in chordal and melodic constructions. It's focus on the interval of the fourth rather than the third is stated right at the start with the horn fanfare and this leads into the use of the whole tone scale soon after. These two elements open up a new sound space which he would explore further in the works to follow. Certainly not a work to be missing from any library where contemporary music is one of the main focuses./ Répertoire / Ensemble de Musique de Chambre

Par GRIFFIN MICHAEL. When it comes to musical skill, why is it that some people achieve so much more than others? We are frequently led to believe this is because of a talent hardwired into their DNA. Now, music educator Michael Griffin dismisses that age-old notion in favour of another known factor: practice. His new book, Learning Strategies for Musical Success illustrates how the quantity and quality of practice is the greatest predictor of musical success so that aspiring musicians of all ages and abilities can best bring about expert performance. This inspiring, accessible guide will equip students, teachers, adult learners, and parents with the methods and mindset to improve the likelihood of learning music successfully. 'Deeply impressive - the breadth of research is fascinating!' - Victorian Music Teachers Association 'Terrific...eminently practical...excellent discussion...I came away inspired and excited.' - The Music Trust, Australia 'This book really does deliver' - American Music Teacher 'I can't think of any other book that draws on so many resources to create a new understanding of learning music. Every serious music student, music teacher, and parent of a music student will find important information in this book. Griffin gives clear examples of how concepts are applied that make for enjoyable reading. This book has a potential for making lifelong differences in the lives of music students, parents and teachers.” - Roy Ernst, PhD, LLD Professor Emeritus, Eastman School of Music of The University of Rochester 'A must buy for every music teacher and music student. Bravo on a most stimulating read. This draws together old wisdom and the latest research. I am re-reading this excellent book for the third time, highlighter pen in hand.' 5 stars (Amazon Rank) - William Bruce, Guildhall UK. 'A most stimulating read that has given me a great deal to think about.' - Nicholas Carpenter, Prebendal, UK. 'Fantastic book...simply brilliant!' - Ian Cooper, Norfolk Music Service, UK. 'A must read for all music educators. Michael Griffin has collected lessons from his own experience - which is extensive, and pertinent, recent research to provide a detailed overview of how we learn, and how students can be empowered and trained to become effective, efficient and independent learners. The book is well documented, making it convenient to go on to further reading about the topics of each chapter. The language is concise and easily understood, yet deeply practical and useful.' - 5 stars Robert Adams, Music Educator, New Haven, USA. 'Don't miss this opportunity!' - 5 stars Mary George, USA./ Méthode / Tout Instrument

The Poet - A Gothic Tale for Saxophones and String Quartet (2007). 2008 Chamber version available: WH30938 Programme note The Poet is the fourth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales.My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musicalmaterial in a criss-cross of contextual references reminiscent of Blixen's narrativ ecomplexity: Themes andmotivs from one piece appear in others in new and surprising shapes and combinations.Karen Blixen's The Poet is about a retired counsilor who always desired to be an artist - once he even met his ideal Goethe - but knows that he is completely without talent.Instead he patronizes a young gifted writer to the extent of shaping himself into a father figure his protege depends upon.When a young italian widow arrives and the writer predictably falls in love with her and she with him the councilor arranges a marriage between the widow and himself in order to break the young poet's heart - only in the best intention: to make him into a real poet.But the writer decides to take his own life and the widow crushes the councilor's head with a heavy stone crying ”You poet!”As he dies helpless to the will of destiny the councilor realizes that fate has wrought a story greater than any he could have invented. The Poet isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and setting - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression... except one might say that the violin kills off thepiano while the baritone saxophone goes