A travers cette méthode d'apprentissage Formation Musicale vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Bergonzi 7 Hexatonics Cd a été écrit par Bergonzi Jerry et éditée par les éditions Advance Music sous la référence ADV14268. / Théorie Solfège / Partition Cd

A travers cette méthode d'apprentissage Formation Musicale vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Melodic Improvising Andy Middleton Cd a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV14271. / Théorie Solfège / Partition Cd

A travers cette méthode d'apprentissage Formation Musicale vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Jazz Chord/Scale Handbook a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV11217. / Théorie Solfège / Partition

A travers cette méthode d'apprentissage Formation Musicale vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Training The Ear Vol.2 4 Cds a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV16302. / Théorie Solfège / niveau : Débutant/Intermédiaire / Partition Cd

This is a primer in jazz theory intended to prepare the student for the serious study of jazz improvisation arrangement and composition. The focus is on the harmonic language of jazz especially the harmonic practices which coalesced in the bebop and post bop periods of the 1940’s and 1950’s when bebop and standard tunes formed the core of the mainstream repertoire. The harmonic language of that period is still the framework on which contemporary jazz musicians build. Included are many musical examples and written assignments for practice in the theoretical skills. Appropriate exercises are provided to reinforce theoretical concepts by immediate application to theinstrument.

Now, Training the Ear Volume 2 heralds new directions for the ardent aural explorer. 'Training the Ear, Volume 2' is targeted towards the specific aural needs of the student of intermediate level harmony with his/her advanced development mind. It is intended to provide a practical aural and theoretical foundation that enables the improviser to process more complex levels of music easily and confidently, and thereby to contribute to raising the standard of music pedagogy. (From the introduction by Armen Donelian)

Time and rhythm are king! Number one! We are constantly aware of this fact when we are playing or listening to improvised music. All notes seem to sound good when they are played with good time. Even melodies that use wrong notes sound good when played with good time. What often packages a good time feel are the rhythms a particular artist chooses to use. This book hopefully lends some insight into practicing and playing creative rhythms in a melodic way. (Jerry Bergonzi)
The CD provides 10 standard chord progressions, each played in two different tempos by Bruce Barth on piano, Dave Santoro on bass, and Adam Nussbaum on drums. In addition Jerry demonstrates various approaches and exercises on tenor saxophone.

The Ramon Ricker Improvisation Series. Par RICKER RAMON. A new Play along system for learning to play jazz. Each set contains a book with transposed parts for all instruments and a play along CD with Ray playing many of the book examples on his saxophone. Volume one is for the absolute beginning jazz student who knows his/her major scales. Subjects covered in this book include: VOCABULARY: Intervals, Roman Numerals, Scales, Modes, Diatonic Seventh Chords, Major, Minor, Dominant, and Suspended Chords, Chord/Scale Relationships, The Blues Progression, Using Pentatonic Scales with Blues, Pentatonic Chord/Scale Relationships, The II-V-I Progression, Rhythm Changes, The Circle of Fifths, and The Circle of Fourths, and Steps for Playing on Changes. STYLE: Swing Eighth Notes, Use of the Metronome, Scale Practice, and Scat-Singing Solos. EAR TRAINING: Specific examples and suggestions with recorded tracks for practice. REPERTOIRE: A suggested basic repertoire. This improvisation method is more than just another play-along. It is a series of books and CDs that progress step by step, offering concrete suggestions and advise that shows you how and what to practice. Drawing on twenty-five years of teachingexperience at the Eastman School of Music, Ramon Ricker uses text, recorded demonstrations by him and his students, and practice and play-along tracks that present the material in a clear and concise manner. Most of the play-along tracks feature the rhythm section of the 1980 Thad Jones/Mel Lewis Big Band with Harold Danko on piano, Rufus Reid on bass and the late, great Mel Lewis on drums. Since they performed and recorded together consistently over aperiod of several years, they played as a unit - a true jazz rhythm section. The recordings were brought up to meet todays higher CD standards and served as an inspiration for Ramon Ricker to write three entirely new books. In addition, new demonstration, ear training, and play-along tracks were added. / Niveau : Débutant / Jazz / Recueil / Tout Instrument

A Musician's Guide To FREE Jazz Improvisation-In 'Beyond Time and Changes' acclaimed jazz trombonist pianist composer arranger teacher and author Hal Crook offers a methodology to guide the advancing improviser through the un-chartered musical territory known as 'free jazz'.

Historical information about Händel's Water Music Suites is limited, but certainly these works were intended for two, possibly three, parties given by King George I on the Thames River, London, between 1715 and 1736. Händel and his orchestra played on a barge. Since then the some twenty-two separate original pieces have been organized into three Suites and nicknamed 'Water Music?, each having a separate key and likely corresponding to these river parties. This transcription of Water Music Suite II for saxophone quartet has two purposes: to make this music available to saxophonists for performance and education, and to provide in one volume the entire Suite II. The exception to the latter, because of the limits of endurance, is the exclusion of the short Adagio, a brief interlude between the fi rst two movements. Included though are the Allegro, Hornpipe, Minuet, Lentement, and Bourree. These works were originally meant for an outdoor performance, and one of the original intentions of the saxophone was to play in French military bands, also an open-air purpose. The original scoring of brass, woodwind, and string instruments (but no continuo) transcribe well for saxophones. Matching the ranges of instruments of the original to the saxophone quartet was a primary objective. In addition, this arrangement strives to disperse melodic material to all four saxophones so as to make the arrangement pleasing to all the members of the quartet while providing variety to an audience. Any dynamic, articulation, and tempo markings are to be taken only as suggestions so as to allow interpretation by the performers. The musical study and performance of all styles while using examples of composition and performance that represent excellence is necessary for saxophonists who wish to be well-rounded musicians. For the above reasons saxophonists are urged to listen to recordings of the original orchestration in order to learn and imitate proper interpretation of Baroque style. There are currently a number of excellent recordings of Handel's Suites on period instruments, such as (but not limited to) those by conductors John Eliot Gardiner, Christopher Hogwood, and the ensemble Tafelmusik. The Lewis-Clark State College Saxophone Quartet has for many years enjoyed performing Suite II for concerts, ceremonies and social settings, and I thank Advance Music for the opportunity to bring these great works to the profession. / 4 Saxophones (SATBar)

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians students teachers and all those who take a general interest in this field of music.The focus of this series is on the language of instrumental music nowadays performed in Brazil based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music which are presented in the following versions:1. Complete takes in other words the full versions of the pieces included in the book which are performed by all the instruments playing simultaneously;2. Without melody / solo part so that the melodic instruments can play along with the recording executing their own interpretations and practicing improvisations;3. Without harmony so that the harmonic instruments can practice the language of accompaniment especially with regard to the rhythmic vocabulary of each style.4. Without bass so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects;5. Without drums so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations.Each book contains the scores in the form of lead sheets in four different versions: in C Bb Eb and bass clef. Due to the widely defined concept of this method it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution.The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos rhythmic comping phrases bass lines and drum grooves for instance can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition

Par ADOLFO ANTONIO. Phrasing is the way the elements of music (melody, harmony and rhythm) are interpreted by different cultures (or different musicians, including vocalists). In Phrasing In Brazilian Music, Antonio Adolfo demonstrates through written and recorded musical examples on the piano, how the different elements of music play an important role when musicians are performing Brazilian Music. The book covers Phrasing in different Brazilian styles in two beat and is enhanced by a very didactic text. Despite almost all examples have been played on the piano (many times accompanied by shaker), the book will be of much interest for any musician of any instrument. / Méthode / Méthode / Tout Instrument

A travers cette méthode d'apprentissage Formation Musicale vous aurez tous les éléments pour pouvoir maitriser votre instrument. Cet ouvrage Inside The Score R. Wright Cd a été écrit par Auteurs Divers et éditée par les éditions Advance Music sous la référence ADV20870. / Théorie Solfège / Partition

Rien de mieux que cette partition pour découvrir le fabuleux instrument de musique qu'est le piano. Vous pourrez ainsi jouer sur cet instrument créé au début du XVIIIème siècle à Florence par Bartolomeo Cristofori Fischer Clare Music Of Vol.2 Piano de Fischer Clare. Cette partition qui est éditée par les éditions Advance Music fait partie de la catégorie de la musique Jazz