Séquences rares des légendes du vieux temps musique mettant en vedette Tommy Jarrell, Clarence Ashley, Roscoe Holcomb, Doc Watson, Sam McGee, Pete Steele, Jean Ritchie et autres. Une brochure complète de 22 pages mettant en vedette materail biographique, photographies rares et des détails sur les airs effectués est également disponible au téléchargement avec ce produit. / Guitare / Dvd

Doc Watson was a legendary performer who blended his traditional Appalachian musical roots with bluegrass country gospel and blues to create a unique style and an expansive repertoire. His flatpicking style elevated the acoustic guitar to solo status in bluegrass and country music and whose interpretations of traditional American music profoundly influenced generations of folk and rock guitarists.Doc was born in Deep Gap North Carolina on March 3 1923 into a family already rich in musical tradition. His mother Annie Watson sang traditional secular and religious songs and his father General Watson played the banjo which was Doc's first instrument as well.In 1953 Doc met Jack Williams a local piano player and played rockabilly/swing music for seven years a period and a style that he later revisited in the album Docabilly. But he also continued to play acoustic traditional music with his family and with his banjo playing neighbor Clarence Tom Ashley. In 1960 spurred by the growing folk revival folklorists Ralph Rinzler and Eugene Earle came south to record Ashley and heard Doc Watson in the process. These sessions resulted in Doc's first recordings Old-Time Music at Clarence Ashley's.In 1961 the Friends of Old-Time Music invited Doc Ashley Clint Howard and Fred Price to perform at a now-legendary concert in New York City and one year later Doc gave his first solo performance at Gerde's Folk City in Greenwich Village. From then on he was a full-time professional playing a wide range of concerts clubs colleges and festivals including the Newport Folk Festival and Carnegie Hall.In the late 1960s Doc was joined on the road by his son Merle who provided both musical and emotional companionship; with Merle playing guitar and banjo and serving as partner and driver the father-son team expanded their audience nationwide. Sadly Merle died in 1985 from a tractor accident.A series of over 50 remarkable recordings including collaborations with Flatt & Scruggs Chet Atkins and

Description Clarence G. Hamilton: Touch And Expression In Piano Playing This brief yet comprehensive guide shows pianists how to produce every possible variety of tone, including note values, pulsation, phrases and their combination, dynamic contrasts and shadings,

Piano / Les titres de ce recueil sont issus du grand répertoire des Standards de Blues. Chaque titre est présenté sous deux formes. La première version est un arrangement pour piano entièrement doigté et chiffré de l'?uvre. La seconde version représente le thème simple accompagné de son chiffrage harmonique d'origine, en quelque sorte 'la matière première' à partir de laquelle toute forme d'arrangement peut être élaboré. / Monk, Theolonius : Blue Monk Williams, Spencer : Blue Train Blues Morton, Jelly Roll : Buddy Bolden's Blues Oliver, King : Canal Street Blues Frankie And Johnny Williams, Hank : Low Down Blues Handy, W. C. : Menphis Blues Harvey, Alex : Shake That Thing Crudup, Arthur : She Ain't Nothing But Trouble Handy, W. C. : St. Louis Blues Williams, Clarence : Sugar Blues Koffman, Moe : Swingin' Shepherd Blues Rollins, Sonny : Tenor Madness Coltrane, John : Trane's Blues Weary Blues

Eric Thompson est un pionnier dans le domaine de flatpicking, première attention attire depuis plus de 40 ans dans les bandes de bluegrass avec David Grisman et Jerry Garcia. Depuis lors, son ton gros et la cueillette soulful ont honoré une myriade de bandes de racines, y compris le Stringband flamme bleue, l'orchestre de Cajun de Californie et les Intentions de Bluegrass. Dans ' Fondations de Flatpicking ', Eric partage les pierres angulaires de la technique de grande flatpicking. Il vous emmène étape par étape, à partir de mélodies de chanson choisis dans la basse, rythme, dans les styles de Maybelle Carter et Charlie Monroe et le mouvement jusqu'à flatpicking single-note, avec des exercices pour aider le maître jouant long parcours de lisse propre, notes et rapide. Puis il construit votre répertoire avec des airs de violon classique et pauses de chansons, dont des dispositifs caractéristiques, les phrases et les terminaisons de stylistes séminales comme Don Reno, Doc Watson et Clarence White. Tous en notation standard et onglet avec trois CD audio incluaient. / Guitare (Flatpick) Et Plectre / 24 pages / niveau : Débutant / Partition/3-Cd Set - Format: 11,75 X 8,75

Par SOLOMON BARRY. Learn to play bluegrass jazz Guitar with this instructional book and 3 x CD set. When first listening to flatpicking Guitar legends Doc Watson and Clarence White, Barry Solomon was particularly attracted to their use of swing and jazz licks and phrasing, and their choices of songs straight from Tin Pan Alley and the Great American Songbook. Tunes like Limehouse Blues, All of Me, and Honeysuckle Rose were exciting challenges to explore after becoming comfortable with bluegrass and fiddle tunes. Barry Solomon always thought that bluegrass and jazz were a wonderful combination, and the most gratifying challenge has been to create arrangements that meld both styles in a tasteful and exciting manner. This volume includes the songs Lady Be Good, Take the A Train, Solly's Blues, Back Home In Indiana, There'll Never Be Another You and Georgia On My Mind. Accompanying audio is included./ Recueil / Guitare

Sébastien Troendlé, pianiste et professeur, a élaboré cette méthode de Boogie-Woogie pour aider les élèves à travailler ce style de musique. Conseils techniques, morceaux sur-mesure, progression maîtrisée permettent de comprendre comment se construit cette musique. Vous mettez en place la rythmique si particulière au Boogie, sans vous crisper. Puis les petites notes ajoutées à la mélodie feront sonner les morceaux. Des vidéos disponibles sur le site de www.sebastientroendle.com proposent de travailler et d'entendre les morceaux en versions lente et normale. Le 2e volume propose les morceaux dans des versions plus avancées, plus abouties. Presse L'auteur s'adresse au pianiste autodidacte débutant qui souhaite s'initier au Boogie-Woogie. Bien sûr, les notions de bases en solfège sont quand même requises, mais la méthode est d'une grande clarté et procède acquis par acquis avec un grand sens pédagogique. Chaque étape est expliquée en détail et la progression est remarquablement graduée. Très prochainement des vidéos de travail seront présentées sur le site de l'auteur : www.sebastientroendle.com L'Education Musicale, n°106 (sept. 2016) Entretien Une nouvelle méthode de Boogie-Woogie Après avoir fait revivre l'âme et l'histoire du boogie-woogie sur scène et au disque, le pianiste Sébastien Troendlé a imaginé une méthode consacrée à ce genre musical. Elle sort, ces jours-ci, aux éditions Lemoine. Quelles sont les origines du boogie-woogie ' C'est le blues, même si celui-ci s'exprime davantage à la guitare et par le chant. Ce style est apparu dans les Barrelhouses, ces ghettos noirs bordant le Mississippi. Cela explique que le boogie-woogie des origines ne tient pas compte de la qualité du piano : cette musique sonne naturellement, si le groove est préservé. En 1928, le pianiste américain Clarence Pinetop Smith (1904-1929) enregistra son célèbre Pinetop's Boogie Woogíe dont le nom s'imposa. Puis, au fil des décennies, ce genre devint plus commercial face au jazz qui, lui, s'imposa. Vous avez réalisé cette méthode. Un simple recueil de pièces n'aurait-il pas suf? ' Jusqu'à présent, on disposait soit de morceaux très simplifiés, agréables, mais musicalement limités, soit de quelques pièces originales réellement dificiles. J'ai donc composé des morceaux que j'ai déclinés en quatre niveaux progressifs, qui correspondent à la classification du répertoire classique. Par exemple, le premier niveau s'adresse aux pianistes qui savent lire les notes et ont une petite aisance au piano. L'écriture rythmique est simplifiée et je valorise la mélodie principale. Les niveaux suivants deviennent de plus en plus complexes et on comprend que cette musique possède certaines clés. ll faut notamment restituer des effets de glissés. Cette écriture comporte aussi quelques risques. En effet, lorsqu'on maîtrise bien la mécanique du morceau, on en oublie le principal, c'est-à-dire la mélodie. Or, le boogie, c'est déjà du blues. Les interprètes qui jouent essentiellement des oeuvres classiques tireront profit de ce répertoire. Ils gagneront une meilleure stabilité rythmique et porteront une attention particulière aux lignes mélodiques de la main droite. Par ailleurs, j'ai réalisé des vidéos - gratuites et disponibles sur internet - de toutes les pièces présentées. Quelle serait la descendance du boogie-woogie, aujourd'hui ' C'est un répertoire qui vit toujours et ne s'est pas refermé sur son patrimoine, même s'il y a de fervents défenseurs de tel ou tel style de boogie. Cette musique supporte mal la simplification à outrance. On ne peut donc que l'enrichir, à partir dictées musicales qui sont nées... il y a un siècle ! Propos recueillis par Stéphane Friédérich Pianiste n°99 (juillet-août 2016)

15 Classic Rags Arranged for Solo Ukulele-15 of the most popular ragtime Piano pieces for the Ukulele are arranged by Fred Sokolow in this collection featuring music notation tablature and online audio demonstration tracks. Each rag has several sections so there's a wealth of music here. Learning these rags will expand your Ukulele horizons and provide hours of musical fun! Selections include: Dill Pickles (Charles Johnson) • The Entertainer (Scott Joplin) • Maple Leaf Rag (Scott Joplin) • Pegasus (James Scott) • Slippery Elm Rag (Clarence Woods) • Smoky Mokes (Abe Holzmann) • Yankee Land (Max Hoffman) • and more.

Grade 5-Janet Way's Grade By Grade series draws on the rich and varied Boosey & Hawkes catalogue of classical contemporary and educational repertoire highlighting composers including Serge Prokofieff Dmitri Shostakovich Karl Jenkins Carol Barratt and Christopher Norton alongside arrangements of traditional music from around the world by Peter Wastall Vera Gray and others. This practical anthology of carefully selected pieces provides the complete repertoire resource for the aspiring Grade 5 clarinettist and creates the perfect package for teaching exam preparation and performance. Each volume contains: 19 pieces& short studies each complemented by a useful practice and performance tip. Grade-appropriate scales and arpeggios linked to the repertoire through bespoke text and exercises. Brand new sight-reading activities Newly-commissioned aural awareness tasks. A Piano accompaniment booklet. This book for Grade 5 Clarinet players includes the pieces In A Sentimental Mood by Duke Ellington Duettino by Hyacinthe Klose The Wistful Shepherd by Clarence Raybould and more. Janet Way: Grade By Grade – Clarinet (Grade 5) comes complete with a CD of full performance demonstrations Piano backing tracks and grade-appropriate aural awareness resources.

I'll Walk Beside You by Alan Murray and Edward Lockton arranged for SATB choir by Clarence Lucas.

Fred Sokolow's Complete Country Guitar provides an impressive array of exercises and songs in a variety of country styles such as Carter flat picking style back-up Carter flat picking style lead Bluegrass back-up Clarence White-style bluesy lead Atkins/Travis fingerpicking style rockabilly Guitar style bluegrass back-up Nashville lead styles and Western swing. An example of some of the classic country songs includedwith this book are;'Amazing Grace''Banks of The Ohio''Rockabilly Rave-up''Talking Guitar Blues''Wildwood Flower'Online audio tracks are available for every arrangementincluded with this work. Standard notation and tablature are both included.

As the Country Blues began to be recorded in the mid-1920s it soon became apparent that the music was being played and appreciated not only by African-American musicians and audiences but by white musicians and audiences as well. Many of these white musicians played with and learned from black musicians for even in the Jim Crow Era there was always a good deal of musical interaction and exchange. So it is that the term 'Hillbilly Blues' can be used to describe the music made by white musicians of that era in the Country Blues style. Included on this DVD are songs from Clarence Greene known mostly as a fiddler but an ace guitarist Dick Justice who in his one dayin the recording studio waxed ten masterful performances Frank Hutchison who excelled at lap slide harmonica on a rack and conventional blues picking Sam McGee a banjo and guitar master who went on to star on the Grand Ole Opry Hobart Smith a musical powerhouse Maybelle Carter a rocksteady and beautifully lyrical player who may have been the most influential of the bunch and Emry Arthur a soulful singer and player who recorded one of the earliest versions of Man Of Constant Sorrow.The songs selected for inclusion on the DVD have been chosen to introduce you to a variety of different keys and playing positions as well as a host of different right hand techniques.A PDF included on the DVD offers not only detailed transcriptions of the songs but the songs' lyrics too. All of the original performances by the musicians are included on the DVD as bonus tracks both as references and for your listening enjoyment.

A collection of 16 hot intermediate-level flatpicking guitar solos from five of the leading exponents of this technique. David Bromberg is known as the leader of one of the most successful acoustic bands of the 1970's and1980's. The Kitchen Girl a fine Kentucky tune is an example of Bromberg's good taste in choosing material. Dick Fegy is a master picker of fiddle tunes and is the most heavily-featured player in the collection. San Francisco Bayarea favorite Eric Thompson crosses old-time with traditional Irish playing. Michael Aumen contributes three tunes associated with Clarence White and a very interesting version of Soldier's Joy with a flair that pushes the limitsof the hot country style. Richard Lieberson is a fine bluegrass picker who has developed a convincing swing jazz style with exciting results and a touch of humor. Written in notation and tablature. Includes access to online audiofeaturing performances of all the tunes in the book.