The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio.
1. Hillbilly Fingerstyle Blues Guitar ? An Introduction
2. Learning the Songs
3. Understanding the Tablature
4. The Songs
5. 1) Knoxville Blues?Sam McGee
6. 2) Easy Rider?Sam McGee
7. 3) Railroad Blues?Sam McGee
8. 4) Sally Long?Sam McGee
9. 5) Fuzzy Rag?Riley Puckett
10. 6) Worried Blues?Frank Hutchison
11. 7) Train That Carried The Girl From Town?Frank Hutchison
12. 8) The Miner?s Blues?Frank Hutchison
13. 9) K. C. Whistle?Lester McFarland
14. 10) John Hardy Was A Desperate Little Man?The Carter Family
15. 11) Johnson City Blues?Clarence Greene
16. 12) Brown Skin Blues?Dick Justice
17. 13) Cocaine?Dick Justice
18. 14) She Lied To Me?Emry Arthur
19. 15) Everyday Dirt?David McCarn
20. 16) Take Them For A Ride?David McCarn
21. 17) Jailhouse Rag?David Miller
22. 18) Match Box Blues?Larry Hensley
23. 19) New Chattanooga Mama?Lake Howard
24. 20) Soap Box Blues?Debs Mays
25. 21) Rabbit Blues?Debs Mays
26. 22) Graveyard Blues?Hobart Smith
27. 23) Railroad Bill?Hobart Smith
28. 24) K. C. Moan?Hobart Smith
29. 25) Mississippi Heavy Water Blues?Roscoe Holcomb
30. 26) Riley And Spencer?Fields Ward
31. 27) Raggin? The Wires?E. C. Ball
32. 28) Ain?t No Grave Can Hold My Body Down?E. C. Ball
33. Appendix?Default Chord Positions
34. ABOUT THE AUTHOR
35. Afterword
36. ACKNOWLEDGEMENTS
/ Partitions variété - pop - rock / Variété internationale / Guitare tablatures / MEL BAY

Album For The Young features 64 classic Piano pieces inspired by the spirit of childhood. From Johannes Brahms' unashamedly lyrical Wiegenlied through the more cerebral approach of Schumann's album Für die Jugend and the works of contemporary composers such as Lutoslawksi and Richard Rodney Bennett, the music contained in this collection offers many contrasting approaches to the idea of music for the young. Great composers down the ages have been consistently attracted to writing albums about or for the young. Some pieces are suitable for children to play and some are drawn from the nostalgic memory of childhood innocence. Here is a unique collection to treasure, reflecting the variety of both their emotional approaches and the richness of their creative responses. / Piano

Beautifully presented up-to-date sight-reading tunes for young Piano students.Film composer Rachel Grave graduated with her second Masters Degree in Composition for Screen from the Royal College of Music where she studied with Joseph Horovitz and David Burnand. She gained her first degree in Music at the University of Surrey and then took her first Masters at the Guildhall in London where she studied with composer Malcolm Singer.She scored the award winning short animation Five O’Clock Shadow which has been screened at Cannes Film Festival. Her piece for choreographer Yessica Lovbrand was broadcast on Radio 3. Rachel has composed the film music for manyfilms including El m o and Two Left Feet for the animator Laura Marion James and several films for the German Director Andreas Ksoll. She has scored a feature documentary and an American feature film Crash Down Hearts for Kovach Productions.Rachel is currently working as assistant to EMMY nominated composer Guy Michelmore where she has orchestrated for some feature animated Marvel films.Her current projects include a feature film for Kovack Productions in the US a wildlife film for the Royal Society for the Protection of Birds and orchestrating a feature film Planet Hulk for Marvel and Lionsgate Pictures.

Passion Music continues the fusion of jazz and choral music so successfully blended in Will Todd's Mass in Blue. The structure highlights different points in the Passion story beginning with a new setting of 'Greater love has no man' and including an evocative Stabat Mater a movement focusing on the seven last words of Christ and a setting of 'Were you there when they crucified my Lord''. While some sections are reflective Todd also makes full use of his understanding of energetic jazz and gospel. The vocal soloist is given plenty of expressive freedom singing both with the choir and independently to achieve the characteristic jazz-soulstyle. The seven-piece jazz accompaniment which is presented in the vocal score as a piano reduction for rehearsal only completes the ensemble.  The full score and set of parts for the jazz accompaniment are available on sale and hire. A complete backing track and individual rehearsal tracks for the vocal parts are also available to download.

Remarque pour note transcriptions de tous les 14 titres de plus classique 1995 la libération de Ben Harper, y compris: Another Lonely Day - Graver One Down - By My Side - Excusez-moi M. - Lutte pour votre esprit - Donnez à un homme un homme Accueil - Craignant Dieu - Or pour moi - Terrain en bas - Un chemin vers la liberté - oppression - Les personnes plomb - S'il vous plaît moi comme vous voulez - Puissance de l'Evangile. / Guitare

Avec Variantes, Exemples Et Conseils Pour Jouer Et Improviser Sur Tous Instruments. Par AUTEURS DIVERS. Anne Fuzeau Classique vous propose des ouvrages sur la musique en général.Le présent recueil propose un panorama de ces basses obstinées, chansons et danses de la Renaissance et du Baroque qui circulaient d'une publication ou d'un manuscrit à l'autre, de pays en pays et sur lesquelles, au fil des décades et même des siècles, les compositeurs n'avaient cesse de proposer des variations, les musiciens d'improviser.Se référant aux compilations de ' standards ' utilisés par les jazzmen, Pascale Boquet et Gérard Rebours présentent ici, sur une centaine de pages de musique, 50 pièces dans leur version de base, avec leurs transpositions, et un choix de 210 variantes et airs dérivés les plus significatifs - le tout ponctué d'explications, de commentaires, de références et de notes historiques, et précédé d'une généreuse analyse théorique et pratique de l'improvisation. Sans oublier le glossaire, la liste des sources et la bibliographie.Classées par ordre progressif, les pièces de ce recueil peuvent être utilisées à trois niveaux : - - - - - - Le débutant jouera les airs, souvent faciles, tels quels. - - - - - Le musicien un peu familiarisé avec le sujet pourra commencer à écrire quelques diminutions ou variations. - - - - - L'expérience aidant, il pourra ensuite se lancer dans l'improvisation, ' sans filet ', comme il se doit.De plus, tout instrument et groupe instrumental, ancien ou moderne, pourra aborder ce répertoire dans lequel : - - - - - - Les instruments mélodiques (flûtes, violons, violes, hautbois,...) auront la charge de - jouer et de varier ces airs et ces danses. - - - - - Les instruments polyphoniques (claviers, luths, guitares, harpes) pourront les accompagner de nombreuses façons à partir de la basse chiffrée, mais aussi en réaliser des versions autonomes en jouant et variant les deux parties ensemble. - - - - - Les instruments graves (basse de viole, basson, violoncelle,....) assureront la ligne de basse sans oublier d'y introduire eux aussi variations et diminutions.Enfin, ce sera l'occasion d'explorer une partie conséquente du répertoire de base des XVIe et XVIIe siècles, d'approfondir certains aspects harmoniques, mélodiques et stylistiques propres à chaque époque, chaque pays, voire chaque auteur, et d'élargir son approche de la musique ancienne en y introduisant cette dimension pas encore assez familière : l'improvisation.Sommaire : Avant-ProposGenèse'Standards'Principes éditoriauxImproviser (G.R.)Le geste improvisatoireDiminutions, fredons, passages, gloses, divisionsImproviser, selon les traitésUne leçon de diminutionsConseils pratiques pour improviser (P.B.)Analyse de deux grands standards : - - 1-La Passemezzo (P.B.) - - 2-Les folies (G.R.)50 standards Renaissance et BaroqueGlossaireSources : - - 1-Traités - - 2-Sources musicales - - 3-Compilations musicales manuscritesBibliographieLes auteursRemerciementsIndex des 50 StandardsIndex des compositeurs et des ouvrages / Niveau : Facile / Date parution : 2006-01-01/ Recueil / Traîté

Plus de 200 chansons de blues de la vingtaine d'années à aujourd'hui sont inclus dans cette édition deluxe. De nombreux artistes représentant une grande variété de styles et comprend des photographies rares. / Piano/Vocal/Guitare (PVG) / 192 pages / Partition

The early music specialist and flautist, Annabel Knight, presents the second in a series of four volumes dedicated to flute music from the Baroque period. Featuring a variety of interesting pieces scored for flute and keyboard accompaniment, this collection includes works by well-known figures as well as lesser known and rarely available pieces from a range of other composers.Suitable for students of ca. 4-5 years' of playing experience, this book includes composer biographies and teaching notes on each piece, together with a CD recording of all works performed by Annabel Knight and Robin Bigwood. / Flûte

Une édition entièrement revue de ce guide d'instruction classique pour les guitaristes. Explorez les styles traditionnels de jeu grâce à des transcriptions et analyses de vingt-six morceaux par les plus grands musiciens. Inclues une discographie et une nouvelle tablature facile à lire. / Guitare

This lyrical and emotional setting by John Leavitt creates a harmonic tapestry that perfectly matches the text of unknown origin: “Do not stand at my grave and weep. I am not there I do not sleep ” Creating anatmosphere of hope and assurance it begins softly and gradually builds to a full and dramatic expression then recedes into quiet reflection. Available separately: SATB SSA TTB ChoirTrax CD. Score and parts available as aprinted edition and as a digital download (fl 1-2 ob cl 1-2 (in A) bn perc 1-2 hp vn 1-2 va vc db). Duration: ca. 3:00.