Arrangements en tablatures de guitare de 40 ballades et de 35 grands morceaux de rock en deux superbes volumes. Complet avec notation standard et paroles. Inclus The Big Book Of Ballads et The Big Book Of Rock Hits rassemblés dans un coffret en édition spéciale. / Guitare

A delightful repertory of first position pieces, arranged in order of difficulty, with piano accompaniment, by Betty M Barlow. / Violon

100 pièces divertissantes pour piano du classique au pop arrangées par HG Heumann.

Niveau facile
/ Partition /

Piano Time. Par HALL PAULINE. Visitez un tableau des destinations extraordinaires avec Places Piano Time Going, une collection de pièces originales et variées sur les thèmes du voyage et du mouvement. Le livre se situe autour du niveau de Piano Time 3, et est illustré avec des dessins animés toute dynamique par Korky Paul. Pauline Hall est diplômée de l'Académie Royale de Musique et a ensuite enseigné dans les écoles et en privé. Tout en vivant et enseignant à Harrogate elle se sentait le besoin d'un tuteur piano qui fait l'apprentissage amusant, et qui a progressé au rythme le plus lent de ses apprenants. Elle a commencé par écrire de petits airs dans les cahiers des élèves, et ces formé la base de Tunes for Ten Fingers, la série Piano Time développé à partir de cela. / Niveau : Très Facile à Facile / Recueil / Piano

Traditional fiddle music from around the world. Par . Le répertoire complet de musique traditionnelle pour violon est maintenant à votre portée ! Avec ce grand choix de recueils vous pourrez recréer l'ambiance de votre propre 'ceilidh' des danses folkloriques du club de jazz des cafés concerts comme à Sarajevo. Certains de ces morceaux de musiques sont connus d'autres sont plus exotiques mais tous sont absolument authentiques et leurs arrangements sont faits sans compromis mais ce qu?il y a de plus important c'est qu'ils vous donneront énormément de plaisir. Chaque titre de la série est disponible en deux versions : la Violin Edition (avec en option une partie violon simplifiée et des accords de guitare) ou la Complete Edition qui comprend des accompagnements pour clavier et pour violon. Chaque version permet de jouer la musique en solo en duo ou en trio aussi bien que dans des ensembles plus importants. Edward Huws Jones a beaucoup voyagé lors de sa recherche de styles traditionnels pour violon. Dans chaque livre il explique l'histoire d'un style particulier offrant ses propres suggestions pour obtenir une exécution vivante. / Date parution : 2023-04-14/ Recueil / Violon

Par HARRIS PAUL. Improve your Aural! Is designed to take the fear out of aural. Through fun listening activities, boxes to fill in and practice exercises, this workbook with CD focuses on all the elements of the aural test. And because all aspects of musical training are of course connected, a range of interconnected activities are included to help develop the ear including singing, clapping, playing your instrument, writing music down, improvising and composing. This new edition of this popular series supports new ABRSM syllabus requirements from 2010, ensuring success in the aural test of graded exams./ Autre FM / Test d'Ecoute

Toutes les chansons du film No Direction Home réalisé par Martin Scorsese sur Bob Dylan Ligne mélodique, grilles d'accords guitare, accords et paroles.

Complete Edition. La série populaire d'Edward Huws Jones de répertoire traditionnel pour violon est à présent disponible avec un CD enregistré par des professionnels. Les pistes d'accompagnement et les versions de démonstration complètes pourront vous aider et vous inspirer non seulement dans votre pratique privée, mais aussi pour des concerts. Ces riches compilations de musique authentique - parfois familière, parfois plus étrangère, mais toujours arrangée de manière fidèle à la pièce originale - vous permettent de donner vie à votre propre Ceilidh, Bluegrass-Club ou Charanga. L'édition pour violon contient en option une partie facile de violon et des accords simples de guitare, tandis que l'édition complète comprend également l'accompagnement au clavier et au violon. Toutes les éditions ont un contenu très flexible, c'est-à-dire que la musique peut être jouée en solo, en duo ou en trio, ainsi qu'avec de plus grands ensembles. Edward Huws Jones a étudié les différentes traditions liées au violon au cours de ses nombreux voyages. Dans chaque livre, il raconte le contexte de chaque style musical et fait des propositions pour une exécution plus vivante. / Niveau : Moyen / Recueil / Violon ou 2 Violons et Piano, Guitare Ad Libitum

Hands & Feet-'This book is designed for the intermediate/advanced drummer to improve musical technical control and reading ability and presents several rhythmic styles such as funk jazz and Latin. I'm not trying to educate you on the 'correct' Cuban or Brazilian grooves but have used this music as an inspiration for different phrashings and concepts. In the notes you can find book recommendations to explore the styles fully.Please feel free to use the material creatively like repeating bars when you feel like it. You can also use the pieces for advanced sight reading but I suggest that you take time to look carefully at the dynamics and stickings. All the stickings are basedon a right handed player (please reverse them if you are left handed).The basic concept is to have rhythmic compositions with basic classical notation and technique that you can play on a drumset or on a practice pad with your feet stompin' at the floor. The first part is snare and bassdrum with hi-hat foot suggestions. Later in the book hi-hat (with stick) and snarerim are added.The advantage of these concepts is that playing through these etudes is very closely related to what is going on in modern music. Especially important for players in Jazz Rock and Latin but also very useful for a classical percussionist who needs solid music training.The last part of this book is a few pages of technique studies and rhythmic concepts that is related to the compositions. The purpose is not to include all basic strokes and principles (there are already many great books for that) but to show you some concepts that I have found useful and special through my years of playing and teaching.'                            Michael Axen

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.