Book Online Audio and Video-This volume in the renowned For Dummies series has been created to help beginning Fiddle players to master their instrument. Taking up any new instrument can be intimidating but with this easy-to-use guide you'll be playing Fiddle music from all around the world in no time. Fiddle For Dummies covers everything a beginner needs to know from selecting tuning and caring for your Fiddle to mastering variousmusic styles. This comprehensive book guides you step-by-step through everything you need to start playing the Fiddle like a pro. You'll discover how to hold the instrument master fundamental techniques and take your skills tothe next level. Access to companion online audio tracks and instructional videos is also included helping you to further enhance your skills. The Fiddle is a popular instrument across many continents partly due to itsconvenient portable size. Fiddle repertoire includes a range of musical styles from all over the world such as Irish Scottish Celtic/Cape Breton country folk bluegrass and more. If you're already a Violin player learning toplay Fiddle can also open the door to an exciting new world of sounds that are sure to impress both you and your fellow musicians. With Fiddle For Dummies you will: Learn Fiddle techniquesand fundamentals Select tune and care for your Fiddle Join the folk instrument movement and master the Fiddle Play Fiddle music from all over the world

Par CHATROU PAUL. Paul Chatrou, born in the Netherlands, studied piano and composition in Utrecht. He played in various ensembles for which he also composed music. He is teaching the piano and composition both private and in various educational institutions. As a composer, he works mainly freelance. He writes both instrumental and vocal compositions in a romantic style based on classical technique. Paul Chatrou, born in the Netherlands, studied piano and composition in Utrecht. He played in various ensembles for which he also composed music. He is teaching the piano and composition both private and in various educational institutions. As a composer, he works mainly freelance. He writes both instrumental and vocal compositions in a romantic style based on classical technique./ Répertoire / Flûte Traversière et Piano

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 GORDON ANDREW D.. I have created various Blues riffs and has transposed them into all 12 keys along with backing tracks to practice with giving you the student a fun way of learning how to play in all keys. We all learned how to play our scales in all 12 keys so I have taken that concept and applied it to learning to play the Blues so that you can try to become equally adept at playing in as many keys as possible. I have heard from teachers who have used my ?100 Ultimate Blues Riffs? book who will only allow a student to move on to the next riff once they have mastered playing the riff they are working on in all 12 keys, certainly a great but challenging musical exercise. Each of the riffs are either 2 or 4 measures in length that are notated and recorded around the cycle of 4th.s Also, there is a notation page whereby the riff is being used in a 12 bar blues progression so that you can see how to apply the riff to a real world situation. Each riff has been recorded 4 times: 1. Piano with rhythm tracks recorded around the cycle of 4th.s 2. Rhythm tracks recorded around the cycle of 4th.s to practice with 3. Piano with rhythm tracks recorded in a 12 bar blues progression in a designated key. 4. Rhythm tracks recorded in a 12 bar blues progression in the same key. Reasons for practicing in all 12 keys. Often a singer cannot reach certain notes in the key that you have learned the song in, therefore you will probably be asked to change the key of the song which you can do with confidence knowing all 12 keys. Having the knowledge of playing in all 12 keys, it will then become easier to learn new songs, whatever key they are in. Blues often use the keys of C, F, G, Bb, Eb, Guitar music often uses the keys of E, A, D, by learning as many keys as possible will enable you to adapt to the musical situation you are playing in. Taking riffs, chord progressions etc. through all 12 keys is a great ear training tool relying on your ears to play in keys that you are not used to before the muscle memory sets in. Practicing in all 12 keys is a great exercise for the brain, it is obviously hard work but the more you do it the benefits will become apparent. By practicing in all 12 keys you will start to see various musical patterns evolve that will help you speed up the process of learning music. It is my hope that as you practice playing in the various keys you will eventually not need the music and be able to transpose in your head. / Date parution : 2022-09-07/ Etude / Piano

Although there are many fine scale books on the market, none of them are really for INSIDE the scales to explore the various intervals, harmonized scales in triads and diatonic 7ths, and neighbor tones to achieve some chromaticism. This book helps to employ multiple-use scales (modes) by superimposing them over the given chords to expand and color them. A variety of chord progressions, taken from various forms, are used in the ideas for soloing with a complete analysis. Covers harmonized scales of the major, ascending melodic minor and the harmonic minor. Explains how to go inside the scales, the nomenclature of each, such as the various intervals, neighbor tones, triads and diatonic 7ths that the scales generate, and most importantly, how to employ them in a music situation, such as soloing, rhythm section and composition. Written in standard notation and bass TAB. Free audio downloads are available for use with this title. / Basse Electrique / 120 pages / niveau : Intermédiaire / Partition - Format: 11 X 8,5

This valuable supplement has been written to present essential scales and scale studies for the beginning student. The scales are presented in various rhythms and patterns including arpeggios. All of the various patternspresented can be used with each scale. The fingerings included present viable ways to approach the scales but other fingerings can be explored. Various rhythms and bowings may also be applied to practicing the scales. All majorscales are presented in two and three octave patterns. All minor scales are presented in three octave patterns. Chromatic scales of two and three octaves are also included. These scales can form an important part of any violinstudent's practice.

Par DUNCAN CRAIG. This valuable supplement has been written to present essential scales and scale studies for the beginning student. The scales are presented in various rhythms and patterns, including arpeggios. All of the various patterns presented can be used with each scale. The fingerings included present viable ways to approach the scales, but other fingerings can be explored. Various rhythms and bowings may also be applied to practicing the scales. All major scales are presented in two and three octave patterns. All minor scales are presented in three octave patterns. Chromatic scales of two and three octaves are also included. These scales can form an important part of any violin student's practice. / Niveau : Débutant à Intermédiaire / All Styles - Technic / Etude / Violon

Par GORDON ANDREW D.. The Bluesier Side of Jazz by Andrew D. Gordon was inspired by the Piano students he teaches at Shepherd University School of Music in Los Angeles and is dedicated to those students: Jungwon, Yumiko, Yoko, Eunice, Sooji, Hae Ji and Ok Kyu. As with many students that come from a classical background (including himself) it is a difficult transition to learn to play Blues & Jazz. When a musician improvises they usually play a variety of riffs or phrases that they have developed and learnt over a period of time and can access these phrases instantaneously whatever key they are playing in to create a seamless improvised solo from the phrases they have learnt. Andrew's idea for thisbook is to create phrases or riffs over two measures of various Blues progressions. He sub-divided each of the 12 Bar Blues progressions used in this book (the chord progression for Watermelon Man is a 16 measure progression) into six sections (two measures each) and within each of the six sections created four different phrases or riffs so that the student has a choice of four different phrases to play over every two measures. They can then create a solo based on which phrase they choose for each two measures. By breaking down these phrases to two measures each, he has found that the students have an easier time of learning to improvise than by trying to transcribe a whole solo from an audio recording or leaving them to their own devices in trying to play a solo based on the Blues scale or other related scales. Each of the ten examples are based on common Jazz/Blues chord progressions from Jazz songs such as 'Watermelon Man', 'Blue Monk', 'Tenor Madness', 'Route 66', 'Blue Trane', 'Bag's Groove' starting off with basic I-IV-V chords and increasing in complexity throughout the book. There are over 200 phrases/riffs to choose from that can be learned and applied to many types of jazz songs. The Bluesier Side of Jazz by Andrew D. Gordon was inspired by the Piano students he teaches at Shepherd University School of Music in Los Angeles and is dedicated to those students: Jungwon, Yumiko, Yoko, Eunice, Sooji, Hae Ji and Ok Kyu. As with many students that come from a classical background (including himself) it is a difficult transition to learn to play Blues & Jazz. When a musician improvises they usually play a variety of riffs or phrases that they have developed and learnt over a period of time and can access these phrases instantaneously whatever key they are playing in to create a seamless improvised solo from the phrases they havelearnt. Andrew's idea for this book is to create phrases or riffs over two measures of various Blues progressions. He sub-divided each of the 12 Bar Blues progressions used in this book (the chord progression for Watermelon Man is a 16 measure progression) into six sections (two measures each) and within each of the six sections created four different phrases or riffs so that the student has a choice of four different phrases to play over every two measures. They can then create a solo based on which phrase they choose for each two measures. By breaking down these phrases to two measures each, he has found that the students have an easier time of learning to improvise than by trying to transcribe a whole solo from an audio recording or leaving them to their own devices in trying to play a solo based on the Blues scale or other related scales. Each of the ten examples are based on common Jazz/Blues chord progressions from Jazz songs such as 'Watermelon Man', 'Blue Monk', 'Tenor Madness', 'Route 66', 'Blue Trane', 'Bag's Groove' starting off with basic I-IV-V chords and increasing in complexity throughout the book. There are over 200 phrases/riffs to choose from that can be learned and applied to many types of jazz songs. / Niveau : 3 / Recueil / Piano

100 Ultimate Jazz Riffs for Clarinet. 100 Ultimate Jazz Riffs for Clarinet. by Andrew D. Gordon consists of, as the title suggests, 100 Jazz riffs based on common chord progressions used in jazz such as the II-V-I, III-VI-II-V etc. in both major and minor keys. There are five separate sections: Jazz Swing, Jazz Ballad, Jazz Funk, Jazz Waltz and Latin Jazz. Each musical example has a single note improvised melody line with the chord progression At the end of the book there is the chord progression for the popular jazz standard "Blue Moon" showing you how to use various examples from the 100 riffs to create an improvised solo over the chord progression. By demonstrating this technique you can pick most jazz standards and create your own improvisational ideas using the book. The audio files are recorded with the clarinet playing the melody line along with a rhythm section of guitar, piano bass and drums. All the examples are recorded with the clarinet and the rhythm section, as well as the rhythm section without the clarinet. An absolute must for musicians learning and playing various jazz styles. There are different versions: a version for Flute, Guitar, Bb and Eb Sax, Piano, Trumpet, Trombone and Violin

Musical Grafitti (II) for amplified Piano large Ensemble and Tape 'with cosmic sounds' by Asbjørn Schaathun (1983-84).Programme noteIn Musical Grafitti(II) 'virtuoso drawings for amplified piano large ensemble and tape with cosmic sounds von den herrn Asberion Ska-tune' (1983-84) Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture which are presented inthe initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON written especially for this work by Swedish composer Bo Rydberg governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece the computer establishes the chordal focal points of the work thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from 'white' noise to music characterized by an 'advanced' syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios 'points on the curve to find...' At one point Schaathun's 'curve' crosses Berios curve and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the 'coloured' noise into which the piece fades away.(+ Fransk versjon NMI)

Suitable for all musicians Intro To Polyrhythms is one of the best methods for learning advanced rhythm polyrhythm and metric/harmonic superimposition. This comprehensive guide looks at rhythm through amagnifying glass and enables the student to see sing and hear various subdivisions and groupings of subdivisions. This book can be used by any and all instrumentalists and will greatly improve the student's improvisationalability to create and respond to rhythmic musical dialogue.The book is complete with general exercises as well as specific ones for pianists bassists and drummers; an online video with demonstrations of all thematerial from the book; improvised examples by Ari Hoenig and Johannes Weidenmueller in duo as well as trio with Aaron Goldberg; transcriptions on how to harmonically navigate through polyrhythm inside standard jazz forms; musicalexamples which can be watched and used as a play along. The #1 method for learning advanced rhythm polyrhythm and metric/harmonic superimpositionWill greatlyimprove the student's improvisational ability to create and respond to rhythmic musical dialogueStudents will learn to look at rhythm through a magnifying glass in order to hear various subdivisions andgroupings of subdivisionsStudents will learn how to make core rhythms into core grooves and use beat displacement to alter these core grooves.

Variationen über die Caprice Nr. 24 im Stil des Modern Jazz. Par SAY FAZIL. The concert piece Paganini Jazz by Fazil Say, which was inspired by classical, modern and jazz styles, is reminiscent of the music of such greats as Scott Joplin, Art Tatum, Gershwin and Bernstein, and was originally designed as a charming encore work (1988); following the appreciative response of music lovers and, in particular, that of music critics, it was transformed over a perion of time into a more substantial work for piano. Briefly, the piece was rewritten and expanded a number of times between 1988 and 1995. We can evaluate the work as having taken its inspiration from Paganini's renowned '24th Capriccio', transforming it into 'variations on jazz' requiring virtuoso rendition as well as being a creation open to the addition of improvisations and a variety of arrangements. Throughout music history a number of composers have written various works inspired by the '24th Capriccio'. We can count among them Liszt, Brahms, Rachmaninov and Lutoslavski. In Say's work, however, a different aspect must be noted: the composer is prepared to add various 'developmental passages' and 'transitional improvisations' while interpreting this work in concert. Furthermore, when the work is considered as a short encore piece, it is abbreviated in a manner deemed suitable by Say. / Niveau : 5 / Répertoire / Violon, Piano, Guitare Basse et Percussion

In this readable well-researched history a distinguished authority on musical instruments offers a concise survey of the evolution of trumpets trombones bugles cornets French horns tubas and other brass wind instruments. The story begins with such primitive contrivances as bark trumpets conch shells and perforated animal horns bronze trumpets used by the ancient Danes and Celts large Roman horns and other devices.During the medieval period a large number of curved instruments or horns of various shapes and sizes developed including trumpets looped horns the sackbut (forerunner of the trombone) and others while the Renaissance saw the introduction of theslide trumpet. In the nineteenth century the advent of valved instruments ushered in yet another new era.In this extensively revised and updated edition Mr. Baines documents the various states of the evolution of brass instruments with immense learning and a wealth of detail. The text is supplemented by over 140 black-and-white illustrations as well as 48 music examples. The result is a scholarly yet accessible account that remains an indispensable resource for any brass player or music historian.Reprint of the Faber & Faber Ltd. 1976 edition updated by the author in 1993.