Par DAVID COURTNEY. Le tabla indien est une paire difficile de batterie de main, mais en aucun cas doit on considérer inaccessibles. Pour ceux qui sont passés par l'apprentissage d'introduction le Tabla, cet ouvrage / coffret CD est une étape idéale. Il contient beaucoup de nouveau matériel qui est approprié pour un étudiant de niveau intermédiaire. Cette série nous introduit des techniques, de concepts et de nouveaux documents. Ce matériel comprend une discussion sur la nature complémentaire de tabla bols/technique. Il nous introduit également de nouvelles formes de compositionnels tels que mukhada, rela, laggi, paran, gat, tihai et chakradar. Il y a une introduction au concept de bols transitoire et techniques. Cet ensemble élargit également de matériau qui a été introduite dans la première série en donnant des nouveaux prêts d'assistance technique et leurs thekas, ainsi qu'un kaida plus avancé. Il y a aussi une discussion sur le tambour de baril antique connue comme la pakhawaj et une discussion du matériel de pakhawaj qui peut être joué sur la tabla. -Livre facile à utiliser / CD set d'apprendre t de niveau intermédiaire... / Niveau : Intermédiaire / World Music - Methods / Méthode / Percussions Diverses

Par BLACKWELL KATHY / DAVID. Fiddle Time Joggers est un premier livre de pièces très faciles pour violon avec des morceaux de corde ouverte et les airs en utilisant l'empreinte digitale 0-1-23-4. Il ya des airs connus et des pièces originales du rock à l'aide de calypso insultes simple et une dynamique rares. Avis-conseils d'introduire de nouvelles notes et les rythmes et il ya des duos faciles à jouer. Le livre est livré avec CD, offrant des performances de tous les morceaux avec accompagnements de piano et en utilisant d'autres instruments. Un livre séparé des accompagnements au piano simples sont disponibles. Kathy Blackwell and David Blackwell Kathy Blackwell is an experienced peripatetic string teacher, currently teaching privately after many years working for Oxfordshire County Council. She has a special interest in teaching the violin and viola to young children, both individually and in groups. Her determination to find the very best pieces - well written and accessible, tuneful and catchy - led directly to the creation of the Fiddle/Viola/Cello Time series. David Blackwell studied music at Edinburgh University, since when he has pursued a career in music publishing, first at ABRSM, where he became Editorial Director, and then at Oxford University Press, where he is now Head of Music Publishing. He is co-editor of OUP's In the Mood: 17 Jazz Classics for Choirs and Carols for Choirs 5, and has published a number of single choral arrangements. He is co-writer with his wife Kathy of OUP's award-winning string series, Fiddle/Viola/Cello Time, which have twice won the MIA award for Best Educational Publication. / Niveau : Débutant / Recueil / Violon

A splendid work with many possibilities this creation by David Schwoebel demonstrates this composer's great sensitivity and broad range of expression.

Kuimba Sifa Kwa Mungu-This unique offering uses images of creation to describe the eternal qualities of God. Inspired by African folk idioms the call and response form along with native percussion completes the package making this a truly unforgettable worship offering. May be sung a cappella if desired. Parts for Bass and Percussion available as a digital download.

15 hardcore hits transcribed note-for-note for bass from this neo-punk band: Axiom £ Django £ Life Won't Wait £ Radio Havana £ Red Hot Moon £ Roots Radicals £ White Knuckle Ride £ and more.

This work was commissioned by the University of British Columbia through the gift of David Lemon. It was first performed on 11th May 1997 at the Chan Center University of British Columbia Vancouver Canada by Valdine Anderson(soprano) Linda Maguire (mezzo soprano) Paul Moore (tenor) and Kevin McMillan (baritone) with the Vancouver Bach Choir and the CBC Vancouver Orchestra conducted by the composer.Like Vaughan Williams in his Job: A Masque forDancing Davies was inspired in part by William Blake's 21 engravings for the Book of Job. His oratorio however is less dependent on finding parallels for Blake's visual details given the direct poetry in David Lemon'sadaptation of the Stephen Mitchell translation from the biblical original it is hardly surprising that the spotlight should be so much on Job's suffering litany. The baritone has the lion's share of the setting though the othersoloists occasionally reinforce his plea and chorale-like episodes universalize his predicament. Davies frames with work with two seminal plainsong-like passages; there is also plenty of dramatic contrast both within Job'smonologues and in the vivid orchestral writing for the smarmy Comforters the initially shrill God who finally appears out of a dazzling orchestral whirlwind and the animal life he uses to illustrate the wonders of creation to ahumbled Job.

Tarab premiered by David Grimal in le Volcan, Scène Nationale du Havre, on April 23rd 2010. Born in 1948 in Rome, Philippe Hersant studied music at the Paris Conservatory, notably in the composition class of André Jolivet, before residing at the Casa Velasquez from 1970 to 1972 and then at the Villa Medici from 1978 to 1980. Since 1973 he has been a producer for radio broadcasts with France Musiques . Refusing to play tricks with history, Philippe Hersant has forged a language that extends the course of Western music as a whole, and, without ever seeking to establish a school, he was one of the first of his generation to place himself, once more, in the domain of tonality and modality. He does not, for all that, banish all neo-classical tendencies. On the contrary, he champions the mannerism and the deep subjectivity of his memory as sources and guides to creation. / Violon

Revised Edition 2006This book should be seen as a method to help the artist to develop his or her own way when trying to improvise chromatically. Through the concepts and examples offered, the improvisor should be able to use this material alongside already familiar tonal ideas. Specifically, the book serves as a guide for organizing chromaticism into a coherent musical statement meant to satisfy both the intellectual and emotional needs of artistic creation.The reader will be introduced to more than one way of conceiving chromatic lines and harmonies. There is nothing theoretically complex or new in the text, it is the organization of the material as well as many musical examples and transcriptions (Bach, Scriabin, Coltrane, Shorter, Hancock, Beirach, Liebman a.o.) which should serve to inspire musicians to expand their usual diatonic vocabulary.This book also provides insight into the style of playing that David Liebman is known for. In addition the book contains 100 assorted solo lines and 100 chord voicings.

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.

This definitive collection showcases twelve of the finest and most loved partsongs by Robert Lucas Pearsall (1795-1856); published in two volumes compiled and introduced by Ralph Allwood one of the UK’s pre-eminent choral directors.These works including the well known Lay a Garland In Dulci Jubilo Great God of Love and No! No! Nigella! are collected and published together for the first time. Suitable for choirs of all abilities the partsongs within this two volume collection are scored for four to eight parts and appropriate for sacred or secular usage. Beautifully engraved the original notation has been updated for contemporary use and clear rehearsalaccompaniments are provided.Both volumes will be an essential addition to any choir's music library to be used over and over again.The Novello Choral Programme is the creation of a panel of advisors pre-eminent in the British music scene: Ralph Allwood Susan Digby David Hill Brian Kay and Barry Rose each with extensive experience in choral conducting concert work and music education. The aim is to publish essential editions from the best of the wealth of existing choral music ancient and modern while widening the repertoire with exciting new composers and new trends in music making.Ralph Allwood is one of the UK's most distinguished choral directors. He is Precentor and Director of Music at Eton College and a Choral Advisor to Novello.