Par RIKER WAYNE. Méthode avancée complète de guitare électrique blues avec les gammes blues et composites, le mode myxolydien, les superpositions d'arpèges, le blues de huit mesures, les blues mineurs…techniques des grands maîtres tels que Muddy Waters et Big Bill Broonzy. En français. Inclus un CD. / Méthode en français / Méthode / Guitare Tablatures

Par WAYNE ERBSEN. Ce livre engageant est rempli d'instruction fiddle, des paroles, des histoires de la mélodie, cordes, jouant des conseils, des photos d'époque et plus pour apprendre à jouer du violon. Un compagnon enregistrement intitulé 'Southern Mountain Classics' est également disponible sur CD. / Niveau : Débutant à Intermédiaire / Old Time - Solos / Recueil / Violon

A bumper selection of riffs turns licks solos and phrasing that will give your Guitar playing that authentic Blues edge. Presented in easy-to-follow notation and Tab Wayne Riker divides the Blues into different styles and locations detailing the characteristic differences between the sounds of Chicago Texas and the Mississippi Delta.Learn the styles of the great Blues players with chapters that examine the playing of Johnny Winter Jimi Hendrix George Benson Kenny Burrell T-Bone Walker Robert Johnson Eric Clapton Buddy Guy...the list goes on!Highly comprehensive clear and inspiring this book and CD will get you wailing like the Blues greats with arange and vocabulary that will keep your playing fresh and exciting.

Par WAYNE ERBSEN. Classiques d'Evangile Sud qui réchauffer votre coeur, remplissez votre âme et même obtenir vos orteils aux écoutes. La plupart de ces chants religieuses viennent du sol américain, mais l'imagerie de la poésie, et certains les rebondissements et les tournures de mélodies ont été empruntés de compositeurs inconnus dans l'Antiquité et des pays étrangers. Le livre comprend une enquête historique sur les racines de la musique de gosel--forme-note hymnes, religieuses de chansons folkloriques, camp réunion spirituals et chants religieuses sentimentales. Toutes les chansons sont sous forme de mélodie avec les paroles et les accords de guitare. / Niveau : Débutant à Intermédiaire / Gospel-Old Time - Songbooks / Recueil / Instruments Acoustiques

from The War of the Worlds-Chacun a déjà plus ou moins entendu parler de La Guerre des mondes (The War of the Worlds). Lorsque Jeff Wayne livre sa version musicale du roman d?Herbert Georges Wells il n?imaginait pas le succès à venir. Dans l?atmosphère éthérée du tapis acoustique de The Eve of the War une voix sombre et intense vient appuyer la célèbre phrase « Personne n'aurait cru dans les dernières années du XIXe siècle que les choses humaines fussent observées (?) ». Le succès de cette interprétation épique de la première invasion de la Terre perdure encore de nos jours.

Giles Swayne's Zebra Music comprises twelve pieces written to be suitable for the junior contemporary Piano student offering new music ideas to younger players. As the title suggests the music is written in 'layers' of black and white keys: one hand may be playing the black keys while the other hand plays the white; or both may be on white or both on black - only the final piece mixes the colours. By combining these simple modes with exciting and unusual rhythms Swayne produces a sense of global style within acessible pieces.

Traditional English carol arranged and extended by Giles Swayne. Traditional words and new words by Giles Swayne.

Modern Liverpudlian composer Giles Swayne's 'Murder Of Gonzago' score gains inspiration from Shakespeare's scene in 'The Tempest.'

Giles Swayne wrote this piece to commemorate the life of his brother-in-law Nii Sackey Codjoe who came to England from Ghana as an illegal worker. Sackey's goal was to make money to give himself a better future in his home country but he was made redundant with the result that his life fell apart. He gambled and drank away all the money he had saved and eventually died of heart failure. Sackey's story is all too common but none the less tragic for that. He left no children and his warmth and laughter were blotted out by a world for which he was not adequately equipped leaving nothing behind. Nobody except a handful of kind Ghanaian church people came to hiscremation which was paid for by the hospital where he died.In the piece a simple 25-bar refrain is gradually transformed recurring four times. These four refrains are interspersed by four episodes which give a musical portrait of aspects of Sackey's life and character. After the fourth refrain comes the final section Valediction in which we hear his pulse (represented by flute horn and viola) falter and cease while the harp quietly plays the melody of a hymn which was a favourite of Sackey's:'Rock of ages cleft for me Let me hide myself in thee...'

A rare work for the Lute-based Theorbo. Below is the programme note from the composer.In July 1998 I decided that I would use a theorbo in Havoc a piece I was writing for the 1999 Proms (premiere September 8th 1999). Since my knowledge of the instrument was negligible I contacted David (The Orbo) Miller and appealed for help since I knew he would be playing in the Proms piece. He kindly and with admirable patience showed me how the instrument worked and I began writing groundwork as a technical exercise - hence one meaning of the title. The other is that it is a set of variations over a ground bass.Since the theorbo possesses eight diapason bass strings - whichare plucked like those of a harp not stopped with the left and - it seemed sensible to use these for the ground bass which consists simply of a rising eight-note scale using all diapason strings in turn. This ground is stated at the beginning and developed through 16 variations. Nos 1 to 7 are straightforward except that some of them compress the ground into itself. Nos 8 to 16 are in stretto: they are gradually overlapped with each other the new ground beginning one note earlier each time. The climax of the piece comes at variations 10 to 11; variations 12 to 14 bring it gradually down to earth; no. 15 is quiet and puts the decorated ground in relaxed canon with itself (in octaves using the top and bottom strings of the instrument). Variation 16 strips the ground of decoration putting tight scrunchy chords over it and the piece ends with the lowest diapason string (G) a quiet raspberry ripple of the other seven diapason strings and a final harmonic G to tell us that our little journey is over. I hope you enjoy the scenery.Giles Swayne

This is the Flute Part for Giles Swayne's work Ophelia Drowning for Flute and SATB Chorus. The Flute in this work represents Ophelia and the voices are those of the horrified spectators of her death. This is a beautiful work and will provide an enjoyable challenge to the advancing and accomplished flautists alike. A performance lasts around 9 minutes.

The Good-morrow which was written in 1971 is a setting for mezzo-soprano and piano of five poems by John Donne. These are not songs in the closed sense: the settings deliberately blur one poem into the next so as to form a little musical drama about a passionate but light-hearted love-affair. The model for this piece was the beautiful song-cycle The voice of love (1966) by Nicholas Maw who was my teacher from 1968 until 1971 and whose influence upon my development was both strong and fruitful. My debt to Maw (who died in 2009) is great and this song-cycle was my grateful acknowledgement of it. The Good-morrow was first performed in 1986 at the Purcell Room London by Linda Hibberd and Giles Swayne.1. I wonder by my troth2. 'Tis true 'tis day3. Come live with me and be my love4. So so breake off this last lamenting kiss5. Now thou hast lov'd me one whole day