SKU: M7.ART-42024
ISBN 9783866420243. German English.
Ein kombiniertes Lehrbuch für Gitarre und Bass gleichzeitig, das sich an junge, angehende Rock- und Popmusiker wendet. Ob im Selbststudium, oder mit Lehrer - die gemeinsamen Spieltechniken beider Instrumente werden erklärt und die Anwendung im Bandkontext anschaulich verdeutlicht, wobei sich viele der praktischen Übungen auf bekannte Songs aus dem Bereich der Rock- und Popmusik beziehen. Melodiespiel nach Noten, Akkordbegleitung, Rhythmiklehre, Pentatonik und vor allem auch die Anwendung des Metronoms, werden hier ausführlich vermittelt. Das Metronom wird in Verbindung mit den Übungen zu einem treuen Begleiter, den man nicht mehr missen möchte. Die beiliegende CD zum Buch gibt dem Schüler die Möglichkeit das neu Erlernte in den fortlaufenden Arbeitsabschnitten mit dem eigenen Instrument praktisch anzuwenden, und dient darüber hinaus als wichtige Übung für das Spielen innerhalb einer Band. Das gemeinsame Musizieren steht hier eindeutig im Vordergrund! Ralf Gauck hat mit diesem Lehrbuch den idealen Begleiter für Musikschulen konzipiert, die ihre Schüler aus dem Einzelunterricht herausholen, und mit Übungen, Songs und viel Freude an der Musik zu einer Band formieren wollen. Ob Anfänger, oder Musiker mit Spielerfahrung - in 'Double Feature' findet jeder Anregungen und hilfreiche Tipps, die Spaß machen und zudem einen schnellen Erfolg garantieren!
SKU: AP.1-ADV7502
UPC: 805095075021. English.
This medium tempo straight-eighth feel work, Creature Feature, is moody, obtuse, even spooky, and offers an interesting programmatic change. Although originally written for five saxophones (SAATBar), piano, guitar, double bass, and percussion, this arrangement works equally well using the optional parts for a trumpet/flugelhorn and trombone.
SKU: CF.BF126
ISBN 9781491150009. UPC: 680160907502. 9x12 inches.
Written by world renown pedagogue, Roland Vamos, this collection of double-stop exercises fill a void in the literature of technical exercises for cellists. These etudes feature a systematic series of fixed double-stops that enables the player to practice and master every possible combination of finger patterns across two strings without shifting. Mr. Vamos says of the book, The most important accomplishment is the development of a strong left handà These exercises, when practiced slowly and carefully, will help to develop a keen sense of pitch and intonation. Adapted for cello by Horacio Contreras, teacher, chamber musician, and recitalist.When I first became familiar with Roland Vamos’ Exercises, I was impressed with itsclarity and effectiveness. The book focuses on a few important fundamentals of string playing,and it is accessible to students of every age. Moreover, its tonal organization in C major makesit simple and easy to understand. I recognized the potential this book could have for cellists,and after spending several months working on an adaptation, I witnessed its results in buildingand maintaining important fundamentals of technique.Mr. Vamos’ Exercises is comprised of simple patterns of double-stops in sevenpositions. There are two basic groups of variations: seven double-stop variations in differentcombined rhythms that develop finger coordination and independence of the left hand, andnine bowing variations that use détaché at the frog, middle and tip of the bow to work onstring crossings, coordination, and balance of the bow. The whole work provides training thatimproves intonation, sound, and ease of playing in all positions and all parts of the bow.In order to adapt Mr. Vamos’ book for cello, I needed to make some modifications tothe original. To address the different needs of the neck and the thumb positions, I chose to writetwo separate books. I kept the original ascending stepwise motion for subsequent variationsin Book I by following a diatonic scale on the top line of the patterns. However, I modifiedthe tonal framework to adjust to the more limited range of the cello. Therefore, unlike in Mr.Vamos’ book, variations in Book I do not ascend through the positions in a uniform pattern.I also switched the order of patterns to create a gradual increase in difficulty. In Book II, Iadded options that work on the fourth finger and an extended left hand frame, and at the end, Iincluded five sets of variations with different bowing alternatives.Mr. Vamos provides a number of specific instructions regarding left hand techniquein his exercises. For his original version, two fingers must remain down for almost the entireset of variations, providing a solid reference for the frame of the hand. In variations H and I,he instructs students to lift these fingers when they are not being used. In the case of thumbposition on cello, lifting the thumb could make the hand unstable; therefore, I suggested thatthe thumb remains down while the other fingers are lifted alternately in H and I. I have foundthis exercise quite useful to work on thumb independence and relaxing the thumb while usingother fingers.Mr. Vamos gives precise instructions for the bowing exercises as well. Following hisdirections, the exercises should be performed with a relaxed hand and flexible fingers. Thenotes should be consistently connected even when crossing strings. The bowing patterns shouldbe performed at the frog, the middle and the tip of the bow in every position.
SKU: CL.012-3551-01
This famous Allegro movement from a Vivaldi concerto for two trumpets is presented here in an arrangement loaded with flexibility as to choice of soloists and even the accompanying ensemble. May be performed as a solo or as a duet, and it includes solo/duet parts for Bb instruments: Trumpets or Clarinets; C Instruments: Flutes, Oboes, or Violins; Eb Instruments: Alto Saxophones; F Instruments: Horns; and Bass Clef instruments: Bassoons or Trombones. The accompaniment is cleverly scored so that it is playable by a full, traditional concert band; or by a chamber wind ensemble of woodwinds, horns, and timpani (ideal for accompanying upper woodwind soloists.) A great way to feature outstanding soloists from your band!
About C.L. Barnhouse Spotlight Series
The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments
SKU: KN.52835
As recorded by the Toshiko Akiyoshi-Lew Tabackin Big Band on the album Road Time, this feature for solo flute includes solo room for alto sax and piano as well. By contrasting a series of transparent, combo-like passages with strong, full-ensemble sections, Akiyoshi generates the kind of intensity and excitement that makes a lasting impression on audiences. The solo flute part is written out exactly as it was played and recorded by Lew Tabackin. Duration 8:00.
SKU: KN.52410
Written for and dedicated to Louie Bellson, this bright swing 'opus' is a wonderful solo feature for the drummer. Creative section and ensemble passages, along with some great solo stretching room for bari sax, make it a real change-of-pace choice for any concert or contest program. Duration ca. 7:00.
SKU: KN.52410S
