Clarinet Basics

SKU: M7.VOGG-807

ISBN 9783802408076. English.

Whether it's jazz or classical, chamber music or marching band, the clarinet has established itself as one of the leading instruments in the musical world. Clarinet Basics is designed to walk you through the beginning steps of this fantastic instrument! Clarinet Basics introduces the reader to the beginning playing techniques and tone. Included with this book is a CD that will make learning easy and fun. Enjoy your journey into the wonderful experience of the clarinet!

SKU: AP.12-0571599214

ISBN 9780571599219. English.

These humorous cards, designed by Drew Hillier, are derived from the basics series. A perfect gift for the young saxophonist whether to celebrate achievement or as a Christmas treat. The cards are a part of a series, also available for flute, clarinet and trumpet.

SKU: MB.3802406058

ISBN 9783802406058. 8.25 x 11.75 inches.

Le début parfait pour apprendre la guitare électrique. Ce cours de guitare fournit au guitariste débutant les bases essentielles d'un instrument et de la musique en plusieurs étapes simples. Toutes les informations sont précieuses et clairement expliquées, ce qui signifie qu’elles peuvent être immédiatement mises en pratique. Les bases de la guitare électrique se composent de trois sections cohérentes: jouer des accords et accompagner des chansons; jouer des notes simples et des accords puissants; théorie de la musique et fondements. Le chapitre sur les accords de force contient tout ce que vous devez savoir sur cette technique de jeu indispensable. Le CD d'accompagnement avec des exercices et des morceaux de musique offre une aide précieuse pour la pratique. Rendre la guitare électrique encore plus amusant.
The perfect start to learning the electric guitar. This guitar course provides the beginner guitarist with the essential instrument and music foundations in simple to follow steps. All information is both valuable and clearly explained, meaning it can be instantly put into practice. Electric Guitar Basics comprises of three cohesive sections: playing chords and accompanying songs; playing single notes and power chords; music theory and foundations. The chapter on power chords contains everything you need to know about this indispensable playing technique. The accompanying CD with exercises and music pieces offers a valuable aid to practice. Making playing the electric guitar even more fun.

SKU: BA.BVK01905

ISBN 9783761819050. 30.7 x 23.5 cm inches. Illustrations: Heiki Prange.

The Barenreiter series Mein Instrument (My Instrument) is designed for students who want to obtain further information on the instrument they have chosen to learn.

Each picture book offers a large variety of facts and information regarding the history of an instrument, its functions, its technical aspects, its relation to other instruments and its theoretical basics. The book ends with details about great composers and players.

These books are ideal as gifts for students who are beginning with an instrument and for anybody who is interested in the history and function of musical instruments. Now books about Violin, Piano, Guitar, Recorder, Flute, Clarinet and Trumpet have already been released.

SKU: AP.12-0571599249

ISBN 9780571599240. English.

An ideal gift for the young trumpeter, these cards, designed by Drew Hillier, comprise eight comical animations. A great idea for Christmas stocking fillers or a treat for other occasions. The cards are part of a series also available for flute, clarinet, saxophone and as Christmas cards.

SKU: M7.VOGG-662

ISBN 9783802406621. German.

In der klassischen Musik und der Volksmusik, aber auch im Jazz und Pop spielt die Klarinette eine wichtige Rolle als Solo- und Ensembleinstrument. Knapp und übersichtlich bekommst du hier einen Einstieg in das Klarinettenspiel, der auch die Musiktheorie berücksichtigt. Dabei wird sowohl das Deutsche System als auch das Boehm-System berücksichtigt. Die wichtigen Grundlagen der Spieltechnik und der Tongebung werden leichtverständlich vermittelt. Anhand der CD kannst du die Stücke und Übungen leicht nachvollziehen und nachspielen.

SKU: CF.YPS217F

ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).