First Jazz Performance - French Horn

SKU: AP.48214S

UPC: 038081556994. English.

Oh yeah, you are in New Orleans! French Quarter Funk arranged by Zachary Smith is very hip, funky, and simple to rehearse and perform. Played around 168 BPM, written solos are provided for alto 1, trumpet 1, and the trumpet 1 range is written to F top line. Optional flute and vibes parts too. This is the coolest and funkiest easy chart you'll find anywhere! (4:10) This title available in MakeMusic Cloud.

SKU: AP.1-ADV14709

UPC: 805095147094. English.

With Reading Key Jazz Rhythms: French Horn Book & CD set by Fred Lipsius, you will learn essential jazz rhythms first hand from world-class professionals! Reading Key Jazz Rhythms is a collection of 24 easy to medium level jazz etudes, and 24 simplified guide tone versions of the etudes. They are ideal for learning the basic language of jazz, swing phrasing, and articulation. A perfect tool for preparing for the jazz ensemble or for any other ensemble/orchestra which performs jazz related music (pops orchestras, musical, studio, movie scores, concert and marching bands, etc.). Each etude is based on a specific rhythm or a combination of rhythmic figures. Some etudes sound like very lyrical improvised jazz solos, while others are more like a melody to a standard. On the accompanying CD the soloist demonstrates the 24 melodious etudes together with a professional rhythm section. You can also improvise along with the play-along tracks using the chord symbols. The guide tones are the essential or defining notes for each given chord type. So if improvising is new to you, and you find yourself getting lost, you can always return to a guide tone and play rhythmically around it. Any etude and its corresponding simplified guide tone version can be played together as a duet (with or without the CD accompaniment) with your teacher or a friend.

SKU: HL.44003311

ISBN 9789043101448. UPC: 073999808186. English-German-French-Dut ch.

The Play 'em Right collection is aimed at musicians who wish to familiarise themselves with jazz, rock and Latin styles. Each of the solo books contain many unaccompanied pieces together with keyboard and guitar chords which explore the particular genre. In Play 'em Right - Jazz, Volume 1 you will find 10 exercises and 8 pieces to perform. These are aimed at wind players who would like to become acquainted with jazz at home. Although graded in difficulty, it is not necessary to first study all the exercises before being able to play the pieces. .

De serie Play 'em Right is bedoeld voor blazers die in de populaire stijlen jazz, latin en rock willen spelen. Play 'em Right Jazz, Play 'em Right Latin en Play 'em Right Rock bestaan telkens uit twee delen en bevattende fundamentele ritmes en articulaties van verschillende muziekstijlen, in oefeningen en songs. De oefeningen zijn in oplopende moeilijkheidsgraad geschreven. Er komen steeds een of twee ritmes aan bod met duidelijke articulatietekens,waardoo r precies de juiste speelmanier wordt aangeleerd. In de songs wordt het aangeleerde toegepast en verwerkt.In Play 'em Right - Jazz, Volume 1 staan 10 exercises en 8 speelstukken, bedoeld voor blazersdie thuis willen raken in de Jazz-stijl. Hoewel de moeilijkheidsgraad oploopt, is het niet noodzakelijk eerst alle exercises door te nemen om de speelstukken te kunnen spelen.

Die Bucher der Reihe Play 'em Right, Band 1 und 2 vermitteln in speziellen Ubungen und Songs die fundamentalen Rhythmen und Artikulationsweisen von Pop/Rock, Latin und Jazz. Die Ubungen sind in ansteigendem Schwierigkeitsgrad geschrieben. In den Songs wird das Gelernte unmittelbar umgesetzt und vertieft. Die mitgelieferte Akkordbegleitung fur Tasteninstrumente und/oder Gitarre macht es moglich, mit Begleitung zu spielen. Play 'em Right ist sowohl fur den Instrumentalunterricht als auch das Selbststudium geeignet.Band 1 enthalt 10 Ubungen und 8 Spielstucke.

Dans chaque ouvrage de cette collection, les intrumentistes touveront des exercices et morceaux diverses leur offrant la possibilite de se familiariser avec les techniques d'interpretation du jazz, du rock et des musiques latines. Le degre de difficulte des exercices est progressif. Les indications sont claires et le contenu technique de chaque exercice reste limite. Les morceaux qui suivent mettent immediatement en pratique les techniques apprises. Les indications d'accords (pour claviers/guitare) permettent de se faire accompagner. Play'em Right peut etre utilise dans le cadre du cours individuel ou pour la pratique quotidienne. Dans Play'em Right, vol. 1vous trouverez 10 exercices et 8 pieces a jouer, pour des musiciens d'instruments a vent qui veulent se familiariser avec le style `Jazz`. Bien que le degre de difficulte soit progressif, il n'est pas necessaire d'etudier tous les exercices pour pouvoir jouer les pieces.

La collana Play'em Right e destinata a quei musicisti che vogliono familiarizzare con la musica jazz, rock e latin. Per ognuno di questi generi, Erik Veldkamp ha realizzato un metodo suddiviso in due livelli differenti, specificamente strutturato per rendere accessibili a tutti i musicisti i segreti di questi frizzanti generi musicali. Affronterete quindi dapprima brevi esercizi che vi svelano la giusta interpretazione del rock, della musica latina e del jazz, per poi cimentarvi in veri brani musicali. Fatevi affascinare da questi moderni generi musicali, ed il jazz, il rock e la musica latina non avranno segreti per voi.

SKU: HL.44003313

ISBN 9789043101387. UPC: 073999858549. 9.0x12.25x0.139 inches. English-German-French-Dut ch.

The Play 'em Right collection is aimed at musicians who wish to familiarise themselves with jazz, rock and Latin styles. Each of the solo books contain many unaccompanied pieces together with keyboard and guitar chords which explore the particular genre. In Play 'em Right - Jazz, Volume 1 you will find 10 exercises and 8 pieces to perform. These are aimed at wind players who would like to become acquainted with jazz at home. Although graded in difficulty, it is not necessary to first study all the exercises before being able to play the pieces.

De serie Play 'em Right is bedoeld voor blazers die in de populaire stijlen jazz, latin en rock willen spelen. Play 'em Right Jazz, Play 'em Right Latin en Play 'em Right Rock bestaan telkens uit twee delen en bevattende fundamentele ritmes en articulaties van verschillende muziekstijlen, in oefeningen en songs. De oefeningen zijn in oplopende moeilijkheidsgraad geschreven. Er komen steeds een of twee ritmes aan bod met duidelijke articulatietekens,waardoo r precies de juiste speelmanier wordt aangeleerd. In de songs wordt het aangeleerde toegepast en verwerkt.In Play 'em Right - Jazz, Volume 1 staan 10 exercises en 8 speelstukken, bedoeld voor blazersdie thuis willen raken in de Jazz-stijl. Hoewel de moeilijkheidsgraad oploopt, is het niet noodzakelijk eerst alle exercises door te nemen om de speelstukken te kunnen spelen.

Die Bucher der Reihe Play 'em Right, Band 1 und 2 vermitteln in speziellen Ubungen und Songs die fundamentalen Rhythmen und Artikulationsweisen von Pop/Rock, Latin und Jazz. Die Ubungen sind in ansteigendem Schwierigkeitsgrad geschrieben. In den Songs wird das Gelernte unmittelbar umgesetzt und vertieft. Die mitgelieferte Akkordbegleitung fur Tasteninstrumente und/oder Gitarre macht es moglich, mit Begleitung zu spielen. Play 'em Right ist sowohl fur den Instrumentalunterricht als auch das Selbststudium geeignet.Band 1 enthalt 10 Ubungen und 8 Spielstucke.

Dans chaque ouvrage de cette collection, les intrumentistes touveront des exercices et morceaux diverses leur offrant la possibilite de se familiariser avec les techniques d'interpretation du jazz, du rock et des musiques latines. Le degre de difficulte des exercices est progressif. Les indications sont claires et le contenu technique de chaque exercice reste limite. Les morceaux qui suivent mettent immediatement en pratique les techniques apprises. Les indications d'accords (pour claviers/guitare) permettent de se faire accompagner. Play'em Right peut etre utilise dans le cadre du cours individuel ou pour la pratique quotidienne. Dans Play'em Right, vol. 1vous trouverez 10 exercices et 8 pieces a jouer, pour des musiciens d'instruments a vent qui veulent se familiariser avec le style `Jazz`. Bien que le degre de difficulte soit progressif, il n'est pas necessaire d'etudier tous les exercices pour pouvoir jouer les pieces.

La collana Play'em Right e destinata a quei musicisti che vogliono familiarizzare con la musica jazz, rock e latin. Per ognuno di questi generi, Erik Veldkamp ha realizzato un metodo suddiviso in due livelli differenti, specificamente strutturato per rendere accessibili a tutti i musicisti i segreti di questi frizzanti generi musicali. Affronterete quindi dapprima brevi esercizi che vi svelano la giusta interpretazione del rock, della musica latina e del jazz, per poi cimentarvi in veri brani musicali. Fatevi affascinare da questi moderni generi musicali, ed il jazz, il rock e la musica latina non avranno segreti per voi.

SKU: AP.1-ADV14704

UPC: 805095147049. English.

With Reading Key Jazz Rhythms:Trombone Book & CD set by Fred Lipsius, you will learn essential jazz rhythms first hand from world-class professionals! Reading Key Jazz Rhythms is a collection of 24 easy to medium level jazz etudes, and 24 simplified guide tone versions of the etudes. They are ideal for learning the basic language of jazz, swing phrasing, and articulation. A perfect tool for preparing for the jazz ensemble or for any other ensemble/orchestra which performs jazz related music (pops orchestras, musical, studio, movie scores, concert and marching bands, etc.). Each etude is based on a specific rhythm or a combination of rhythmic figures. Some etudes sound like very lyrical improvised jazz solos, while others are more like a melody to a standard. On the accompanying CD the soloist demonstrates the 24 melodious etudes together with a professional rhythm section. You can also improvise along with the play-along tracks using the chord symbols. The guide tones are the essential or defining notes for each given chord type. So if improvising is new to you and you find yourself getting lost, you can always return to a guide tone and play rhythmically around it. Any etude and its corresponding simplified guide tone version can be played together as a duet (with or without the CD accompaniment) with your teacher or a friend.

SKU: BT.DHP-1145555-400

ISBN 9789043135979. English-German-French-Dut ch.

Position 1 covers the four fingerings of the first position. The connection between these fingerings and the different keys - up to three sharps or flats - is also dealt with. The book features 38 exercises for the various fingerings, sevenscale and triad exercises, and 68 attractive performance pieces in a range of musical styles. The performance pieces can be played with CD accompaniment (demo and play-along tracks are featured on CDs 1 and 2) or with piano accompaniment. The pianoaccompaniments can be found on CD 2 in PDF form.

In Position 1 worden alle vingerstellingen binnen de 1e positie geleerd aan de hand van grepenschema?s, oefeningen en speelstukken. Verder wordt het verband gelegd tussen de verschillende vingerstellingen in toonladders en drieklanken inde 1e positie over 2 oktaven. De 68 speelstukken kunnen met cd-begeleiding worden gespeeld, of met live-pianobegeleidingen. Deze worden als pdf geleverd op de 2 bijbehorende cd?s. De vertrouwde afwisseling van nieuwe stukken, arrangementen vanklassieke thema?s en volksliedjes ontbreekt uiteraard niet!

Lees hier de boekbespreking uit Arco.

In Position 1 geht es um die vier Griffarten der ersten Lage. Diese Griffarten werden auch mit den verschiedenen Tonarten - mit bis zu drei Kreuzen oder Bs - verknüpft. Das Buch umfasst 38 �bungen für die verschiedenen Griffarten, siebenTonleiter- und Dreiklangsübungen sowie 68 reizvolle Vortragsstücke in einer ganzen Palette an Musikstilen. Die Vortragsstücke können zu den Begleitungen auf den beiden CDs (die Demo- und Mitspielversionen enthalten), aber auch mit einem Pianistengespielt werden. Die Klavierstimmen sind im PDF-Format zum Ausdrucken auf der CD 2 enthalten.

Posi tion 1 couvre les quatre doigtés de la première position et examine le rapport entre ces doigtés et les différentes tonalités - jusquà trois dièses ou bémols. Cet ouvrage contient 38 exercices pour les divers doigtés, 7exercices de gammes et de triades, et 68 morceaux de concert dans une diversité de styles. Ces morceaux peuvent être exécutés avec l´accompagnement du CD, mais aussi accompagnés au piano. Des versions intégrales et de démonstration figurent surles CD 1 et 2, ce dernier comprenant aussi les partitions du piano sous forme de fichiers PDF.

Position 1 affronta le quattro diteggiature della prima posizione. La pubblicazione contiene 38 esercizi per le varie posizioni, sette scale e terze, come anche 68 accattivanti brani in vari stili musicali da suonare in pubblico. Questipossono essere eseguiti sia con lausilio dei 2 CD inclusi (traccia demo e traccia play-along), sia con l´accompagnamento di un pianista. Le parti del piano, contenute sul secondo CD, sono scaricabili in formato PDF.

SKU: BT.MUSME0282

English.

The 30 pieces contained within this tutorial are aimed exclusively at piano beginners. All pieces are easy to play and will enable you to rapidly gain substantial experience in piano playing and, since they are adapted versions of real musical pieces, you will at no time lose your pleasure of playing. In order not to overwhelm you, the level of difficulty of the pieces to be performed increases progressively, allowing you to work in a fluent and coherent manner. The piano pieces put together in this tutorial will also allow you to discover musical styles which are totally different from one another, forming a large panorama of contemporary and classic music. You will get a tasteof popular music, jazz, ragtime, blues and rock. So you can rest assured, there’s something for everyone in here(!) The CD attached to the book will make your study even more enjoyable. Every musical piece appears twice: the first time for demonstration purposes (with the piano) and the second in the form of a backing track (without the piano), in order to give you the opportunity to play the piano and enjoy the accompaniment of other musicians.

SKU: PR.115402040

UPC: 680160591220. 9.5 x 13 inches. Key: G major.

Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

SKU: PR.11640385L

UPC: 680160682904. Key: G major.

By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

SKU: PR.11540204F

UPC: 680160591237. Key: G major.

Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

SKU: PR.11640385S

UPC: 680160682898. Key: G major.

By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

SKU: DY.DO-1522

ISBN 9782897963026.

Fran cis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèle ment, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivem ent, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

SKU: AP.1-ADV14251

SKU: PR.114423380

ISBN 9781491135129. UPC: 680160686988.

Inspi red by her friends’ beatboxing and exploration of jazz, flutist Chris Potter joins the fun and brings us along in this introduction to swing rhythm and the basics of beatboxing. Playing off the multiple meanings of “mode” and “à la mode”, Dr. Potter fashionably explores a world of varied scales and modern percussive sonorities where the ch- ch- ch- beatboxing attack leads players to chant about ch-ch-chocolate!.
A Few Words from ChrisThis title came to me out of nowhere at 4 AM one morning, and I just had to write a piece to go along with it! I love words with multiple meanings, and “mode” has three!The French term à la mode means in a current, fashionable style: in other words, popular. The alto flute certainly fits that description!For Americans, the phrase is used when describing the dessert pie à la mode, meaning pie with ice cream, typically vanilla. Pie à la mode has an interesting history! The phrase and the American dessert is attributed to John Gieriet. He was born in Switzerland, later moved to France, and must have studied cooking because two years after moving to the U.S. in 1854, Gieriet was put in charge of all the food service at the White House. He served under two presidents, Franklin Pierce and James Buchanan. When that job ended, he moved to Duluth, Minnesota and bought a hotel. In 1885, a menu for the hotel offered a dessert called pie à la mode, the first time this phrase had appeared in print. Originally it was blueberry pie with vanilla ice cream.In music, the term mode means a series of notes that have an identifiable pattern of intervals encompassing an octave. Major and minor scales are modes, as are other scale forms such as pentatonic, dorian, phrygian, and lydian. ALTO À LA MODE uses three modes, all based on D. In this piece, you will find the D blues scale (D F G Ab A C D), the D dorian (D E F G A B C D), and the D minor natural form (D E F G A Bb C D).In addition to the three melodic modes, I wanted a rhythmic idea or two to unify the piece. I decided touse the rhythms of the word vanilla: three short notes with emphasis on the second note, and chocolate: two short notes with emphasis on the first note. Also please notice that the spoken syllable cha is the beginning sound of chocolate! All this and no calories!I credit my fabulous friend Ali Ryerson for the jazz influence, and the wonderful composer Nicole Chamberlain for the beatboxing inspiration.

SKU: AP.1-ADV40002

UPC: 805095400021. English.

A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds, or with string sextet (2 violins, 2 violas, cello, bass) and woodwind quintet (flute, oboe, clarinet, French horn, bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords.

SKU: AP.1-ADV40003

UPC: 805095400038. English.

A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds, or with a string sextet (2 violins, 2 violas, cello, and bass), and woodwind quintet (flute, oboe, clarinet, French horn, and bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords.

SKU: CA.210300

ISBN 9790007244668.

The Choral Collection Psalms contains over 50 settings for mixed unaccompanied choir from six centuries. It is a true treasure-trove of compositions in various styles and levels of difficulty: with some unknown new discoveries and some classics of the choral literature, the selection will enrich both worship and concerts. The 150 psalms of the Old Testament express rejoicing, joy, confidence, but also lament, grief, anger, and even doubt. The psalms are present throughout Christianity and Judaism to this day, and are sung worldwide in countless settings. The Choral Collection Psalms displays the whole stylistic and linguistic variety ranging from contemplative, simple Anglican chant through Russian Orthodox homophony to virtuoso motets with jazzy echoes. The linguistic spectrum is equally broad: English, French, German (some with added singable English translation), Estonian, Icelandic and, of course, Latin psalm settings are represented, as well as works in Church Slavonic and Hebrew (both accompanied by transliterations and a singable German text). The foreword (German / English) offers many hints regarding the performance of the psalm settings, and a detailed index will help with choosing appropriate pieces for the liturgical occasion according to the Anglican, Protestant, or Catholic calendar. Over the last ten years editor Stefan Schuck has performed two psalm compositions every week in his NoonSong series in Berlin. From the resulting 800 works, he has selected the most interesting compositions arranged according to level of difficulty. The choral director's volume includes a CD with recordings of selected works, sung by sirventes and conducted by the editor, which will help with learning and rehearsing the repertoire. over 50 psalm settings from six centuries for worship and concert use stylistic variety and mixed levels of difficulty: from Anglican Chant to virtuoso motets for four-part mixed choir, some with organ/piano accompaniment transliterations and German singing texts help with practising cross-cultural repertoire liturgical classification of all settings for Catholic, Protestant, and Anglican lectionary includes many unknown jewels such as Boze, Boze moj (Cesar Cui), Jauschew be seser eljaun (David Rubin), and Schubert's setting of Psalm 23 in the first Hebrew version CD recording (sirventes berlin, cond. Stefan Schuck) with a selection of settings helps with getting to know the pieces economical choral edition (editionchor) available.

SKU: PR.UE021583

ISBN 9783702472634. UPC: 803452069751.

All together easy Ensemble! is UE's series of flexible arrangements for students venturing forth into ensemble playing for the first time. Since this is an important step in the development of many young musicians, arranger James Rae makes sure that all parts are important and integral and that all lines lie comfortably on the instrument. An optional piano part is included, to enhance the ensemble if necessary, and parts are included for a wide range of instrumentations. Volume 4 includes Shostakovich Waltz No.2 (from Jazz Suite No. 2), Verdi's La donna e mobile, Yankee Doodle, and Rae's original Cha-Cha Cubano. For beginning performers.