SKU: M7.AHW-1015
English.
A presentation of the fundamentals of trumpet playing - fingering, rhythmics, scales, keys, syncopation, phrasing - through the use of familiar melodies already a part of the student's memory.
SKU: M7.AHW-2021
A presentation of the fundamentals of trombone playing through the use of familiar melodies already a part of the student's memory. This approach teaches the fundamentals of music musically rather than a series of abstract or mathematical studies.
SKU: M7.AHW-1012
A collection of method books, exercises, solos, embouchure and breath control studies, and duets directed to players at all levels of their development.
SKU: MB.99292FM
ISBN 9780786696222. 8.75 x 11.75 inches.
This text présente la technique de base du violon et de la lecture de la musique, lâ??accent sur lâ??utilisation des mélodies et des pièces classiques pour chaque nouveau concept. Les 28 leçons apprennent les techniques de base et les compétences en lecture, en échelles dans les touches A, D, G, et ainsi de suite. 47 mélodies sont présentées, notamment des Å?uvres de Bach, Beethoven, Brahms, Haendel, Mozart et dâ??autres compositeurs classiques. Inclut on the audio in line. Tous les exercices et les morceaux ont été enregistrés avec l'accompagnement de violon solo et de piano. â?¢ Utilisez des mélodies et des morceaux pour introduire la technique et les principes fondamentaux. â?¢ Inclut les échelles en A, D, G et C; les insultes, les accents et le staccato en s'inclinant. â?¢ 47 mélodies, y compris des Å?uvres de Bach, Beethoven, Brahms, Mozart et plus. â?¢ Inclut the audio online.This text presents beginning violin technique and basic music-reading fundamentals, with an emphasis on the use of melodies and classical pieces to teach each new concept. The 28 lessons include basic technique and reading skills, scales in the keys of A, D, G, and C as well as bowing techniques such as dynamic contrast, slurs, accents, and staccato bowing. There are 47 melodies presented including works by Bach, Beethoven, Brahms, Handel, Mozart and other classical composers. Includes access to online audio featuring all of the exercises and pieces recorded with solo violin and piano accompaniment. â?¢ Uses melodies and pieces to introduce technique and fundamentals. â?¢ Includes scales in A, D, G, and C; slurs, accents, and staccato bowing. â?¢ 47 melodies, including works by Bach, Beethoven, Brahms, Mozart, and more. â?¢ Includes access to online audio containing all exercises and pieces.
SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: MB.22069M
ISBN 9780786692378. 8.75 x 11.75 inches.
Arranging Tunes for Solo Banjo is designed to help players develop a solid understanding of arranging fundamentals for five-string solo banjo. In particular, this book takes an in-depth look at chord melody playing. Examples include popular melodies from the American song book in the keys of C, G and D. The book presents tools and techniques to help you create beautiful and intricate arrangements, with lessons on diatonic chords, altered chords, cycling techniques, and rhythmic variations. This introduction to arranging for the banjo will expand your knowledge of this instrument and its capabilities. Includes access to online audio.
SKU: AD.ADG242
ISBN 9781958017296. UPC: 663389124226. 9 x 12 inches.
The Blues Play A Long and Solos Collection for Harmonica is an indispensable instructional book written by renowned musician and educator, Andrew D. Gordon.Specifical ly designed for beginners, this book provides a comprehensive guide to playing the blues on the bass while offering a plethora of play-along tracks and soloing opportunities.And rew D. Gordon, with his extensive experience as a multi-instrumentalist and music educator, has meticulously crafted this book to cater to harmonica players who want to delve into the captivating world of blues music. Whether you're a complete novice or have some basic knowledge of the harmonica, this book will guide you step-by-step through the fundamentals of blues playing, enabling you to develop your skills and confidence.The Blues Play-Along and Solos Collection for harmonica is part of an esteemed series of instructional books, with other editions available for a variety of instruments such as piano/keyboards, guitar, bass, alto and tenor saxophone, flute, trumpet, trombone, ukulele, recorder, mandolin, bass and violin. This series ensures that musicians across different disciplines can explore the blues genre and its unique characteristics.K ey features of The Blues Play-Along and Solos Collection for Harmonica include: Play-Along Tracks: Explore a diverse selection of 30 professionally produced play-along tracks, featuring authentic blues grooves in various Blues styles, keys and tempos such as: Funky Blues, Boogie Blues, Jazz Blues, Minor Blues, Country Blues, Latin Blues, Old Time Jazz Blues, Jazz Swing Blues, Classic Blues Rock, Soulful Blues, Slow Blues and many more. These tracks allow you to apply your newly acquired skills and play alongside a band, providing an immersive and enjoyable practice experience.Each of the 30 play-a-long tracks has been recorded with 10 choruses of the 12 bar blues progression giving you the opportunity practice soloing techniques totaling over 3 hours of music. Each of the 30 Blues styles contains a solo improvisational melody line, 12 measures in length, designed for the beginner student in mind as a starting point to create your own improvisational solos.Soloing Techniques: Discover various soloing techniques and improvisational approaches, empowering you to create your own expressive solos and melodies within the blues framework. Repertoire Building: Develop a repertoire of blues songs, licks, and riffs specifically tailored for the harmonica. Expand your musical vocabulary and gain confidence in your ability to perform and jam with others.Music Notation : The book contains clear and easy-to-read music notation ensuring accessibility for beginners and facilitating a smooth learning process. Whether you aspire to perform on stage, jam with friends, or simply enjoy playing the bass at home.The Blues Play-Along and Solos Collection for Harmonica provides you with all the tools you need to embark on an exciting blues journey. Andrew D. Gordon's expertise and passion for teaching music shine through in this book, making it an essential resource for any bass player seeking to explore the expressive and soulful realm of blues music.