SKU: HL.48181655
UPC: 888680848422. 9x12.25 inches.
“Maurice Hauchard (1870-1957) was a French violinist and composer. As a minor composer, often in the shadow of his contemporary, Maurice Ravel, much of Hauchard's music is not widely known. However, his First Concert Solo for Violin and Piano provides excellent preparation for the classical concertos. As an excellent, versatile musician Hauchard loved his art and remains one of the greatest contributors to music education. First Concert Solo is part of a series of modern concert solos for the Violin, intended for young violinists. The First Concert Solo</strong is Allegro in tempo and makes use of a variety of techniques. All violinists seeking to play the large concertos of the repertoire should play this delightful Hauchard work to ensure progression.&rdquo.
SKU: MB.610405
ISBN 9783899221237. 9 X 12 inches.
In his first book, “Hot Tea Swingâ€, the Ukrainian composer Olexandr Moyerer published 20 compositions which he composed over the course of 10 years. The titles reflect the wide range of his compositional creations, with each piece being dedicated to a specific dance and style. In “Alcodance“ you will find a Cha-Cha-Cha, in “Wooden Puppet“ a tango and in “Swinguin“ a classic swing dance. But even European styles like the waltz and the polka have not been left out. The playing instructions indicate the mood of the pieces and indicate opportunities for interpretation: the waltzes should be played thoughtfully or tenderly; the swing pieces should be interpreted slowly. In contrast, the Latin American pieces offer a challenge in terms of the rhythm. Each piece must be discovered and worked on by the pianist in their own particular way. This collection is suited to advanced pianists who are looking for new material for concerts or competitions. On the CD (AMA-No. 626671) you will find all pieces recorded by the composer to give an idea of how they could sound. Der aus der Ukraine stammende Komponist Olexandr Moyerer hat in seinem ersten Buch „Hot Tea Swing“ 20 Kompositionen veröffentlicht, die er innerhalb von 10 Jahren komponiert hat. Die Titel geben eine Bandbreite seines kompositorischen Schaffens wieder und jedes Stück ist einem bestimmten Tanz und einer besonderen Stilrichtung gewidmet. So findet sich im „Alcodance“ ein Cha-Cha-Cha, die „Holzpuppe“ tanzt Tango und im „Swinguin“ hat er einen klassischen Swing vertont. Aber auch die europäischen Stile wie Walzer und Polka kommen nicht zu kurz. Die Spielanweisungen geben Rückschlüsse auf die Stimmung der Stücke und die Interpretationsmöglichkeiten: so sollen die Walzer nachdenklich oder mit Zärtlichkeit gespielt werden, die Swing-Stücke sollen sehr langsam interpretiert werden. Dafür stellen die Lateinamerikanischen Stücke ihre Herausforderung auf der rhythmischen Ebene dar. Jedes Stück muss vom Pianisten auf seine spezielle Art und Weise entdeckt und erarbeitet werden. Die Sammlung empfiehlt sich für fortgeschrittene Klavierspieler, die nach neuem Spielmaterial für Vorspiele und Wettbewerbe suchen. Auf einer separaten Audio-CD (AMA-Nr. 626671) sind die Stücke alle vom Komponisten eingespielt und geben einen Höreindruck wieder.
SKU: M7.AHW-3027
English.
This theoretical book is meant to improve contemporary jazz styles techniques for all musician players of modern jazz. We will divide this book into scale exercises, arpeggio exercises, jazz line phrases as well as contemporary chord progressions. Exercises consist of diatonic and chromatic exercises; and, line phrases, consist of jazz solos by great musicians such as Miles Davis, Bill Evans, John Coltrane, Freddy Hubbard, Woody Shaw, Wayne Shorter, Joe Henderson, Chick Corea, Herbie Hancock, Joe Farrel, Dave Liebman, Bob Berg, Michael and Randy Brecker, Jerry Bergonzi, George Garzone, Tom Harrel, Chris Potter, Brad Mehldau, Joey Calderazzo, Kenny Garrett, Branford Marsalis, Walt Weiskopf, Rich Perry, Seamus Blake, Alex Sipiagin and many other well known musicians these days. The majority of these exercises should be transposed to all twelve (12) tones, so we can achieve perfect coordination. Major chords, Minor chords and Dominant chords will be extended to their highest level, in scales, arpeggios and chromatic form. There will not be key signature centres, so we will work all exercises in accidental way. These exercises were made as an extension of my first book 'Improvise Now'. There are as well many improvisational lines transcribed from some of the previously mentioned musicians.
SKU: PR.16400261S
UPC: 680160038411.
Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.
SKU: LO.60-1031H
UPC: 000308076455.
This contemporary sounding chart puts the spotlight on your emerging Trumpet soloist or section. The solo line is cued in all the Trumpet parts, so you'll have several performance options. The even-eighth groove will be easy for your rhythm section to play with confidence, and the unique harmony and texture should make it interesting for all the players. Topaz Sky requires no improvisation, but there are written out, eight-measure solos for both Trumpet and piano. This chart provides a multitude of ways to teach your band how dynamic peaks and valleys really can make music come alive.
SKU: LO.60-1030H
UPC: 000308055108.
