The Day the Music Died

Débutant 2 cahier A-Jean-Pierre Couleau (b. 1948) studied at the Aix-en-Provence Marseille and Versailles Conservatoires before devoting himself to teaching music particularly jazz. He compiled?Le Matin Des Musiciens?to aid music theory beginners. This Couleau volume contains exercises on performance directions dynamics range intervals rhythm phrasing articulation and time signatures among other aspects. Couleau's?Le Matin Des Musiciens?is ideal for all beginners of music theory. Furthermore with detailed instruction in Japanese ?Le Matin DesMusiciens?is accessible to many.

Exercices De Lecture Pour La Formation Musicale - Vol. 4 is the fourth book of a theory method in six volumes by Dia Succari. Written for upper beginners it features 26 exercises focusing on reading notes on staves. Each exercise can be read from left to right and from right to left. The keys that feature in the book are G and F keys with introduction to the C key. Dia Succari is a Syrian musician who studied music at the Paris Conservatoire among musicians such as Henri Challan Jeanine Rueff and Marcel Bitsch. Olivier Messiaen was one of his composition professors and he also learnt to conduct anOrchestra.

Born in Syria in 1938 Dia Succari undertook his musical studies with his Father before moving to the Paris Conservatoire. He studied composition with Olivier Messiaen before beginning a career as a successful composer and pedagogue. Theory Exercises For Musical Education is no exception to the composer's achievements. Currently a professor at the Paris Conservatoire Succari has led a prominent career and therefore his Theory Exercises for Musical Education are compiled from a wealth of experience and expertise. As the culmination of the series the sixth volume addresses differing clefs in detail. The 24 exercisesensure full understanding and progression. For all musicians Succari provides a helpful aid to music theory.

Theory-Looking for a way to develop your musical ear? By following the instructions given in this coursebook you will soon be able to effortlessly recognise and reproduce the first lick note chord rhythm or solo that comes your way! You wonder how you are going to accomplish this? By studying intervals (from thirds downwards to diminished thirteenths) by identifying chords (from major chords to M7(11#) chords) by recognising chords and melody played simultaneously by differentiating between various rhythmic values (between whole notes and eighth-note triplets for instance) or by melody dictations which are a synthesis of the elements previously studied. Whereas the two CDssupply you with exercises the coursebook offers you the possibility to write down and check your answers. Looking for a way to develop your musical ear? By following the instructions given in this coursebook you will soon be able to effortlessly recognise and reproduce the first lick note chord rhythm or solo that comes your way!You wonder how you are going to accomplish this? By studying intervals (from thirds downwards to diminished thirteenths) by identifying chords (from major chords to M7(11#) chords) by recognising chords and melody played simultaneously by differentiating between various rhythmic values (between whole notes and eighth-note triplets for instance) or by melody dictations which are a synthesis of the elements previously studied.Whereasthe two CDs supply you with exercises the coursebook offers you the possibility to write down and check your answers.

This revision guide presents all the key information you need to know for AS Level Music especially the written exam Listening and Appraising (Unit 03) and covers the prescribed works being studied for exams in 2017 and 2018. It includes: Detailed explanation of how to tackle the unfamiliar music section of your exam The important points you need to know about your prescribed works Essay writing techniques to help you with the Section C questions including sample questions and answers Practice questions to work through during your revision Advice on how to achieve your best in the Performing and Composing unitsTop tips on how to prepare for the exam A glossary of the terminology you will need to know     

Passion Music continues the fusion of jazz and choral music so successfully blended in Will Todd's Mass in Blue. The structure highlights different points in the Passion story beginning with a new setting of 'Greater love has no man' and including an evocative Stabat Mater a movement focusing on the seven last words of Christ and a setting of 'Were you there when they crucified my Lord?'. While some sections are reflective Todd also makes full use of his understanding of energetic jazz and gospel. The vocal soloist is given plenty of expressive freedom singing both with the choir and independently to achieve the characteristic jazz-soulstyle. The seven-piece jazz accompaniment which is presented in the vocal score as a piano reduction for rehearsal only completes the ensemble.  The full score and set of parts for the jazz accompaniment are available on sale and hire. A complete backing track and individual rehearsal tracks for the vocal parts are also available to download.

French composer and musicologist Jacques Chailley (1910-1999) studied at the Paris Conservatoire. He was passionate about reviving medieval music and this inspired his detailed study book of modes  L'Imbroglio Des Modes. Chailley''s saw him teach musical history harmony and the notation and sight reading of medieval music as well as publish many books on the subject. Chailley''s L'Imbroglio Des Modes begins by explaining what a mode is before addressing the different modes intervals chords medieval tones and modern tones among other aspects. For allancient music enthusiasts Chailley''s L'Imbroglio Des Modes provides brilliant detail and expertise to ensure complete understanding of all modes.

Arranger : David Heyes The Transcriptions Series series Recital Music publish a wealth of original works for double bass alongside a popular, accessible and growing range of transcriptions for bassists of all ages and abilities. Most transcriptions published by Recital Music are by David Heyes, who has a successful and proven track record when arranging for double bass. Czardas for violin and piano is Monti's only famous work, believed to have been composed in the early years of the 20th-century, and has been composed for almost every instrument, every instrumental combination, and performed by every gipsy orchestra or ensemble. The slow rhapsodic introduction quickly leads into the main theme which is full of rhythmic fire and gipsy passion. A slow section, primarily in double stops, is then repeated in high harmonics before a brief return of the fast viruosic music which leads into a reprise of the Czardas material, but now in the tonic major. A fast and energetic finale brings the piece to a rousing and successful conclusion. This exciting new arrangement by David Heyes offers musical and technical challenges in equal measure and the edition includes accompaniments for both solo and orchestral tunings. An arrangement for double bass quartet is in preparation. Italian composer, conductor and violinist, Vittorio Monti was born in Naples on 6 January 1868 and died on 20 June 1922. He studied at the Conservatorio di San Pietro a Majella with F. Pinto (violin) and Paolo Serrao (composition) and moved to Paris in 1886 where he studied violin with Camillo Sivori, Paganini's most famous pupil. For many years Monti was a member of the Lamoureux Orchestra in Paris, also conducting the orchestra on occasions, and composed ballets, operettas and instrumental music during his years in the French capital.

This famous musician and priest was born in Calanda on the 4th of April of 1640. He studied and taught at the University of Salamanca as a profesor of music. He was the organist of the viceroy of Napoles. He is thought to have died in Madrid in 1710 and is often described as the greatest Spanish guitar theologian of the 17th century. This suite was written in 1674.

SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first published in 1925 by Alphonse Leduc in Paris as No.23 of Edouard Nanny's 'Les Classiques de la Contrebasse'. For many years no one questioned its authenticity, but as more research into Dragonetti's original works for double bass was made, concerns began to arise. Many of Dragonetti manuscripts survive in the British Library, thanks to Vincent Novello who donated them in 1849, three years after Dragonetti's death and on Novello's retirement to Italy, but there is no original manuscript for this work. As bassists began to edit and perform a wide range of Dragonetti's works it became clear that this concerto bore little resemblance to any of his other pieces. The work does, however, have many similarities to Nanny's Concerto for double bass, also to his other solo works and even studies from his Method. Eventually most people came to the conclusion that this work is not an original work by the great Venetian bassist but is by Edouard Nanny, and in the style of the late 18th-century. Having said that, this is still a charming and evocative work which has much player and audience appeal and is very easy on the ears. Many of the challenges for the soloist are technical and, almost a century after its first publication, it is still as popular as ever. Published in 1925, the first movement was performed at London's Wigmore Hall on 15 April the following year by Victor Watson (double bass) and Sidney Crooke (piano), and was described a 'Contrabass Concerto by Dragonetti-Nanny. ERRATA: Piano part: page 8 (1st movement), bar 87 - final chord of bar in right hand should be D/E/G# - a dominant 7th chord in A major Edouard Nanny was an important French double bassist and teacher, also composing and transcribing many works for double bass. He was born in Saint-Germain-en-Laye on 24 March 1872 and he studied at the Paris Conservatoire with Professor Verrimst, also teaching there from 1920-1940. He performed often as a soloist, also working as an orchestral bassist with many orchestras such as the Paris Symphony Orchestra, Concerts Lamoureux and the Orchestra de l'Opera Comique, and in 1901 he founded the Henry Casadeus Society of Old Instruments, chaired by Camille Saint-Saens, and intended to revive the works from the past centuries. Nanny's Method for double bass is still in print, over 90 years since its first publication and both volumes contain a wealth of excellent technical studies and exercises which are as relevant today as they were in the 1920s. His other volumes of studies are mostly out of print and Recital Music plan to reprint some of his orginal works for double bass, transcriptions and educational music to keep alive the name of Edouard Nanny into the 21st-century. Edouard Nanny died in Paris in 1942.

Fourteen songs from the album arranged for Guitar tab (including standard notation) complete with full lyrics. 'As if fated to live the blues he studied so deeply, Rory Gallagher was beautiful, talented and doomed. He was just 47 years old when died after a liver transplant surgery in 1995. But in a career that spanned from 1969 until his death, Gallagher compiled one hell of a legacy. The Irish guitarist was a prolific music maker, recording 17 albums under his own name, and two studio albums with his early blues-rock trio, Taste. He also appeared on two seminal blues recordings: Muddy Waters' The London Sessions in 1972, and Albert King Live in 1977.' - Michael Molenda (Editor, Guitar Player Magazine), 2004. / Guitare

Frank Marshall (1883-1959) was a Catalan pianist and educator born in Spain to parents of English descent. He studied under Enrique Granados forming a life-long friendship and later became a teaching assistant at the Granados? academy for the Piano taking over as director after Granados died in 1916. Marshall was known to say that the pedals were the ?biggest secret? of the art of Piano playing. His Estudio Práctico Sobre Los Pedales Del Piano (1919) was the first of two pedagogical works on the study of Piano pedalling and one of very few works of its type.

Par MARTON KEREKFY. Introduction and Dance exploits the alto saxophone's characteristic sound and virtuosity. It starts with a slow, nascent music, which gives way to a very fast dance with aksak rhythm in an asymmetrically segmented 8/16 meter. The work was commissioned by and is dedicated to saxophonist Levente Puskás and pianist Judit Váradi, who premiered it in September 2020 in the Hungarian Radio, and then first performed in concert in November that year. Márton Kerékfy (b. 1981) studied musicology and composition at the Liszt Academy of Music in Budapest (2000-2007) and received his PhD in musicology (2015) from the same institution. In 2006 he spent one semester on an Erasmus Grant at the Mozarteum in Salzburg. Márton is Senior Research Fellow at the Budapest Bartók Archives, Editor of the Béla Bartók Complete Critical Edition, and Editor-in-Chief at Editio Musica Budapest Zenemukiadó. / Date parution : 2022-04-12/ Répertoire / Saxophone et Piano