DescriptionContinues the principles of Book One. Twenty-seven lesson assignments cover a wide variety of music.
Frank Gambale´s new improvisation book is a twelve-chapter course, with seven lessons per chapter, that covers the twelve most important scales and modes. Each lesson explores the chords, voicings and licks that are derived from each scale. The two enclosed CDs contain 119 recorded music examples (over 50 CD tracks), and the clearly presented text is written in standard notation and tablature.
DescriptionEd Roscetti gives you the nuts and bolts of a variety of hot rock drumming styles to transform your playing, complete with a CD of examples and grooves.Part of the celebrated Musicians Institute Private Lessons series, this book and CD set is packed with features and styles including: Seven full charts for study and playalongThe Bass and Drum connectionHard rock and grungeDouble bass drum techniqueFunk rock and alternativeGrooves, ideas, fills and ensemble figure phrasesReggae and Ska rockStraight and shuffle rockGreat rock drummers and performances in profile.This interactive workbook and playalong CD package is an ideal learning tool for students, teachers or professionals.
DescriptionA complete guide to becoming the smoothest, coolest Jazz Piano player around, complete with CD! If you´re the kind of Pianist with a love a good Jazz, but have no idea where to begin, then this tutorial is tailor-made for you. Divided into six areas of study, Harrison´s method will get you playing those smooth and silky Jazz solos you love. Beginning with an overview of the style itself, Harrison covers the following subjects of Jazz theory and performance:Scales and chords: modes, pentatonics, triads, sevenths and ninthsKeyboard harmony and voicings: inversions and extended voicingsProgressions and comping: rhythm concepts and a latge variety of groovesMelodies and soloing: target notes, scales, modes and substitutionsThe accompanying CD is more than just a recording of examples - the music is mixed with the left hand to the left and the right hand to the right of the stereo field, allowing you to use your balance control to isolate the very parts you need to hear! Furthermore, with this technique you are able to remove the part you´re trying to play, leaving a backing track to accompany your solos and improvisations.After you have mastered the concepts introduced in Harrison´s lessons, you will find seven original and exciting full solos to learn, complete with guidance to help you improvise and develop a sound that is all your own.SonglistGotta GrooveJacket And TieListen To MeLive Inside Your LoveNight GamesOn The SlopesSweetest Dreams
DescriptionSeven songs that beginners know and love. Great for supplementary lesson pieces or just for fun at home.SonglistBibbidi-Bobbidi-Boo (Cinderella) [David, Mack] [Hoffman, Al]Give A Little Whistle (Pinocchio) [Harline, Leigh]I´m Late (Alice In Wonderland) [Fain, Sammy]I´m Wishing (Snow White And The Seven Dwarfs) [Churchill, Frank]I´ve Got No Strings (Pinocchio) [Harline, Leigh]Some Day My Prince Will Come (Snow White And The Seven Dwarfs) [Churchill, Frank]Whistle While You Work (Snow White And The Seven Dwarfs) [Churchill, Frank] [Morey, Larry]
Instrumentation : Pf Content : Fugue; Sarabande from Suite No.11 in D min; Courante from Suite No.14 in G; Air with variations from three lessons, No.1; Allegro from Suite No.7 in G min; Gigue from Suite No.13 in B; Sarabande from Suite No.4 in E min; Gigue from Suite No.4 in E min; Capricio from Seven Pieces No.2; Air from Suite No.10 in D min; Gigue from Suite No.10 in D min; Prelude from Suite No.5 in E; Allemande from Suite No.13 in B; Passacaille from suite No.7 in G min; Allegro; Gigue from Suite No.12 in E min; Air (The Harmonious Blacksmith) from Suite No.5 in E; Largo from Xerxes; Hallelujah from Messiah; Seht! Er kommt from Judas Macabeus
Perfect pitch - also called absolute pitch - has been a source of endless fascination for hundreds of years. The ability to recognize musical tones with no reference is often viewed as a kind of magical power, a gift that only a select few musicians are born with, a skill that cannot be learned. But perfect pitch is largely a misunderstood phenomenon. The Hal Leonard Perfect Pitch Method is designed to help you develop a sense of perfect pitch. In the process, your overall musicianship will benefit and you´ll start listening to music on a deeper level and getting more satisfaction from it. At the heart of this book is a series of 49 ear-training sessions, one per day for seven weeks, using the included CDs or the online audio. Many of the lessons include three separate drills. You can do just one and save the others for later, or all three at the same time. Take your time, advancing to the next session only when you´re satisfied with your results on the previous session. Pretty soon, you´ll notice a marked improvement in your pitch acuity!Online audio is accessed at halleonard.com/mylibrary
DescriptionRev. Gary Davis was a musical giant. His ideas spanned a wide range of techniques and styles and his repertoire featured blues, rags, show instrumentals and gospel songs. Davis played with his thumb and index finger to pick out complex melodies, rhythmic licks and lightning fast single-string runs. In this book, seven of Rev. Davis´s blues are presented. These arrangements have been performed and recorded by a host of great artists including Bob Dylan, Taj Mahal, Hot Tuna, David Bromberg, John Renbourn, Bert Jansch and many others. These lessons are for the intermediate to advanced fingerstyle guitarist. The accompanying three CD lessons teach these arrangements phrase by phrase as well as presenting the original recordings. Lesson one highlights two of Rev. Davis´s most popular blues arrangements. Hesitation Blues is played in the key of C. Baby, Let Me Follow You Down is played in the key of G. Lesson two explores the party tune Sally Where´d You Get Your Liquor From (made popular by Hot Tuna). Rev. Davis used to joke that he could play Candyman in so many different ways that he would be able to play it nonstop for at least 8 hours without repeating himself. We look at two versions of this very popular folk blues with the regular Candyman followed by the Two-Step Candyman. In lesson three all 14 verses from Raggin´ the blues are transcribed and studied on how this arrangement develops.SonglistBaby, Let Me Follow You DownBuck RagCandymanHesitation BluesSally, Where´d You Get Your Liquor From?Two Step CandymanWalkin´ Dog Blues
Piano Sonata C major K. 309 (284b)Editor: Ernst HerttrichFingering: Hans-Martin TheopoldI wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozartâ€˜s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3).FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point.A brief analysis may help to demonstrate Mozart´s standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart´s favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda.SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn´t talk too much, though what she says is pleasing and sympathetic.THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata.Paul and Eva Badura-Skoda