For a moderately advanced children's choir medium Jr. high/high school or adult choirThis is a beautiful expressive piece with original music by Michael Shannon and words by Alfred Lord Tennyson.

Discovery Choral Level 2-This classic hit from 1969 by Jackie DeShannon is a perfect addition to any concert maybe even as a sing-along closer! The easy triadic harmonics make the learning easy and the positive message will make it a lasting favorite!

Meet one of Nashville’s true guitar stars as Johnny Hiland takes you through some key aspects of country playing. As well as chicken pickin’ he covers double-stops pedal steel licks pick-and-finger hybrid picking banjo rollsand lots more. He’s also joined by Roth Bill Holloman and Shannon Ford for some truly memorable band segments.

Saut/swing essentiel et lignes de basse de blues moderne pour les joueurs électriques et dressées. Comprend des enseignements et la musique dans le style de Willie Dixon, Larry Taylor, Edgar Willis, Duck Dunn, Tommy Shannon et plus ! Le CD comprend un groupe de blues de vie avec plus de 20 Jeux-le long des pistes. / Guitare Basse / Partition Cd

Level 3 Early Intermediate Level-Designed so you can start anywhere in the book according to the season of the year: Harvest Polka (fall) - Avinu Malkeynu (Rosh Hashanah) - Wacky Witches (Halloween) - Thanksgiving Memories (Thanksgiving) - Skater's Waltz (winter) - Let me Call You Sweetheart (Valentine's Day) - First Kiss (Valentine's Day) - Where teh River Shannon Flows (St. Patrick's Day) - Follow th Sun (spring) - Washington Post March (4th of July) - Beach Ball Boogie (summer).

Au fil des ans, Alfred Music Publishing et Myklas Musique Presse ont publié des solos pour la saison d'Halloween qui sont devenus les favoris de deux élèves et les enseignants. Les pièces incluses dans cette série représentent les solos les plus populaires et efficaces issus des catalogues des deux sociétés. Divisé en quatre collections gradués, des oeuvres marquantes sont inclus par Sharon Aaronson, Dennis Alexander, Christine H. Barden, Melody Bober, Anne Shannon Demarest, WT Skye Garcia, Marie Hauber, Bernadine Johnson, David Karp, Mier Martha, Juin Montgomery, Joyce Schatz Pease, Ruth Perdew, John Robert Poe, Catherine Rollin, Mary K. Salé, George Peter Tingley, Robert D. Vandall, et Kim Williams. Livre 2 comprend des pièces appropriées pour l'élémentaire à la fin les élèves du primaire. Distance de lecture comprend des notes ci-dessus et ci-dessous le personnel à queue, et la mobilité autour du clavier est nécessaire. D'autres défis comprennent l'utilisation de la pédale de façon simple, en jouant en mètre composé, et la lecture des notes pointées, ainsi que faciles croches passages. / Piano

Nouvelle version, + 40 pages + cahier d'exercice. Méthode 100 pages avec CD 1 heure + play-back. Un ouvrage indispensable par G. Malapert, maître d'oeuvre de Bass Collector's. Le concept de Complete Electric Guitars appliqué à la basse 100 plans de légende dans une méthode de 100 pages avec CD de 1 heure (exercices, conseils playback). Titres : Accord de la basse, technique main droite/main gauche, jeu aux doigts et au médiator Figures rythmiques de base et mélanges Gammes majeures, mineures et pentatoniques Bass lines en rock, metal, blues, funk et reggae. Tous les standards de: Sting, Metallica, Pink Floyd, Guns n'Roses, ZZ Top, Jaco Pastorius, Dire Straits, Red Hot Chili Peppers, RATM, Paul McCartney, Mark King, Robert Trujillo, Les Claypool, Tommy Shannon, Nathan East, Duck Dunn, Jack Bruce, Marcus Miller, Roscoe Beck, Alain Caron, Steve Harris, Bob Marley... Par Gilles Malapert

Seventeen great Presley songs arranged for solo piano by Shannon M. Grama. Includes 'Hound Dog' 'Wooden Heart' 'Are You Lonesome Tonight' and 'Jailhouse Rock'.

Contents include: Wexford Reunion; Ballade for Belfast; Summer on the Shannon; and Killarney's Jig.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

Par MALAPERT GILLES. Le meilleur de la basse électrique en 2 volumes Volume 1 : Idéal pour apprendre la basse électrique et progresser rapidement. Méthode, 100 pages avec CD Play-backs Par Gilles MALAPERT Le meilleur de la basse électrique en 2 volumes. Riffs, séquences rythmiques, lignes de basse, technique, théorie, improvisation, exercices, ralentis, 20 play-backs pour chaque volume. Tous les styles : blues, rock, metal, fusion, reggae, funk. Complete Electric Bass Volume 1 : Idéal pour apprendre la basse électrique et progresser rapidement. Accord de la basse, technique main droite - main gauche, jeu aux doigts et au médiator. Figures rythmiques de base et mélanges. Gammes majeures, mineures et pentatoniques. Bass lines en rock, metal, blues, funk et reggae. Tous les standards de : Sting ? Metallica ? Pink Floyd ? Gun?s n?roses ? ZZ Top ? Jaco Pastorius ? Dire Straits ? Red Hot Chili Peppers ? RATM ? Paul McCartney ? Mark King ? Robert Trujillo ? Les Claypool ? Tommy Shannon ? Nathan East ? Duck Dunn ? Jack Bruce ? Marcus Miller ? Roscoe Beck ? Steve Harris ? Bob Marley... / Niveau : Facile / Date parution : 2022-03-02/ Tablatures / Guitare Basse