Fun with Fundamentals

Play the 5-string banjo in virtually every musical situation now! Beginning with fundamentals like choosing the best instrument and tuning this comprehensive book covers basic to advanced techniques in a variety of styles from classical and bluegrass to reggae and bossa nova. Banjo virtuoso and educator Dick Weissman leads musicians through every topic with easy-to-understand lessons and a CD that demonstrates each example and tune. Every player from beginner through intermediate and up to professional will enjoy exploring styles and expanding their repertoire with Banjo A to Z. All music is presented in standard notation and TAB. Special features: Techniques includethe Seeger strum hammer-ons pull-offs clawhammer strums double thumbing two- and three-finger picking forward and backward rolls bending rasguado and tremolo. * Styles include traditional bluegrass blues Dixieland ragtime waltz Irish flamenco calypso reggae South American Middle Eastern minstrel and classical. * Learn effective ways to tune use the capo play melodically and understand basic music theory.

Franz Schubert's Impromptus and Moments musicaux are among the milestones of piano music and are a reuglar feature in music lessons and concert performances. This new edition brings all Impromptus and Moments musicaux together in one volume in a practice-focused manner. The musical text of the 'Impromptus' is based primarily on the composer's autographs as well as on a copy of the Witteczek-Spaun Collection which was very important to Schubert. As no autograph sources for the 'Moments musicaux' exist, the first and early editions of individual pieces were used as reference material. Due to this painstaking research these editions are very precise, not only with regard to musical details but also with fundamental issues like the position of repetition signs. With clear engraving and a user-friendly page layout, this edition also features new notes on interpretation by Robert D. Levin, based on notes from early performances. / Piano

Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano

New edition of a tutor that generations of violinists have grown up with.Fundamental work by a leading Violin educator.Three volumes in increasing order of difficulty: easy moderate difficult.Methodological notes by the editor (Cz/Eng/Ger)The School of Bowing Technique Op.2 is the second important Violin tutor by Otakar Šev k (1852 1934) and deals with the elementary technical demands of the right hand. Divided into three sections the tutor contains more than 4 000 systematically arranged bowing exercises in increasing order of difficulty.This new edition of the School of Bowing Techniquecombines the original six volumes in groups of two. It is largely based on the first edition published in the early 20th century and on other sources from Šev k’s estate. The editor Jaroslav Foltýn is a professor of violin at the Prague Conservatory as was Šev k himself.Already published:Otakar Šev kSchool of Violin Technique Op.1Book 1 1st Position BA 9552Book 2 2nd 7th Position BA 9553Book 3 Changing Positions BA 9554Book 4 Exercises in Double Stops and Harmonics BA 9555

Exam boards: Edexcel AQA OCR WJECThis workbook will develop students' skills in writing about music for AS A2 and undergraduate level.Exercises appear at every stage to challenge and provide examination practice for students. These range from naming musical features and spotting grammatical errors to devising essay plans and analysing sample answers.Beginning with fundamental writing requirements this workbook moves on to address how to describe the features of a musical work as well as how to make comparisons and contrasts between specified pieces.There is advice on how to approach research what to retain and reject and how to structure anessay.Detailed analytical and dissertation-style essays are addressed as well as writing programme notes.Writing About Music Workbook promotes the development of skills which will be of use in many areas of academic life: collecting information selecting relevant material presenting arguments for and against particular propositions and expressing ideas effectively and correctly in English.'Wightman has achieved just the right tone with very clear explanations... I would feel confident giving it to pupils to read in their own time as it???s very easy for them to work from it making it a useful resource to reinforce the comments I write on their essays... I think it's probably one of the most genuinely useful books of its type.'Russell MillardHead of Academic Music Charterhouse

With a list of drumming credits that include Paul McCartney and Wings, The Who's rock opera Tommy, and James Brown, Denny Seiwell has contributed his fair share of talent to hit records, TV and film scores, and much more. In What Not to Play! Denny draws on his decades of experience to show novice and accomplished drummers alike how to craft the perfect drum part in any recording or gigging situation, often de-constructing his work on existing recordings (such as 'My Love' and 'Uncle Albert/Admiral Halsey') in the process. The book also includes exercises for waking up the hands and tips on interpreting charts and sight-reading. The included DVD expands on the material as Denny provides both audio and visual examples that will help students in the rewarding experience of crafting a drum part. / Batterie

Newly Revised by James & Susan McKeever-Fundamentals Of Piano Technique was developed by Leon Conus (1871-1944) and Olga Conus (1890-1976) during many decades of teaching and performing and through association with the most prominent Russian musicians of the time – including Rachmaninoff Scriabin and Medtner. The exercises in this method are concise and efficient focusing on the elements of good playing: control touch nuance and musicianship. This book can be used by students at all levels of development and with all shapes and sizes of hands. The preparatory exercises allow students to begin using the book within their first year of lessons. Asystematic approach allows the hands to develop gradually avoiding dangerous tension or muscle damage. Topics include: preparatory exercises; extension exercises; five-finger exercises; flexibility of the thumb; trill exercises; scales & arpeggios; wrist development; double notes and more.

A Beginner's Guide, Featuring Step-By-Step Lessons with Audio, Video, and Popular Songs!. The First 15 Lessons series provides a step-by-step lesson plan for the absolute beginner, complete with audio tracks, video lessons, and real songs! Designed for self-teaching or for use with an instructor, you'll build a solid foundation as you work through each lesson, learning the basics of the instrument and music reading while practicing the many exercises, concepts and song excerpts within. Must-know instruction so you can start playing right away, with a free online tuner and metronome! The acoustic guitar book features lessons on: guitar fundamentals, music reading, chords, strumming, arpeggios, time signatures, syncopation, hammer-ons and pull-offs, double stops, harmonics, fingerpicking, alternate picking, and scales and basic theory. / Méthode / Date parution : 2019-05-27/ Méthode / Ukulélé

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

A Modern Music Production Course That Makes Basic Music Technology Fun! A perfect approach for students with a passion for music outside of traditional programs, Alfred's Music Tech 101 covers the basics of music technology without heavy technical reading, using plain-English explanations. No musical experience is required, and classroom-tested course material has been developed through years of student feedback. Includes correlating interactive media to stream or download, plus a corresponding website with teacher resources and updates. Part 1 of this book can be used to teach a beginning survey course on music technology, and each unit contains background reading, student worksheets, answer keys, and a project or two. Part 2 can be used to teach a beginning songwriting and multimedia course on music technology, and consists of more hands-on, interactive projects. Part 3 is designed for more experienced students who are capable of a high level of independent study. Students create their own learning goals, and map out a plan to achieve them. * No musical experience required * High-school/college-level studies on producing music using modern techniques * A perfect approach for students with a passion for music outside of traditional programs * Cross-platform approach to technology applicable to any software used for music production * Great for students with musical goals outside the classroom * Covers the basics of music technology without heavy technical reading, using plain-English explanations * Simple and straightforward information, reinforced with projects and assessments * Classroom-tested course material, developed through years of student feedback * Includes correlating interactive media to stream or download * Corresponding website with teachers' resources and updates / Tout Instrument

Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a "classical" piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from "Imitation and Inversion," "Ostinato," and "Free Variations," concerning compositional technique, to mood pieces and pieces with programmatic ideas such as "Notturno," "Boating," "From the Diary of a Fly," or the famous "Six Dances in Bulgarian Rhythm." Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók Complete Edition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.

With a new introduction by Woody MannJazz and blues guitarist Woody Mann learned from the legendary Rev. Gary Davis and then played and recorded with Son House Bukka White and John Fahey. He has performed throughout the world recorded over a dozen CDs and is an internationally renowned guitar teacher.Six great lessons from the masters of slide guitar:Lesson 1: Arlen Roth-on open E tuning slide fundamentals right & left hand dampingLesson 2: Lee RoyParnell-demonstrates open E box patterns acoustic slide technique and playing the bluesLesson 3: Mick Taylor-the ex-Rolling Stone shows you standard tuning slide string damping playing slide with a pick and moreLesson 4: JayGeils-teaches standard tuning slide vibrato and Muddy Waters styleLesson 5: Greg Martin-covers fingerpicking standard tuning slide and Duane Allman styleLesson 6: Warren Haynes-learn lead slide licks tone & open G tuning fromthe Allman Bros. guitaristYou'll never miss a note!-You see the music and the tablature on screen as it's being played!-All right- and left-hand techniques are shown in close-up and with helpful split-screen effects to makelearning easy-Slow motion segments with standard pitch sound-Artist biographies-Suggested listening-Booklet with music examples included