Matériel : DVD
SKU: MB.97224M
ISBN 9780786687077. 8.5 X 11 inches.
Learn to play 14 classic blues the best way--by doing. This book and online audio recording provide your backup band as you explore Country and Urban, Acoustic and Electric, Delta, Texas, Chicago, Slide Guitar, Alternate Tuning, Traditional, and Modern styles in many different major and minor keys and in a variety of tempos. Melodies are first presented on the recording at a slow speed with just guitar, then repeated at regular speed with the band. Finally, you can play along with the hot blues rhythm section alone, and youve got the makings of a dynamite blues jam session. Youll play all the leads and solos. Repeat a tune or passage as many times as you want at slow or regular speed. Well jam all night long. Beginners and intermediate players can practice basic skills. Advanced players can hone their improvisation chops. The split track recording allows you to hear either just the melody from one speaker, just the rhythm section from the other, or both for maximum flexibility and specific study. The book includes melodies, chord diagrams and guitar tablature.
SKU: CL.032-4476-01
Yes! Feature your guitar or vibes player on this cookin' F blues shuffle with a nod to the late great B.B. King. The bari sax part takes a prominent blues band role within the rhythm section. Open up the improv solo section to feature any instrument. Tablature and fingerings for appropriate slides, bends, hammer-ons, pull-offs, and chord shape/performance suggestions are included in the solo guitar part. Playable with limited instrumentation. A real band and crowd pleaser!
SKU: CL.032-4476-00
SKU: AP.1-ADV14763
UPC: 805095147636. English.
A new and exciting way for trumpet players to learn and practice basic jazz style. This book/audio download set features 15 solo etudes based on blues and standard chord progressions, demonstrated by Slide Hampton on trombone along with a world-class rhythm section: Mike LeDonne, piano; Peter Washington, bass; and Kenny Washington, drums.The recording features two separate versions of each etude: one with the soloist and rhythm section and one with the rhythm section only. See and hear how the soloist phrases, play with or without the soloist on the recordings and learn basic jazz style first-hand.
SKU: MB.20803M
ISBN 9780786690916. 8.75 x 11.75 inches.
The Getting Into Bluegrass Banjo book and audio by Alan Munde is the accumulation of successful teaching concepts developed in his 40 plus years as a professional bluegrass musician and teacher. Munde presents a straight-forward and well-founded course of bluegrass banjo essentials. Designed for those who have never played a stringed instrument to those taking up bluegrass banjo as a second instrument. Includes access to online audio. Getting Started - Covers the parts of the banjo, hand positions, first picking patterns, pull-offs, hammer-ons, slides, exercise songs, ending with the professional sounding Levelland Mountain Breakdown. Review of Rolls, New rolls, and combinations of Rolls, with Examples - Offers the most used rolls in bluegrass banjo playing with often-played examples of each. The player learns many of the licks used in the style with an example of how to combine them to make a solo. Roll Logic - How to place a melody into the several different roll patterns. Tools and Techniques - Helps develop left hand techniques through the use of intervals of thirds and sixths.Creating Solos to Songs - At the heart of the book is this revealing section with many examples of how to create many, many solos to the song Jesse James.Songs - Put to use all you have learned on these great standards Ground Hog, Wildwood Flower two versions ,Nine Pound Hammer, Worried Man Blues, Lost All My Money, Old Country Church, Kneel at the Cross, and Train 45.
SKU: SU.21000213
UPC: 820821003284.
Jazz Sonorities (2002) was composed for Esther Lamneck at her request and premiered by her and Barbara Allen on drums at the Loewe Theater of New York University on May 30, 2002. Ms. Lamneck asked me to compose a piece for either solo clarinet or clarinet and piano. I decided on the former to continue my Sonorities series of works for solo instruments which eventually resulted in Sonorities VII for solo b-flat clarinet (2003-04). However, shortly after getting started with my Sonorities VII I kept hearing the swinging sounds of a jazz clarinet backed up by a jazz drum set. Part of the reason I kept hearing these sounds is that I grew up listening to the big swing bands of such clarinet leaders as Benny Goodman, Artie Shaw, Woody Herman, and Jimmy Dorsey. These musicians were my first exposure to the clarinet. So I decided to first compose a piece for clarinet with a jazz quality and a swinging partly ad lib part for the drums and to put my solo clarinet piece for Esther on hold for a year. There was also a personal reason to use the drums in the piece. My first ambition in music was to be a jazz drummer and indeed I studied drums with a jazz drummer and played drums professionally in dance bands for several years. Ms. Lamneck's part in this piece is almost entiirely written out except for a few measures of improvisation around the middle of the piece. The jazz quality of her part comes mostly in the prasing and using bluesy like pitch bends, slides, and microtones. The jazz quality of the drum set part is in the swinging beat that is used throughout most of the piece. The influence of the famous recording of Sing Sing Sing, with a swing by Benny Goodman & his orchestra in 1937 featuring Gene Krupa on drums is heard in the middle section when the drummer switches to a beat on the floor tom and high tom for several measures. Also, the Afro Cuban section toward the end of the piece was influenced by the many recordings of Stan Kenton & his orchestra particularly the 1950 Pete Rugolo arrangement of Cole Porter's Love for Sale. In the drum solo of the Afro Cuban section which is near the end can use optional claves and/or maracas (1-2 additional players). At the premiere the composer joined in this section on maracas. The drum set calls for a bass drum, floor tom, snare drum, high tom, ride cymbal, sizzle cymbal, and hi-hat. --Patrick Hardish.
SKU: KN.08266S
UPC: 822795082661.
Based on the classic fiddle tune Goin to Boston, this is a great hoedown number for strings. It comes complete with several special techniques including bluesy note slides, shuffle bowings, hand slaps and foot stomps (specific performance directions for each are included in the score). Some easy double stops are also included, but they should be assigned only to advanced students until players become more familiar with the music. Duration 2:00.
