Passing Storm

Ursula Mamlok's SIX RECITAL PIECES FOR YOUNG PIANISTS, composed in 1981, as well as FOUR RECITAL PIECES FOR YOUNG PIANISTS, composed shortly afterwards in 1982, belong, no doubt, to the most fruitful and successful years of the composer.At the request of her friend, violinist and amateur pianist Lilo Glick, Ursula Mamlok wrote these pieces, which Lilo premiered at the Bennington Summer Music Festival of 1982.The exact dates of composition of each individual piece can be found in the original version of the score, showing the dates of THE RELUCTANT RAINDROP and ON THIN lCE were 10.28.1981, PASSING STORM CLOUDS and A CLARION CALL 10.29.1981 framing them, SUNRISE IN THE EAST and SUNSET IN THE WEST were added a month later on 11.23.1981. Small additions and corrections can be found in a 2nd copy, done during her visit toGermany in December 2005.Typical of Mamlok's musical language of these character pieces - written between the dodecaphonic works PANTA RHEI for violin, cello and piano of 1981 and FANTASIE VARIATIOATS for solo-cello of 1983 - is her use of extended tonality, intervals of diads, tritones, pentatonic scale structures, cluster chords, dynamic contrasts, the use of extremely wide ranges, rhythmic shifts, subtle use of pedalling, all playing an important role in this music.While each of these 6 miniatures, with their picturesque titles is in itself a self-contained character piece SIX RECITAL PIECES FOR YOUNG PIANISTS forms a cyclic whole.No doubt, the great variety inherent in these 6 miniatures will not only be stimulating, but also convey much enjoyment to the performing pianist.Dr. Dieter Michael Backes (Mainz, 2006) / Piano

BandQuest Series Grade 4.5-In her tone poem City Rain Judith Zaimont captures the spirit and vitality of a summer shower as it falls on a busy city street. This piece draws a lively picture of a passing storm and is unified by the jazz-like rhythmicmotive based on the pattern of the title words “city rain.” Zaimont paints the image of rain through the rhythmic motive and the use of body percussion and alternative instruments (such as tapping patterns on musicstands). As the music unfolds each section of the band is spotlighted at different times. The instruments also join together to produce layers of sound that create interesting and complex jazz chords.

Playing the blues is a great way to lose the blues and jamming with other people is one of the most fun things to do in life! Using blues classics like Stormy Monday The Thrill is Gone Keys To the Highway Big Boss Man ComeBack Bay and Every Day I Have the Blues as examples Fred teaches all the skills and info you need to jam with other blues players. This lesson covers accompaniment techniques for many different rhythm grooves (shuffle beat straight 8ths straight 4 and rock and funk beats) and soloing strategies (key-of-E licks four moveable blues boxes and some chord-based licks). You'll also learn intros turnarounds the twelve-bar and eight-bar blues forms andmore. Fred has been jamming with other players and leading jam classes most of his life and his practical tips are sure to give you all the tools you need to get out there and play the blues with other people. Along theway you'll learn some blues history and hear stories about some of the great players. Plus all the scales blues boxes licks chord shapes and tunes in this lesson are written out in tab and music in an accompanying book in theform of a PDF file. Titles include: 'Baby What Do You Want Me To Do' 'All The Love I Miss Loving' 'Stormy Monday' 'Big Boss Man' 'How Long Blues' 'Hesitation Blues' 'Stagerlee' 'As The Years Go Passing By' 'Corrine Corrina' and 'Every Day I Have the Blues'.