Serious Sax

The Harmonic Approach. Beginning where the previous book finished, the acclaimed tutor Barry Finnerty has created yet another classic Serious Jazz Book for jazz soloists of all instruments. Barry Finnerty has worked as a recording artist with jazz legends like Miles Davis, The Brecker Brothers and the Crusaders. Taking the musical talents of virtuosi like these as his inspiration, he explains the key to better improvisation through a melodic approach to chord changes, how they interact and how they are used in context. Finnerty describes the possible uses and harmonic functions of a single note, not just to enhance your playing ability, but to show you the possibilities inherent in a different, harmonic approach to looking at particular notes. He also goes into detail on how to achieve melodic command of all the possible extensions and alterations of chords, as well as variations on common chord progressions. The Serious Jazz Book 2 will also help you effectively and practically apply the harmonic knowledge that you learned in the first volume. Not only this, but Finnerty features a great number of melodic examples that use all the chords and progressions previously learned. In this way, Finnerty expands upon and develops his previous edition to create an acclaimed guide to playing Serious Jazz as a solo musician

Until now, serious rock, blues, and jazz guitarists have not had a book devoted entirely to the left hand. The Serious Guitarist: Left-Hand Techniques fills this gap with a unique, dedicated approach to proper left-hand position and dexterity that you've always been looking for. Learn the most effective approach to left-hand technique, and discover ways to increase efficiency when you move up and down the guitar neck. Lessons are organized progressively---one technique lays a foundation for the next---and featured are exercises that have been thoughtfully developed into musical ideas and licks to give a clear example of how you can incorporate the techniques into your own playing. This way, you will be playing music, not just exercises. The included companion CD features demonstrations of the examples in the book. / Guitare

Selections from the Motion Picture Soundtrack. Par . Une douzaine de tubes intemporels chantés par Aretha Franklin, tirés du film Respect (2021) avec Jennifer Hudson, comprenant des arrangements pour piano, voix et guitare. Titres inclus : Ain't No Way - Chain of Fools - Do Right Woman Do Right Man - Dr. Feelgood (Love Is a Serious Business) - Here I Am (Singing My Way Home) - I Never Loved a Man (The Way I Love You) - I Say a Little Prayer - (You Make Me Feel Like) a Natural Woman - Respect - Since You've Been Gone (Sweet, Sweet Baby) - Spanish Harlem - Think. / Date parution : 2021-12-09/ Recueil / Piano/Vocal/Guitare (PVG)

Bass basics, major scales and modes, harmonic and melodic minor scales and modes, arpeggio patterns and symmetric scales (whole tone and diminished). Serious Electric Bass is a definitive, comprehensive, user-friendly guide for electric bassists of all levels. 279 pages.

Altsaxophonschule für Fortgeschrittene. Par KASTELEIN / KARL VEEN. SERIOUS SAX ist als Aufbaumethode im Anschluss an ein Anfängerlehrbuch, wie zum Beispiel EASY STEPS oder HÖREN, LESEN & SPIELEN, gedacht. Anhand von eigens komponierten Stücken in verschiedenen Stilrichtungen werden in 16 Lektionen alle wichtigenSaxophontechniken behandelt und geübt. Die CD enthält Begleitungen zu den Stücken; eine CD-Rom bietet neben mp3-Tracks zusätzliche Etüden, Quartette und mehr. / Niveau : Intermédiaire / Méthode / Saxophone Alto

In addition to his many ‘serious’works Otto M. Schwarz has had much success with several lighter works such as Band Fever Funk Attack and Groovin’ Around. His new seriously funky piece Funky Brass makes a perfect addition to the light brass band repertoire.

Ausführlicher Kritischer Bericht (nicht in der Druckausgabe enthalten) zum kostenlozen Download-A sensational finding provided the impetus for this new edition. In autumn 2014 a hitherto unknown Mozart autograph of the famous Piano Sonata In A Major (with the enduring ?Turkish March?) surfaced inBudapest. After a painstaking study of the manuscript and a meticulous comparison with all of the other sources G. Henle Publishers is now issuing the first definitive Urtext edition of significant parts of this masterpiece (thenew autograph does not contain the complete sonata).It must be said that there are serious deviations from the musical text as we know it. So we are proud to be able to say that it is not possible to seriously study thissonata without consulting our Urtext edition.

Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.

The Lamb one of composer John Tavener’s most beloved frequently-performed and often-recorded works was composed in a single afternoon in 1982 as a gift for the composer’s three-year-old nephew.While the original was an unaccompanied Choral piece that set William Blake’s poem The Lamb this adaptation is an extremely effective and moving work for String Orchestra. The arrangement may be performed aloneor in accompaniment to a Chorus. John Tavener was that rare creature a composer of serious music and serious religious music who also achieved commercial success. He burst into the popular consciousness with theperformance of his Song for Athene at the funeral of Princess Diana but had been a highly respected and frequently-performed composer since the premiere of his dramatic cantata The Whale in 1968. The Lamb hasappeared on nearly forty different recordings.

Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.

From Fancies Pour Piano-This Sérénade is the first of 7 pieces collectively called 'Fancies' originally written for piano in 1915.Gabriel Marie Grovlez (1879-1944) was born in Lille Northern France in 1879 and died in war-torn Paris in 1944. From among his teachers who include Gédalge and Lavignac Fauré must surely rank as his strongest influence and this is readily heard in his small but significant oeuvre of solo piano pieces as well as his music for stage and chamber ensembles. Interestingly most of the piano music was published over a period of around a dozen years (1907-1919) and in the lull between these works and his Impressions (two pieces) of 1934 Grovlez wascompositionally preoccupied with songs and chamber pieces many of which languish patiently on the shelf awaiting a wholehearted appraisal. There is as well as his notable penchant for elegance and poetical lyricism a considerable wit to enjoy too (take Les nes The Donkeys from L'Almanach aux images for example) and indeed the fact that Grovlez's middle years were spent fulfilling the duties of assistant conductor and choir leader of the Opéra-Comique seems especially revealing of the man's musical personality and capacity for successfully intertwining serious and less serious genres.Grovlez was quite a cosmopolitan character; besides making a notable mark in his native country (he was latterly a professor of chamber music at the Paris Conservatoire) he travelled to the United States and Africa as well as across Europe. Although we tend to remember Grovlez today for his influence primarily as a composer in the mould of Fauré or Debussy bringing a quirky quality to some of his writing more than occasionally reminiscent of Poulenc it was as a conductor that Grovlez initially made an impact. Moreover we should not overlook the fact that he gave the inaugural performances of some highly treasured works by the likes of Ravel (Ma Mère l'Oye) and Fauré (Dolly Suite) a piano duet which has earned an especially important