Originally an instrumental composition by Henry Mancini this engaging tune has been used in various film scores and later recorded by recording artists such as Sarah Vaughan and Sergio Mendes. Here's a smooth version for young players that features the entire ensemble.

Style Of John Coltrane-Saxophonist John Coltrane was one of the most innovative creative and influential jazz artists of the 20th Century. Both stylistically and harmonically he opened doors for others to follow.This book willfocus on the first period of Coltrane's career when he was with Miles Davis and the jazz vocabulary he used. First to help the student better understand Coltrane's bebop style of improvising the authors discuss the use ofguide tones bebop scales three to flat nine targeting and other techniques. Then the text presents numerous one- two- and three-measure jazz lines in Coltrane's style grouped by the harmony over which they can be used. Theaccompanying play-along audio provides the rhythm parts for each section including a track for each section that modulates through the cycle of fourths helping you master the phrases in all keys.By combining variouslines musicians will be able to mix and match numerous combinations of these lines to play over ii-V-I progressions turnarounds and other harmonic situations. Incorporate these essential jazz lines into your vocabulary and youwill be able to create your own lines in the style of John Coltrane. Includes access to online audio.

Practice For Performance provides a rare and intimate view into a very thoughtful and successful performer's personal toolkit.Set in the context of his own personal history of growth as a performer cellist Daniel Morganstern (principal cellist for the Lyric Opera of Chicago and the American Ballet Theatre at the Metropolitan Opera House in New York) displays rare honesty in discussing the problems that faced him at variouspoint of his career and the ways to solve them.The discoveries sensibly unfold in a fascinating account of experiences with many notable artists whose comments and examples shaped the author's thinking. These ideas are notto be found in any other treatise on the subject of musical preparation. The examples in this book both musical and non-musical offer a foundation to help evoke instinctive musical responses in the mechanical processes ofplaying the Cello and have been advantageously applied to other instruments as well including Voice.