Format : Sheet music
Partitions pour piano, chant et guitare (grilles d'accords) de l'album 'Once Again' de John Legend.
SKU: AP.98-RWS221100
Man Against Machine, inspired by the folk tale of John Henry, offers an opportunity for your students to practice musical storytelling. This legendary story is an opportunity for SEL (social emotional learning) in your classroom as you discuss grit and work ethic with your students. The educational possibilities are endless with this well written and crafted composition for the young band!
SKU: CL.RWS-2211-01
SKU: MB.30780M
ISBN 9781513462714. 8.75 x 11.75 inches. Transcribed by Stefan Grossman.
This collection presents six legendary blues guitarists from the 1920s to early 1940s. Each has his own unique approach, style and techniques for playing. Some like Rev. Gary Davis favored regular tuning while Josh White was equally at home playing in Open D tuning as well as standard tuning. Lonnie Johnson is unique in his playing techniques as well as use of a D G D G B E tuning. Buddy Moss??s recordings influenced generations of Piedmont guitarists, especially Blind Boy Fuller. Bo Carter had one of the most unusual tonal approaches for playing blues, ragtime and novelty songs. And lastly there is Tommy McClennan. His recordings sound ??rough and tumble? but once you explore the intricacies of his playing you will discover a powerful blues guitarist.
REV. GARY DAVIS: Cincinnati Flow ? Piece without Words ? Children of Zion ? Twelve Gates to The City
BO CARTER: Let??s Get Drunk Again ? Nobody??s Business ? Honey ? What You Want Your Daddy to Do
BUDDY MOSS: Oh Lordy Mama ? Sleepless Night ? Someday Baby (I??ll Have Mine)
JOSH WHITE Crying Blues ? Bad Depression Blues ? High Brown Cheater ? My Soul Is Gonna Live With God ? Pure Religion Hallilu
LONNIE JOHNSON: Away Down In the Alley Blues ? Stomping ??Em Along Slow ? Blue Ghost Blues There Is No Justice ? Helena Blues ? Sittin?? On A Log ? Corn Bread Blues
TOMMY McCLENNAN: Blues as I Can Be ? I??m Goin??, Don??t You Know ? Love With a Feeling ? New Highway No.51 ? Drop Down Mama
HOW TO USE THIS BOOK: 1) Listen over and over to the original recordings available via the download link for this collection. 2) Get a program that can control digital audio files. Use this with the transcriptions and the recordings. 3) Be patient!! Practice, practice and practice some more!!
SKU: HL.14030965
ISBN 9788759861448. English.
Version for String Quartet. Score available: KP00510 The composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory, and as I at the same time planned to write a piece for solo viola, my ideas for the music and the memory of the painting fused more and more. I decided, then, to let my piece borrow the title of Waterhouse's paint-ing: 'The Lady of Shalott'. The picture of a mad-like, pale, and perhaps singing woman alone in a boat without sculls, which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson's poem by the same title, which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources. As suggested above the piece was originally written for viola solo. The version for string quartet is from 1993.'.
SKU: HL.14030964
ISBN 9788759861455. English.
The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory, and as I at the same time planned to write a piece for solo Viola, my ideas for the music and the memory of the painting fused more and more. I decided, then, to let my piece borrow the title of Waterhouse's painting: The Lady Of Shalott. The picture of a mad-like, pale, and perhaps singing woman alone in a boat without sculls, which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson's poem by the same title, which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993.