Dixieland Jazz Banjo

First Lessons Tenor Banjo. The great sound of Tenor Banjo is a cornerstone of Dixieland and traditional jazz. Using classic favorites Joe Carr teaches the basics of accompaniment basic melody and thepopular chord melody style. Chords and melody are combined to produce professional sounding solo arrangements. This book with downloadable online audio and video combo includes play-along practice tracks that speed up thelearning process. It doesn't get any easier! Online video duration: 47 min.

Such jazz legends as Dick Wellstood Alphonse 'Doc' Cheatham and George Duvivier and more back you up in this amazing collection of New York-style Dixieland standards. After the break-up of the big-band era around 1950 many of the finest 'swing' or mainstream players found themselves without an outlet for their abilities and took to playing 'Dixieland' in New York clubs such as Eddie Condon's and the Metropole. And so was born a new style of Dixieland jazz minus the banjos tubas steamboats and magnolias! It is this version we celebrate on this album. We encourage you the soloist to invent counter-melodies rather than mere harmony parts. This is a music of loose weavingparts not one of precision ensemble figures. And in short it is one of the greatest improvisational experiences any jazz player could hope to have. Includes a high-quality printed music score and compact disc featuring stereo accompaniments to each piece. Performed by George Duvivier double bass Accompaniment: 'Doc' Cheatham trumpet Kenny Davern clarinet and soprano sax Vic Dickenson trombone Dick Wellstood piano Gus Johnson Jr. drums

for dixie ensemble and concert band-Tribute to Dixie (?Hommage au ?Dixie??) s?inspire du jazz dixieland des ann?es 20 et 30 de la Nouvelle- Orl?ans et de Chicago et rend hommage aux grands jazzmen de cette p?riode. L?adjonction d?une formation dixieland (compos?e d?une trompette d?une clarinette d?un saxophone alto ou t?nor d?un trombone d?un banjo (partie optionnelle) d?un tuba ou d?une contrebasse) ?voluant au sein de l?Orchestre d?Harmonie donne ? l?oeuvre toute son authenticit?.

Of Scott Joplin James Scott and Joseph Lamb-The great ragtime pieces of the early 20th century were written mostly for Piano but many translate superbly for the Guitar and David Laibman will show you how.Here's a mystery: if the great ragtime pieces of the early 20th century were not written for Guitar and if they weren't player on the Guitar at all (until some of us started doing so half a century ago) then why do they work so will on Guitar?Well thumb vs. three fingers on the right hand (we'll leave out thepinky for now) creates that subtle antagonism between steady bass and syncopated melody - the 'twinkle in the eye' of Ragtime. There is a theory that the original borrowing actually went in the other directed from three-finger Banjo to Piano. Who knows? But I'm finding that the 'educated thumb' is only one neat thing about ragtime Guitar. Classic rags are very expressive with moods and tempers hills and valley. You can capture some of this with left-hand notes (slides hammer-ons pull-offs) with right-hand brushes rolls nail strokes with clever use of open strings and natural harmonics. This works. It is it's own story - not an imitation of a Piano or of a dixieland or jazz band. It is simply - ragtime Guitar.In these lessons I have tried for the most part to meet two goals. First to create versions of some of the most beautiful classical rags that 'lay down' well on Guitar so when you play them you are working with the instrument not fighting it. I have tried to pitch and arrange the pieces so that a lot of the action is in first position rather than high up on the neck and to keep left hand gymnastics to a minimum. Second I didn't want these arrangements to sound like 'student' arrangements too elementary to be believable. It is all about striking a balance. I am generally pleased with the result and I hope