La collecte des em Play 'droit est destiné à des musiciens qui souhaitent se familiariser avec des styles de jazz, le rock et le latin. Chacun des livres en solo contient de nombreuses pièces non accompagnés avec clavier et cordes de guitare qui explorent le genre particulier. / Clarinette / 24 pages / Partition
SKU: HL.44003311
ISBN 9789043101448. UPC: 073999808186. English-German-French-Dut ch.
The Play 'em Right collection is aimed at musicians who wish to familiarise themselves with jazz, rock and Latin styles. Each of the solo books contain many unaccompanied pieces together with keyboard and guitar chords which explore the particular genre. In Play 'em Right - Jazz, Volume 1 you will find 10 exercises and 8 pieces to perform. These are aimed at wind players who would like to become acquainted with jazz at home. Although graded in difficulty, it is not necessary to first study all the exercises before being able to play the pieces. .De serie Play 'em Right is bedoeld voor blazers die in de populaire stijlen jazz, latin en rock willen spelen. Play 'em Right Jazz, Play 'em Right Latin en Play 'em Right Rock bestaan telkens uit twee delen en bevattende fundamentele ritmes en articulaties van verschillende muziekstijlen, in oefeningen en songs. De oefeningen zijn in oplopende moeilijkheidsgraad geschreven. Er komen steeds een of twee ritmes aan bod met duidelijke articulatietekens,waardoo r precies de juiste speelmanier wordt aangeleerd. In de songs wordt het aangeleerde toegepast en verwerkt.In Play 'em Right - Jazz, Volume 1 staan 10 exercises en 8 speelstukken, bedoeld voor blazersdie thuis willen raken in de Jazz-stijl. Hoewel de moeilijkheidsgraad oploopt, is het niet noodzakelijk eerst alle exercises door te nemen om de speelstukken te kunnen spelen.Die Bucher der Reihe Play 'em Right, Band 1 und 2 vermitteln in speziellen Ubungen und Songs die fundamentalen Rhythmen und Artikulationsweisen von Pop/Rock, Latin und Jazz. Die Ubungen sind in ansteigendem Schwierigkeitsgrad geschrieben. In den Songs wird das Gelernte unmittelbar umgesetzt und vertieft. Die mitgelieferte Akkordbegleitung fur Tasteninstrumente und/oder Gitarre macht es moglich, mit Begleitung zu spielen. Play 'em Right ist sowohl fur den Instrumentalunterricht als auch das Selbststudium geeignet.Band 1 enthalt 10 Ubungen und 8 Spielstucke.Dans chaque ouvrage de cette collection, les intrumentistes touveront des exercices et morceaux diverses leur offrant la possibilite de se familiariser avec les techniques d'interpretation du jazz, du rock et des musiques latines. Le degre de difficulte des exercices est progressif. Les indications sont claires et le contenu technique de chaque exercice reste limite. Les morceaux qui suivent mettent immediatement en pratique les techniques apprises. Les indications d'accords (pour claviers/guitare) permettent de se faire accompagner. Play'em Right peut etre utilise dans le cadre du cours individuel ou pour la pratique quotidienne. Dans Play'em Right, vol. 1vous trouverez 10 exercices et 8 pieces a jouer, pour des musiciens d'instruments a vent qui veulent se familiariser avec le style `Jazz`. Bien que le degre de difficulte soit progressif, il n'est pas necessaire d'etudier tous les exercices pour pouvoir jouer les pieces. La collana Play'em Right e destinata a quei musicisti che vogliono familiarizzare con la musica jazz, rock e latin. Per ognuno di questi generi, Erik Veldkamp ha realizzato un metodo suddiviso in due livelli differenti, specificamente strutturato per rendere accessibili a tutti i musicisti i segreti di questi frizzanti generi musicali. Affronterete quindi dapprima brevi esercizi che vi svelano la giusta interpretazione del rock, della musica latina e del jazz, per poi cimentarvi in veri brani musicali. Fatevi affascinare da questi moderni generi musicali, ed il jazz, il rock e la musica latina non avranno segreti per voi.
SKU: HL.44003313
ISBN 9789043101387. UPC: 073999858549. 9.0x12.25x0.139 inches. English-German-French-Dut ch.
The Play 'em Right collection is aimed at musicians who wish to familiarise themselves with jazz, rock and Latin styles. Each of the solo books contain many unaccompanied pieces together with keyboard and guitar chords which explore the particular genre. In Play 'em Right - Jazz, Volume 1 you will find 10 exercises and 8 pieces to perform. These are aimed at wind players who would like to become acquainted with jazz at home. Although graded in difficulty, it is not necessary to first study all the exercises before being able to play the pieces.De serie Play 'em Right is bedoeld voor blazers die in de populaire stijlen jazz, latin en rock willen spelen. Play 'em Right Jazz, Play 'em Right Latin en Play 'em Right Rock bestaan telkens uit twee delen en bevattende fundamentele ritmes en articulaties van verschillende muziekstijlen, in oefeningen en songs. De oefeningen zijn in oplopende moeilijkheidsgraad geschreven. Er komen steeds een of twee ritmes aan bod met duidelijke articulatietekens,waardoo r precies de juiste speelmanier wordt aangeleerd. In de songs wordt het aangeleerde toegepast en verwerkt.In Play 'em Right - Jazz, Volume 1 staan 10 exercises en 8 speelstukken, bedoeld voor blazersdie thuis willen raken in de Jazz-stijl. Hoewel de moeilijkheidsgraad oploopt, is het niet noodzakelijk eerst alle exercises door te nemen om de speelstukken te kunnen spelen.Die Bucher der Reihe Play 'em Right, Band 1 und 2 vermitteln in speziellen Ubungen und Songs die fundamentalen Rhythmen und Artikulationsweisen von Pop/Rock, Latin und Jazz. Die Ubungen sind in ansteigendem Schwierigkeitsgrad geschrieben. In den Songs wird das Gelernte unmittelbar umgesetzt und vertieft. Die mitgelieferte Akkordbegleitung fur Tasteninstrumente und/oder Gitarre macht es moglich, mit Begleitung zu spielen. Play 'em Right ist sowohl fur den Instrumentalunterricht als auch das Selbststudium geeignet.Band 1 enthalt 10 Ubungen und 8 Spielstucke.Dans chaque ouvrage de cette collection, les intrumentistes touveront des exercices et morceaux diverses leur offrant la possibilite de se familiariser avec les techniques d'interpretation du jazz, du rock et des musiques latines. Le degre de difficulte des exercices est progressif. Les indications sont claires et le contenu technique de chaque exercice reste limite. Les morceaux qui suivent mettent immediatement en pratique les techniques apprises. Les indications d'accords (pour claviers/guitare) permettent de se faire accompagner. Play'em Right peut etre utilise dans le cadre du cours individuel ou pour la pratique quotidienne. Dans Play'em Right, vol. 1vous trouverez 10 exercices et 8 pieces a jouer, pour des musiciens d'instruments a vent qui veulent se familiariser avec le style `Jazz`. Bien que le degre de difficulte soit progressif, il n'est pas necessaire d'etudier tous les exercices pour pouvoir jouer les pieces. La collana Play'em Right e destinata a quei musicisti che vogliono familiarizzare con la musica jazz, rock e latin. Per ognuno di questi generi, Erik Veldkamp ha realizzato un metodo suddiviso in due livelli differenti, specificamente strutturato per rendere accessibili a tutti i musicisti i segreti di questi frizzanti generi musicali. Affronterete quindi dapprima brevi esercizi che vi svelano la giusta interpretazione del rock, della musica latina e del jazz, per poi cimentarvi in veri brani musicali. Fatevi affascinare da questi moderni generi musicali, ed il jazz, il rock e la musica latina non avranno segreti per voi.
SKU: HL.44003325
ISBN 9789043103954. UPC: 073999033250. English-German-French-Dut ch.
These Play 'Em Right series books contain exercises and songs that present the fundamental rhythms and articulations of Latin music. The exercises are written in ascending degrees of difficulty, and each addresses one or two rhythms with clear articulations. The acquired knowledge is continually applied and incorporated in the songs.
SKU: AP.1-ADV12016
UPC: 805095120165. English.
Over 40 songs by one of the most unique composers in the history of jazz, for the first time in print in their original form, using the composer's manuscripts, including his most popular songs Morning and Pensativa, tunes from his critically acclaimed record Extension, a representative collection of his best Latin material plus several new songs. Also included are forewords by Jerry Coker and Bill Dobbins, a biography and a complete discography. Titles: A Long Time Ago * Baroque * Basic Blues * Bittersweet * Blues at Play * Cal's On * Canto Africano * Clavo * Confusion in Dallas * DaVidaBel(l)a * Dancing Song * Elegy * Coker's Blues * Running Mate * Francis Paudrás * Funquiado * Fuzz Blues * Faviota * Hoaky Blues (alias Blues in G) * Igor * Love Come Upon Me * Love's Walk * Memento * Miles Behind * Minor Sights * Morning * Nova * O Canto * Ornithardy * Pájaro Loco (Crazy Bird) * Passacaglia * Passarinho * Pavillón * Pensativa * Quiet Dawn * Serenidade * Soloette * Starbright * Strayhorn * Suddenly * Tahlia (Song for Tahli) * The Greek * The House on Summit * Thiers' Tears * Twas Only Yesterday * Waiting (for Jack's Plane) * Waltz * When Autumn Comes.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
