Scales and Finger Exercises - Upper Elementary to Lower Intermediate Piano

The classic scale and arpeggio studies of Gabriel Parès were adapted in the 1940s for like-instrument study by Rubank's Harvey Whistler and are now the standard for elementary scale instruction. Presenting all the majorkeys up to four flats/sharps (and the relative minors) each unit also includes long tone and embouchure studies. Supplemental material includes comprehensive chromatic scales fingering and speed studies lip slurs (brass) andexercises to strengthen the upper register (woodwinds).

The classic scale and arpeggio studies of Gabriel Parès were adapted in the 1940s for like-instrument study by Rubank's Harvey Whistler and are now the standard for elementary scale instruction. Presenting all the majorkeys up to four flats/sharps (and the relative minors) each unit also includes long tone and embouchure studies. Supplemental material includes comprehensive chromatic scales fingering and speed studies lip slurs (brass) andexercises to strengthen the upper register (woodwinds).

The classic scale and arpeggio studies of Gabriel Parès were adapted in the 1940s for like-instrument study by Rubank's Harvey Whistler and are now the standard for elementary scale instruction. Presenting all the majorkeys up to four flats/sharps (and the relative minors) each unit also includes long tone and embouchure studies. Supplemental material includes comprehensive chromatic scales fingering and speed studies lip slurs (brass) andexercises to strengthen the upper register (woodwinds).

The classic scale and arpeggio studies of Gabriel Parès were adapted in the 1940s for like-instrument study by Rubank's Harvey Whistler and are now the standard for elementary scale instruction. Presenting all the majorkeys up to four flats/sharps (and the relative minors) each unit also includes long tone and embouchure studies. Supplemental material includes comprehensive chromatic scales fingering and speed studies lip slurs (brass) andexercises to strengthen the upper register (woodwinds).

The classic scale and arpeggio studies of Gabriel Parès were adapted in the 1940s for like-instrument study by Rubank's Harvey Whistler and are now the standard for elementary scale instruction. Presenting all the majorkeys up to four flats/sharps (and the relative minors) each unit also includes long tone and embouchure studies. Supplemental material includes comprehensive chromatic scales fingering and speed studies lip slurs (brass) andexercises to strengthen the upper register (woodwinds).

417 Exercises include 63 Musical Studies in Positions 1 through 5-From the author of the popular ABCs of Strings method Janice Tucker Rhoda's Complete Technique for Cello Book 1 suits the advanced beginner to upper level student wishing to learn or improve left hand and right bow-arm skills.Starting in first position and proceeding carefully through the higher positions this method book uses studies and exercises to demonstrate specific technical ideas. 417 Exercises include 63 Musical Studies in Positions 1 through 5.Technique Highlights:Positions 1 through 5Extended positionsHalf PositionBass tenor and treble clefs3 octave CMajor Scale to IV and VII positionAdvanced chromatic scale to IV V and VII positionBasic thumb positionWorksheets for note-readingScales arpeggios broken thirdsImprovisational melodiesDouble-Stops chords octavesHarmonicsArm Swing left-hand and bow-arm techniqueBow balancing exercisesBallet of Shifting exercisesQuick Finger exercisesFinger Substitution exercisesLeft-hand pizzicato exercisesTeaching points throughout

Text: English / deutsch
Completely revised and enlarged edition!
Jazz Bass Compendium is one of the most comprehensive method books. 208 pages filled with information and aspects on jazz bass playing.
The right hand: position, effect on sound and timing, exercises, three finger technique, drops
The left hand: position, shifting positions, intonation, pizzicato technique, vibrato
Coordinating both hands
Bass lines: rhythm, pulse, timing, walking bass, two-beat feel, arpeggios, diatonic passing notes, leading notes, chromatic lines, scales and tetrachords, pentatonic scales, bass lines over II V progressions, harmonic clichés, pedal point, rhythmic embellishments, bass lines on standard chord progressions, straight 8ths bass lines, Latin bass lines
The elements of sound
Various improvisation concepts
Arpeggios
Studies and etudes on the chord changes to Sunny, Footprints, I Hear A Rhapsody, Solar, Confirmation
Upper structure voicings
Phrasing and articulation
Scales and scales studies, chord-scales, breaking up scales
Practice concepts, different learning fields
4 bass duets and one solo, including Georgia On My Mind, Blues 4U and More Bass Hit
Sigi Busch is one of the most respected European jazz bassists/educators. He heads the jazz departement at the Hochschule der Künste in Berlin, Germany.

Mastering the Middle Register of the Clarinet. Crossing the break can be a source of frustration for developing clarinetists. The Break is a logical guide for mastering this important step in clarinet performance. The method is divided into two parts: Part I contents: the clarinet overtone series - how new note names attach to previously learned fingerings - how to incorporate 'right hand down' as a developmental technique - one octave scales across the break - first melodies in the clarion register that teach basic musical concepts needed for advanced performance. Part II contents: studies from Rhythmical Articulation by Pasquale Bona, selected and edited for clarinet to prepare students for upper level performance.Rhythmical Articulation was originally written to assist singers with rhythmical and pitch accuracy. Range: The range is appropriate for developing clarinetists (low B to B just above the treble staff). Third-line B natural is often referred to as the break because it is the note where the register key is added to produce the middle register. These studies and exercises center around third-line B natural and provide a means to develop smooth connections between the lower and middle registers of the clarinet. Technique: The studies have been adapted for clarinet to cover nine key signatures. Appropriate articulations, dynamics, and expressive markings have been added to reflect common practice in the classical style. Advanced rhythms and time signatures are introduced with moderate tempos. Musical terms have been added to identify phrases and suggest expression. The Break also includes an introduction to the altissimo register. / Niveau : 2 / Etudes et exercices / Méthode / Clarinette