Sing Out! 5 Pop Songs For Today's Choirs - Book 3

This unique book gives an in-depth insight into blues guitar from early Chicago Blues through Memphis and Detroit Blues the British Blues boom Jazz Blues and many other blues genres right up to the blues styles of today’s hottest guitarists.Focusing on the playing styles of influential guitarists author John Wheatcroft teaches the basics of blues improvisation and shows how it has developed over the years. Learn how to solo like classic blues guitarists B. B. King John Lee Hooker and Albert Collins and then move on to find out more about the playing styles of Eric Clapton Jimi Hendrix Stevie Ray Vaughan Robben Ford and many others.Simple step-by-stepguides introduce basic techniques harmony and theory with demo solos and backing tracks on the accompanying CD.

in the Home Studio-Today's smart singer-songwriter needs to be able to produce high-quality demo recordings without breaking the bank. With this informative Berklee Guide you can learn how to acquire and use songwriter-appropriate home studio gear so that you can create your own professional recordings at home whatever your budget living arrangement or technological aptitude. By the end of the book you will understand the key concepts of how the recording process works and how to get the best sound possible out of whatever equipment you own and whatever style of music you produce. The Singer-Songwriter's Guide To Recording In The Home Studio makes recordingeasy ? so you can put your effort into thinking about creative songwriting and performing rather than struggling with technology.

Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano

Pink's powerful song tells the story of a lost generation--its themes mirroring the pain of the many people who feel abandoned and unheard in today's society. At a time when musicians and audiences are searching for music lifting up social justice this is a great example and a wonderful selection for your singers. Passion and connection are easy to find in this powerful pop/rock anthem.

Pink's powerful song tells the story of a lost generation--its themes mirroring the pain of the many people who feel abandoned and unheard in today's society. At a time when musicians and audiences are searching for music lifting up social justice this is a great example and a wonderful selection for your singers. Passion and connection are easy to find in this powerful pop/rock anthem.

A One-Act Musical-It's a snow day! Samantha tweets her friends with an invitation to hang out. The friends bury themselves not in the snow but in their individual electronic devices. Although resistant to play outdoors in the snow the childrensoon find themselves face-to-face with a walking talking sunglass-wearing snowman!Happy the Snowman used a slush fund to come to life to learn about today's technology. Quite frankly up until now he's been frozen out!Very quickly Happy is lost in a blizzard of techno-speak and electronic devices. After posting a video online of the snowman's song and dance Happy's adventure takes a dramatic turn as the video goes viral! When chased byscientists reporters and paparazzi his new friends text everyone they know to join in a friendly flash mob to distract his pursuers and to rescue our hero.Happy the High-Tech Snowman can be used anytime betweenlate fall and the end of the winter months and it lends itself to many community and instructional settings. For Grades 4-8. Available: Teacher Edition; Singer Edition 5-Pak; Listening CD; Enhanced StudioTrax CD; Preview Pack;Performance Kit.

A One-Act Musical-It's a snow day! Samantha tweets her friends with an invitation to hang out. The friends bury themselves not in the snow but in their individual electronic devices. Although resistant to play outdoors in the snow the childrensoon find themselves face-to-face with a walking talking sunglass-wearing snowman!Happy the Snowman used a slush fund to come to life to learn about today's technology. Quite frankly up until now he's been frozen out!Very quickly Happy is lost in a blizzard of techno-speak and electronic devices. After posting a video online of the snowman's song and dance Happy's adventure takes a dramatic turn as the video goes viral! When chased byscientists reporters and paparazzi his new friends text everyone they know to join in a friendly flash mob to distract his pursuers and to rescue our hero.Happy the High-Tech Snowman can be used anytime betweenlate fall and the end of the winter months and it lends itself to many community and instructional settings. For Grades 4-8. Available: Teacher Edition; Singer Edition 5-Pak; Listening CD; Enhanced StudioTrax CD; Preview Pack;Performance Kit.