Modern Rock: Guitar: Instrumental Tutor

SKU: MB.21498M

ISBN 9780786692811. 8.75 x 11.75 inches.

Written in the tradition of Mel Bays original Modern Guitar Method, Grade 1.Combines ease of learning with outstanding music selections. Provides music theory essential to understanding the books performance demands.Tablature was not used in this book, except in specific situations, in order to encourage the development of standard music notation reading skills.With the large number of extended range electric basses being used today, an effort was made to include notes for those instruments where applicable.In some instances, a choice of two notes instead of one is provided. These can be played in whatever octave the student prefers or has available on the instrument. Includes access to online audio.

SKU: BT.1604-09-140-MS

9x12 inches. English-German-French-Dutch.

De Italiaanse pianist, componist, arrangeur en dirigent Gian Piero Reverberi is de oprichter en muzikaal leider van het succesvolle barokensemble Rondo Veneziano. Sinfonia per un Addio is een van de bekendste werken, die Reverbivoor dit unieke ensemble schreef. Het is een gemakkelijk in het gehoor liggend werk, dat op een mooie wijze door Lorenzo Bocci is bewerkt voor harmonieorkest.

Der italienische Pianist, Komponist, Arrangeur und Dirigent Gian Piero Reverberi ist der Gründer und musikalische Leiter des erfolgreichen zeitgenössischen Barockensembles Rondo Veneziano. Sinfonia per un Addio ist eines der bekanntesten Stücke, die Reverberi für diese einzigartige Formation schrieb. Die eingängige Musik eignet sich gut für eine Blasorchesterbearbeitung, die Lorenzo Bocci ausgezeichnet gelungen ist.

En 1980, le pianiste et compositeur italien Gian Piero Reverberi fonde l’ensemble Rondò Veneziano. Le style musical, directement inspiré de la musique baroque et associé des instruments modernes (batterie, guitare basse, synthé), séduit immédiatement. Avec Concerto et San Marco, Sinfonia per un Addio est un des plus grands succès de cet ensemble unique. La musique est légère, mélodieuse et facile suivre. Lorenzo Bocci a réalisé un arrangement pour Orchestre d’Harmonie qui conserve le charme authentiquement vénitien du Rondò Veneziano.

SKU: HL.44003311

ISBN 9789043101448. UPC: 073999808186. English-German-French-Dutch.

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,waardoor 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: PR.144407530

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bach�??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked �??white-hot,�?� and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the �??Preludio�?� movement from Bach�??s E major Partita, and I decided to refer to that music in my own first movement, also titled �??Preludio.�?� The beginning subtly reflects Bach�??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bach�??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bach�??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked �??White-hot.�?� It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the �??fall-offs�?� I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.