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Diaz, O: 240 Chromatic Exercises + 1165 Jazz Li...
29,29 € *
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Erscheinungsdatum: 30.12.2018, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: 240 Chromatic Exercises + 1165 Jazz Lines Phrases for Bass Clef Instrument Players, Autor: Diaz, Olegario, Verlag: ebookit.com, Sprache: Englisch, Schlagworte: MUSIC // Genres & Styles // Jazz, Rubrik: Musik // Allg. Handbücher, Lexika, Seiten: 188, Informationen: Paperback, Gewicht: 489 gr, Verkäufer: averdo

Anbieter: averdo
Stand: 25.10.2020
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Bastien Piano Basics: Level Three
17,93 € *
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Piano is the main lesson book in the Bastien Piano Basics course. The carefully graded, logical learning sequence assures steady, continual progress. Original music by the Bastiens includes a stimulating mixture of pop, folk, classical, and contemporary styles. Full-color illustrations throughout entertain and reinforce musical concepts along the way. The gradual multi-key approach takes students through all 12 keys -- 3 in each of Levels 1, 2, 3, and 4. Each page is carefully correlated page-by-page with Theory, Performance, and Technic. All in all, a dynamic way to introduce students to the marvelous world of music!Level 3 presents relative minor scales (a and d), octaves, minor key signatures, major-minor triads, primary chords in minor, various bass styles, triplets, the chromatic scale, and the kyes of D-flat, A-flat, and E-flat.

Anbieter: Dodax
Stand: 25.10.2020
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Triosonate V in C-Dur
23,90 CHF *
zzgl. 3,50 CHF Versand

Bach composed the six Trio Sonatas for Organ BWV 525 - 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or lute). It is assumed that during his time in Köthen (1717 - 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d'amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. Sonata V is the only one that could be considered a three movement Concerto. The first movement Allegro with its chamber music vocabulary is an excellent example for speculations that the organ sonatas might have had instrumental predecessors. Its style could easily be associated with a sonata for two flutes or two violins and continuo. The formal layout is highly complex. The three-part architecture is strictly symmetrical and this principal not only applies to smaller formal units but also to the composition of thematic material. Despite the complexity, the movement never sounds rigid or dull, the instrumental dialogue freely unfolds and melodic development is always relaxed and playful. The Largo in a-minor has a three-part Da capo aria form with elements of a fugue. The lyrical, expressive melody is answered on the fifth by the second part, while the first continues with a chromatic counter-subject. The middle section opens and closes with two slightly more playful interludes (bars 13 + 33) with the main theme in their center, this time in the parallel of C-major, avoiding chromaticism. After the Da capo the movement closes with a phrygian half cadence (IV6 - V) and leads into the last movement. In comparison with the more ‚modern' theme of the first movement, the fugue theme of the Allegro appears a bit conventional. But the motivic development and the organisation of the two-part form are not any less sophisticated. In bar 29 a new theme is introduced, that is combined with the first in the coda (bars 51 + 141). As in most of the final movements of the trio sonatas, the bass is actively involved in the development of the themes, especially in motivic sequences. Due to the range (theme of the first movement in the Alto part) the sonata was transposed a halfstep above the original key. This also allows playing the bass line with a baritone saxophone without low A. Olaf Mühlenhardt, December 2008 Instrumentation: 3 saxophones (SABar/SAT) BWV 529

Anbieter: Orell Fuessli CH
Stand: 25.10.2020
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Liebman, D: Anthology - Original Compositions
46,90 CHF *
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A collection of 50+ Liebman original compositions, spanning the period from the '70's to 2006. The material includes all facets of Lieb's eclectic approach: modal, chromatic, blues, lyrical and free compositions. Many of the pieces include exact piano voicings and bass-lines. Also included is an essay on 'Why Compose?' as well as descriptions of the inspiration for each of the tunes. Having the invaluable experience of being associated with Lieb on many levels for many years, and also having played and recorded many of these compositions, I can say from experience that his music offers not only the greatest challenges but also the greatest rewards. Practicing and performing his compositions will give you exposure to every type of playing situation imaginable and broaden your musical and improvisational horizons. (Phil Markowitz) I call Dave an “improvisionary” – a great jazz composer and improviser with a unique vision of the world, reflected in his compositions, some of which are found in this great new collection. It always takes more than one “look” to play one of these pieces. They are, to say the least, challenging; but clearly worth it! Congratulations, Bro! And thanks to the wonderful Veronika Gruber of advance music for continuing Hans’s great work. (Richie Beirach) Instrumentation: melody instruments in C (flute/guitar/piano)

Anbieter: Orell Fuessli CH
Stand: 25.10.2020
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Complete Book of Harmony, Theory & Voicing
48,90 CHF *
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This is a very comprehensive text that combines theory, harmony and voicing material with emphasis placed on voice leading. Although this book's primary focus is on four-note chord voicings on the middle strings of the guitar, much of the knowledge conveyed here can be appreciated and used by all jazz musicians, not only guitarists. Topics covered include: Tensions, Voice Leading Chord Scales, Enharmonic Chordal Substitutions, Fourth Voicings, Chromatic Guide Lines, Triad Over Bass Voicings, and much more! The best part of this book, however, is the unique and practical way the author takes modern harmonic concepts and shows you how to apply them in real music situations! Written for the intermediate to advanced music theory enthusiast who wishes to master this facet of music.

Anbieter: Orell Fuessli CH
Stand: 25.10.2020
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Piano Technique Book 5: Hal Leonard Student Pia...
16,90 CHF *
zzgl. 3,50 CHF Versand

Piano Technique Book 5 expands the skills emphasized in Piano Technique Book 4. Through engaging Warm-Ups and Etudes, students are encouraged to explore diatonic and chromatic scales, chords, inversions, and chord progressions. The exercises also focus on important, intermediate-level skills: finger substitutions, extended and contracted hand positions, grace notes, playing a waltz bass, and refinement of articulation and coordination. Each Warm-Up and Etude has its own original accompaniment, available on a separate CD or GM disk. The exercises in this book are carefully correlated to the music in Piano Lessons Book 5.

Anbieter: Orell Fuessli CH
Stand: 25.10.2020
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Piano Technique Book 5 - Book/Enhanced CD Pack:...
17,90 CHF *
zzgl. 3,50 CHF Versand

Piano Technique Book 5 expands the skills emphasized in Piano Technique Book 4. Through engaging Warm-Ups and Etudes, students are encouraged to explore diatonic and chromatic scales, chords, inversions, and chord progressions. The exercises also focus on important, intermediate-level skills: finger substitutions, extended and contracted hand positions, grace notes, playing a waltz bass, and refinement of articulation and coordination. Each Warm-Up and Etude has its own original accompaniment, available on a separate CD or GM disk. The exercises in this book are carefully correlated to the music in Piano Lessons Book 5.

Anbieter: Orell Fuessli CH
Stand: 25.10.2020
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Essentials of Music Theory: Complete, Book & 2 CDs
69,90 CHF *
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Alfredas Essentials of Music Theory is designed for students of any age, whether listeners or performers, who want to have a better understanding of the language of music. In this all-in-one theory course, you will learn the essentials of music through concise lessons, practice your music reading and writing skills in the exercises, improve your listening skills with the available ear-training CDs (included), and test your knowledge with a review that completes each unit. The Student Complete Book includes Books 1-3 in a spiral-bound format. Book 1 (Lessons 1-25): Staff, Notes and Pitches Treble & Bass Clefs Grad Staff & Ledger Lines Note Values Measure, Bar Line and Double Bar 2/4, 3/4 & 4/4 Time Signatures Whole, Half & Quarter Notes/Rests Dotted Half & Quarter Notes Ties & Slurs Repeat Sign, 1st & 2nd Endings Eighth Notes & Rests Dynamic Signs, Tempo Marks & Articulation D.C., D.S., Coda & Fine Flats, Sharps & Naturals Book 2 (Lessons 25-50): Tetrachords & Major Scales Key Signatures Chromatic Scale Intervals, Circle of Fifths Perfect, Major & Minor Intervals Augmented & Diminished Intervals SolfA]ge & Transposition Sixteenth Notes & Rests Dotted Eighth Notes & Eighth Note Triplets Common Time & Cut Time 3/8 & 6/8 Time Signatures Pick-up Notes & Syncopation Primary & Major Triads Scale Degree Names Dominant 7th Chord Book 3 (Lessons 51-75): 1st & 2nd Inversions of Triads Inversions of V7 Chords Figured Bass Major Chord Progressions Minor Scales, Minor Triads Augmented & Diminished Triads Primary Triads in Minor Keys Minor Chord Progressions Modes Harmonizing a Melody in Major and Minor Keys Broken Chords & Arpeggiated Accompaniments Passing and Neighboring Tones Composing a Melody in Major and Minor Keys 12-Bar Blues Chord Progression & Blues Scale Basic Forms of

Anbieter: Orell Fuessli CH
Stand: 25.10.2020
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Triosonate V in C-Dur
20,60 € *
ggf. zzgl. Versand

Bach composed the six Trio Sonatas for Organ BWV 525 - 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or lute). It is assumed that during his time in Köthen (1717 - 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d'amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. Sonata V is the only one that could be considered a three movement Concerto. The first movement Allegro with its chamber music vocabulary is an excellent example for speculations that the organ sonatas might have had instrumental predecessors. Its style could easily be associated with a sonata for two flutes or two violins and continuo. The formal layout is highly complex. The three-part architecture is strictly symmetrical and this principal not only applies to smaller formal units but also to the composition of thematic material. Despite the complexity, the movement never sounds rigid or dull, the instrumental dialogue freely unfolds and melodic development is always relaxed and playful. The Largo in a-minor has a three-part Da capo aria form with elements of a fugue. The lyrical, expressive melody is answered on the fifth by the second part, while the first continues with a chromatic counter-subject. The middle section opens and closes with two slightly more playful interludes (bars 13 + 33) with the main theme in their center, this time in the parallel of C-major, avoiding chromaticism. After the Da capo the movement closes with a phrygian half cadence (IV6 - V) and leads into the last movement. In comparison with the more ‚modern' theme of the first movement, the fugue theme of the Allegro appears a bit conventional. But the motivic development and the organisation of the two-part form are not any less sophisticated. In bar 29 a new theme is introduced, that is combined with the first in the coda (bars 51 + 141). As in most of the final movements of the trio sonatas, the bass is actively involved in the development of the themes, especially in motivic sequences. Due to the range (theme of the first movement in the Alto part) the sonata was transposed a halfstep above the original key. This also allows playing the bass line with a baritone saxophone without low A. Olaf Mühlenhardt, December 2008 Instrumentation: 3 saxophones (SABar/SAT) BWV 529

Anbieter: Thalia AT
Stand: 25.10.2020
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