Featuring 17 of the biggest hits from the current charts, Ultimate Chart Hits is a contemporary-focused addition to the Really Easy Piano series, helping beginners to play their favourite pop chart tunes. The standard of pop songs has been steadily increasing, and right now it's possibly the best it's ever been. With songwriters like Meghan Trainor, John Legend and George Ezra gracing the charts with their catchy hooks and heartfelt lyrics, there couldn't be a better time to learn the best pop hits on the Piano. This collection of perfect pop sheet music will allow you to learn hits like All About That Bass, Rather Be and Stay With Me, as well as the amazing instant classics Shake It Off by Taylor Swift and Uptown Funk by Mark Ronson with Bruno Mars. If you are a beginner pianist who loves the current pop output, Really Easy Piano: Ultimate Chart Hits is the sheet music book for you. The simplified arrangements give you just the most important parts of the songs, with lyrics and chord symbols, too. Not only this, but interesting background information for each song will let you know which ones got to number one, while some really helpful performance hints and tips will let you focus on the difficult bits and nail each and every performance. Whether you love a bit of Ed Sheeran, Tom Odell or Take That, there is something for every pop lover here. If you are a beginning pianist who has a proclivity for pop, then Ultimate Chart Hits is most definitely for you. It's a brilliant collection of that pure pop perfection that we all enjoy on the radio and television every day, all arranged for Easy Piano, enabling anyone to play these great tunes especially if you're a beginner. · ISBN: 978-1783059454 · Instrument: Klavier · Bindung: Softcover · Format: 21,0 x 29,7 cm (DIN A4) · Seitenanzahl: 48 · Sprache: Englisch · Erscheinungsjahr: Notenbuch
In Listen to This, Alex Ross, the music critic for The New Yorker, looks both backward and forward in time, capturing essential figures and ideas in classical-music history, as well as giving an alternative view of recent pop music that emphasizes the power of the individual musical voice in whatever genre. Ross combines a selection of his New Yorker essays with new material that will serve as an introduction to some basic classical-music concepts and figures and will give an alternative view of recent pop music. It will demonstrate the essential equality of great musical creators in whatever genre. It begins with 'Listen to This', his most famous New Yorker essay, an autobiographical account of his early passion for classical music and belated discovery of pop music in college. It sets forth the themes of the book as a whole: how classical music can become a vital part of wider contemporary culture, how it can survive and even prosper in the face of proclamations of its decline. There follows a new essay tracing the history of the chaconne, a dance form based on a descending bass line, which originated as an erotic Afro-Caribbean dance in the 16th century, then migrated to Europe and inspired such Baroque masterpieces as Bach's Chaconne in D minor, and later found echoes in the bass lines both of 20th-century classical masterpieces and African-American blues. Led Zeppelin's 'Dazed and Confused' and Bob Dylan's 'Simple Twist of Fate', among other songs, extend the principle. This chapter develops, in a less personal way, the themes of 'Listen to This', and serves as a kind of whirlwind tour of five centuries of music history. Third in the introductory section is 'The Record Effect', an account of technology's impact on pop and classical music. 1. Language: English. Narrator: Alex Ross. Audio sample: http://samples.audible.de/bk/hcuk/000680/bk_hcuk_000680_sample.mp3. Digital audiobook in aax.
Alex Ross’s award-winning international best seller, The Rest Is Noise, has become a contemporary classic, establishing him as one of our most popular and acclaimed cultural historians. Listen to This, which takes its title from a beloved 2004 essay in which Ross described his late-blooming discovery of pop music, showcases the best of Ross’s writing from more than a decade at The New Yorker. These pieces, dedicated to classical and popular artists alike, are at once erudite and lively. In a previously unpublished essay, Ross brilliantly retells hundreds of years of music history - from Renaissance dances to Led Zeppelin - through a few iconic bass lines of celebration and lament. He vibrantly sketches canonical composers such as Schubert, Verdi, and Brahms; gives us in-depth interviews with modern pop masters, such as Björk and Radiohead; and introduces us to music students at a Newark high school and to indie-rock hipsters in Beijing. Whether his subject is Mozart or Bob Dylan, Ross shows how music expresses the full complexity of the human condition. Witty, passionate, and brimming with insight, Listen to This teaches us how to listen. 1. Language: English. Narrator: Alex Ross. Audio sample: http://samples.audible.de/bk/aren/001145/bk_aren_001145_sample.mp3. Digital audiobook in aax.
Kid Centrifuge is a rock band with dreams no bigger than other rock bands: ho-hum, tour and get signed and be famous and change the universe. Alas, unlike their rock-music forebears, our heroes live in a world that has largely moved on to techno, dance and pop. Yes, the music industry is still littered with double-crossers and backbiters, but now they're looking for DJs, and maybe guitar champions need no longer apply. So the kids tilt against the same old windmills musicians have battled forever, but with a suspicion that the same old animating dream - all you need is a guitar and a great song and you'll make a million bucks - is dead. That gives their grass-roots aspirations more than a little desperation, and bad decisions ensue. War On Sound gets inside its four featured musicians - Amanda, the singer; Sebastian, the guitarist; Kate, the drummer; and Scott, the bass player and angsty piloting force - the way Don DeLillo did in Great Jones Street and Roddy Doyle did in The Commitments. These talented kids wage war, blinkers in place, faith challenged...they have big success and big failure, and they keep playing. War on Sound is by turns hilarious and profound, and illuminates the contemporary music scene better than any recent novel. 1. Language: English. Narrator: Christopher Harris. Audio sample: http://samples.audible.de/bk/acx0/069702/bk_acx0_069702_sample.mp3. Digital audiobook in aax.
The understanding of the musical techniques of composition cannot be reduced to a handbook of simplified rules. Music is complex and ever changing. It is the purpose of this book to trace the path of musical growth from the late Romantic period to the serial techniques of the contemporary composer. Through the detailed analysis of the musical characteristics that dominate a specific style of writing, a graduated plan is organized and presented here in the form of explanations and exercises. A new analytical method substitutes for the diatonic figured bass and makes exercises and the analysis of non-diatonic literature more manageable. The explanations describing each technique are thorough. They are designed to help the teacher and the student see the many extenuating circumstances that affect a particular analytical decision. More important than a dogmatic decision on a particular key center or a root tone, for example, is the understanding of why such an underdeterminate condition may exist.
From Jesse Andrews, author of the New York Times best-selling Me and Earl and the Dying Girl and screenwriter of the Sundance award-winning motion picture of the same name, comes a groundbreaking young adult novel about music, love, friendship, and freedom as three young musicians follow a quest to escape the law long enough to play the amazing show they hope (but also doubt) they have in them. Inspired by the years he spent playing bass in a band himself, The Haters is Jesse Andrews' road trip adventure about a trio of jazz camp escapees who, against every realistic expectation, become a band. For Wes and his best friend, Corey, jazz camp turns out to be lame. It's pretty much all dudes talking in jazz voice. But then they jam with Ash, a charismatic girl with an unusual sound, and the three just click. It's three and a half hours of pure musical magic, and Ash makes a decision: They need to hit the road. Because the road, not summer camp, is where bands get good. Before Wes and Corey know it, they're in Ash's SUV heading south, and The Haters' Summer of Hate Tour has begun. In his second novel, Andrews again brings his brilliant and distinctive voice to YA, in the perfect book for music lovers, fans of The Commitments and High Fidelity, or anyone who has ever loved - and hated - a song or a band. This witty, funny coming-of-age novel is contemporary fiction at its best. 1. Language: English. Narrator: Michael Crouch. Audio sample: http://samples.audible.de/bk/lili/002013/bk_lili_002013_sample.mp3. Digital audiobook in aax.
Mozart hat in Wien mehrere Schüler in Grundlagen des musikalischen Satzes unterwiesen. Die erhaltenen Satzübungen mit Korrekturen erweisen ihn als einen versierten Lehrer mit systematischem Weitblick und methodischem Geschick. Dieses Buch unter-sucht die Prinzipien von Mozarts Unterricht und rekonstruiert durch Kontextualisierung mit zeitgenössischen Lehrwerken Mozarts Position zwischen älterer Generalbasslehre und neuerer Harmonielehre. Die unter Mo-zarts Namen posthum gedruckte »Kurze Ge-neralbass-Lehre«, die bisher als unecht angese-hen wurde, steht den Prinzipien, die Mozarts Unterricht zugrunde lagen, nahe: Ihre Echt-heit ist daher nicht mehr auszuschliessen. Sie wird hier in Gegenüberstellung mit der ver-wandten Generalbasslehre des Mozartzeitge-nossen Johann Georg Albrechtsberger abge-druckt und erläutert. Mozart als &#8250;Musiktheore-tiker&#8249; &#8211; das ist eine neue Facette im Bild dieser faszinierenden Künstlerpersönlichkeit.****************In Vienna, Mozart introduced several students to the basics of musical composition. The preserved and corrected compositional exercises prove him to be a skilled teacher with a systematic foresight and a methodical talent. This book analyzes the principles of Mozart&#8217;s teaching and reconstructs Mozart&#8217;s position between former figured bass theory and modern harmony theory by contextualizing it in relation to contemporary instructional works. The »Kurze Generalbass-Lehre« pub-lished posthumously under the name of Mo-zart and regarded so far as inauthentic, follows Mozart&#8217;s basic teaching principles: thus, ist authenticity cannot be completely ruled out any longer. It is printed and explained in this book in comparison with the related figured bass theory of Mozart&#8217;s contemporary Johann Georg Albrechtsberger. Mozart as a music theorist &#8211; this is a new facet of this fascinating artist.
&#8220;Recuerdo de una Jornada&#8221; was composed for, and dedicated to, the Cuban saxophonist Jorge Luis Almeida and the Havana-based saxophone quartet &#8220;Habana Sax&#8221;. Jorge L. Almeida graduated from Cuba&#8217;s National School of Arts in 1975 and from the Instituto Superior de Arte in Havana in 1987; under the tutelage of professor Daniel Deffayet, he completed two courses of studies at the Conservatoire National Supérieur de Musique et de Danse de Paris in France &#8220;with distinction&#8221; in the years 1987 and 1990. In 1987, Almeida founded the saxophone quartet &#8220;Cuarteto de Saxofones de La Habana&#8221; and later on, in 1991, &#8220;Habana Sax&#8221;. The repertoire of the latter, which is one of the most important ensembles of its kind in Cuba, ranges from classical to contemporary music. Infl uences of Cuban popular music as well as jazz can be felt in many of the ensemble&#8217;s works, and often a percussionist is added to the group&#8217;s lineup. Throughout the years, the quartet has presented itself at festivals and in the most famous concert halls all over the world. Various technical particularities that represent quite a challenge in the execution of Cuban music manifest themselves in this composition, such as syncopations, off-beats, the &#8220;cinquillo cubano&#8221; and, as its most prominent aspect, the &#8220;clave&#8221;. It is the &#8220;son clave&#8221; (2-3) that marks the beginning of the piece and is, for instance, picked up by the four saxophones in measures 30 and 31. The part played by the baritone sax should especially be pointed out: One the one hand, it assumes the role of the bass building the rhythmic and harmonic basis; on the other hand, it provides further rhythmical support when executing the &#8220;tumbaos&#8221; in case an additional percussionist is added to the quartet (which, of course, is optional since the piece can be performed without any percussion instruments). In measure 32, the tempo changes and the piece switches over to a Latin jazz feel making use of a phrasing typical of this style. This feeling is maintained up to measure 54, where the tenor sax starts playing a &#8220;tumbao&#8221;, developing into a so-called &#8220;champola&#8221; (a term that refers to the layering of different &#8220;tumbaos&#8221; which, when played in conjunction, result in a &#8220;contagious&#8221; rhythmic pattern) in measure 58. Finally, in measure 72, the composition returns to tempo primo, being performed in the style of a &#8220;son&#8221;, and ends with the execution of the &#8220;son clave&#8221;. Instrumentation: 4 saxophones (SATBar) + Drum Set (opt.)
As an American jazz artist and educator based in South Africa since 1999, this is one in a set of pieces that reflect my musical and other experiences in this fascinating country. Kwazulu Zam was composed using a traditional South African song form called mbaquanga. Mbaquanga is a characteristic South African musical form that utilises a repeated (cyclical) 2 or 4-measure harmonic structure based on I - IV - V - I and I - IV - 1 6/4 - V - I. These progressions are the backbone of South African jazz much like the blues and its variants is to American jazz. The piece is performed in the kwela style which is based on a strong swing feel. The original meaning for kwela during less fortunate times was &#8220;kwela&#8211;kwela; hurry, hurry, the police are on the way.&#8221; Much like early jazz and throughout the swing period, the use of riff based playing and soloing was common. Bennie Moten&#8217;s and Count Basie&#8217;s early bands come to mind, and are just two examples of great riff based ensembles with exciting riff based soloing. Performance Tips The melodies or riffs in Kwazulu Zam must swing. Play them with a loose, relaxed feel. Really dip or slide into the notes that are marked. Intervals of a fifth or larger marked with slides should really be scooped and vocal in nature. Please note that African music and particularly South African jazz, is vocal and organic in nature. This tune is written in the Kwela/Swing style. It can also be played on a more traditional Mbaqango style. To get to know Kwela you can listen to recordings by Hugh Masekela, Darius Brubeck and Afro Cool Concept; also Paul Simon&#8217;s &#8220;Graceland,&#8221; for a better understanding of Mbaqango. Notes on Soloing Pay attention to the rhythm of the themes; play off rhythms found in the piece as well as playing rhythmically. The solo improvisation section at letter C should pay particular attention to the use of, and drawing from the three themes of the piece. Backgrounds and interludes can be very flexible. For example, B and C can be cued by signaling the number 1 for the background at letter B. Signal 2 for the background at C or 3 for both B and C. A closed fist indicates the last time when repeated more than once. Letters B & C can be played between solos or as a background building to the next soloist or just optionally letter C between solos. The solo background at letter C also has the option of being repeated more than once if your soloist is cooking and your rhythm section is grooving! Experiment too with dynamic shapes during repeated backgrounds that will add excitement to the background and influence the soloist. Even experiment with interchanging letters B & C as solo backgrounds. It is important to note that playing contemporary jazz phrases or licks really doesn&#8217;t work and is out of context or style of the piece. Play in the style, play rhythmically, use material from the three themes to develop and build your solo. Most importantly have fun!!! Mike Rossi Instrumentation: 3 melody instruments, piano, guitar, double bass, percussion