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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

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Ruggiero (Music)
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Ruggiero refers to a musical scheme which is at times harmonic and at times melodic. It is seen in 16th and 17th century music, for both vocal and instrumental pieces and improvisations. It most likely comes from reciting formulas used to perform Orlando Furioso, an epic poem by Ludovico Ariosto. The name probably stems from the most set canto from this poem, no. 61, which begins "Ruggier, qual sempre fui, tal esser voglio". Because the melody was so often improvised on, and is inevitably varied in the oral tradition, it is difficult to agree on an exact melody. The harmonic structure, however, has remained relatively unchanged. Harmonically the Ruggiero bass is major, generally in G, and has four short phrases. This scheme is frequently used for declaiming other texts which use an ottava rima meter.

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Bassline
39,00 € *
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A bassline is the term used in many styles of popular music, such as jazz, blues, funk, dub and electronic music for the low-pitched instrumental part or line played by a rhythm section instrument such as the electric bass, double bass or keyboard. Basslines in popular music often use "riffs" or "grooves", which are usually simple, appealing musical motifs or phrases that are repeated, with variation, throughout the song. Bassline riffs usually emphasize the chord tones of each chord which helps to define a song's key. At the same time, basslines work along with the drum part and the other rhythm instruments to create a clear rhythmic pulse. The type of rhythmic pulse used in basslines varies widely in different types of music. In swing jazz and jump blues, basslines are often created from a continuous sequence of quarter notes in a mostly scalar, stepwise part called a "walking bass line." In latin, salsa music, jazz fusion, reggae, electronica, and some types of rock and metal, basslines may be very rhythmically complex and syncopated. In bluegrass and traditional country music, basslines often emphasize the root and fifth of each chord

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Rossi, M: Kwazulu Zam
42,90 CHF *
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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 “kwela–kwela; hurry, hurry, the police are on the way.” Much like early jazz and throughout the swing period, the use of riff based playing and soloing was common. Bennie Moten’s and Count Basie’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’s “Graceland,” 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’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

Anbieter: Orell Fuessli CH
Stand: 26.11.2020
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Sevilla
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The Spanish composer and pianist Isaac Manuel Francisco Albéniz’ (y Pascual) fascinating and eventful biography is informatively described in the relevant specialist literature; with a few clicks, though, you might also do some successful research on the internet. Albéniz is considered to be the father of Spanish national music per se. Incorporating rhythms and melodies typical of Spanish folk music, he succeeded in embedding folcloristic elements in virtuoso compositions for the piano. Sevilla is the third movement of the Suite Española No. 1 for Piano, Op. 47. The final version of the suite contains eight characteristic pieces. The title of each one of them refers to a geographical region or city in Spain – including Cuba! The folcloristic and improvisational character of Sevilla results from memorable motifs with characteristic embellishments in the melody, - the imitation of other instruments (guitar, castanets, …) in the setting for piano, asymmetrical phrases,the unexpected appearance of new motifs,noticeable fluctuations in tempo and dynamics,unanticipated modulations, the “faulty” compositional structure (e.g. octave parallels between melody and bass in measure 11), and especially from the rhapsody-like middle part with its virtuoso and at the same time cantabile melody in the upper part. The arrangement presented here is notated one whole tone lower than the original version and has been written according to the proven principle of translating: “as true to the original as possible – as free as necessary”. The movement can be performed as a quintet but also in a choral/orchestral instrumentation. In the latter case, the middle part with the soprano saxophone solo (measures 76 – 79 and measures 104 – 110) is recommended to be executed by five soloists. Instrumentation: 5 saxophones (SAATBar) op. 47

Anbieter: Orell Fuessli CH
Stand: 26.11.2020
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Sevilla
25,70 € *
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The Spanish composer and pianist Isaac Manuel Francisco Albéniz’ (y Pascual) fascinating and eventful biography is informatively described in the relevant specialist literature; with a few clicks, though, you might also do some successful research on the internet. Albéniz is considered to be the father of Spanish national music per se. Incorporating rhythms and melodies typical of Spanish folk music, he succeeded in embedding folcloristic elements in virtuoso compositions for the piano. Sevilla is the third movement of the Suite Española No. 1 for Piano, Op. 47. The final version of the suite contains eight characteristic pieces. The title of each one of them refers to a geographical region or city in Spain – including Cuba! The folcloristic and improvisational character of Sevilla results from memorable motifs with characteristic embellishments in the melody, - the imitation of other instruments (guitar, castanets, …) in the setting for piano, asymmetrical phrases,the unexpected appearance of new motifs,noticeable fluctuations in tempo and dynamics,unanticipated modulations, the “faulty” compositional structure (e.g. octave parallels between melody and bass in measure 11), and especially from the rhapsody-like middle part with its virtuoso and at the same time cantabile melody in the upper part. The arrangement presented here is notated one whole tone lower than the original version and has been written according to the proven principle of translating: “as true to the original as possible – as free as necessary”. The movement can be performed as a quintet but also in a choral/orchestral instrumentation. In the latter case, the middle part with the soprano saxophone solo (measures 76 – 79 and measures 104 – 110) is recommended to be executed by five soloists. Instrumentation: 5 saxophones (SAATBar) op. 47

Anbieter: Thalia AT
Stand: 26.11.2020
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Rossi, M: Kwazulu Zam
31,90 € *
ggf. zzgl. Versand

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 “kwela–kwela; hurry, hurry, the police are on the way.” Much like early jazz and throughout the swing period, the use of riff based playing and soloing was common. Bennie Moten’s and Count Basie’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’s “Graceland,” 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’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

Anbieter: Thalia AT
Stand: 26.11.2020
Zum Angebot