Inhaltsverzeichnis Einleitung Über das Saxofon Grundlegende Techniken Praktischer Teil Anhang: Bibliographie Diskographie Mundstück und Blatt Nützliches Zubehör Die Pflege des Instruments Das Transponieren Einige Gedanken zum Üben Grifftabelle Die Harmonien der Stücke (eingelegt): Blues for Beginners A la Mode Progression Out for the Count Times Remembered P. M. Third Attempt Flat 5 Interstellar 251 Home Bass James South View Minor Problem Devil Music Breaking Point Transition Sylvie's Dance K. O. The Bottom Line Sequence Fourths Roberto Romancing Blue Jean Bird Waltz A Song for Sophie Apologies to Daisy The Way of All Things Like Benny Tongue-Twister Lullaby Alicante Exercise in Rhythm The Loneliest Monk Round and Round Again 'Trane Refrain Blue Monk A Bossa for Betty Familiarity Sister Caroline Lucky Rhythm Summer Hummer Lady Pres Country Road Euphrates Endless Night Oh When the Saints Go Marching In I Never Knew Danny Boy Fall '90 Blue Samba Doxy St. Thomas The Right Time Tango Cool Nicole Peace Spanish Steps Persuasion It's All Yours On the Street Greensleeves Five Jive Straight, No Chaser My Little Suede Shoes Yardbird Suite · Kategorie: Blasinstrumente · Instrument (A-Z): Tenorsaxophon · Autor: John O´Neill · Sprache: Deutsch · Schwierigkeitsgrad: leicht · Format: 21,0 x 29,7 cm (DIN A4) · Seitenanzahl: 100 · Erscheinungsjahr: 1995 · inkl.: Lehrbuch
TUNING NOTES|BLUES FOR BEGINNERS|A LA MODE|PROGRESSION|OUT FOR THE COUNT|TIMES REMEMBERED|P M|THIRD ATTEMPT|FLAT 5|INTERSTELLAR|251|HOME BASS|JAMES|SOUTH VIEW|MINOR PROBLEM|DEVIL MUSIC|BREAKING POINT|TRANSITION|SYLVIE'S DANCE|K O|THE BOTTOM LINE|SEQUENCE|FOUTHS|ROBERTO|ROMANCING|BLUE JEAN|BIRD WALTZ|BIRD WALTZ|A SONG FOR SOPHIE|APOLOGIES TO DAISY|THE WAY OF ALL THINGS|LIKE BENNY|TONGUE TWISTER|LULLABY|ALICANTE|EXERCISE IN RHYTHM|THE LONELIEST MONK|ROUND AND ROUND AGAIN|TRANE REFRAIN|BLUE MONK|A BOSSA FOR BETTY|FAMILIARITY|SISTER CAROLINE|LUCKY RHYTHM|SUMMER HUMMER|LADY PRES|Country road|EUPHRATES|ENDLESS NIGHT|Oh when the saints go marchin' in|I NEVER KNEW|Danny boy|FALL 90|BLUE SAMBA|Doxy|St Thomas|THE RIGHT TIME|TANGO COOL|NICOLE|Peace|SPANISH STEPS|PERSUASION|IT'S ALL YOURS|ON THE STREET|Greensleeves|FIVE JIVE|STRAIGHT NO CHASER|MY LITTLE SUEDE SHOES|Yardbird suite
ABRAHAM MARTIN AND JOHN / Gaye Marvin|AIN'T GOT NO HOME|ALMOST GROWN|ALONE AT LAST|Apache|AROUND AND AROUND|AT MY FRONT DOOR|BABY WHAT YOU WANT ME TO DO|BABY WORKOUT|BACK IN THE USA|BIG BOSS MAN|Bo diddley|BOOK OF LOVE|BOOM BOOM|BROWN EYED HANDSOME MAN|BUT I DO|CAROL|DUKE OF EARL|FIND YOURSELF ANOTHER GIRL|FOR YOUR PRECIOUS LOVE|GOODNIGHT IT'S TIME TO GO|HAPPY HAPPY BIRTHDAY BABY|HE DON'T LOVE YOU (LIKE I LOVE YOU)|HEARTS OF STONE|Here comes summer|HONEST I DO|I'D RATHER GO BLIND|I'll be home|I'LL BE SATISFIED|I'M A MAN|I'M TELLING YOU|THE JEALOUS KIND|Johnny be goode / Berry Chuck|JUKE|KEEP ON DANCING|LADY GODIVA|LET ME IN|LITTLE QUEENIE|LONLEY TEARDROPS|LONG LONELY NIGHTS|MABELLENE|Memphis Tennessee|THE MEN IN MY LITTLE GIRL'S LIFE|MORE TODAY THAN YESTERDAY|MOST OF ALL|MR BASS MAN|MY EMPTY ARMS|NADINE (IS IT YOU)|NEED TO BELONG TO SOMEONE|NIGHT|NO MONEY DOWN|NO PARTICULAR PLACE TO GO|NOBODY BUT YOU|OH WHAT A NIGHT|ONE MINT JULEP|OVER THE MOUNTAIN ACROSS THE SEA|PAIN IN MY HEART|PIPELINE|THE PROMISED LAND|RAIN RAIN GO AWAY|RAINBOW|RAINDROPS|RECONSIDER BABY|Reelin' and rockin'|REET PETITE (THE SWEETEST GIRL IN TOWN)|ROAD RUNNER|ROCK AND ROLL MUSIC|Roll over Beethoven / Berry Chuck|RUNAROUND|SAY MAN|SCHOOL DAY (RING RING GOES THE BELL)|SEE SAW|See you later Alligator / Haley Bill|SHAKE A HAND|SILHOUETTES|SINCERELY|STAY IN MY CORNER|Surfin' USA / Beach Boys|Susie Q|Sweet little rock and roller|Sweet little sixteen|TAKES TWO TO TANGO|TEAR DROPS|TELL IT LIKE IT IS|THE TEN COMMANDMENTS OF LOVE|THANK YOU GIRL|THAT'S WHY (I LOVE YOU SO)|THERE'S A MOON OUT TONIGHT|THIRTY DAYS (TO COME BACK HOME)|TIME|TO BE LOVED|TOO MUCH MONKEY BUSINESS|THE WALK|THE WATUSI|THE WEDDING (LA NOVIA)|Who do you love|A WOMAN A LOVER A FRIEND|YOU CAN MAKE IT IF YOU TRY|YOU CAN'T SIT DOWN|You never can tell / Berry Chuck
Contents:+++ Articles* Lonán Ó Briain: Introduction: Sounding and Silencing Ethnicity in the 21st Century* Martin Stokes: Musical Ethnicity: Affective, Material and Vocal Turns* Rachel Harris: The New Battleground: Song-and-dance in China’s Muslim Borderlands* Lijuan Qian: Which Identity Matters? Competing Ethnicities in Chinese TV Music Contests* Thomas Solomon: Who Are the Laz? Cultural Identity and the Musical Public Sphere on the Turkish Black Sea Coast* Nomi Dave: Music, Multipartyism and the “Guinean Family”+++ Book Reviews (Eva-Maria Alexandra van Straaten, ed.)* Peter Kvetko: Jayson Beaster-Jones, Music Commodities, Markets, and Values: Music as Merchandise (2016)* Barbara Alge: Javier F. León and Helena Simonett (eds.), A Latin American Music Reader. Views from the South (2016) * Tony Perman Jennifer Kyker, Oliver Mtukudzi: Living Tuku Music in Zimbabwe (2016)* Kacey Link: Morgan James Luker, The Tango Machine: Musical Culture in the Age of Expediency (2016)* Yair Hashachar: Moshe Morad, Fiesta de Diez Pesos: Music and Gay Identity in Special Period Cuba (2014)* Stephen Wilford: Regine Allgayer-Kaufmann (ed.), World Music Studies (2016) * Aaron S. Allen: Mark Pedelty, A Song to Save the Salish Sea: Musical Performance as Environmental Activism(2016)* Inna Naroditskaya: Aida Huseynova, Music of Azerbaijan: From Mugham to Opera (2016)* Leah Kardos: Mark J. Butler, Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance (2014)* Allan F. Moore: Per Elias Drabløs, The Quest for the Melodic Electric Bass: from Jamerson to Spenner (2015)* Niko Higgins: Nina Sun Eidsheim, Sensing Sound: Singing & Listening as Vibrational Practice (2015)+++ Recording Reviews (Rehanna L. Kheshgi, ed.)* Alisha Lola Jones: Fannie Lou Hamer: Songs My Mother Taught Me. Smithsonian Folkways Recordings. (2015)* Alexander Marković: Playing ’Til Your Soul Comes Out: Music of Macedonia. Produced by Martin Koenig, recorded by David Jones. Smithsonian Folkways Recordings. (2015)* Lauren Eldridge: Lakou Mizik. Wa Di Yo (You Tell Them). Stewart Cumbancha. (2016)+++ About the Contributors+++ the world of music (new series)
You will find yourself in the streets of Buenos Aires playing a passionate Tango, an enticing Creole Waltz or a sparkling Chacarera. World Music Argentina for ensemble gives young musicians the opportunity to familiarize themselves with music cultures from Argentina. A selection of pieces of fascinating and, at the same time, important styles of music from Argentina should further intensify the already present interest. Rhythms, styles, and instruments typical of a certain country are explained in short texts. The pieces are intended for modern ensemble instruction, in flexible instrumentation, and, thus, can be employed in a variety of ways. Aside from a play-along version, the CD also contains an ensemble version with instruments typical of the respective style of music. Instrumentation: for flexible instrumentation (2 melody instruments in c or bb), piano, bandoneon, guitar, bass (double bass or electric bass), percussion
Dancing tango. A stage, a black curtain, a nothing, a something. More? Music. The couple dancing tango finds its analogy in the two clarinets. The dancers are moving on a fictitious stage &#8211; different constellations develop in this room, various relationships between the instruments come into being. The thirteen minute tangos trace these different constellations. They create miniature pictures of the situations, sketches, each of them with an approximate duration of one minute, grouped into two units of six minute tangos each and rounded off with the somewhat longer &#8220;Canción&#8220;. Two people are dancing tango. Two instruments are playing for the dance. Instrumentation: 2 clarinets in Bb (or clarinet in Bb and bass clarinet)
The detective-Tango as cult-song of the 60s in a parody for soprano- alto and bass recorder, even better for alto, bass and subbass recorder. The Waltz Tea for Three which roots llie in the Jewish folksong Hevenu shalom aleichem, the overtone voice can be well set with an alto recorder. The series Ensemble Dreiklang Berlin is an attractive collection of Iiterature for recorder trio. The wide range of stylistically varied pieces features arrangements and original compositions for both classical and popular music with the various instruments of the recorder family being combined in different fashions. Through this professional presentation of sophisticated literature for recorder, Ensemble Dreiklang Berlin has introduced a new style in recorder literature which motivates and inspires young players and is also well received by the audience. Instrumentation: for 3 recorders (SAB/AAB)
What's the best way to learn concepts? Through experience! How about a great way to memorize facts? By singing! This ingenious collection demonstrates fundamental musical concepts while clever lyrics define them. Dynamics, articulations, tempo markings, treble and bass clef note names, rests, fermatas, and more; it's all about music! Mark includes creative lessons (often games) and suggests related listening (usually masterworks) for every song in the book. So fun, kids won't realize they're learning. So fundamental, curriculum planning is a cinch! Recommended for grades 2-6. Titles: The Articulation Tango * Dynamics * The Fermata Song * Gimme That Syncopation * Melody and Harmony * A Song About Rests * Staff! * Tempo Time Machine.
An invention of the Industrial Revolution, the accordion provided the less affluent with an inexpensive, loud, portable, and durable 'one-man-orchestra' capable of producing melody, harmony, and bass all at once. This rich collection considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the more exotic-sounding South American bandoneÃ³n and the sanfoninha._x000B__x000B_Capturing the instrument's spread and adaptation to many different cultures in North and South America, contributors illuminate how the accordion factored into power struggles over aesthetic values between elites and working-class people who often were members of immigrant and/or marginalized ethnic communities. Specific histories and cultural contexts discussed include the accordion in Brazil, Argentine tango, accordion traditions in Colombia and the Dominican Republic, cross-border accordion culture between Mexico and Texas, Cajun and Creole identity, working-class culture near Lake Superior, the virtuoso Italian-American and Klezmer accordions, Native American dance music, and American avant-garde. _x000B__x000B_Contributors are MarÃ a Susana Azzi, Egberto BermÃºdez, Mark DeWitt, Joshua Horowitz, Sydney Hutchinson, Marion Jacobson, James P. Leary, Megwen Loveless, Richard March, Cathy Ragland, Helena Simonett, Jared Snyder, Janet L. Sturman, and Christine F. Zinni.