A compiled set of studies in the contrapuntal style of harmony.

Already known as a Wagner scholar for his work on the sketches of the Flying Dutchman, Paul Machlin has for many years taken a scholarly interest in the school of Harlem 'stride' jazz pianists. Stride: The Music of Fats Waller is a full analysis of the piano music of Waller as composer, soloist and recording artist. 38 music examples illustrate Waller's complex keyboard style and improvisatory techniques. The discussion of Waller's piano music is set in the context of a biographical study, and a discography listing all known recordings by the pianist.

Accent on Achievement is a revolutionary, best-selling band method that will excite and stimulate your students through full-color pages and the most complete collection of classics and world music in any band method. The comprehensive review cycle in books 1 & 2 will ensure that students remember what they learn and progress quickly. Also included are rhythm and rest exercises, chorales, scale exercises, and 11 full band arrangements among the first two books. Book 3 includes progressive technical, rhythmic studies and chorales in all 12 major and minor keys. Also included are lip slur exercises for increasing brass instrument range and flexibility. Accent on Achievement meets and exceeds the USA National Standards for music education, grades five through eight. This title is available in SmartMusic.

- An important and timely volume, presenting and delivering a much-needed (and inclusive) counter-narrative in the field of Community Music - Chimes with the International Society of Music Education's World 2020 Conference theme on celebrating equity and diversity in music education (including Community Music) research and practices - Appropriate and required reading for a large range of readers including (but not limited to) undergraduates, graduate students, academics, scholars, university professors, practitioners, and researchers

Music is a heavenly gift. It is one of the only gifts that transcends the barriers of language and creed. The inspirational and charismatic music of the Bahama Brass Band stirs a range of emotions from overwhelming peace and contentment to sheer bliss.

The harmonic arrangements combined in the music of the Bahama Brass Band are the culmination of many influences; the most important being our heritage and faith in Almighty God. The world famous Bahama Brass Band was organized in 1925 by four ministers of the Gospel namely; Bishop Hermis Ferguson, Bishop Alvin S. Moss, Bishop James R. Cooper, and Pastor Frank Cunningham. Today, with the combination of its Nassau and Grand Bahama segments, the membership exceeds 100.

This band plays an important role in the ministry of the Church of God of Prophecy as evidenced by its performances at local and state conventions as well as the bi-annual worldwide General Assemblies.

The late Bishop Stanley R. Ferguson, first colonial overseer prophesied that the day would come when this band would play before Kings and the Rulers of the earth. On July 10th, 1973 the prophecy was fulfilled during The Bahamas' Independence Celebrations. In attendance to witness the ministry of this band were; Prince Charles, Prince of Wales, representative for his mother Queen Elizabeth II of the United Kingdom, Sir Roland Symonette, former premier of The Bahamas, Rt. Hon. Sir Lynden Pindling, prime minister of The Bahamas, prime ministers and government representatives of St. Lucia, Jamaica, Bermuda, St. Kitts, Grenada and thirty (30) Latin American countries.

A new compact format from best-selling music author Jake Jackson. 20 scales per key, organised with notation and TAB, this is a simple, direct solution for anyone learning the guitar or needing a quick reminder. Great for beginners and intermediate players, and for those needing a straightforward reference.

Chelsea Morning * Both Sides Now * Big Yellow Taxi * Woodstock * Free Man in Paris * Raised on Robbery * Chinese Cafe and more. Thirty-one songs in all.

This book introduces every important aspect of the Elizabethan music world. In ten scrupulously researched yet accessible chapters, Lord examines the lives of composers, the evolution of musical instruments, the Elizabethan system of musical notation, and the many textures and traditions of Elizabethan music. Biographical entries introduce the most significant and prolific composers as well as the members of royal society who influenced Elizabethan musical culture. Both familiar and obscure instruments of the era are described with focus on their musical and social contexts. Various types of music are defined and illustrated, along with an explanation of the musical notation used during this era. Chapter bibliographies, glossaries, and an index provide additional tools for both the novice and the experienced student of music and music history. When Elizabeth ascended to the throne in 1558, England was undergoing tremendous upheaval. Power struggles between Protestants and Catholics shaped the English music world as musicians' livelihoods were directly linked to their religious allegiances. Music became a form of strategy within court politics, and secular music evolved through the musical and poetic influences of the Italian Renaissance. Events of the day were told and retold through music, class and social differences were sung with relish, and rituals of love and life were set to story and song. When England defeated the vaunted Spanish Armada in 1588, a victorious nation expressed its jubilance through music.

The transition from the valveless natural horn to the modern valved horn in 19th-century Paris was different from similar transitions in other countries. While valve technology was received happily by players of other members of the brass family, strong support for the natural horn, with its varied color palette and virtuoso performance traditions, slowed the reception and application of the valve to the horn. Using primary sources including Conservatoire method books, accounts of performances and technological advances, and other evidence, this book tells the story of the transition from natural horn to valved horn at the Conservatoire, from 1792 to 1903, including close examination of horn teaching before the arrival of valved brass in Paris, the initial reception and application of this technology to the horn, the persistence of the natural horn, and the progression of acceptance, use, controversies, and eventual adoption of the valved instrument in the Parisian community and at the Conservatoire. Active scholars, performers, and students interested in the horn, 19th-century brass instruments, teaching methods associated with the Conservatoire, and the intersection of technology and performing practice will find this book useful in its details and conclusions, including ramifications on historically-informed performance today.