(Artist Books). Flute solos from 18 Jethro Tull songs have been transcribed for this collection. Songs include: Bungle in the Jungle * Cross-Eyed Mary * Fire at Midnight * Look into the Sun * Nothing Is Easy * Thick as a Brick * The Witch's Promise * and more.

Creative Saxophone Improvising is the third book in the series and leads the student towards fluent and idiomatic improvisation using a range of skills and techniques. The book includes 16 new pieces in a range of contemporary styles, each presented with warm ups, scales, and solo ideas or melodic variations to be used as a basis for improvising. BL For intermediate saxophonists of all ages BL Authentic and varied CD backing for all pieces;includes versions for alto and tenor saxophone

"Brave New Bass is the most extensive collection ever gathered of interviews and music lessons by contemporary electric and acoustic bass masters. Detailing top players' careers, musical technique, and equipment, the book appeals to bassists of any style as a way to deepen their knowledge of their instrument and its history, and gain tips for playing and sounding better. Other instrumentalists and music fans will enjoy the detailed look at this ever-more-influential instrument and its stars and behind-the-scenes practitioners. Covering 34 players in styles ranging from pop and rock to world music and experimental jazz, the book includes profiles of Marcus Miller, Anthony Jackson, John Patitucci, Victor Wooten, Steve Bailey, and Will Lee.

This is the first in-depth survey of the oboe during its Golden Age, tracing the history of the instrument from its invention through its many mutations as it adapted to the changing demands of composers. The author describes in detail the instruments, players, makers, and composers, how and where it was played, and who listened to it.

The renaissance flute, with its rich history, stunning repertoire, and mellow tone, has attracted a significant following among flutists, whether they specialize in modern flute or historical instruments. Yet, actually delving into the study of renaissance flute has proven a challenge - there exists a confusing array of editions of renaissance music, specialized (and often expensive) facsimiles of manuscripts and early prints, and in unfamiliar notations, while at the same time there is a dearth of resources for beginners. Confronting this challenge with the first ever practitioners' handbook for renaissance flute, Kate Clark and Amanda Markwick offer flutists of all levels a clear and accessible introduction to the world and repertoire of the instrument. In The Renaissance Flute: A Contemporary Guide, Clark and Markwick cover all aspects, from practicalities such as buying and maintaining the instrument, to actual music for solo and group performance, to theory designed to improve the understanding and playing of renaissance polyphony. This approach enables students to immerse themselves at their own pace and build on their skills with each chapter. With nearly 40 full pages of exercises, and a companion website with recorded examples and filmed instructions from the authors, The Renaissance Flute provides professionals and newcomers alike a new entryway into the world and practice of renaissance music.

What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? In Piercing the Structure of Tradition, Mariko Anno investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. Anno examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Isso School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by Yeats. Her ethnographic approach draws on interviews with performers and case studies, as well as her personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. She argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.

What do the world's most prominent oboists have to say about their musical ideas, performance techniques, and teaching strategies? Michele L. Fiala and Martin Schuring, themselves skilled oboists, undertook the project of asking twenty-six of them about their musicianship and pedagogy. The results are collected in Great Oboists on Music and Musicianship, which provides a unique window into how these virtuosi of wind instruments think about their craft. Each chapter paints an engaging portrait of a leading oboist that allows them to share-in their own words-their insights on the performance techniques, learning strategies, and career moves that propelled them to their current stature. The captivating prose chapters that Fiala and Schuring composed from the interviews allow each artist's personality to shine through as they convey their hard-won wisdom on topics such as musical interpretation, the relationship between vocal and instrumental music, being a good ensemble player, and warm-up routines. The diverse array of musicians portrayed in this book includes orchestral and solo performers from across North America, Europe, and Australia. Their practical advice will resonate not just with oboists but also with players and teachers of other instruments as they pursue their own musical journeys.

"Meticulously researched, detailed and documented, this long awaited overview justly establishes Konitz as one of the most consistently brilliant, adventurous and original improvisers in the jazz tradition--a genius as rare as Bird himself."--John Zorn "Hamilton's work may well mark the inception of a format new to writing on Western music, one which avoids both the self-aggrandizing of autobiography and the stylized subjectification of biography."--"The Wire" "An extraordinary approach to a biography, with the man himself speaking for extended sessions. The main vibration I felt from Lee's words was total honesty, almost to a fault. Konitz shows himself to be an acute observer of the scene, full of wisdom and deep musical insights, relevant to any historical period regardless of style. The asides by noted musicians are beautifully woven throughout the pages. I couldn't put the book down--it is the definition of a living history."--David Liebman The preeminent altoist associated with the "cool" school of jazz, Lee Konitz was one of the few saxophonists of his generation to forge a unique sound independent of the influence of Charlie Parker. In the late 1940s, Konitz began his career with the Claude Thornhill band, during which time he came into contact with Miles Davis, with whom he would later work on the legendary "Birth of the Cool" sessions. Konitz is perhaps best known through his association with Lennie Tristano, under whose influence much of his sound evolved, and for his work with Stan Kenton and Warne Marsh. His recordings have ranged from cool bop to experimental improvisation and have appeared on such labels as Prestige, Atlantic, Verve, and Polydor. Crafted out of numerousinterviews between the author and his subject, the book offers a unique look at the story of Lee Konitz's life and music, detailing Konitz's own insights into his musical education and his experiences with such figures as Miles Davis, Stan Kenton, Warne Marsh, Lennie Tristano, Charles Mingus, Bud Powell, and Bill Evans. Andy Hamilton is a jazz pianist and contributor to major jazz and contemporary music magazines. He teaches philosophy, and the history and aesthetics of jazz, at Durham University in the United Kingdom. He is also the author of the book "Aesthetics and Music" (Continuum 2007). Joe Lovano is a Grammy Award-winning tenor saxophonist. His most recent album is "Streams of Expression,"

A collection of repertoire books of enjoyable, interesting, and stimulating material for use in the early stages of learning. Pieces are in chronological order, with brief notes placing them in history.

A collection of repertoire books of enjoyable, interesting, and stimulating material for use in the early stages of learning. Pieces are in chronological order, with brief notes placing them in history.

The first edition of this book was published in 1962 and quickly established itself as the classic guide to all aspects of horn-playing, with chapters on tone-production, exercises, legato and staccato playing, and the art of practising. For this new edition the author has greatly enlarged the Repertoire List, which gives details of over 1,000 pieces from the solo, chamber, and orchestral repertoires which include one or more horns. The author draws attention to key works in each genre. There are also a number of corrections and up-datings throughout the text and a new preface outlining recent developments in the horn world.

(Music Sales America). Absolute Beginners: Flute uses step-by-step pictures to take you from first day exercises to playing along with a backing track Absolute Beginners has been designed to tell you everything you need to know from the first time you play your flute. In one great book you get: A look-and-learn course that uses clear pictures instead of long explanations; Practical advice and tips covering everything you need to know to get you playing, fast ; CD audio tracks to show you how things should sound; Full-length accompaniment tracks to play along with; and more.

Contents: Prelude et Scherzo (Henri Busser) * Concertino, Op. 107 (Cecile Chaminade) * Concertino, op 45 (Alphonse DuVernoy) * Cantabile et Presto (Georges Enesco) * Fantasie, Op. 79 (Faure) * Andante et Scherzo (Louis Ganne) * Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert) * Ballade (Perilhou) * Andante Pastoral et Scherzettino (Paul Taffanel).

"...this work is likely to become a standard work very quickly and is to be recommended to all schools where recorder studies are undertaken" -Oliver James,Contact Magazine. A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire of Bach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.

Brass accompaniments for eight popular Christmas carols, to be performed with choir and congregation. Scoring for the 5-part arrangement is: 2 trumpets in B flat, horn in F, trombone, tuba, and optional percussion. Scoring for the 8-part arrangement is: 4 trumpets in B flat, 3 trombones, tuba, and optional percussion. Organ parts and scores of the fanfares are included in the sets.

A collection of repertoire books of enjoyable, interesting, and stimulating material for use in the early stages of learning. The pieces in Book 2 are of around grades 2-3 standard and are in chronological order, with brief notes placing them in history.

The second edition of Susan J. Maclagan's A Dictionary for the Modern Flutist presents clear and concise definitions of more than 1,600 common flute-related terms that a player of the Boehm-system or Baroque flute may encounter. Fully illustrated with more than 150 images, the entries describe flute types, flute parts; playing techniques; acoustics; articulations; intonation; common ornaments; flute-making and repairs; flute history; flute music books, and many more topics. Unique to the second edition are entries on beatbox techniques and muscles of the face and throat. Entries now also feature bibliographic cross-references for further research. Carefully labeled illustrations for many flute types, parts, mechanisms, and accessories help make definitions easier to visualize. Appendixes provide further information on such subjects as flute classifications, types of flutes and their parts, key and tone hole names, head joint options, orchestra and opera audition excerpts, and biographies of people mentioned in the definitions. Contributed articles include "An Easy Guide to Checking Your Flute Tuning and Scale" by Trevor Wye; "Flute Clutches" by David Shorey; "Early Music on Modern Flute" by Barthold Kuijken; and "Crowns and Stoppers" and "Boehm Flute Scales from 1847 to the Present:The Short Story" by Gary Lewis. Maclagan's A Dictionary for the Modern Flutist, second edition is an essential reference volume for flutists of all levels and for libraries supporting student, professional, and amateur musicians.

The fascinating story of a hugely popular instrument, detailing its rich and varied history from the Middle Ages to the present The recorder is perhaps best known today for its educational role. Although it is frequently regarded as a stepping-stone on the path toward higher musical pursuits, this role is just one recent facet of the recorder's fascinating history-which spans professional and amateur music-making since the Middle Ages. In this new addition to the Yale Musical Instrument Series, David Lasocki and Robert Ehrlich trace the evolution of the recorder. Emerging from a variety of flutes played by fourteenth-century soldiers, shepherds, and watchmen, the recorder swiftly became an artistic instrument for courtly and city minstrels. Featured in music by the greatest Baroque composers, including Bach and Handel, in the twentieth century it played a vital role in the Early Music Revival and achieved international popularity and notoriety in mass education. Overall, Lasocki and Ehrlich make a case for the recorder being surprisingly present, and significant, throughout Western music history.