Jazz Conception is a new and exciting way for players at all levels to learn the language of jazz! Each book/mp3 CD set features 21 solo etudes based on chord changes to standards and blues. The same 21 etudes transposed and adapted for the main jazz instruments. See and hear how a well known soloist phrases and articulates and play along with or without the soloist on the CD. Play along with one of todays finest, swinging New York rhythm sections: Mike LeDonne on piano, Dennis Irwin on bass, and Kenny Washington on drums. Start out fairly easy, then get progressively more difficult. Use the etudes as a bridge to solos of the masters that are usually more complicated and involved. Learn melodies and lines that will give you a solid jazz vocabulary and musicality. Use the book/CD sets for private lessons, for self-study, or in any combination up to a full jazz ensemble, including flute and clarinet. If you are more advanced you may want to use the book to develop your sight reading abilities, for transcribing the etudes off the CD (then check against the book) or for just having fun playing along with a great jazz rhythm section. Use as an improvisation study, learning how to construct a swinging, logical solo - works especially well in combination with the Study Guide. The Jazz Conception Series is also perfectly suited for the class room. It can be used to develop younger students jazz style in a big band or small group. In an improvisation class the teacher can use the etudes as studies in improvisation. The Study Guide provides an analysis of each etude, along with practice assignments for each etude. Please note that mp3 CDs may not work on some (older) CD players. Instrumentation: flute"Jazz Conception" ist eine neue und spannende Methode für Spieler jeder Stufe, die Sprache des Jazz zu erlernen. Jedes Buch/CD-Set enthält 21 Soloetüden zu Akkordwechseln bei Standards und Blues. Diese 21 Etüden wurden für die wichtigsten Jazzinstrumente transponiert und bearbeitet. Sehen und hören Sie, wie ein bekannter Solist phrasiert und artikuliert, und spielen Sie mit oder ohne den Solisten auf der CD. Spielen Sie zusammen mit einer der besten swingenden New Yorker Rhythmusgruppe von heute: Mike LeDonne am Klavier, Dennis Irwin am Bass und Kenny Washington an den Drums. Die Stücke beginnen relativ einfach und werden nach und nach immer schwieriger. Nutzen Sie die Etüden als Brücke zu den Soli der großen Meister, die normalerweise viel komplexer und komplizierter sind. Lernen Sie Melodien und Stimmen und verschaffen Sie sich so ein solides Jazzvokabular und eine gute Musikalität. Nutzen Sie das Buch mit der Begleit-CD für den privaten Unterricht, zum Selbststudium oder in jeder Besetzung bis hin zum großen Jazzensemble mit Flöte und Klarinette. Wenn Sie schon weiter fortgeschritten sind, können Sie das Buch auch dazu verwenden, Ihr Vom-Blatt-Spiel zu verbessern, die Etüden von der CD aufzuschreiben (und dann mit dem Buch zu vergleichen) oder einfach nur, um Spaß beim Spiel mit einer großen Jazz-Rhythmusgruppe zu haben. Verwenden Sie es zum Üben von Improvisation und lernen Sie, wie man ein swingendes und logisches Solo aufbaut; dies funktioniert besonders gut in Verbindung mit dem "Study Guide". Die "Jazz Conception"-Reihe eignet sich auch hervorragend für den Schulunterricht. Sie kann dazu verwendet werden, den Jazzstil jüngerer Schüler in einer Bigband oder einem kleinen Ensemble zu formen. In einer Improvisationsklasse kann der Lehrer die Etüden als Improvisationsübungen verwenden. Das Handbuch enthält eine Analyse jeder Etüde sowie praktische Aufgaben zu jeder Etüde. Schwierigkeitsgrad: 3-4
In present study an effort has been made to optimize the CNC milling parameters for D3 material using Response Surface Method (RSM) to maximize material removal rate (MRR) and minimize surface Roughness. As Speed (rpm), Feed (mm/min) and depth of cut (mm) are the main milling parameters to optimize includes operator skill, Tool used, work material, machining conditions, coolant used etc. as noise factors. Therefore considered parameters to optimize in present study are speed, feed and depth of cut. Surface Roughness (Ra) and material removal rate (Ra) are the considered responses. Machining has been done on kitumura 1992 model series CNC vertical milling machine with 4 flute carbide tool on the RSM matrix of input parameters. Further material removal rate (MRR) and surface roughness (Ra) are measured. Then analysis work has been done using regression test. After that we got optimized parameters for CNC milling to get maximum MRR and Minimum Ra. The optimum values of machining parameters - cutting speed, feed and depth of cut were determined as 2210.07 rpm, 850 mm/min and 0.237430 mm respectively.
In this book,the author evaluates children's literature referring specifically to Chinua Achebe, a prolific African writer.This in view of the fact that children's literature imparts important cultural values to the children and affords them aesthetic enjoyment.The study has been mainly guided by the Stylistic Criticism theory which foregrounds language as an important vehicle for communication and also highlights the aesthetic aspects of literary works of art.In this book,Achebe's four children's books are examined,namely:The Drum,The Flute,How Leopard Got His Claws and Chike and the River.Some of the findings of the stylistic analysis of the four novels include the following:Achebe has instilled a sense of both morality and ambition to the readers through the use of simplistic themes wrapped in simple but captivating language.He has employed credible characters to which children easily identify with.His novels have provided entertainment and socio-cultural instruction.This analysis reveals that Achebe has, indeed provided children a healthy reading diet.
Henry Cowell's interest and involvement with modern music societies in the early twentieth century is well known and documented. His experiences and performances with these groups allowed him to collaborate with some of the most promising flutists of the time who would become important performers, teachers, and pedagogues throughout the twentieth century. Cowell collaborated with flutists such as Georges Barrère, Julius Baker, Samuel Baron, Otto Luening, and James Pellerite. These musicians were often the inspiration for some of Cowell's works for flute or were performers invited to give the first performance of a work. In existing research, however, Cowell's musical relationship with these flutists has not been extensively explored. While Cowell has been criticized as not adhering to a particular compositional style, his choice of flute as the primary instrument in twenty-nine of his pieces seems to denote an identifiable and recognizable style for flute. The relationships and collaborations between Henry Cowell and the modern flutist and the works that resulted from these collaborations will be explored in this document. Further research, analysis, and performance will reveal the importance of his influence in the world of the modern flutist in the early twentieth century, thus revealing that a new level of importance should be given to Henry Cowell's works for flute.
A SEMIOTIC VIEW OF THE FLUTE CONCERTO GENRE FROM VIVALDI TO MOZART BY DOUGLAS E. WORTHEN - Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi's Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart. Comparisons spring from Quantz's description of "A serious concerto for a single solo instrument with a large accompanying body requires the following characteristics in its first movement." Historical, hermeneutic, and analytical perspectives of these works are presented, with an appended chapter on ornamentation and performance practice. Submitted in partial fulfillment of the requirements for the Degree Doctor of Musical Arts, The Hartt School, University of Hartford September 29, 2007.
Transkriptionen der Klavierbegleitung plus Lead Sheets (einfache Klavierstimmen). Der Kanal mit dem Klavier kann abgedreht werden.Schwierigkeitsgrad: 3-4 Exact transcriptions, as played by Mike LeDonne, plus 21 simple piano lead sheets.See and hear how a well known piano player phrases and articulates and comps for the soloists on the CD.Play along with one of todays finest, swinging New York rhythm sections: Mike LeDonne on piano, Dennis Irwin on bass, and Kenny Washington on drums.Use the book/CD sets for private lessons, for self-study, or in any combination up to a full jazz ensemble, including flute and clarinet.If you are more advanced you may want to use the book to develop your sight reading abilities, for transcribing the comping off the CD (then check against the book) or for just having fun playing along with a great jazz rhythm section.The Jazz Conception Series is also perfectly suited for the class room. It can be used to develop younger students jazz style in a big band or small group. In an improvisation class the teacher can use the etudes as studies in improvisation. The Study Guide provides an analysis of each etude, along with practice assignments for each etude.Instrumentation:piano
This book is based on the Ph.D. dissertation, "Aesthetical and Technical Analysis of Selected Flute Works by Sofia Gubaidulina", by Zehra Ezgi Kara which was defended in March 2019. In this book, the music policies of the Soviet Union, Soviet avant-garde music and the works of Sofia Gubaidulina (1931-) are examined. The purpose of this book is to analyze selected flute works of Gubaidulina from a technical and aesthetic point of view and to explain how she uses timbral features, Fibonacci numbers, and symbolism in her works. In addition, since the analysis of the works of Garden of Joy and Sorrow (1980) and Quartet for Four Flutes (1977) provides detailed information of their content and structural features, this study constitutes a source for musicologists and performers.
"Die Bewegung der Zeit" focuses on relevant aspects of my creative process and the elucidation of my musical output. It concentrates on the way some ideas and concepts of perception of musical time and time-abstraction have been manifested in my aesthetic position. This work is divided into two main sections. In the first one, I briefly summarize three different historical essays on concepts of time in music written by Theodor W. Adorno, Gérard Grisey and Brian Ferneyhough. In the second part, I analyze my work for baritone, flute and percussion: ... "canto cósmico" ... (2013). Throughout the analysis, I bring to light various technical and formal elements and discuss how some ideas about musical time were filtered in and reflected on my creative work. Initially, the analysis focuses on the macro-structure of the work, its cyclic form and the relationship with Karlheinz Stockhausen's formula technique. Then, it gradually moves into each inner section of the piece, whereby the properties of the used musical materials, their transformations and their functions within a non-linear articulation of the musical discourse are to be exposed.
This study demonstrates Paul Schoenfield s reintroduction of the flute as the lead instrument in klezmer music, diverging from the recent exclusive use of the clarinet. The present study of Schoenfield s blending of klezmer and classical idioms focuses upon his chamber concerto, Klezmer Rondos for Flute, Male Vocalist and Orchestra. This document presents a brief biography of the composer exemplifying Schoenfield s compositional process and the influences on his music. In order to provide the reader with an informed understanding of klezmer style, the history and development of klezmer music is chronicled and the various stylistic elements idiomatic of this traditional music are described. Ultimately, a discussion on the genesis of Klezmer Rondos from the commissioning process through later revisions, as well as a complete analysis of the work, illustrates the composer s use of klezmer modes, ornamentation, and orchestration blended into the classical concerto genre.