Larry Minsky introduces students to the world of jazz with clever original compositions and innovative arrangements of traditional melodies and jazz standards, all with upbeat teacher duet accompaniments. Titles include: Yankee Doodle * A Tisket, a Tasket * Old MacDonald * Pop Goes the Weasel * My Dog Samantha * Party Time.
Composer and arranger Larry Minsky writes out all the jazz riffs and improvisations giving a real "professional jazz sound" to this exciting mix of jazz standards and jazz originals. Titles: * Daydreamer * Riding the Wind * Ballad in C * Rock Prelude * Sunny * I've Got a Crush on You * The Lady Is a Tramp * Bewitched Incredible jazz stylings for the late elementary student!
Titles: * Ja Da * The Muffin Man * Alexander's Ragtime Band * When the Saints Go Marching In * The Love Nest * Waltz Exciting teacher duets are included for each piece.
Composer and arranger Larry Minsky writes out all the jazz riffs and improvisations giving a real "professional jazz sound" to this exciting mix of jazz standards and jazz originals. Titles: * Bluesy * Upbeat Monday * Nocturne * Jazzy Waltz * On the Sunny Side of the Street * Over the Rainbow * I Could Write a Book * How Long Has This Been Going On? Impressive, hip, and elegant stylings within the abilities of every player at the intermediate level!
Intermediate-level players can achieve a real "professional jazz sound" with this exciting mix of jazz standards and jazz originals by hot New York jazz player Larry Minsky. These incredible easy-to-play jazz stylings include original jazz riffs and written-out improvisations. Titles: * Everything's Coming Up Roses * Solitude * On Green Dolphin Street * Here's That Rainy Day
A successor to the acclaimed 'Music and Emotion', The Handbook of Music and Emotion provides comprehensive coverage of the field, in all its breadth and depth. As well as summarizing what is currently known about music and emotion, it will also stimulate further research in promising directions that have been little studied.
This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives. In this sense, the book responds to a need for an anthology that introduces students as well as scholars of cinema, musicology, media studies and cultural studies more broadly, to recent discourses in film music scholarship. The volume includes contributions by early career researchers as well as by established experts in the fields of musicology, film studies, media studies, and cultural studies, promoting cross-disciplinary collaboration in film music research.
Steve Beresford's polymathic activities have formed a prism for the UK improv scene since the 1970s. He is internationally known as a free improviser on piano, toy piano and electronics, composer for film and TV, and raconteur and Dadaist visionary. His résumé is filled with collaborations with hundreds of musicians and other artists, including such leading improvisers as Derek Bailey, Evan Parker and John Zorn, and he has given performances of works by John Cage and Christian Marclay. In this book, Beresford is heard in his own words through first-hand interviews with the author. Beresford provides compelling insight into an extensive range of topics, displaying the broad cultural context in which music is embedded. The volume combines chronological and thematic chapters, with topics covering improvisation and composition in jazz and free music; the connections between art, entertainment and popular culture; the audience for free improvisation; writing music for films; recording improvised music in the studio; and teaching improvisation. It places Beresford in the context of improvised and related musics – jazz, free jazz, free improvisation – in which there is growing interest. The linear narrative is broken up by 'interventions' or short pieces by collaborators and commentators.