By Harry Gregson-Williams
8 piano/vocal/guitar decisions from the Walt Disney images and Walden Media hit motion picture, with song composed through Harry Gregson-Williams. contains: cannot Take It In * Evacuating London * Father Christmas * Lucy Meets Mr. Tumnus * A Narnia Lullaby * the place * wintry weather gentle * Wunderkind.
Read or Download The Chronicles of Narnia: The Lion, the Witch and The Wardrobe (Piano Voice Guitar) PDF
Similar music: guitar books
The hot ordinary in jazz faux books in view that 1988. counseled via McCoy Tyner, Ron Carter, Dave Liebman, and lots of extra. flippantly divided among criteria, jazz classics and pop-fusion hits, this can be the all-purpose ebook for jazz gigs, weddings, jam periods, and so on. like every Sher track pretend books, it good points composer-approved transcriptions, easy-to-read calligraphy, and lots of extras (sample bass strains, chord voicings, drum appendix, and so forth.
The main finished track occupation advisor on hand: covers the complete diversity of profession concerns so much musicians face. opposite to the normal comic story approximately the way to get to Carnegie corridor, ''making it'' in track isn't really easily approximately perform, perform, perform. this day, over 200,000 humans within the usa paintings as musicians.
''Mek a few Noise'' , Timothy Rommen's ethnographic learn of Trinidadian gospel song, engages the a number of musical kinds circulating within the nation's complete Gospel group and illustrates the rigorously negotiated and contested areas that they occupy in dating to questions of identification. by means of exploring gospelypso, jamoo (''Jehovah's music''), gospel dancehall, and North American gospel track, besides the discourses that encompass performances in those kinds, he illustrates the level to which price, which means, and appropriateness are regularly circumscribed and reinterpreted within the strategy of coming to phrases with what it seems and seems like to be a whole Gospel believer in Trinidad.
Through age thirty-nine, Blair Kilpatrick had settled into lifestyles as a working towards psychologist, spouse, and mom. Then an opportunity come upon in New Orleans grew to become her global the wrong way up. She again domestic to Chicago with not likely new passions for Cajun track and its defining software, the accordion. Captivated through habitual desires of taking part in the Cajun accordion, she got down to grasp it.
- Music and Mysticism (Contemporary Music Review Series, Vol 2)
- The Digital Songstream: Mastering the World of Digital Music
- The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City (Latin America in Translation En Traduccion En Traducao)
- Understanding the classical music profession: the past, the present and strategies for the future
- Role-Play and the World as Stage in the Comedia (Liverpool University Press - Liverpool Music Symposium)
- Slayer - Seasons In The Abyss
Extra resources for The Chronicles of Narnia: The Lion, the Witch and The Wardrobe (Piano Voice Guitar)
Trimillos Why should an ethnomusicologist with limited performance skills lead a study group? ” Such a rationale would not be acceptable for choosing the leader of a jazz ensemble or a collegium musicum. Why would it be it acceptable for a non-Western musical tradition? Would a faculty member whose entire orchestral background consisted of playing four semesters in the second violin section and two courses in string technique be entrusted with a university symphony orchestra? The qualiWcations for the ethnomusicologist as performance teacher should be subject to the same queries.
I have described some of the features of the culture carrier as native teacher for the study group. Although the descriptive strokes have been deliberately broad, these features provide a matrix against which the two remaining, “outsider” archetypes can be considered. The Wrst is the ethnomusicologist as ensemble teacher. The Ethnomusicologist Mediating Tradition The ethnomusicologist who is an established performer and the ethnomusicologist who is only knowledgeable about performance may be viewed as belonging to two different categories.
My teacher was Kay Mikami, a kibei 13 who studied in Japan with the Ikuta School master Miyagi Michio. qxd 34 5/11/2004 8:55 AM Page 34 Ricardo D. Trimillos She returned to Honolulu and established a private teaching practice within the local Japanese community. I studied with her only at the university, and not in the traditional diasporic setting, during lessons on weekends at her house. I have taught koto at the University of Hawai’i only, and always as an ensemble class. I established no private studio in the Honolulu community.