Blues Flute Practice Sessions Volume 1 In All 12 Keys Catalog Number: ADG237 Author: Andrew D. Gordon Publisher: ADG Productions I have created various Blues riffs and has transposed them into all 12 keys along with backing tracks to practice with giving you the student a fun way of learning how to play in all keys. We all learned how to play our scales in all 12 keys so I have taken that concept and applied it to learning to play the Blues so that you can try to become equally adept at playing in as many keys as possible. I have heard from teachers who have used my “100 Ultimate Blues Riffs” book who will only allow a student to move on to the next riff once they have mastered playing the riff they are working on in all 12 keys, certainly a great but challenging musical exercise. Each of the riffs are either 2 or 4 measures in length that are notated and recorded around the cycle of 4th.s Also, there is a notation page whereby the riff is being used in a 12 bar blues progression so that you can see how to apply the riff to a real world situation. Each riff has been recorded 4 times: 1. Flute with rhythm tracks recorded around the cycle of 4th.s 2. Rhythm tracks recorded around the cycle of 4th.s to practice with 3. Flute with rhythm tracks recorded in a 12 bar blues progression in a designated key. 4. Rhythm tracks recorded in a 12 bar blues progression in the same key. Reasons for practicing in all 12 keys. Often a singer cannot reach certain notes in the key that you have learned the song in, therefore you will probably be asked to change the key of the song which you can do with confidence knowing all 12 keys. Having the knowledge of playing in all 12 keys, it will then become easier to learn new songs, whatever key they are in. Blues often use the keys of C, F, G, Bb, Eb, Guitar music often uses the keys of E, A, D, by learning as many keys as possible will enable you to adapt to the musical situation you are playing in. Taking riffs, chord progressions etc. through all 12 keys is a great ear training tool relying on your ears to play in keys that you are not used to before the muscle memory sets in. Practicing in all 12 keys is a great exercise for the brain, it is obviously hard work but the more you do it the benefits will become apparent. By practicing in all 12 keys you will start to see various musical patterns evolve that will help you speed up the process of learning music. It is my hope that as you practice playing in the various keys you will eventually not need the music and be able to transpose in your head.

Progressive Rock Organ Practice Sessions Volume 1 In All 12 Keys Catalog Number: ADG236 Author: Andrew D. Gordon Publisher: ADG Productions I have created various Progressive Rock riffs and has transposed them into all 12 keys along with backing tracks to practice with giving you the student a fun way of learning how to play in all keys. This is the largest book I have written totaling 107 pages. We all learned how to play our scales in all 12 keys so I have taken that concept and applied it to learning to play Progressive Rock so that you can try to become equally adept at playing in as many keys as possible. Each of the riffs are either 2, 4 or 8 measures in length that are notated and recorded around the cycle of 4th.s Also, there is a notation page whereby the riff is being used in a typical rock chord progression so that you can see how to apply the riff to a real world situation. Each riff has been recorded 4 times: 1. Organ with rhythm tracks recorded around the cycle of 4th.s 2. Rhythm tracks recorded around the cycle of 4th.s to practice with 3. Organ with rhythm tracks recorded in a Rock chord progression in a designated key. 4. Rhythm tracks recorded in a Rock chord progression in the same key. Reasons for practicing in all 12 keys. Often a singer cannot reach certain notes in the key that you have learned the song in, therefore you will probably be asked to change the key of the song which you can do with confidence knowing all 12 keys. Having the knowledge of playing in all 12 keys, it will then become easier to learn new songs, whatever key they are in. Taking riffs, chord progressions etc. through all 12 keys is a great ear training tool relying on your ears to play in keys that you are not used to before the muscle memory sets in. Practicing in all 12 keys is a great exercise for the brain, it is obviously hard work but the more you do it the benefits will become apparent. By practicing in all 12 keys you will start to see various musical patterns evolve that will help you speed up the process of learning music. It is my hope that as you practice playing in the various keys you will eventually not need the music and be able to transpose in your head. Excellent for sight reading. Review from Keyboardist Extraordinaire Mike Garson www.mikegarson.com Andrew Gordon has written his best book to date. It has wonderful licks in all 12 keys for someone who wants to learn rock piano. Andrew lays out so many possibilities with high-quality licks. This is a very useful companion for any pianist who wants to play in a band. Andrew was a student of mine in the early to mid 1980’s and to see how far he’s come with his writings and books makes me very proud. Do enjoy.

Progressive Rock Piano Practice Sessions Volume 1 In All 12 Keys Catalog Number: ADG235 Author: Andrew D. Gordon Publisher: ADG Productions I have created various Progressive Rock riffs and has transposed them into all 12 keys along with backing tracks to practice with giving you the student a fun way of learning how to play in all keys. This is the largest book I have written totaling 107 pages. We all learned how to play our scales in all 12 keys so I have taken that concept and applied it to learning to play Progressive Rock so that you can try to become equally adept at playing in as many keys as possible. Each of the riffs are either 2, 4 or 8 measures in length that are notated and recorded around the cycle of 4th.s Also, there is a notation page whereby the riff is being used in a typical rock chord progression so that you can see how to apply the riff to a real world situation. Each riff has been recorded 4 times: 1. Piano with rhythm tracks recorded around the cycle of 4th.s 2. Rhythm tracks recorded around the cycle of 4th.s to practice with 3. Piano with rhythm tracks recorded in a Rock chord progression in a designated key. 4. Rhythm tracks recorded in a Rock chord progression in the same key. Reasons for practicing in all 12 keys. Often a singer cannot reach certain notes in the key that you have learned the song in, therefore you will probably be asked to change the key of the song which you can do with confidence knowing all 12 keys. Having the knowledge of playing in all 12 keys, it will then become easier to learn new songs, whatever key they are in. Taking riffs, chord progressions etc. through all 12 keys is a great ear training tool relying on your ears to play in keys that you are not used to before the muscle memory sets in. Practicing in all 12 keys is a great exercise for the brain, it is obviously hard work but the more you do it the benefits will become apparent. By practicing in all 12 keys you will start to see various musical patterns evolve that will help you speed up the process of learning music. It is my hope that as you practice playing in the various keys you will eventually not need the music and be able to transpose in your head. Excellent for sight reading. Review from Keyboardist Extraordinaire Mike Garson www.mikegarson.com Andrew Gordon has written his best book to date. It has wonderful licks in all 12 keys for someone who wants to learn rock piano. Andrew lays out so many possibilities with high-quality licks. This is a very useful companion for any pianist who wants to play in a band. Andrew was a student of mine in the early to mid 1980’s and to see how far he’s come with his writings and books makes me very proud. Do enjoy.

To play the flute with a clear and convincing sound depends on the understanding of the physical concepts required to make the instrument sound without using undue force and applying just the right amount of physical help where needed. Edmund Raas has explored and taught these fine-points for over 60 years. Born in Switzerland, he has been influenced by the teachings of Emil Niosi (pupil of the great Georges Barrre), Hugo Haldemann, Jean-Pierre Rampal and Aurle Nicolet. Besides teaching, he had the opportunity to play solo concerti and act in many chamber music groups including Renaissance and Baroque music on period instruments. From 1977 to 2005 he also acted as first flutist in the Municipal Symphony Orchestra of So Paulo, Brazil. Since his retirement from this orchestra he is pursuing a career as composer.

12 Contemporary Jazz Etudes is written by the world-renowned jazz composer, arranger, saxophonist, bandleader, educator, and member of the Yellowjackets, Bob Mintzer. Designed for the medium to advanced difficulty level, this book includes: 12 jazz etudes composed by Bob Mintzer in a variety of jazz styles, tempos, and time signatures; performance notes/tips for each etude to assist in interpretation and improvisation; play-along recording with a stellar rhythm section; and an opportunity to study and learn these skills: melodic composition, improvisation, sight reading, motivic development, call-and-response, and jazz concept. All books are compatible and written so they can be performed together.

Reviews and rates the best recordings of 8,900 blues artists in all styles.

12 Contemporary Jazz Etudes is written by the world-renowned jazz composer, arranger, saxophonist, bandleader, educator, and member of the Yellowjackets, Bob Mintzer. Designed for the medium to advanced difficulty level, this book includes: 12 jazz etudes composed by Bob Mintzer in a variety of jazz styles, tempos, and time signatures; performance notes/tips for each etude to assist in interpretation and improvisation; play-along CD with a stellar rhythm section; and an opportunity to study and learn these skills: melodic composition, improvisation, sight reading, motivic development, call-and-response, and jazz concept. All books are compatible and written so they can be performed together.

The contemporary music magazine.

The new standard in jazz fake books since 1988. Endorsed by McCoy Tyner, Ron Carter, Dave Liebman, and many more. Evenly divided between standards, jazz classics and pop-fusion hits, this is the all-purpose book for jazz gigs, weddings, jam sessions, etc. Like all Sher Music fake books, it features composer-approved transcriptions, easy-to-read calligraphy, and many extras (sample bass lines, chord voicings, drum appendix, etc.) not found in conventional fake books.