(Artist Books). The music of Thelonious Monk is among the most requested of any jazz composer, but accurate lead sheets and sources have never been widely available until now. This folio has 70 of the master composer/pianist's most familiar pieces, as well as a number of obscure and unrecorded tunes, in easy-to-read versions. Includes counterlines and ensemble parts for many pieces, as well as bass-lines and piano voicings where applicable. Also includes a biography, a glossary, and a definitive discography of the compositions in the book. Titles include: Ask Me Now * Bemsha Swing * Blue Monk * Blue Sphere * Boo Boo's Birthday * Bright Mississippi * Brilliant Corners * Bye-Ya * Crepuscule With Nellie * Criss Cross * 52nd Street Theme * Functional * Gallop's Gallop * Hackensack * I Mean You * In Walked Bud * Jackie-ing * Let's Cool One * Little Rootie Tootie * Misterioso * Monk's Mood * Nutty * Off Minor * Pannonica * Played Twice * Rhythm-a-ning * 'Round Midnight * Ruby, My Dear * Straight No Chaser * Thelonious * Well You Needn't * and 39 more.

(Artist Books). The music of Thelonious Monk is among the most requested of any jazz composer, but accurate lead sheets and sources have never been widely available until now. This folio has 70 of the master composer/pianist's most familiar pieces, as well as a number of obscure and unrecorded tunes, in easy-to-read versions. Includes counterlines and ensemble parts for many pieces, as well as bass-lines and piano voicings where applicable. Also includes a biography, a glossary, and a definitive discography of the compositions in the book. Titles include: Ask Me Now * Bemsha Swing * Blue Monk * Blue Sphere * Boo Boo's Birthday * Bright Mississippi * Brilliant Corners * Bye-Ya * Crepuscule With Nellie * Criss Cross * 52nd Street Theme * Functional * Gallop's Gallop * Hackensack * I Mean You * In Walked Bud * Jackie-ing * Let's Cool One * Little Rootie Tootie * Misterioso * Monk's Mood * Nutty * Off Minor * Pannonica * Played Twice * Rhythm-a-ning * 'Round Midnight * Ruby, My Dear * Straight No Chaser * Thelonious * Well You Needn't * and 39 more.

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.

(Piano Solo). Features easy solo arrangements of 16 classics from the legendary Thelonious Monk: Blue Monk * I Mean You * Jackie-ing * Light Blue * Misterioso * Straight, No Chaser * Think of One * Two Timer * Ugly Beauty * more.

(Fake Book). 147 tunes from one of the most influential and groundbreaking jazz artists of the modern generation arranged here for all C instruments in the favored Real Book style. Titles include: April Joy * Better Days Ahead * Bright Size Life * Farmer's Trust * (Go) Get It * H & H * Have You Heard * Jaco * James * Lakes * Last Train Home * Midwestern Nights Dream * Phase Dance * Question & Answer * The Red One * So May It Secretly Begin * Sueno Con Mexico * Uniquity Road * Unity Village * Whittlin' * and more!

(Jazz Instruction). A one-of-a-kind book encompassing a wide scope of jazz topics, for beginners and pros of any instrument. A three-pronged approach was envisioned with the creation of this comprehensive resource: as an encyclopedia for ready reference, as a thorough methodology for the student, and as a workbook for the classroom, complete with ample exercises and conceptual discussion. Includes the basics of intervals, jazz harmony, scales and modes, ii-V-I cadences. For harmony, it covers: harmonic analysis, piano voicings and voice leading; modulations and modal interchange, and reharmonization. For performance, it takes players through: jazz piano comping, jazz tune forms, arranging techniques, improvisation, traditional jazz fundamentals, practice techniques, and much more!

(Fake Book). The ultimate collection for Latin lovers everywhere! Over 350 standards in one Real Book collection, including: Adios * Agua De Beber (Water to Drink) * Aguas De Marco (Waters of March) * All That's Left Is to Say Goodbye (E Preciso Dizer Adeus) * Alma Con Alma * Always in My Heart (Siempre En Mi Corazon) * Amapola (Pretty Little Poppy) * Amor (Amor, Amor, Amor) * Antigua * Babalu * Besame Mucho (Kiss Me Much) * Bonita * Brazil * Call Me * Cast Your Fate to the Wind * Cherry Pink and Apple Blossom White * Con Alma * Copacabana (At the Copa) * Corazon Corazon * Desafinado * Don't Cry for Me Argentina * El Triste * Evil Ways * Feelings (?Dime?) * 500 Miles High * For Once in My Life * Frenesi * The Girl from Ipanema (Garota De Ipanema) * Granada * Himno Nacional Mexicano (Mexican National Hymn) * How Insensitive (Insensatez) * It's Impossible (Somos Novios) * Killer Joe * Kiss of Fire * La Bamba * La Malaguena * Little Boat * Livin' La Vida Loca * The Look of Love * Malaguena * Meditation (Meditacao) * More (Ti Guardero Nel Cuore) * Never on Sunday * A Night in Tunisia * One Note Samba (Samba De Uma Nota So) * Oye Como Va * Paloma Blanca * Papa Loves Mambo * Perfidia * Por Amor * St. Thomas * Sway (Quien Sera) * Tico Tico (Tico Tico No Fuba) * Triste * Wave * What a Diff'rence a Day Made * and more!

Chilly Gonzales is one of the most exciting, original, hard-to-pin-down musicians of our time. Filling halls worldwide at the piano in his slippers and a bathrobe—in any one night he can be dissecting the musicology of an Oasis hit, giving a sublime solo recital, and displaying his lyrical dexterity as a rapper. In his book about Enya, he asks: Does music have to be smart or does it just have to go to the heart? In dazzling, erudite prose Gonzales delves beyond her innumerable gold discs and millions of fans to excavate his own enthusiasm for Enya's singular music as well as the mysterious musician herself, and along the way uncovers new truths about the nature of music, fame, success and the artistic endeavour.

(Jazz Book). A study of three basic outlines used in jazz improv and composition, based on a study of hundreds of examples from great jazz artists.

This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.