Let's Go Solo!, Book 3.Let's Go Let's Go may refer to: Television
FJH Friendswood Junior High (Friendswood, Texas) Music Company Inc. (Westport Business Park, 2525 Davie Rd., Ste. 360, Ft. Lauderdale, FL 33317), 2006. 24 pp. $5.50. Late Intermediate. Composer David Karp's Let's Go Solo, Book 3, is an eclectic collection of eight pieces in an array of compositional styles. The collection is aptly recommended for the late-intermediate level and could serve as a wonderful catalyst to the development of musical personality. The diversity of styles includes impressionistic im·pres·sion·is·tic adj. 1. Of, relating to, or practicing impressionism. 2. Of, relating to, or predicated on impression as opposed to reason or fact: impressionistic memories of early childhood. , jazz, nocturne nocturne (nŏk`tûrn) [Fr.,=night piece], in music, romantic instrumental piece, free in form and usually reflective or languid in character. John Field wrote the first nocturnes, influencing Chopin in the writing of his 19 nocturnes for piano. , contemporary and Broadway ballad. Though nothing exceeds the technical demands of an intermediate-level student, the collection does assume a comfort level with the entire range of the keyboard. Most left-hand figures are in open position sometimes ranging over a tenth. Such passages, however, involve shifts of hand position and do not present difficulties for small hands. The right hand also indulges freedom of range and, in addition to encompassing larger intervals, is often required to move seamlessly from register to register. Chords of three or more notes never exceed a sixth and only one piece that is in a stride jazz style, "Saturday Night Stroll," contains a few measures with octaves in the left hand. Students who have studied scales and arpeggios will discover the necessity of these skills in mastering much of the passagework pas·sage·work n. 1. A portion of a musical composition that permits a performer to make a display of technique, especially in the rapid execution of scales and arpeggios, and that has little thematic or structural importance to the whole: that includes ascents and descents over a two-octave range. The array of styles and the success of their realizations are rather unusual for a single collection. Each piece is imminently suitable for recitals and teachers can cull cull the act of culling. Called also cast. material for jazz, contemporary and romantic festivals. Teachers will also appreciate the engaging manner in which sophisticated harmonies and angular intervals are crafted onto a more familiar harmonic palate. Each piece in the collection offers an opportunity for the exploration of expressive and imaginative playing through a surprising diversity of styles that will probably bring as much pleasure to the teacher as it does to the student. The edition is clearly printed, easy to read, with ample room between staves for instructional comment. Eric Hicks Eric Hicks may refer to the following people:
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