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The girls in the Saddle Club are making New Year's resolutions, but keeping them won't be easy. Can Stevie be nice to Veronica for a whole month? Can Lisa learn embroidery to make her mother happy? And will Carole give up junk food? The first one to waver from their resolution must pay a price!
Poetry written by Burgess, "inspired by tea and incense."
To keep themselves to their New Year's resolutions, Stevie, Lisa, and Carole make a deal that the first one to waver from her resolution must pay a very unpleasant price.
The Saddle Club members make New Year's resolutions, but find them hard to keep.
Praised as "suave, soulful, ebullient" (Tom Waits) and "a meticulous researcher, a graceful writer, and a committed contrarian" (New York Times Book Review), Elijah Wald is one of the leading popular music critics of his generation. In The Blues, Wald surveys a genre at the heart of American culture. It is not an easy thing to pin down. As Howlin' Wolf once described it, "When you ain't got no money and can't pay your house rent and can't buy you no food, you've damn sure got the blues." It has been defined by lyrical structure, or as a progression of chords, or as a set of practices reflecting West African "tonal and rhythmic approaches," using a five-note "blues scale." Wald sees blues less as a style than as a broad musical tradition within a constantly evolving pop culture. He traces its roots in work and praise songs, and shows how it was transformed by such professional performers as W. C. Handy, who first popularized the blues a century ago. He follows its evolution from Ma Rainey and Bessie Smith through Bob Dylan and Jimi Hendrix; identifies the impact of rural field recordings of Blind Lemon Jefferson, Charley Patton and others; explores the role of blues in the development of both country music and jazz; and looks at the popular rhythm and blues trends of the 1940s and 1950s, from the uptown West Coast style of T-Bone Walker to the "down home" Chicago sound of Muddy Waters. Wald brings the story up to the present, touching on the effects of blues on American poetry, and its connection to modern styles such as rap. As with all of Oxford's Very Short Introductions, The Blues tells you--with insight, clarity, and wit--everything you need to know to understand this quintessentially American musical genre.
Explores traditional playing styles through transcriptions and analysis of master players - Rev. Gary Davis, Big Bill Broonzy and many others.
Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 of the 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, and bass. Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass piano parts, making these pieces more accessible to novice players.Ê If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues and pentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swing eighths, passing tones, rolled chords, riffs, "filler" chords, substitutions, and comping styles.Ê This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context of accompanying a soloist (comping); in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazz soloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book. If you are not a competent blues pianist when you first pick up this book, you will be by the time you complete it! Includes access to online audio.
A shipwreck’s tragic toll in human life. The changing face of a quiet turn-of-the century neighborhood. A man who lost his wife unexpectedly. An obnoxious drunk who gets more than he bargained for. A horse who develops an affinity for a Hawaiian saloon. A submarine’s up close and personal encounter with a snoozing whale. Each of these stories and much more are found in “The Blue Collar Blues,” author Bob Stockton’s personal anthology of forty-six short stories that have been published over the past decade. The book’s first section contains stories of a young boy’s coming of age in an ever-changing northeast working-class neighborhood. The second section highlights standalone stories that run from autobiographical to allegorical. The third section focuses on the adventures-and misadventures- of young sailors serving in the U.S. Navy of a half-century past. The fourth section relates actual tales of the U.S. Navy and her sailors deployed along the Pacific Rim. Grab a cup of coffee and escape into the mind of an author with a flair for describing what is really important in life.
This book teaches fingerstyle blues from the ground up. Concepts such as right-hand independence are taught so that bass lines and melody may be played at the same time while utilizing simple chord shapes. Playing bass note patterns with a blues scale melody is presented in a way that is easily understood and easily executed over a number of different chords commonly found in the blues. Exercises are presented in standard notation and tablature in the form of blues tunes that are fun to play. Many of the tunes are presented with two levels of difficulty. Optional fills are provided on select tunes. the accompanying CD gives the student a chance to hear how these tunes sound when played correctly.