Browse in the Library:
Artist or Composer / Score name | Cover | List of Contents |
---|---|---|
Benny Carter Vol 87 – When Lights Are Low – Play Along with MP3 audio tracks | Benny Carter Vol 87 – When Lights Are Low – Play Along with MP3 audio tracks | |
Benny Golson Stablemates (Lead Sheet) | Stablemates (Lead Sheet) sample | |
Benny Golson Stablemates (Piano Solo Transcription) | Stablemates (first page) | |
Benny Hill Show Theme (Yakety Sax) by Randy Randolph and James Rich | ||
Benny Hill Show Theme (Yakety Sax) By Randy Randolph And James Rich (Musescore File).mscz | ||
Bepi De Marzi Signore Delle Cime Piano Solo Arr. | ||
Berens 50 Piano Pieces For Beginners, Op 70 | ||
Berens – 20 Children Studies, op 79 | ||
Berens – 50 Piano Pieces for Beginners, op 70 | ||
Berens – The School of Scales Chords & Embellishments Op 88 | Berens scales op 88 | |
Berens – Training of the Left Hand, op 89 | Berens – Training of the Left Hand, op 89 | |
Berio, Luciano – Folk songs (Full Score) | ||
Berio, Luciano – Gesti (score) | ||
Berio, Luciano – Sequenza IXb-sax alto | ||
Berio, Luciano – Sequenza VII for Oboe | ||
Berklee Harmony 1 by Barrie Nettles | ||
Berklee Harmony 1 by Barrie Nettles (Español) | Berklee Harmony 1 by Barrie Nettles (Español) | |
Berklee Harmony 2 by Barrie Nettles | ||
Berklee Harmony 3 by Barrie Nettles | ||
Berklee Harmony 4 by Barrie Nettles | ||
Berklee Music Theory 2 | ||
Berklee – A Modern Method For Keyboard Study Vol 1 by James Progris | ||
Berklee – Jazz Composition Theory And Practice (Book) | ||
Berklee Basic Keyboard 1 William Davies | ||
Berklee – William Leavitt Classical Studies For Pick Style Guitar | ||
Berklee (Guitar method) William Leavitt – Melodic Rhythms for Guitar (pdf+AUDIO MP3) | ||
Berklee Basic Guitar Phase 1 by William Leavitt | ||
Berklee Book Of Jazz Harmony | ||
Berklee Ear Training 1 Workbook (2002) Book | ||
Berklee Ear Training 1 Workbook (2013) 2nd Edition (BOOK) | ||
Berklee Ear Training 2 Workbook (2013) (BOOK) | ||
Berklee Ear Training 3 Workbook (2006) Book | ||
Berklee Ear Training 4 Workbook (2007) Book | ||
Berklee Harmony 1 to 4 (4 theory books) | ||
Berklee Instant Keyboard Method | Book Theory | |
Berklee Jazz Guitar Arrangements | berklee jazz guitar | |
Berklee Jazz Guitar Chord Dictionnary | Berklee Jazz Guitar Chord Dictionnary | |
Berklee Jazz Piano Ray Santisi | Berklee jazz piano sheet music book | |
Berklee Jazz Standards for Solo Piano (Christopherson, Robert) Piano Jazz | ||
Berklee Modal Harmony Jazz | ||
Berklee Music History Handbook | ||
Berklee Music Theory Book 1 | ||
Berklee Orchestration Handbook 1 Songwritting & Business for Film, TV & Video Games | Berklee – orchestration handbook | |
Berklee Piano Handbook | ||
Berklee Practice Method Guitar with Tablature | ||
Berklee Practice Method Keyboard | ||
Berklee Press – Ted Pease & Ken Pullig – Modern Jazz Voicings ( with MP3 tracks) | Modern Jazz voicings | |
Berklee School of Music – Arranging Music (complete course) | ||
Berklee Shares – Jazz Composition Theory and Practice | Book Theory | |
Berklee Shares – Melody – Some Basics | Book Theory | |
Berklee Shares – Songwriter’s Workshop – Writing A Chorus | Book Theory | |
Berklee Workshop Jazz Guitar Techniques Modal Voicings Featuring Rick Peckham | ||
Berlin – Take My Breath Away (Piano Vocal) | ||
Bernard Herrmann Madeleine Theme from VERTIGO | ||
Bernard Herrmann PSYCHO (Prelude) piano solo | ||
Bernard Herrmann Psycho Prelude | ||
Bernard Herrmann Scene D’amour from VERTIGO | ||
Bernard Herrmann Taxi Driver | ||
Bernard Lavilliers carnets De Bord songbook | Bernard Lavilliers carnets De Bord songbook Contenu — Bernard Lavilliers carnets De Bord songbook | |
Bernat Vivancos Si l’amour | ||
Bernat Vivancos El Cant Dels Ocells | ||
Bert Kaempfert Piano Album | Bert Kaemfert piano album | |
Bert McCracken – Sometimes I Just Go For It | ||
Bertini – 24 Etudes Op. 29 | Bertini etudes op 29 | |
Bertini – 25 Etudes Faciles Op.100 | Bertini op 100 | |
Besame mucho (Andrea Bocelli) | ||
Bésame Mucho (Bolero Violin Guitar And Lyrics) Guitarra Y Letra Consuelo Velázquez (Musescore File) Musescore File.mscz | ||
Bésame Mucho (Bolero – Guitar And Lyrics) Guitarra Y Letra Consuelo Velázquez (Musescore File).mscz | ||
Besame Mucho, Bolero by Consuelo Velázquez (Piano Solo partitura, sheet music, Noten, partition) | ||
Bésame Mucho, Bolero by Consuelo Velázquez (Piano Solo partitura, sheet music, Noten, partition).mscz | ||
Best Acoustic Songs for Easy Guitar – sheet music with Tablature | Best Acoustic Songs for Easy Guitar – sheet music | |
Best of Blues Piano (Signature Licks keyboard). 14 songs | Best Of Blues Piano | |
Best Of Jazz Guitar (Guitar Songbook) with embebed audio MP3 (Signature Licks) ( by Wolf Marshall) (with Tablature) | Best Of Jazz Guitar (Guitar Songbook) | |
Best Of Modern Rock For Guitar with Tablature | Best Of Modern Rock For Guitar | |
Best Of Russian Rock | Best Of Russian Rock | |
Best Rock Songs 2000-2005 Piano-vocal-chords | Best Rock Songs 2000-2005 Piano-vocal-chords | |
Best Smooth Jazz Jazz Piano Solos Series Volume 50 21 selections | Best Smooth Jazz Jazz Piano Solos Series Volume 50 21 selections | |
Best Songs Ever – 7th edition (Piano Vocal Guitar sheet) | The Best Songs Ever Piano vocal guitar | |
Best Songs Of Piano Bar Easy Piano | best songs of piano bar | |
Bethena – A Concert Waltz – Scott Joplin – 1905.mscz | ||
Bette Midler – The Rose | ||
Bette Midler – The Wind Beneath My Wings | ||
Betty Carter Baby, It’s Cold Outside The New Real Book 2 | Betty Carter Baby, It’s Cold Outside The New Real Book 2 | |
Betty Carter Jazz Ain’t Nothin’ But Soul | ||
Betty Carter Spring Can Really Hang You Up The Most | Betty Carter Spring Can Really Hang You Up The Most | |
Betty Carter Tight | ||
Beverly Hills Cop – Axel F – Harold Faltermeyer | ||
Bewitched – by Rodgers & Hart | ||
Beyonce – If I Were A Boy | ||
Beyonce B’day | Beyonce B’day | |
Beyonce Dangerously In Love | Beyonce Dangerously In Love | |
Beyonce Songbook – Beyonce sheet music Piano Vocal guitar | Beyonce Songbook – Beyonce sheet music | |
Beyond And Before Progressive Rock Since The 1960s By Paul Hegarty, Martin Halliwell (Book) | ||
Beyond Slonimsky Melodic Patterns For Guitar | ||
Beyond The Art Of Finger Dexterity – Reassessing Carlo Czerny (Book) | ||
Big Book Of Classical Music 100 Of The World’s Favorite Pieces (Piano Solo, Sheet Music) | Big Book Of Classical Music 100 Of The World’s Favorite Pieces (Piano Solo, Sheet Music) | |
Big Book Of Wedding Music, The ( Sheet Music) | Big Book Of Wedding Music, The ( Sheet Music) | |
Big Fish Conductor’s Score The Musical Piano Vocal Score by Andrew Lippa | ||
Big Fish Fight The Dragons Big Fish The Musical by Andrew Lippa | ||
Big My Secret Michael Nyman (From ‘the Piano’) (Musescore File).mscz | ||
Biggest Pop Hits 1996 1997 Piano Vocal Guitar Chords | Biggest Pop Hits 1996 1997 Piano Vocal Guitar Chords | |
Bigtime Piano Jazz & Blues Level 4 Intermediate | Bigtime Piano Jazz & Blues Level 4 Intermediate | |
Bigtime Piano Popular Level 4 Intermediate | Bigtime Piano Popular Level 4 Intermediate | |
Bigtime Piano Rock N Roll Level 4 Intermediate | Bigtime Piano Rock N Roll Level 4 Intermediate | |
Bill Broonzy – Blues And Ragtime Guitar Big Bill Broonzy (sheet music and TAB) | Bill Broonzy – Blues And Ragtime Guitar Big Bill Broonzy (sheet music and TAB) | |
Bill Dobbins – BLUES The Jazz Workshop Series | Bill Dobbins – BLUES The Jazz Workshop Series (Standards & Originals All Blues | |
Bill Dobbins – Jazz Arranging and Composing | Jazz arranging and composing | |
Bill Dobbins – The Contemporary Jazz Pianist V. 1 | Bill Dobbins – The Contemporary Jazz Pianist Vol.1 | |
Bill Dobbins – The Contemporary Jazz Pianist V. 3 | contemporary jazz pianist vol 3 | |
Bill Dobbins – The Contemporary Jazz Pianist Vol. 2 | Bill Dobbins – The Contemporary Jazz Pianist Vol.2 | |
Bill Dobbins – The Contemporary Jazz Pianist Vol.4 | Bill Dobbins – The Contemporary Jazz Pianist Vol.4 | |
Bill Dobbins Classic Standards Series Piano | Bill Dobbins Classic Standards Series Piano | |
Bill Dobbins The Jazz Workshop Series Vol 1 Modal Jazz | ||
Bill Douglas Azure | Bill Douglas Azure | |
Bill Douglass Autumn song | Autumn song | |
Bill Douglass Prelude | Bill Douglass Prelude | |
Bill Evans Jazz Music For Classical Guitar | Bill Evans Jazz Music For Classical Guitar | |
Bill Evans Alice In Wonderland | ||
Bill Evans Autumn Leaves, Solo Transcription | Bill Evans Autumn Leaves, Solo Transcription | |
Bill Evans Autunm Leaves |
Buddy Holly: the 100 most inspiring musicians of all time
American singer and songwriter Charles Hardin Holley, professionally known as Buddy Holly, (b. Sept. 7, 1936, Lubbock, Texas, U.S.—d. Feb. 3, 1959, near Clear Lake, Iowa) produced some of the most distinctive and influential work in rock music.
Buddy Holly (the e was dropped from his last name—probably accidentally—on his first record contract) was the youngest of four children in a family of devout Baptists in the West Texas town of Lubbock, and gospel music was an important part of his life from an early age. A good student possessed of infectious personal charm, Holly was declared “King of the Sixth Grade” by his classmates.
He became seriously interested in music at about age 12 and pursued it with remarkable natural ability. The African American rhythm and blues that Holly heard on the radio had a tremendous impact on him, as it did on countless other white teenagers in the racially segregated United States of the 1950s. Already well versed in country music, bluegrass, and gospel and a seasoned performer by age 16, he became a rhythm-and-blues devotee.
By 1955, after hearing Elvis Presley, Holly was a full-time rock and roller. Late that year, he bought a Fender Stratocaster electric guitar and developed a style of playing featuring ringing major chords that became his
trademark. In 1956, he signed with Decca Records’ Nashville, Tennessee, division, but the records he made for them were uneven in quality, and most sold poorly.
In 1957, Buddy Holly and his new group, the Crickets (Niki Sullivan on second guitar and background vocals, Joe B. Mauldin on bass, and the great Jerry Allison on drums), began their association with independent producer Norman Petty at his studio in Clovis, New Mexico. Together they created a series of recordings that display an emotional intimacy and sense of detail that set them apart from other 1950s rock and roll. As a team, they threw away the rule book and let their imaginations loose.
Unlike most independent rock-and-roll producers of the time, Petty did not own any cheap equipment. He wanted his recordings to sound classy and expensive, but he also loved to experiment and had a deep bag of sonic tricks. The Crickets’ records feature unusual microphone placement
techniques, imaginative echo chamber effects, and overdubbing, a process that in the 1950s meant superimposing one recording on another. While crafting tracks such as “Not Fade Away,” “Peggy Sue,” “Listen to Me,” and “Everyday,” Holly and the Crickets camped out at Petty’s studio for days at a time, using it as a combination laboratory and playground.
They were the first rock and rollers to approach the recording process in this manner. When the Crickets’ first single, “That’ll Be the Day,” was released in 1957, their label, Brunswick, did nothing to promote it. Nevertheless, the record had an irrepressible spirit, and by year’s end it became an international multimillion-seller. Soon after, Holly became a star and an icon.
Holly and the Crickets’ association with Petty (who, serving as their manager, songwriting partner, and publisher, owned their recordings) was far from all beneficial, however. According to virtually all accounts, Petty collected the Crickets’ royalty checks and kept the money. By 1959, the hit records tapered off, and Holly was living in New York with his new bride. Estranged from the Crickets and broke, he was also contemplating legal action against Petty. This left him little choice but to participate in the doomed “Winter Dance Party of 1959” tour through the frozen Midwest,
during which he and coheadliners Ritchie Valens and the Big Bopper (J.P. Richardson) were killed in a plane crash.
The music of Buddy Holly and the Crickets, their innovative use of the studio, and the fact that they wrote most of their songs themselves made them the single most important influence on the Beatles, who knew every Holly record backward and forward. In 1986 Holly was inducted into the Rock and Roll Hall of Fame, and in 1996 he was honored by the National Academy of Recording Arts and Sciences with a lifetime achievement award.