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Blues for Rufus – Nikki Iles
Flyin’ High – Jason Rebello
Moon River – arr. Nikki Iles
Cool Shoes – Julian Joseph
Breezin’ Through – Nikki Iles
Blues at Sunrise – Kate Williams
Ain’t Misbehavin’ – arr. Nikki Iles
West Hollywood Avenue – Andrea Vicari
Beto – Nikki Iles
The Bounce – Zoe Rahman
Basin Street Blues – arr. Nikki Iles
I Wish I Knew How it Would Feel to be Free – arr. Pete Churchill
Groove Bait – Tim Garland
Boss Cat – Gwilym Simcock
Stormy Weather – arr. Nikki Iles
Dark Avenger – Jason Rebello

 
 
Pages: 40Language: EnglishPublisher: ABRSM

Songs from many European countries
Pupils begin to play without music notation
Improvisation and playing on the black keys
Development of listening skills and aural awareness
Simple and logical learning structure
Lots of duets 
Attractive full-color illustrations

Volume 1
The most natural way of creating and nurturing the relationship of a child with an instrument is to stimulate and encourage the child to find on the keyboard, and to play by ear, all the tunes he or she has so far assimilated. Not only children’s songs or folk songs are suitable for this but also other melodies that may be heard at home, at school, in church, on the radio and on television. The natural progression, from singing and listening to playing, forms the foundation for the development of listening ability and musicality. During a lifetime with an instrument one should always try to replay on it everything that one has heard.
The child should, at the same time, be made familiar with the whole keyboard by touch as well as by ear, from the lowest register to the highest. the young player should already have a feeling of contact with the keyboard before piano playing is combined with the complicated process of reading music. Playing only on the black keys to begin with will offer a particularly good opportunity to grasp the arrangements of the black keys (literally) ‘grasping’. For improvised melodies, too, the pentatonic scale formed by the black keys is easier to handle at the beginning stages than the diatonic scale of the white keys. For this reason, an introductory section ‘Playing with the Black Keys’ has been included.
Here the teacher, through such material, should encourage the beginner to become familiar with the keyboard.
Another advantage in beginning this way lies in the fact that training the functions of the motorial system does not only start within the narrow stretch of the fingers but with the larger playing apparatus of the arms and the whole body. In this way tension can be avoided.
The suggestions for improvisation and song accompaniement given at the beginning (on the ‘yellow’ pages) should not necessarily be dealt with all at once before the chapter ‘Playing from Printed Music’ but should rather be gradually incorporated into lessons. Here, the printed music is intended primarily for the teacher who will play through the exercises. The pupil plays from memory rather than from the book.
 
 
Pages: 88Language: English, German, FrenchPublisher: SCHOTT

3 discrete wave-morphing oscillators
PWM, sync, FM and ring modulation
Dual state variable filters with 24 modes
Original UNO Synth OTA filter
New SSI-based filter with self-oscillation
16-slot modulation matrix

Cutting-edge features

256 user-editable presets
12 studio-quality FX in 3 slots
Reverbs, Delays, Modulations
64-step sequencer with 84 parameters
10-mode onboard arpeggiator
USB / MIDI / CV / Gate in/out
Audio input to filters, FX or pass-through

UNO Synth Pro

Compact, stage-ready 37-key keyboard
Fatar semi-weighted keybed with aftertouch
Powered by included PSU or optional UNO Synth Power Bank
Size (W x D x H): 55 x 30 x 7 cm, 21.65 x 11.8 x 2.75 in.
Enclosure: Metal/plastic
Weight: 5.8 kg, 12.8 lb
Power: Power PSU

Package includes

UNO Synth Pro
1x Micro USB to USB Cable
Power Supply Unit