SKU: AP.43790S
UPC: 038081505138. English. The music of Antonio Vivaldi; a traditional carol.
Imagine howling winds and bitter cold as musicians rehearse. Good King Wenceslas arrives with gifts of food and fuel! Spirits are lifted, the music is transformed, and everyone chills out. Blending and transforming both Good King Wenceslas and Winter, this arrangement will jazz up any holiday program. (2:00).
SKU: FH.VA1
ISBN 978-1-55440-563-3.
This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.Baroque and Classical Repertoire:Minuetto and Trio - Albrechtsberger, Johann Georg arr. Paul JenkinsVittoria, mio core! (Win My Heart!) - Carissimi, Giacomo arr. Christine DonkinTambourin - Rameau, Jean-Philippe arr. Christine DonkinHornpipe a l'inglese - Galliard, John Ernest arr. Christine DonkinMusette in D Major, BWV Anh. 126 - Bach, Johann Sebastian arr. Kathleen WoodIf Love's a Sweet Passion, from The Fairy Queen - Purcell, Henry arr. Kathleen WoodGerman Dance - Haydn, Franz Joseph arr. Jason NobleTraditional and 19th-century Repertoire:Linstead Market - Jamaican folk song arr. Harold BirstonNocturne - Alard, Jean-DelphinBig Foot Lou - Gearen, Joseph arr. Forrest KinneySakura (Cherry Blossoms) - Japanese folk song arr. Joanne MartinShe's Like the Swallow - Canadian folk song arr. Forrest KinneyNouvelle agreable! (Good News!) - 18th-century French carol arr. Christine Donkin20th-century Repertoire:The Underworld of Worms and Other Crawlies - Wilkinson, Marguerite and Philip BassDill Pickles - Johnson, Charles L. arr. Zav RT and Christine DonkinBudapesto - Cheney, CareyFull Steam Ahead - Jones, KennethThe Puppet Show, op. 5, no. 1 - Trott, Josephine transc. Barbara BarberThe Caissons Go Rolling Along - Gruber, Edmund L. arr. Forrest KinneyCasting the Nets - Jones, Kenneth.
SKU: SU.29110060
1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).
SKU: AP.1-ADV8315
UPC: 805095083156. English. Traditional.
This medley of I Saw Three Ships Come Sailing In and Bring a Torch, Jeanette Isabella has been arranged for clarinet trio in a quasi-Baroque style featuring several variations interspersed with contrasting original material. It allows each member of the group a chance to play in a melodic role, and showcases a wide range of rhythmic and contrapuntal elements.
SKU: HL.49046427
ISBN 9781847614988. UPC: 840126920970. 9.0x12.0x0.199 inches.
'English Folk Tunes for Descant Recorder' is a collection of 62 arrangements for descant recorder, of traditional tunes including a range of styles such as Ballads, Hornpipes, Jigs and more. Experienced recorder player and co-author of the Baroque Recorder Anthology series, and Fun and Games with the Recorder series amongst others, Peter Bowman provides notes on all of the styles covered, as well as individual pieces. The volume is accompanied bya recording of all tunes performed by Kathryn Bennetts. German and French translations of all texts are available as pdf downloads from the Schott Music website as well as MP3 play-along tracks. Suitable for players of grades 3-8.
SKU: FH.WSE1
ISBN 978-1-55440-561-9.
Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. One volume of Orchestral Excerpts includes many of the most well-known and influential excerpts written for saxophone. With contemporary orchestral works, and traditional band repertoire by exciting composers such as Gershwin and Vaughan Williams, this book provides required selections for examinations or auditions, but also serves as a general study resource for developing a solid grounding in standard ensemble preparation.Level 5:Sovra il sen la man mi posa (While This Heart Its Joy Revealing) - Vincenzo Bellini, arr. Harry PrendivilleVocalise in A Major - Marco Bordogni Theme with Nine Easy Variations (Excerpt) - Harry PrendivilleEtude in B flat Major - Charles Dancla Bulgarian Bounce - Allen VizzuttiJazz Solo No. 6 - Bob Mintzer Jazz Study No. 29 - James RaeRinging the Changes - James RaeHomage to Vaughan Williams - Christiaan VenterLevel 6:Etude in A Major - Nilo W. HoveyOdd Meter Etude No. 15 - Everett Gates Etude in G Major, op. 41, no. 5 - Franz Thaddaus BlattEtude in D Major, op. 20, no. 7 - Heinrich Ernst KayserJazz Solo No. 3 - Bob Mintzer Slavonic Dance - James RaeEtude No. 3 - Ronald L. Caravan Level 7:etude speciale, op. 36, book 1, no. 19 - Jacques-Fereol Mazas, transc. Antony LamotteEtude in D Major - Rodolphe Kreutzer, transc. Antony LamotteTheme and Variations (Excerpt) - Frigyes Hidas Vocalise in D flat Major - Marco Bordogni Etude in G Minor, op. 31, no. 19 - Franz Wilhelm FerlingVocalise in E flat Major - Marco Bordogni Cubana, op. 153, no. 10 - Sigfrid Karg-ElertLevel 8:Etude in B flat Minor, op. 31, no. 43 - Franz Wilhelm FerlingEtude in E Major - Rodolphe KreutzerOdd Meter Etude No. 12 - Everett GatesGiga, op. 153, no. 5 - Sigfrid Karg-ElertTango-etude No. 4 - Astor PiazzollaEtude in D Minor - Antoine (Benoit) Tranquille BerbiguierMeditation 2 - Daniel Pilon.
SKU: GI.G-7393
UPC: 785147739302. English. Text by Isaac Watts.
This Baroque-style setting of the quintessential Christmas text may present a bit of a challenge to some keyboardists, but the spirit of the piece is well worth the effort! Rather than eclipse the traditional pairing of ANTIOCH and “Joy to the World,†both versions could be used in the same worship service.
SKU: GI.WW1846
UPC: 785147030065. Latin. Text Source: Traditional Latin.
A late 16th-century motet by Raffaella Aleotti, a composer believed to be the first woman to have sacred music appear in print. Using text from Song of Solomon, Aleotti employs elements of both Renaissance and Baroque styles to convey the poetic idea of Arise, my love. Score with optional continuo is available separately.
SKU: HL.49002063
ISBN 9790001022170. UPC: 884088097813. 9.0x12.0x0.098 inches.
Harald Genzmer's composition Divertimento di danza for string orchestra clearly continues the baroque form of the divertimento. This light music * in the truest sense of the word * consisted of a sequence of loose movements with free forms and dance movements alternat-ing in varied succession. The divertimento comprised five to six movements. Genzmer kept to all these facts but he brought new life into the old forms. Though he did not compose in the old style, he respected certain rules of the traditional form. Ouverture * Allegro (Fugato) * Adagio * Presto (on an Old French dance) * Finale (on an English dance movement).
SKU: HL.49019413
ISBN 9790001176477. UPC: 841886016729.
The composer Johanna Senfter (1879 1961) from Oppenheim concerned herself with chamber music for strings all her life, even studied violin in Frankfurt herself. Max Reger then gave her lessons in Leipzig, first privately, then in his composition class at the conservatoire and valued her 'extraordinary compositional talent'. The strict teacher more and more became a committed promoter of the works by Johanna Senfter. For a period of 50 years, the composer concerned herself with the string quartet genre, from Quartet No. 1 in D minor Op. 4, composed shortly after the turn of the century, to the sixth and last Quartet in C minor Op. 115 which was performed for the first time in 1960, one year before her death. The Quartet in F sharp minor Op. 28 is her second quartet which was premiered in Darmstadt on 5 November 1922. In this work, as in later works, Senfter combined traditional form models - here Baroque movements like gavotte, saraband, gigue - with expressive, late Romantic musical language. The work, consisting of six short movements, may without doubt be regarded as a valuable addition to the quartet repertoire.
SKU: IS.G6766EM
ISBN 9790365067664.
This sonata (WeissSW No. 52, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXXIII is a unique copy. It comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXXIII is in the fifth volume. It belongs to a group of large and mature Sonatas of the late â??productiveâ?? period of Weissâ??s life, probably after 1740. The Sonata has six movements: Ouverture , Courante assai moderato, Bourée, Siciliana (a slow dance, but more cheerful than a Sarabande), Menuet, and it ends with a Presto. The Ouverture substitutes the traditional Allemande. It is more complex in structure, and includes a Largo, an Allegro (in the style of a Fugue), and a Vivace. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in C minor, a key appropriate for playing a Baroque lute tuned in the D minor chord. However it is rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to A minor. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
