United States
(26 results)
No shipping to countries within the European Union.
|
|
1 |
1 |
|
| Dan Coates Popular Wedding Music for the Advanced Player
Piano solo [Sheet music] - Intermediate Alfred Publishing
Arranged by Dan Coates. For Piano. Piano - Intermediate / Advanced Collection. L...(+)
Arranged by Dan Coates. For Piano. Piano - Intermediate / Advanced Collection. Level: Advanced. Book. 148 pages. Published by Alfred Publishing.
(3)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| J-Pop His for Advanced Players Piano solo - Advanced Yamaha
Piano Pop Vocal/Liu Xing Gang Qin. Book. Yamaha Music Media #GTP01093232. Publ...(+)
Piano Pop Vocal/Liu Xing Gang
Qin. Book. Yamaha Music Media
#GTP01093232. Published by
Yamaha Music Media
$11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Volume 70 - Killer Joe
B Flat, E Flat, C and Bass clef Instruments [Sheet music + CD] - Easy Jamey Aebersold Jazz
By Jamey Aebersold. For singers, vocalists, drums, bass, guitar, flute, clarinet...(+)
By Jamey Aebersold. For singers, vocalists, drums, bass, guitar, flute, clarinet, violin, viola, piano, keyboard, organ, saxophone, trombone, trumpet, harmonica. Play-Along series with accompaniment CD. Similar to the popular Volume 54 of the Aebersold series. Start playing jazz tunes!. Play-Along Categories: Standards. Level: intermediate, advanced. Book with CD. Published by Jamey Aebersold Jazz.
(1)$17.90 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Arioso (Extrait D'Eugene Oneguine), Opera De P. I. Tchaikovski Flute and Piano Billaudot
Pour Flute Et Piano. Composed by Paul Taffanel (1844-1908). Edited by Phi...(+)
Pour Flute Et Piano. Composed by Paul Taffanel (1844-1908). Edited by Philippe Bernold. The French Flutists Propose (collection Philippe Bernold). Score and part(s). With Standard notation. Opus 24. 4 2 pages. Duration 3 minutes. Gerard Billaudot Editeur #524-07545. Published by Gerard Billaudot Editeur (PR.524075450).
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Madrigal Pavane / Timburibá [Score] - Advanced Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. Les Productions d'OZ #DZ 4287. Published by Les Productions d'OZ (DZ.DZ-4287). ISBN 9782898522048. Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others. In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre. Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez. Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin). In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions. In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro. Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro. The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.
Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres. En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre. De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez. Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne). En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes. En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro. Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro. La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ». Envoyer des commentaires Panneaux latéraux Historique Enregistrées. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Khachaturian/bonsor Sabre Dance (treble) - Advanced Schott
3 recorders (SAT) and piano (ABFL) - advanced SKU: HL.49030347 From th...(+)
3 recorders (SAT) and piano (ABFL) - advanced SKU: HL.49030347 From the Ballet Gayaneh. Composed by Masque. Arranged by Brian Bonsor. This edition: Saddle stitching. Sheet music. Edition Schott. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). Individual part. 4 pages. Schott Music #ED 12301-02. Published by Schott Music (HL.49030347). ISBN 9790220114922. 9.0x12.0x0.01 inches. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). $3.95 - See more - Buy online | | |
| Khachaturian/bonsor Sabre Dance (desc) - Advanced Schott
3 recorders (SAT) and piano (SBFL) - advanced SKU: HL.49030346 From th...(+)
3 recorders (SAT) and piano (SBFL) - advanced SKU: HL.49030346 From the Ballet Gayaneh. Composed by Masque. Arranged by Brian Bonsor. This edition: Saddle stitching. Sheet music. Edition Schott. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). Individual part. 2 pages. Schott Music #ED 12301-01. Published by Schott Music (HL.49030346). ISBN 9790220114915. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). $3.95 - See more - Buy online | | |
| Violinschule - Violin Tutor - Méthode de Violon V Violin - Advanced EMB (Editio Musica Budapest)
Violin - advanced SKU: BT.EMBZ8069 Composed by Endre Szervansky, Endre Sz...(+)
Violin - advanced SKU: BT.EMBZ8069 Composed by Endre Szervansky, Endre Szervánszky, Frigyes Sandor, Jardanyi, and Sandor. Method. Book Only. Composed 1977. 96 pages. Editio Musica Budapest #EMBZ8069. Published by Editio Musica Budapest (BT.EMBZ8069). Hungarian-English-German-French. Frigyes Sándor (1905-1979), violinist, teacher and conductor. His six-volume Violin tutor was published between 1949 and 1959, and has remained popular ever since. One reason for its popularity - in addition to its methodological concept may be the fact that from the very beginning learners are given high quality musical material on which to master the basic elements of violin playing. The musical material in the volumes was written specifically for this tutor by Pál Járdányi and Endre Szervánszky apart from pieces designed for pedagogical purposes it includes a wealth of folk tunes (Hungarian and other European folk melodies) graded to suit each level of difficulty, andexcerpts representing different periods in the history of music.
Die Beliebtheit der von Frigyes Sándor (1905-1979), Violinist, Lehrer und Dirigent zwischen 1949 und 1959 veröffentlichten Violinschule in sechs Bänden ist ungebrochen. Das bewährte methodische Konzept und das von Anfang an hochwertige musikalische Übungsmaterial (von Pál Járdányi und Endre Szervánszky) überzeugen noch heute. Neben den reinen Übungsstücken enthalten die Bände eine Fülle an volkstümlichen Melodien aus ganz Europa und Stücke aus verschiedenen Epochen, jeweils dem Schwierigkeitsgrad angepasst. $18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Khachaturian/bonsor Dance Of The Rose - Advanced Schott
3 recorders (SAT) and piano - advanced SKU: HL.49030351 From the Balle...(+)
3 recorders (SAT) and piano - advanced SKU: HL.49030351 From the Ballet Gayaneh. Composed by Masque. Arranged by Brian Bonsor. This edition: Saddle stitching. Sheet music. Edition Schott. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). Individual part. 2 pages. Schott Music #ED 12302-03. Published by Schott Music (HL.49030351). ISBN 9790220114977. 9.0x12.0x0.004 inches. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). $2.95 - See more - Buy online | | |
| Khachaturian/bonsor Sabre Dance (tenor) - Advanced Schott
3 recorders (SAT) and piano (TBFL) - advanced SKU: HL.49030348 From th...(+)
3 recorders (SAT) and piano (TBFL) - advanced SKU: HL.49030348 From the Ballet Gayaneh. Composed by Masque. Arranged by Brian Bonsor. This edition: Saddle stitching. Sheet music. Edition Schott. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). Individual part. 2 pages. Schott Music #ED 12301-03. Published by Schott Music (HL.49030348). ISBN 9790220114939. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). $3.95 - See more - Buy online | | |
| Khachaturian/bonsor Dance Of The Rose - Advanced Schott
3 recorders (SAT) and piano (SBFL) - advanced SKU: HL.49030349 From th...(+)
3 recorders (SAT) and piano (SBFL) - advanced SKU: HL.49030349 From the Ballet Gayaneh. Composed by Masque. Arranged by Brian Bonsor. This edition: Saddle stitching. Sheet music. Edition Schott. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). Individual part. 2 pages. Schott Music #ED 12302-01. Published by Schott Music (HL.49030349). ISBN 9790220114953. 9.0x12.0x0.01 inches. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). $2.95 - See more - Buy online | | |
| Khachaturian/bonsor Dance Of The Rose - Advanced Schott
3 recorders (SAT) and piano (ABFL) - advanced SKU: HL.49030350 From th...(+)
3 recorders (SAT) and piano (ABFL) - advanced SKU: HL.49030350 From the Ballet Gayaneh. Composed by Masque. Arranged by Brian Bonsor. This edition: Saddle stitching. Sheet music. Edition Schott. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). Individual part. 2 pages. Schott Music #ED 12302-02. Published by Schott Music (HL.49030350). ISBN 9790220114960. 9.0x12.0x0.004 inches. This exciting new arrangement should prove very popular indeed. (P.C., Recorder & Music Magazine). $2.95 - See more - Buy online | | |
| Les Cahiers Charlier/sourisse - Jazz (livre Avec Cd Al30545) Pour Saxophone Saxophone Leduc, Alphonse
Saxophone SKU: HL.48186347 Leduc. CD only. 58 pages. Alphonse Leduc #AL30...(+)
Saxophone SKU: HL.48186347 Leduc. CD only. 58 pages. Alphonse Leduc #AL30544. Published by Alphonse Leduc (HL.48186347). UPC: 888680840662. 9x12 inches. “With jazz being the most popular genre for the Tenor Saxophone, learning the art of improvisation is imperative. Therefore, Charlie Sourisse's Improvisation for beginners and advanced players is an essential guide for progression. Sourisse and his musical partner, Pierrick Pédron saw the need for a comprehensive tool to aid jazz method progression and Improvisation for beginners and advanced players provides explanatory notes and explores chord symbols, basics of tonality and basics of modality. The accompanying CD aids with tuning and supplies accompaniments. With a significant amount of written instruction in French, English, German and Spanish, Sourisse's Improvisation for beginners and advanced players is highly accessible to a range of Tenor Saxophone players, making for an essential and helpful guide.&rdquo. $38.05 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Les Cahiers Charlier/sourisse - Jazz (livre Avec Cd Al30444) Pour Saxophone Saxophone Leduc, Alphonse
Saxophone SKU: HL.48186276 Leduc. Softcover. 60 pages. Alphonse Leduc #AL...(+)
Saxophone SKU: HL.48186276 Leduc. Softcover. 60 pages. Alphonse Leduc #AL30443. Published by Alphonse Leduc (HL.48186276). UPC: 888680838898. 9x12 inches. “With jazz being the most popular genre for the Alto Saxophone, learning the art of improvisation is imperative. Therefore, Charlie Sourisse's Improvisation for beginners and advanced players is an essential guide for progression. Sourisse and his musical partner, Pierrick Pédron saw the need for a comprehensive tool to aid jazz method progression and Improvisation for beginners and advanced players provides explanatory notes and explores chord symbols, basics of tonality and basics of modality. The accompanying CD aids with tuning and supplies accompaniments. With a significant amount of written instruction in French, English, German and Spanish, Sourisse's Improvisation for beginners and advanced players is highly accessible to a range of Alto Saxophone players, making for an essential and helpful guide.&rdquo. $38.05 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rodrigo J Homenaje A La Tempranica Concert band - Advanced Schott
Concert band (ST SET) - advanced SKU: HL.49041744 Composed by Joaquin Rod...(+)
Concert band (ST SET) - advanced SKU: HL.49041744 Composed by Joaquin Rodrigo. Arranged by E. Gomez. This edition: Folding. Sheet music. Schott Harmonie Serie (Concert Band). Set of Parts. Composed 1939. Duration 4'. Schott Music #SHS 1021-50. Published by Schott Music (HL.49041744). ISBN 9790001123402. 8.5x12.0x0.726 inches. This piece is a tribute to the famous Zarzuela 'La Tempranica' by Geronimo Gimenez and perfectly conveys the lively spirit of this popular Spanish operetta form with its increasing international popularity.
2 (2. auch Picc.) * 1 * Klar. in Es * 4 Klar. in B * Altkl. in Es (ad lib.) * Basskl. (ad lib.) * 2 Altsax. in Es * Tenorsax. in B * Baritonsax. in Es * 1 (ad lib.) - 3 (3. ad lib.) * 3 (3. ad lib.) * 2 Flugelhr. * Tenorhr. * 3 * Bar. * 2 - P. S. (Trgl. * hg. Beck. * Beckenpaar * kl. Tr. * Kast. * Glspl.). $315.00 - See more - Buy online | | |
| Rudy Wiedoeft - Spirit of the Saxophone Alto Saxophone and Piano [Sheet music + CD] - Advanced De Haske Publications
Alto Saxophone and Piano - advanced SKU: BT.DHP-1125286-400 11 Famous ...(+)
Alto Saxophone and Piano - advanced SKU: BT.DHP-1125286-400 11 Famous Pieces for Alto Saxophone and Piano. By Jaap Kastelein. By Rudy Wiedoeft. Book with CD. Composed 2012. 60 pages. De Haske Publications #DHP 1125286-400. Published by De Haske Publications (BT.DHP-1125286-400). ISBN 9789043145541. 9x12 inches. Let's go back in time to the roaring twenties, a turbulent period between the two world wars... It was the era of the Charleston, Ragtime, short bob haircuts and Coco Chanel - and also of saxophone virtuoso Rudy Wiedoeft (1893-1940). In this album you will find his best-known compositions for alto saxophone and piano. They give you a glimpse of the cheerful music of the 1920s and introduce you to Wiedoeft's unequalled playing style. Rudy Wiedoeft - Spirit of the Saxophone: an homage to a great artist.
Welkom terug in de â??roaring twentiesâ?, het tijdperk van de Charleston, ragtime, korte page boy kapsels en Coco Chanel - en ook de tijd van de saxofoonvirtuoos Rudy Wiedoeft (1893-1940). Dit album is een verzameling van zijn bekendstecomposities voor altsaxofoon en piano. Beleef de unieke en vrolijke muziek van de jaren twintig!Op de meegeleverde CD kunt u de werken beluisteren.
Willkommen zurück in den roaring twenties, der �ra von Charleston, Ragtime, kurzen Pagenkopf-Frisuren und Coco Chanel - und auch die Zeit des Saxophonvirtuosen Rudy Wiedoeft (1893-1940). In diesem Album sind seine bekanntesten Kompositionen in Arrangements für Altsaxophon und Klavier versammelt. Sie erlauben einen Einblick in die fröhliche Musik der 1920er-Jahre und stellen Wiedoefts unvergleichlichen Spielstil vor.
Remontons le temps jusquâ??aux Années folles, la période mouvementée de lâ??entre-deux-guerres â?¦ Câ??était lâ??époquedu charleston, du ragtime, de la coupe de cheveux au carré et de Coco Chanel - mais aussi celle du saxophonistevirtuose Rudy Wiedoeft (1893-1940). Cet ouvrage rassemble ses plus célèbres compositions pour saxophonealto et piano. Elles vous donneront un aperçu de la musique enjouée des années vingt et vous feront découvrir letalent hors pair de Wiedoeft. Rudy Wiedoeft - Spirit of the Saxophone : un hommage un grand artiste.
Bentornati ai ruggenti anni Venti, l'era di charleston e ragtime. Ed anche il tempo del virtuoso del sax Rudy Wiedoeft (1893-1940). In questo album sono raccolte le sue composizioni più popolari trascritte per sassofono contralto e piano. $27.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ragtimes and Habaneras Concert band [Score] Schott
Winds (Score) - difficult SKU: HL.49012041 For Wind Band - Score. ...(+)
Winds (Score) - difficult SKU: HL.49012041 For Wind Band - Score. Composed by Hans Werner Henze. Arranged by Marcel Wengler. This edition: Paperback/Soft Cover. Sheet music. Schott Harmonie Serie (Concert Band). Classical. Score. Composed 1982. 99 pages. Duration 14'. Schott Music #SHS1004. Published by Schott Music (HL.49012041). ISBN 9790001100731. UPC: 073999895995. 9.0x12.0x0.315 inches. This work was originally written for brass band (see there). At the composer's request, his former pupil Marcel Wengler wrote an arrangement for Symphonie wind band, which is equal to the original in ever-yway. Here Henze and Wengler have given wind players a work which successfully combines a popular style and to some extent extremely witty elements with the resources of new music. It is excellent concert music for advanced and Professional orchestras.Hans Werner Henze belongs to a small circle of internationally known cornposers of serious contemporary music. In his operas, symphonies, and music for ensembles and chamber music groups, as well as in his contributions to music for amateurs, there are works with a distinctive sense of form, delicate tonality and rhythmic variety which nonetheless never lose sight of that dimension of humanity.Marcel Wengler (born 1946) is now a freelance composer. He lives in Luxemburg.
Picc. * 1 * 2 (ad lib.) * Engl. Hr. (ad lib.) * Es-Klar. * 3 * Altklar. (ad lib.) * Bassklar. (ad lib.) * 2 Altsax. * 2 Tenorsax. * Baritonsax. (ad lib.) * 1 (ad lib.) - 4 * 2 Flhr. * Tenorflhr. * 3 * 3 * 2 Bombardini * 2 * 2 Kb.-Tb. - P. S. (Glsp. * Xyl. [oder 3 Tempelbl.] * Trgl. * Beckenpaar * 3 Bong. * kl. Tr. * 3 Tomt. * gr. Tr. * Woodbl.) (3 Spieler). $83.00 - See more - Buy online | | |
| Best of Flute Classics Flute and Piano Schott
10 Famous Pieces for Flute and Piano. Composed by Various. Edited by Gefion ...(+)
10 Famous Pieces for Flute
and Piano. Composed by
Various. Edited by Gefion
Landgraf. Woodwind Solo.
Softcover. 190 pages. Schott
Music #ED22059. Published by
Schott Music
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Spinning Wheel Violin and Piano - Intermediate EMB (Editio Musica Budapest)
Violin and Piano - Grade 4 SKU: HL.50510770 Violin and Piano. Comp...(+)
Violin and Piano - Grade 4 SKU: HL.50510770 Violin and Piano. Composed by Anton Rubinstein. Edited by Gyorgy Repassy. Arranged by Gyö, pá, rgy Ré, and ssy. Romantic. EMB. Book Only. Editio Musica Budapest #Z13710. Published by Editio Musica Budapest (HL.50510770). ISBN 9790080137109. UPC: 073999180589. 9.0x12.0x0.083 inches. Anton Rubinstein; Gyorgyi Repassy. The recent volume of the successful series 'Moments Musicaux which offers a rich selection from the popular masterpieces of the violin. In contains both original compositions for the violin and arrangements. The recent work of the great Russian master of romanticism is recommended for advanced students and performing artists. $11.95 - See more - Buy online | | |
| Ragtimes and Habaneras Concert band Schott
Set of Parts Winds (Parts) - difficult SKU: HL.49012042 For Wind Band ...(+)
Set of Parts Winds (Parts) - difficult SKU: HL.49012042 For Wind Band - Set of Parts. Composed by Hans Werner Henze. Arranged by Marcel Wengler. This edition: Folding. Sheet music. Schott Harmonie Serie (Concert Band). Classical. Set of Parts. Composed 1982. 708 pages. Duration 14'. Schott Music #SHS 1004-50. Published by Schott Music (HL.49012042). ISBN 9790001100748. UPC: 073999330540. 8.5x12.0x2.22 inches. This work was originally written for brass band (see there). At the composer's request, his former pupil Marcel Wengler wrote an arrangement for Symphonie wind band, which is equal to the original in ever-yway. Here Henze and Wengler have given wind players a work which successfully combines a popular style and to some extent extremely witty elements with the resources of new music. It is excellent concert music for advanced and Professional orchestras.Hans Werner Henze belongs to a small circle of internationally known cornposers of serious contemporary music. In his operas, symphonies, and music for ensembles and chamber music groups, as well as in his contributions to music for amateurs, there are works with a distinctive sense of form, delicate tonality and rhythmic variety which nonetheless never lose sight of that dimension of humanity.Marcel Wengler (born 1946) is now a freelance composer. He lives in Luxemburg.
Picc. * 1 * 2 (ad lib.) * Engl. Hr. (ad lib.) * Es-Klar. * 3 * Altklar. (ad lib.) * Bassklar. (ad lib.) * 2 Altsax. * 2 Tenorsax. * Baritonsax. (ad lib.) * 1 (ad lib.) - 4 * 2 Flhr. * Tenorflhr. * 3 * 3 * 2 Bombardini * 2 * 2 Kb.-Tb. - P. S. (Glsp. * Xyl. [oder 3 Tempelbl.] * Trgl. * Beckenpaar * 3 Bong. * kl. Tr. * 3 Tomt. * gr. Tr. * Woodbl.) (3 Spieler). $360.00 - See more - Buy online | | |
| Marche fatale Piano solo [Score] Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf. World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017 Have a look into EB 9283. New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253). ISBN 9790004185537. 9 x 12 inches. Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.
World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020. $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Marche fatale Orchestra [Score] Breitkopf & Härtel
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapl...(+)
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library). World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017 Have a look into EB 9283. New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432). ISBN 9790004212790. 10 x 12.5 inches. Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.
World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020. $63.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Guitar Repertoire, vol. 1 - da Milano to Villa-Lobos Guitar - Advanced Productions OZ
Guitar - Advanced SKU: DZ.DZ-4262 Composed by Bryan Johanson and Jesse Mc...(+)
Guitar - Advanced SKU: DZ.DZ-4262 Composed by Bryan Johanson and Jesse McCann. Method Book. Les Productions d'OZ #DZ 4262. Published by Les Productions d'OZ (DZ.DZ-4262). ISBN 9782898521799. In this ambitious series, Bryan Johanson and Jesse McCann seek to address this missing element in the study of classical guitar. In light of the sheer volume of guitar music written over the centuries, not to men- tion early works by the guitarâs plucked-string relatives, the authorsâ choices were by necessity limited to a select group of standards. These might be considered among the most popular works in the guitar canon, admired over the years by performers, students, and audiences alike for their beauty, musical expression, and idiomatic sonority. There are, of course, other pieces that could have been included. But by choosing works that give a broad survey of styles across musical periods (Renaissance, Baroque, Classical, Romantic, and early 20th century) written by some of the guitarâs most important composers, the authors present a com- prehensive cross-section of the essential repertoire for the instrument. - William Kanengiser
Dans cette série ambitieuse, Bryan Johanson et Jesse McCann cherchent à aborder cet élément manquant dans l'étude de la guitare classique. En raison du volume considérable de musique pour guitare écrite au fil des siècles, sans mentionner les Åuvres anciennes des instruments à cordes pincées apparentés à la guitare, les choix des auteurs étaient nécessairement limités à un groupe restreint de « standards ». Ces Åuvres peuvent être considérées parmi les plus populaires du répertoire de la guitare, admirées au fil des ans par les interprètes, les étudiants et les auditoires pour leur beauté, leur expression musicale et leur sonorité idiomatique. Il existe, bien sûr, d'autres pièces qui auraient pu être incluses. Mais en choisissant des Åuvres qui offrent un large panorama des styles à travers les périodes musicales (Renaissance, Baroque, Classique, Romantique et début du 20e siècle) écrites par certains des compositeurs les plus importants pour la guitare, les auteurs présentent une section transversale complète du répertoire essentiel pour l'instrument. - William Kanengiser. $49.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pathways to Franz Liszt Piano solo Wiener Urtext
(A selection of easy to intermediate piano pieces by Liszt). By Franz Liszt (181...(+)
(A selection of easy to intermediate piano pieces by Liszt). By Franz Liszt (1811-1886). Edited by Christian Ubber, Sabine Ziegler, Jochen Reutter. For piano. 24 pages. Published by Wiener Urtext/Vienna Urtext
$16.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
1 |
|
| Easiest Piano Course :
Easiest Pop Songs Piano solo Amsco Wise Publications
This Easiest Pop Songs edition of John Thompson's Easiest Piano Course allows th...(+)
This Easiest Pop Songs edition of John Thompson's Easiest Piano Course allows the beginner pianist, who is progressing from part one to part two of the world-renowned course, to learn some fantastic and well-known pop songs. With simplified arrangements and large notation, these are popular hits in the familiar John Thompson style.As well as reinforcing basic technique, developing musicality and making learning great fun, the Easiest Pop Songs will be familiar to most young beginners, allowing them to learn and play some of their favourite tunes of the moment. Repertoire books like this have been specially created and graded to be used with the John Thompson's Easiest Piano Course, so pianists who are working through that will recognise the style of this songbook.This book features a number of pop songs, including Taylor Swift's Shake It Off, Sam Smith's Brilliant Stay With Me and Adele's huge smash-hit Hello. There are many more, though, such as Wings by Birdy, Flashlight by Jessie J and I Really Like You by Carly Rae Jepsen. These Easiest Pop Songs are perfect supplementary material for those working through parts 1 and 2 of the course, but also make great sight-reading practice for more advanced students. Since dynamics and phrasing are not introduced until part 3 of the course, they are not included here, although some invaluable hints and tips and fingering guides are featured for all songs.All beginner Piano pupils will love to learn the famous pop songs included in this repertoire book - an ideal complement to John Thompson's Easiest Piano Course. / Piano
14.09 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Jim Chapin - Advanced
Techniques For The Modern
Drummer Vol.1 + 2 Cd I.M.P.
The Classic Jazz Independence book now with 2 CD's. Jim, known as the Father of ...(+)
The Classic Jazz Independence book now with 2 CD's. Jim, known as the Father of Jazz Independence has written one of the most popular drum set books of all time. This classic work should be in every drummers library as there is always something new t o learn and develop from this masterful book. Whether a beginner or accomplished drummer,
32.50 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| The Complete Book Of
Shred Guitar Guitar - Intermediate/advanced Mel Bay
El Libro Completo de Guitarra Shred. The Complete Book of Shred Guitar focuses o...(+)
El Libro Completo de Guitarra Shred. The Complete Book of Shred Guitar focuses on the technical aspects of playing the electric guitar in the shred style. As the guitar plays such an important role in metal, neoclassical and hard rock, much is demanded of lead guitarists. Having precise and effective technique is paramount, and usually the result of disciplined practice and critical listening over a period of years. With this method, however, you will achieve noticeable results within a relatively short period. Includes: alternate and sweep picking, tapping and pedal point technique, scales and chord progressions, bending, vibrato and legato techniques, all types of harmonics, the volume swell technique, use of the whammy bar and effects pedals, 120 downloadable examples plus a bonus track, and much more. This volume is a technical tour de force and clearly one of Mel Bay\'s most advanced rock guitar books. The author, Pablo Pescatore of Buenos Aires, Argentina, is a virtuoso, conservatory-educated guitarist, well-versed in music theory and sight singing - he has written several books on learning styles, recorded numerous projects and taught electric and classical guitar technique for more than 20 years. The book\'s 120 online audio examples are recorded at two speeds: blazing, jaw-dropping fast and then slowly, at half speed for student play-along. Throughout, the author assures the reader that all things are possible with diligent practice. / Niveau : Intermédiaire à Avancé / Pop and rock / Date parution : 2019-05-27/ Tablatures / Guitare Electrique
28.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Christopher Norton:
American Popular Piano
Technic 1: Piano:
Instrumental Tutor Piano solo [Sheet music + CD] Novus Via Music Group
This is one of four level-one books in the American Popular Piano series - the e...(+)
This is one of four level-one books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book. Level One For advanced beginners- Hands play together - Whole note half note quarter note dotted half note- Whole rest half rest quarter rest dotted-half rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent- 3/4 4/4 and 5/4 time signatures- Key signatures up to one sharp and one flat- Repeat 8va tie fermata ritardando atempoAbout the American Popular Piano series:?Why can?t I play more music like this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? · develop traditional pianistic and musical skills through music in contemporary popular styles;· be motivated to practice by working on music that is familiar fun and that they can?t wait to play; · nurture their creativity and spontaneity through a user-friendly modular approach to improvisation; · enjoy regular ensemble playing; ? and find pleasure in a lifelong relationship with music!Written entirely by Christopher Norton and Scott McBride Smith American Popular Piano is an educational piano course which comprises 44 books clearly divided into 11 difficulty levels. With 4 resources in each level from which people can pick and choose the series provides a fuller curriculum including important skills such as
6.99 GBP - Sold by Musicroom UK | |
| Christopher Norton:
American Popular Piano
Skills 1: Piano:
Instrumental Tutor Piano solo Novus Via Music Group
This is one of four level-one books in the American Popular Piano series - the e...(+)
This is one of four level-one books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book. Level One For advanced beginners- Hands play together- Whole note half note quarter note dotted half note- Whole rest half rest quarter rest dotted-half rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent- 3/4 4/4 and 5/4 time signatures- Key signatures up to one sharp and one flat- Repeat 8va tie fermata ritardando atempoSkills Books:round out the comprehensive course of study. Paced to enhance progress in the corresponding Repertoire and Etudes Albums the module structure ensures a smooth integration of Ear-Training Sight-Reading and Technic. ? Ear-training: reinforces the auraldevelopment already achieved through the repertoire and improvisation etudes; ? Sight-reading: time-effective module structure leads to regular practice the single most important contributing factor to success;? Technic: provides a structured and measured approach; prepares for the challenges ahead.About the American Popular Piano series:?Why can?t I play more music like this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? ? develop traditional pianistic and musical skills through music in contemporary popular styles;? be motivated to practice by working on
7.99 GBP - Sold by Musicroom UK | |
| Christopher Norton:
American Popular Piano
Repertoire 1: Piano:
Instrumental Novus Via Music Group
This is one of four level-one books in the American Popular Piano series - the e...(+)
This is one of four level-one books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book. Level One For advanced beginners- Hands play together- Whole note half note quarter note dotted half note- Whole rest half rest quarter rest dotted-half rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent- 3/4 4/4 and 5/4 time signatures- Key signatures up to one sharp and one flat- Repeat 8va tie fermata ritardando atempoRepertoire Albums: a wide selection of pieces in three distinct categories: ? Lyrical: develops beautiful tone; reinforces careful listening; nurtures musical expression; improves finger control;? Rhythmic: instills a steady beat; improves counting; refines articulation; ensures secure syncopations; internalizes the pulse;? Ensemble: hones listening skills; encourages regular ensemble playing; offers rich musical textures even in early studies; reinforces musical continuity.The CD which comes only with the Repertoire Album contains accompanying instrumental backings both for the Repertoire Album's ensemble pieces and the Etudes Album's Improvisation modules: ? provides convenient practice and performance tempos for realistic support of the learning process; ? stimulates daily ensemble playing; ? creates a full band improvisation experience; ? makes reaching a polished performance just plain fun!About the American Popular Piano series:?Why can?t I play more music like this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and
9.99 GBP - Sold by Musicroom UK | |
| Christopher Norton:
American Popular Piano
Etudes 1: Piano:
Instrumental Tutor Piano solo Novus Via Music Group
This is one of four level-one books in the American Popular Piano series - the e...(+)
This is one of four level-one books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book. Level One For advanced beginners- Hands play together- Whole note half note quarter note dotted half note- Whole rest half rest quarter rest dotted-half rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent- 3/4 4/4 and 5/4 time signatures- Key signatures up to one sharp and one flat- Repeat 8va tie fermata ritardando atempoEtudes Albums:complement the corresponding Repertoire Album with traditional technical etudes in both classical and popular styles and through a revolutionary module-based approach to improvisation.? Technical Etudes: builds solid fundamentals by focusing on specifictechnical and musical elements; offers an enjoyable approach to improving facility;? Improvisation Etudes: delivers a practical framework for learning improvisation; integrates effortlessly into traditional piano lessons; module structure provides intuitive progressive development from the very first level; encourages creativity and spontaneity; trains critical active listening skills.The CD which comes only with the Repertoire Album contains accompanying instrumental backings both for the Repertoire Album's ensemble pieces and the Etudes Album's Improvisation modules: ? provides convenient practice and performance tempos for realistic support of the learning process; ? stimulates daily ensemble playing; ? creates a full band improvisation experience; ? makes reaching a polished performance just plain fun!About the American Popular Piano series:???Why can???t I play more music like this'??? asked a fourteen-year-old piano student. ???My friends like to hear me play cool music.??? Why not indeed. J.S. Bach taught
7.99 GBP - Sold by Musicroom UK | |
| Linda Rann: Kodaly in the
Classroom - Advanced Set
1: Mixed Choir: Classroom Hal Leonard
A Practical Approach to Teaching Pitch and Rhythm-This popular music classroom s...(+)
A Practical Approach to Teaching Pitch and Rhythm-This popular music classroom series now offers an advanced collection of songs and teacher lessons sequentially organized to teach the basics of pitch and rhythm through singing and games for upper elementary and middle schoolstudents. The song material consists of 20 folk and well-known children's songs. Teacher lessons are easy to follow and do not require previous training in Kodály methodology. Pitch and rhythm concepts expand to include alltones of the scale syncopa dotted rhythms and combinations of eighth & sixteenth notes. The collection includes lesson plans reproducible singer sheets and activities. Available: Teacher Edition (with reproducible songsheetsand activities Performance/Accompaniment CD and Classroom Kit (Teacher and P/A CD). For Grades 4-8.
23.99 GBP - Sold by Musicroom UK | |
| The New Anthology Of
Music (WINTERSON JULIA) Education CD Peters
Par WINTERSON JULIA. Plus de 60 exemples de musique couvrant un large éventail ...(+)
Par WINTERSON JULIA. Plus de 60 exemples de musique couvrant un large éventail de styles et de périodes. Pour : Edexcel filiale avancé la CME dans la musique, Edexcel Advanced CME dans la musique. Le livre et le coffret de 4 CD couvrant neuf domaines d'étude : musique pour grand Ensemble - du XXe siècle Art - musique pour petit Ensemble - clavier musique - de musique vocale sacrée - la musique vocale laïque - musique pour le cinéma et la télévision - musique populaire et Jazz - World Music/ Accessoire / Education CD
45.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The New Anthology Of
Music Divers Peters
Plus de 60 exemples de musique couvrant un large éventail de styles et de péri...(+)
Plus de 60 exemples de musique couvrant un large éventail de styles et de périodes. Pour : Edexcel filiale avancé la CME dans la musique, Edexcel Advanced CME dans la musique. Le livre et le coffret de 4 CD couvrant neuf domaines d'étude : musique pour grand Ensemble - du XXe siècle Art - musique pour petit Ensemble - clavier musique - de musique vocale sacrée - la musique vocale laïque - musique pour le cinéma et la télévision - musique populaire et Jazz - World Music / Divers
67.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Charlier Charles
Sourisse: Les Cahiers
Charlier Sourisse: Alto
Saxophone: Alto Saxophone [Sheet music + CD] Leduc, Alphonse
Improvisation for beginners and advanced players-With jazz being the most popula...(+)
Improvisation for beginners and advanced players-With jazz being the most popular genre for the Alto Saxophone learning the art of improvisation is imperative. Therefore Charlie Sourisse's Improvisation For Beginners And Advanced Players is an essential guide for progression. Sourisse and his musical partner Pierrick Pédron saw the need for a comprehensive tool to aid jazz method progression and Improvisation For Beginners And Advanced Players provides explanatory notes and explores chord symbols basics of tonality and basics of modality. The accompanying CD aids with tuning and suppliesaccompaniments. With a significant amount of written instruction in French English German and Spanish Sourisse's Improvisation For Beginners And Advanced Playersis highly accessible to a range of Alto Saxophone players making for an essential and helpful guide.
22.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Les Cahiers Charlier
Sourisse Français Tenor Saxophone [Sheet music + CD] Leduc, Alphonse
With jazz being the most popular genre for the Tenor Saxophone learning the art...(+)
With jazz being the most popular genre for the Tenor Saxophone learning the art of improvisation is imperative. Therefore Charlie Sourisse 's Improvisation for beginners and advanced players is an essential guide for progression. Sourisse and his musical partner Pierrick Pédron saw the need for a comprehensive tool to aid jazz method progression and Improvisation for beginners and advanced players provides explanatory notes and explores chord symbols basics of tonality and basics of modality. The accompanying CD aids with tuning and supplies accompaniments. With a significant amount of written instruction in French English German and Spanish Sourisse 'sImprovisation for beginners and advanced players is highly accessible to a range of Tenor Saxophone players making for an essential and helpful guide.
22.99 GBP - Sold by Musicroom UK | |
| Best of Flute Classics:
Flute Flute and Piano Schott
10 Famous Pieces for Flute and Piano-The most popular works of flute literature ...(+)
10 Famous Pieces for Flute and Piano-The most popular works of flute literature in one volume: Best of Flute Classics features music from four centuries by Handel J.S. and C.P.E. Bach Mozart Donizetti Fauré Roussel Chaminade Reinecke and Taffenl. The collection of original works for flute is ideal study or concert repertoire for intermediate and advanced flautists. The edition also comes with a basso continuo part for the sonatas by J.S. Bach C.P.E. Back and Handel.BEST OF FLUTE CLASSICS - press reviews:Love this new book from Schott. Great material beautifully produced and amazing price. ? FLUTEWISE
18.99 GBP - Sold by Musicroom UK | |
| N°061 - Burnin' - Up
Tempo Jazz Standards All Instruments Jamey Aebersold Jazz
Advanced. Only for the brave! Find out how good you really are when tempos reach...(+)
Advanced. Only for the brave! Find out how good you really are when tempos reach 340 beats per minute! Songs are typically played at break neck speed on popular jazz recordings, club dates, and jam sessions. A much requested set that is sure to fill a void in this series. You've heard stories of jazz masters who used to play Cherokee in all 12 keys...now see what it's like for yourself. If you cut it at this tempo, you're ready for anything! Rhythm Section: Dan Haerle & Mark Levine (p); Todd Coolman & John Goldsby (b); Ed Soph & Barry Ries (d) Includes: # Indiana # Secret Love # Blues With Bridge # Keep It Up # Lover # It's You Or No One # Lover Come Back To Me # Cherokee (All 12 Keys!) # The Third Rail # The Way You Look Tonight
19.20 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Franz Liszt: Wege Zu
Franz Liszt: Piano:
Instrumental Album Piano solo Wiener Urtext
The fact that Piano works by Franz Liszt do not always require the highest techn...(+)
The fact that Piano works by Franz Liszt do not always require the highest technical standards or are reputed to be reserved for just a few professionals is proven by the present anthology of the Wiener Urtext Edition. It comprises works by Liszt which starting from an easy to intermediate technical level encourage to play rather by harmonic than by virtuoso demands and still allow to make progress in the playing technique which eventually is of benefit not only to playing Liszt. The selection ranging from easy pieces such as La cloche sonne or the Consolations Nos. 1 and 2 to more advanced works such as 'Au lac de Wallenstadt' from'Années de Pèlerinage' also takes the aspect of popularity within the framework of Liszt's Piano literature into account.
11.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Carl Philipp Emanuel
Bach: Solfeggio
(Solfeggietto) Wq 117/2 /
H220: Piano Solo: Piano solo Peters
c-Moll C minor ut mineur. C.P.E. Bach?s Solfeggio (also commonly known as Solf...(+)
c-Moll C minor ut mineur. C.P.E. Bach?s Solfeggio (also commonly known as Solfeggietto) provides a thrilling sprint for the fingers around the keyboard in 60 seconds of pure musical energy. The title, referring to the solfège exercises commonly given to singers, indicates a piece that is designed to develop technique. But the panache with which Bach flies through the scales and arpeggios of this piece make it both a satisfying and highly-effective practice piece as well as a reliable concert showstopper for pianists moving past the first stages of learning. This new Urtext edition has been produced by the internationally renowned C.P.E. Bach expert Wolfram Enßlin and brings together the highest level of musicology with a beautifully prepared and practical edition. Contains a preface and critical commentary in German, English and French.
? New Urtext edition of C.P.E Bach?s famous and popular Solfeggio ? Edited by international C.P.E. Bach scholar Wolfram Enßlin ? Contains Preface and Critical Commentary in German, English and French ? Medium difficulty makes this a perfect study piece for advancing students
5.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
1 |
|