SKU: HL.49032474
ISBN 9783795751524. German.
Das Saxophon erfreut sich heute einer ausserordentlichen und zunehmenden Beliebtheit. Deshalb entschloss sich Hartmut Tripp, ein erfahrener Padagoge und Saxophonlehrer, sein bewahrtes und speziell mit jungeren Schulern sehr erfolgreiches Unterrichtskonzept in Form dieser Einsteigerschule zu veroffentlichen. Wer dieses Material systematisch und sorgfaltig durcharbeitet, wird rasche und gute Fortschritte auf seinem Instrument machen, ohne das Wichtigste dabei zu vernachlassigen: Die Freude am Musizieren.
SKU: BR.DV-8173
ISBN 9790200480832. 9 x 12 inches.
World premiere Leipzig, 1980 Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend. Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.Nebe n der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.Tchaikovsky 's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'.
SKU: BT.DHP-1196062-404
ISBN 9789043156127. English-German-French-Dut ch.
The concept of the successful Swing Quartets, Jazz Quartets and Groove Quartets publications is now also available in a Christmas edition: Bert Lochs has arranged four traditional Christmas songs in a swing style with combo accompaniment. The Swingin' Christmas Quartets are available for trumpet, flute, clarinet and alto saxophone quartets, and all four versions can be combined to create whichever instrumentation you require. The online audio for each piece contains not only a demo version with a full line-upâ??and a pure playback versionâ??but additionally four versions in which each of the four wind voices is omitted in turn, making them ideal forpractice purposes. Het concept van de succesvolle uitgaven Swing Quartets, Jazz Quartets en Groove Quartets is nu ook toegepast op muziek voor Kerst: Bert Lochs heeft vier traditionele kerstliederen gearrangeerd in swingstijl met combobegeleiding. De Swingin' Christmas Quartets zijn verkrijgbaar voor trompet-, fluit-, klarinet- en altsaxofoonkwartet, en ze kunnen worden gecombineerd in elke samengestelde bezetting. De online audio bevat voor elk stuk niet alleen een volledige demoversie en een meespeelversie, maar ook vier opnamen waarin telkens een van de vier partijen is weggelaten: ideaal om mee te oefenen.Das Konzept der erfolgreichen Ausgaben Swing Quartets, Jazz Quartets und Groove Quartets ist nun auch im weihnachtlichen Gewand verfügbar: Bert Lochs hat vier traditionelle Weihnachtslieder in einem swingenden Stil mit Combo-Begleitung arrangiert. Die Swingin' Christmas Quartets sind verfügbar für Trompeten-, Flöten-, Klarinetten- und Altsaxophonquartett, wobei alle vier Versionen beliebig miteinander kombinierbar sind. Im Online-Audioteil dieser Ausgabe gibt es nicht nur eine Demoversion in voller Besetzung und eine reine Playback-Version, sondern zusätzlich auch Tracks, bei denen je eine der vier Stimmen weggelassen ist, sodass diese zuÃ?bungszwecken dazu gespielt werden kann. Le concept succès des Swing Quartets, Jazz Quartets et Groove Quartets se présente maintenant également en habits de Noël : Bert Lochs a arrangé quatre chants traditionnels de Noël dans un style swingué avec accompagnement de combo. Les Swingin' Christmas Quartets sont disponibles pour quatuors de trompettes, fl tes, clarinettes et saxophones altos, toutes les versions étant combinables entre elles. Dans la partie audio disponible en ligne de cette publication figurent non seulement une version de démonstration avec lâ??instrumentation complète et une version dâ??accompagnement, mais aussi quatre versions dans lesquelles chacune des quatre voix estsupprimée tour de rôle afin de permettre chaque instrumentiste de sâ??entraîner individuellement.
SKU: CF.CAS36
ISBN 9780825863646. UPC: 798408063641. 8.5 X 11 inches. Key: F major.
A warm and richly scored setting of the popular Christmas carol Bring a Torch Jeanette, Isabella, this full sounding arrangement will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection.Bring a Torch is a lovely Christmas carol. Using techniques such as suspensions, re-harmonization and modulations, my goal is to provide an interesting showcase for this familiar melody. the introduction in F major features sustained violins with a pattern of moving eighth notes in the violas and cellos. This pattern recurs throughout the piece. The first statement of the melody is in the first violins. The second violins supply harmonic support along with the viola/cello pattern. Measures 13-29 feature a section of tutti chordal playing. Measure 30 crescendos into the modulation to D major at m. 32. Here, the dynamic is forte, and the viola/cello pattern returns. At m. 40, the violas and cellos have the melody with violin accompaniment. A crescendo begins at m. 44 and builds to fortissimo at m. 48, featuring a modulation to G major. At this point the melody should soar. A descrescendo at m. 60 is followed by a ritard at m. 64. The final four measures are in the original tempo ending on a tutti chord.Careful attention to dynamics, especially in the accompanying parts, will result in a fine performance.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CA.1952500
ISBN 9790007032791.
SKU: MB.610451
ISBN 9783899221725. 8.25 x 11.75 inches.
Dieses Buch richtet sich an alle, die Musik spielen oder lernen m?chten. Rhythmus spielt eine gro?e Rolle, egal ob Sie Instrumentalist, S?nger, T?nzer, Student, Lehrer, Amateur oder Profi sind. Unabh?ngig davon, ob Sie Anf?nger oder Fortgeschrittener sind, k?nnen Sie dieses Buch als Unterrichtsmaterial f?r Ihre Sch?ler oder f?r den eigenen Unterricht verwenden, unabh?ngig vom Stil. Der Anfang dieses Buches erkl?rt grundlegende Konzepte des Rhythmus, die f?r die ?bungen notwendig sind. Einige der schwierigeren Passagen wurden mit Z?hlen versehen, um diese und andere ?bungen zu meistern. Rhythmic Reading ist somit eine umfangreiche Sammlung von rhythmischen Konfigurationen in den g?ngigsten Z?hlern. Zu den Themen geh?ren: Die Pyramide der Noten, bin?re und tern?re Rhythmen, gepunktete Noten, Krawatten und Synkopen. Im praktischen Teil werden diese Themen anhand gemeinsamer Zeitsignaturen in einer umfangreichen Sammlung zusammengestellt. Die ?bungen sind nicht nur f?r Schlagzeuger geeignet - die Autoren geben auch Interpretationsideen f?r die rhythmische Notation f?r Gitarristen, Keyboarder und Bassisten. Auf diese Weise ist dieses Buch f?r alle Instrumentalisten geeignet, die Musik machen m?chten. Fakt: Dieses Buch vermittelt Ihnen auf kompakte Weise Wissen ?ber Rhythmus. Der Leser erh?lt au?erdem eine zus?tzliche Funktion in Form einer CD, auf der er die ?bungen anh?ren kann. This book is for everybody who plays music or decides to learn it. Rhythm plays a major role no matter whether you are an instrumentalist, singer, dancer, student, teacher, amateur, or professional. No matter if you are a beginner or are advanced you can use this book as instruction material for your students or for own education, regardless of style. The beginning of this book explains basic concepts of rhythm that are necessary for the exercises. Some of the more difficult passages have been provided with counting which will help in mastering these and other exercises. Rhythmic Reading is thus an extensive collection of rhythmic configurations in the most common meters.Topics include: the pyramid of notes, binary and ternary rhythms, dotted notes, ties and syncopation. In the practical part, these topics will be arranged using common time signatures in a comprehensive collection. The exercises are not just suitable for drummers - the authors also give interpretation ideas for rhythmical notation for guitarists, keyboard players and bassists. In this way, this book is suitable for all instrumentalists who want to make music.Fact: this book presents you with knowledge about rhythm in a compact way. The reader also gets an additional feature in the form of a CD where they can listen to the exercises.
SKU: BA.BA06629
ISBN 9790006498871. 21 x 29 cm inches. Language: German. Preface: Hella Hartung-Ehlert.
The se “playbocks†form a sequel to the authors Violin method for group instruction (BA 6623). They contain musical games, canons and songs in simple arrangements for one to three identical instruments, introclucing children to ensemble playing during their first music lessons. Each arrangement has a melody part joined by an accompaniment part on open strings and a fingered accompaniment for more advanced pupils, so that all children have a chance to play. The play- books end with several four-part pieces and can be combined for use in mixed ensembles.
SKU: CF.YAS13F
ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.
IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
