Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Violon 2

Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Violon 1

Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Score

Par HAHN JERRY. This jazz guitar book is a compilation of three books formerly published as Volume 1 - Scales and Exercises, Volume 2 - Patterns and Solos and Volume 3 - Improvisation Course and Chord Studies. This comprehensive edition covers all of the facets of jazz guitar study including all of the primary scales and arpeggios in five positions. There are several exercises to help increase technical facility including an excellent cross-picking exercise. Also there is a large single line section that includes jazz vocabulary and ideas to be played over certain chords and progressions. Learning and memorizing these single line studies expands the student's improvisational concepts and technique. The chord section includes the primary chord forms found in jazz and contemporary music as well as examples of turn-arounds, variations on twelve bar blues, and modal comping. The harmonized bass line section has four chord studies in a Freddie Green style. The Improvisation Course is a unique systematic approach to teaching improvisation. It consists of four lessons that has the student write out solos (with out an instrument) utilizing certain rules. The material in this book will provide a solid foundation for the aspiring jazz guitar student and has been used as the primary text for the jazz guitar programs at Portland State University and Wichita State University. / Niveau : Intermédiaire / Jazz - Methods / Méthode / Guitare

Volume complet incluant : Lectures de Notes, Lectures Chantées, Dictées à parties manquantes, Dictées mélodico-rythmiques, Dépistage de fautes, Lectures Rythmiques. Tous les textes sont extraits du Répertoire Classique. / Niveau : Cycle 2 / Solfège/Formation Musicale / Formation Musicale

Volume complet incluant : Lectures de Notes, Lectures Chantées, Dictées à parties manquantes, Dictées mélodico-rythmiques, Dépistage de fautes, Lectures Rythmiques. Tous les textes sont extraits du Répertoire Classique. / Niveau : Cycle 2 / Solfège/Formation Musicale / Formation Musicale

Par ORTMAN Robert. / Niveau : 3 / Solfège/Formation Musicale / Formation Musicale

Par ORTMAN Robert. / Niveau : 4 / Solfège/Formation Musicale / Formation Musicale

Par MITEA Marian. / Niveau : 3 / Solfège/Formation Musicale / Formation Musicale

Corrigés / Niveau : Cycle 1 / Solfège/Formation Musicale / Formation Musicale

Corrigés / Niveau : Cycle 3 / Solfège/Formation Musicale / Formation Musicale

Par CHAPELIER Geneviève. / Niveau : 4 / Solfège/Formation Musicale / Formation Musicale

Ouvrage complet incluant : Lecture de Notes, Lecture Chantée, Dictées à parties manquantes, Dictées Mélodico-Rythmiques, Dépistage de fautes, Lecture Rythmique. Tous les textes sont extraits du Répertoire Classique / Niveau : Cycle 1 Débutant / Solfège/Formation Musicale / Formation Musicale