B-Dur. Par MOZART WOLFGANG AMADEUS. To a greater extent than almost any others, Mozart's Masses combine a very high degree of artistic accomplishment and tonal beauty with fulfilment of the demands made by the Liturgy. Even the textually expansive movements 'Gloria' and 'Credo' are, in most of Mozart's Masses, short enough to meet the requirements of a festive service, today as in his time. The choral parts are not too difficult for well-trained amateur singers. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 ViolonS Basse Contin

The Beatles' North American tours turned the entertainment business on its ear and forever changed the landscape of the concert touring industry. In February 1964, after finally achieving a number-one hit in America, the Fab Four came to the country with high hopes, performing on the wildly popular Ed Sullivan Show in both New York City and Miami and playing concerts at Carnegie Hall and the Washington Coliseum. In just fifteen short days, the Beatles conquered America. The Beatles made music-entertainment history with their North American tours from 1964 to 1966.Some Fun Tonight! The Backstage Story of How the Beatles Rocked America: The Historic Tours of 1964-1966 is a comprehensive two-volume set which gives you a city-by-city synopsis of the group's activities as they traveled the United States and Canada for their groundbreaking series of concerts. From San Francisco's Cow Palace show on August 19, 1964, through their last-ever live performances at that city's famed Candlestick Park on August 29, 1966, these books cover the music and the madness that characterized the Beatles' three North American tours. With hundreds of photographs and images of rare memorabilia, it is truly the definitive reference for what is arguably the most important period in the Beatles' long and winding career. You'll read about the behind-the-scenes negotiations, the mayhem at the airports and hotels, and the cheeky quotes delivered at the press conferences. You'll also read about the opening acts, the concerts, and the stories behind the shows through the eyes of the Beatles, their entourage, the promoters, the emcees, and the fans. Never before have the Beatles' North American concerts been covered in such depth.If you witnessed the mania firsthand, you'll relive the excitement in the pages of these books. If you were born too late to be a part of those halcyon days, you'll learn what it was like to be swept up and carried away by the phenomenon of the greatest musical act of all time. When all is said and done, Some Fun Tonight is a tribute to the fans - the first generation and beyond. Look carefully at the faces of the fans in this book - they may be your friends, parents, grandparents - or even you! - but together, they made Beatlemania happen. Fasten your seat belt and enjoy this comprehensive history! / Divers

Par WEIR JUDITH. Celebrate HM The Queen's 90th Birthday with your choir Sing Judith Weir's special new choral piece I Love All Beauteous Things Master of the Queen's Music, Judith Weir, has been commissioned by St Paul's Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen's 90th birthday in 2016. The piece is now available from Chester Music, so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include this approachable setting of Robert Bridges' poem. Directed by Andrew Carwood, the St Paul's Cathedral Choir will perform I love all beauteous things as part of the National Service of Thanksgiving which will take place on at 11am on 10 June in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury will give the address and the Prime Minister will read a lesson. The event will be televised live on BBC1. Judith Weir comments: 'It is a particular honour to contribute new music for this great occasion, and a pleasure to write a choral version of Robert Bridges' beautiful verse.' Preview the score here Download the digital sheet music here COMPOSER'S NOTE At the suggestion of Michael Hampel, Precentor of St Paul's Cathedral, I have set words by Robert Bridges, who was Poet Laureate from 1913-1930. Bridges was an outstanding humanitarian and writer, whose poetry has inspired me before in The Voice of Desire, a song-cycle for mezzo-soprano and piano. This short, fast-tempo setting aims to emulate the swift, fleet-footed rhyme and metre of the two-verse poem, with its unobtrusive but telling reference to 'man in his hasty days'. J.W. Commissioned by the Chapter of St Paul's Cathedral to mark the 90th birthday of HM The Queen, generously supported by the Boltini Trust. Performed at the National Service of Thanksgiving for HM The Queen's birthday at St Paul's Cathedral, London, on Friday 10th June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. Music by Judith Weir, Master of the Queen's Music, words by Robert Bridges, Poet Laureate in the year HM The Queen was born. Duration c. 3½ minutes I LOVE ALL BEAUTEOUS THINGS words by Robert Bridges OM (1844-1930) Poet Laureate 1913-30 I love all beauteous things, I seek and adore them - God hath no better praise, And man in his hasty days Is honoured for them. I too will something make And joy in the making - Altho' to-morrow it seem Like the empty words of a dream Remembered on waking. (I love all beauteous things, etc…)/ Feuillet / Choeur Mixte (SATB) et Orgue

The Music Road: A Journey in Music Reading presents an exciting, effective way for beginning music readers to experience the joy of reading and playing music at the keyboard. In the three volumes of The Music Road, a comfortable sequence of steps is presented. Each unit is divided into three parts: Stop! Look! Learn!, in which new material for learning is presented with follow-up written assignments, Stop! Look! Play!, in which new material is used in simple playing experiences, short mini-melodies, and one measure musical examples, and Destination, which uses folk songs and original music to offer many, many opportunities to see and play what has been presented in the learning part of the unit. Each unit has a corresponding Stop! Listen! appendix in which the ear is trained to hear what has been seen on the printed page. Listening to high - low, keyboard location, quarter, half, whole notes, 3/4 - 4/4 time, and intervals are a few of the beginning focuses in Book 1. Relating the eye and ear in this way is excellent sensory reinforcement and makes sense, too, of music theory for the young student. An additional appendix contains a teacher's guide, and general and specific practice points to help the teacher and parent use The Music Road successfully. The slow progression throughout the books ensures the mastery of concepts, and the extensive use of those concepts at the keyboard gives the student a wonderful sense of accomplishment. The philosophical and psychological basis for the Music Road books is a natural extension of the Suzuki approach, yet teachers with traditional approaches find the books equally successful with their students.

The Backstage Story of How the Beatles Rocked America Hard Cover Edition Boxed Set-The Beatles North American tours turned the entertainment business on its ear and forever changed the landscape of the concert touring industry. In February 1964 after finally achieving a number-one hit in America the Fab Four came to the country with high hopes performing on the wildly popular Ed Sullivan Show in both New York City and Miami and playing concerts at Carnegie Hall and the Washington Coliseum. In just fifteen short days the Beatles conquered America.The Beatles made music-entertainment history with their North American tours from 1964 to 1966. Some Fun Tonight! The Backstage Story of How the Beatles Rocked America: The Historic Tours of1964-1966 is a comprehensive two-volume set which gives you a city-by-city synopsis of the group's activities as they traveled the United States and Canada for their groundbreaking series of concerts. From San Franciscos Cow Palace show on August 19 1964 through their last-ever live performances at that city's famed Candlestick Park on August 29 1966 these books cover the music and the madness that characterized the Beatles three North American tours. With hundreds of photographs and images of rare memorabilia it is truly the definitive reference for what is arguably the most important period in the Beatles long and winding career. Youll read about the behind-the-scenes negotiations the mayhem at the airports and hotels and the cheeky quotes delivered at the press conferences. Youll also read about the opening acts the concerts and the stories behind the shows through the eyes of the Beatles their entourage the promoters the emcees and the fans.Never before have the Beatles North American concerts been covered in such depth. If you witnessed the mania firsthand youll relive the excitement in the pages of these books. If you were born too late to be a part of those halcyon days youll learn what it was like to be swept up and carried away by the phenomenon of the greatest musical act of all time. When all is said and done Some

Par GORDON ANDREW D.. Classic Keyboard Riffs And Rhythms by Andrew D. Gordon consists of 40 short riffs, 4 to 16 measures in length, covering blues, country, funk, gospel, jazz, latin, new age, reggae, R&B and rock styles. This book will help 'spice up' arrangements of songs by incorporating the techniques used for each of the different styles. There is also an analysis giving hints on the best way to use these riffs in your playing. It is also a great tool as a source of improvisational ideas. The 'American Music Teacher' magazine review said ' All in all this is a good book to get to those elusive sounds that make up the contemporary pop style. ' Recorded at normal and slow tempos. Classic Keyboard Riffs And Rhythms by Andrew D. Gordon consists of 40 short riffs, 4 to 16 measures in length, covering blues, country, funk, gospel, jazz, latin, new age, reggae, R&B and rock styles. This book will help 'spice up' arrangements of songs by incorporating the techniques used for each of the different styles. There is also an analysis giving hints on the best way to use these riffs in your playing. It is also a great tool as a source of improvisational ideas. The 'American Music Teacher' magazine review said ' All in all this is a good book to get to those elusive sounds that make up the contemporary pop style. 'Recorded at normal and slow tempos. / Niveau : 3 / Etudes et exercices / Etude / Piano ou Clavier

Essential Repertoire for Piano-Core Classics is a collection of seven books of music from the piano canon selected and graded by leading educationalists. Drawn from ABRSMâ??s extensive back catalogue each volume contains a rich selection of engaging pieces to form the backbone of any pianistâ??s repertoire. From Bach to Beethoven Scarlatti to Schumann this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a â??teacherâ??s toolkitâ?? â?? works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam between grades or playing for leisure building technical skills and confidence. With an elegant and attractive design and an unrivalled range of repertoire this is an essential collection for piano teachers and learners alike. Core Classics is a collection of seven books of music from the piano canon selected and graded by leading educationalists. Drawn from ABRSMâ??s extensive back catalogue each volume contains a rich selection of engaging pieces to form the backbone of any pianistâ??s repertoire. From Bach to Beethoven Scarlatti to Schumann this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a â??teacherâ??s toolkitâ?? â?? works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam between grades or playing for leisure building technical skills and confidence. With an elegant and attractive design and an unrivalled range of repertoire this is an essential collection for piano teachers and learners alike.

Essential Repertoire for Piano. Core Classics is a collection of seven books of music from the piano canon, selected and graded by leading educationalists. Drawn from ABRSM's extensive back catalogue, each volume contains a rich selection of engaging pieces to form the backbone of any pianist's repertoire. From Bach to Beethoven, Scarlatti to Schumann, this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a 'teacher's toolkit' - works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded, with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam, between grades, or playing for leisure, building technical skills and confidence. With an elegant and attractive design, and an unrivalled range of repertoire, this is an essential collection for piano teachers and learners alike. Core Classics is a collection of seven books of music from the piano canon, selected and graded by leading educationalists. Drawn from ABRSM's extensive back catalogue, each volume contains a rich selection of engaging pieces to form the backbone of any pianist's repertoire. From Bach to Beethoven, Scarlatti to Schumann, this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a 'teacher's toolkit' - works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded, with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam, between grades, or playing for leisure, building technical skills and confidence. With an elegant and attractive design, and an unrivalled range of repertoire, this is an essential collection for piano teachers and learners alike. / Pédagogie / Recueil / Piano

Essential Repertoire for Piano. Core Classics is a collection of seven books of music from the piano canon, selected and graded by leading educationalists. Drawn from ABRSM's extensive back catalogue, each volume contains a rich selection of engaging pieces to form the backbone of any pianist's repertoire. From Bach to Beethoven, Scarlatti to Schumann, this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a 'teacher's toolkit' - works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded, with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam, between grades, or playing for leisure, building technical skills and confidence. With an elegant and attractive design, and an unrivalled range of repertoire, this is an essential collection for piano teachers and learners alike. Core Classics is a collection of seven books of music from the piano canon, selected and graded by leading educationalists. Drawn from ABRSM's extensive back catalogue, each volume contains a rich selection of engaging pieces to form the backbone of any pianist's repertoire. From Bach to Beethoven, Scarlatti to Schumann, this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a 'teacher's toolkit' - works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded, with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam, between grades, or playing for leisure, building technical skills and confidence. With an elegant and attractive design, and an unrivalled range of repertoire, this is an essential collection for piano teachers and learners alike. / Pédagogie / Recueil / Piano

Essential Repertoire for Piano. Core Classics is a collection of seven books of music from the piano canon, selected and graded by leading educationalists. Drawn from ABRSM's extensive back catalogue, each volume contains a rich selection of engaging pieces to form the backbone of any pianist's repertoire. From Bach to Beethoven, Scarlatti to Schumann, this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a 'teacher's toolkit' - works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded, with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam, between grades, or playing for leisure, building technical skills and confidence. With an elegant and attractive design, and an unrivalled range of repertoire, this is an essential collection for piano teachers and learners alike. Core Classics is a collection of seven books of music from the piano canon, selected and graded by leading educationalists. Drawn from ABRSM's extensive back catalogue, each volume contains a rich selection of engaging pieces to form the backbone of any pianist's repertoire. From Bach to Beethoven, Scarlatti to Schumann, this series includes an abundance of much-loved pieces. All pieces have been carefully selected to ensure that each book is nothing short of a 'teacher's toolkit' - works that any teacher would want their pupils to learn as part of their musical journey. Each book is authoritatively graded, with pieces gradually increasing in difficulty throughout. Thebooks are equally valuable for learners working towards a grade exam, between grades, or playing for leisure, building technical skills and confidence. With an elegant and attractive design, and an unrivalled range of repertoire, this is an essential collection for piano teachers and learners alike. / Pédagogie / Recueil / Piano

for soprano saxophone and chamber orchestra. Par BRYARS GAVIN. The piece is dedicated to John Harle and the Bournemouth Sinfonietta, who commissioned it with funds made available by South West Arts. It makes use of the saxophone's ability to play long expressive melodic passages, and was written too, having seen the Sinfonietta perform, with some of its individual players in mind. Although played without a break, the piece does fall into a number of recognisable sections delineated by a change of tempo, or by a substantial shift of texture. For example, shortly before the end, there is a passage where the saxophone is accompanied by 21 solo strings - the entire string section playing divisi, followed by a coda, which contains simultaneous 'laments' (for saxophone, cor anglais, French horn, and solo violin). The Green Ray is the title of a romantic novel by Jules Verne, set in the West of Scotland, in which a peculiar atmospheric phenomenon plays the key part. A 'green ray' is seen at sunset in certain latitudes, and in certain coastal conditions, just as the sun touches the horizon and, for a brief moment, the orange sun emits a green ray of light. In the Verne story the simultaneous sighting of the ray will seal a couple's love, and the attempts of a young man to do this are constantly frustrated (by sudden clouds, by a yacht passing along the horizon, and so on). This part of Western Scotland is also the place where certain piping traditions originated. Male pipers practised in one cave on the seashore, females in another ( the 'piper's cave' and the 'pigeon's cave'). As they played their laments at twilight a triangulation, similar to that in the Verne story (male-ray-female) may well have occurred without the knowledge of the innocent participants, hence the sequence of simultaneous laments in the coda. On one occasion I witnessed the green ray in Southern California. I was returning along the coast after having climbed up Mt. Tecate, on the top of which is a house, now empty, where Evans-Wentz translated The Tibetan Book of the Dead. Gavin Bryars./ Répertoire / Saxophone Soprano et Piano

2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechli?ska Footnotes 1. See The Critical Commentary, p. ' and onward. 2. See V. Grigoriev, Henryk Wieniawski. ?ycie i twórczo??. [Life and Work] Warszawa - Pozna? 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes.Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w PoznaniuSeries: Henryk Wieniawski - Complete WorksCover: softbackNr ISMN: 979-0-2740-0753-9Number of pages: 34 8Format: N4 stoj. 235x305Language version of text: pol., Eng.

Par RICHARDSON DAWN. This easy to read chart makes getting started playing basic rock grooves a snap! Beginners of all ages will be playing grooves in no time using this simple guide which includes both drum tab format and standard drum set notation side by side. Drum tab is currently a popular tool for writing beats and communicating drum parts on the Internet. This chart makes it clear and easy to transition from reading tab to reading and understanding standard drum set notation. This simple tool will aid the beginner in opening up a whole new realm of musical possibilities and can be utilized by both instructors and students learning on their own. The grooves are basic rock patterns using quarter and eighth notes. These are recognizable and useful grooves often heard in popular music. This short and concise learning tool also includes easy to understand descriptions of basic drum kit set up for both the right and left-handed drummer and beginner set up and playing position tips. / Niveau : Débutant / Rock - Technic / Méthode / Batterie