Imagine someone who has worked as an international saxophonist, an educator, a technician, a consultant, and as a designer, and you can imagine Peter Ponzol. For the first time, Peter offers details from his famous Saxophone Workshops. Learn about: ' Maintenance ' Reeds ' Mouthpieces ' Ligatures ' Sound ' Flexibility This exciting and informational pocket book will be a much needed addition to your musical library! Convenient pocket-sized book - 3.5 x 5.5 - perfect to toss in your gig bag! 64 pages. Peter has been around saxophones for decades, doing it all from manufacturing horns to reeds to mouthpieces. As well, he is a seasoned player. What he discusses in this book is coming from one of the sources-read carefully! - David Liebman, Sax artist/ author/ clinician. Read this review from Sax On The Web: The information in this book is right up SOTW's alley, with answers regarding reeds, necks, mouthpieces, saxes, maintenance, and the like. I would assume that the number of redundant threads started could be reduced almost in half simply with a reading of this book and those owning it could refer back to it at their leisure, as needed. And there is enough info in this book which contradicts some of our SOTW urban legends to make an episode of MythBusters. If you catch the right posts at the right time, much of the info in this book is already posted here on SOTW. But you have to see it and if hunting for it, you have to find it. OTOH it's all conveniently gathered and organized here in this primer - plus more. There are suggestions such as replacing the neck cork once or twice a year, which I would, if posting a response, say is not necessary. But here's the difference. Many of us on the forum are experienced musicians but few have the experience and depth that Ponzol has. We can write with credibility - Ponzol writes with authority. And this is based on decades not only as a top-echelon player, but as a successful and innovative sax, neck and mpc designer. The book is a 61 page pocket reference booklet which, in addition to topics mentioned above, include thoughts on ligatures, sound and flexibility. It is based on items of interest asked by attendees at workshops he has given over the years, hence the title. He begins by pointing out that at these workshops one of the first things he does is look at the condition of attendees' equipment with the observation that at least 90% of them need some kind of work and adjustments. What follows in the book's 61 pages are recommendations generated by this observation. Included are interesting comments such as: aging store-bought reeds by letting them sit for several years is fairly useless since the aging process stops once the bark has been cut away from the reed; not earth-shattering but interesting and certainly myth debunking. Again something that fits right in with many of the conversations on this forum. Interesting thoughts follow regarding the future of natural cane reeds, or how to select and get the most from your reeds - things I wouldn't think of like sanding the heel of your reed. SOTWers might also get a kick out of, and relate to, the title of his section on mouthpieces, 'Now the Fun Begins'. There are also interesting side comments we don't often hear like: in the 70s so many young players like Ponzol were trying to get Trane's recorded sound by working on metal Links because that's what they saw in photos and yet, Trane often recorded with hard rubber mpcs because, in Trane's opinion, it didn't have as much spit in the sound for him. It's interesting how some things come around back to you. There are two exercises I recommend to my students and have recommended on the forum regarding volume and embouchure control and flexibility. I've never heard anyone else recommend these exercises and yet here they are in Peter's book. Then it hit me. The only other one I know who uses them is a former teacher of mine and I remembered that years ago he said he had had some lessons with Ponzol. So 'the circle is unbroken' LOL. I would highly recommend it for beginners and intermediates, as well as for more advanced players to recommend to their students. It has made me re-think even some of my most basic assumptions regarding equipment and maintenance, which has made the read well worth it. I wish every SOTW newbie would start out their Forum time with this booklet at their disposal.

Par MENDELSSOHN-BARTHOLDY FELIX. Editeur(s) d'origine: Richter, E. , Dö cor ert, H./ Répertoire / Choeur de Femmes, Soprano et Orchestre

Full Score-Thomas Adès' The Tempest one of the most striking and successful operas of recent years is available for the first timeas a beautifully produced limited-edition full score. Featuring the stunning image 'Octopus' by artist Claire Burbridge this unique cased edition includes colour plates of exclusive images from Adès' original handwritten score and sketches. Each copy is signed and numbered by the composer. From the turbulent orchestral prelude with which it begins to Ariel's stratospheric yet ethereal 'Five fathoms deep' and the radiant quintet of reconciliation inits final act Thomas Adès conjures up a wholly compelling musical world in The Tempest.Responding to librettist Meredith Oakes' clear unfussy refashioning of Shakespeare into formalised rhyme schemes Adès has created a new kind of tonal language that is both direct and communicative but also indelibly contemporary.' Limited to 250 copies with signed and numbered limitation page.' Cased square back and sewn.' Endpapers feature original artwork 'The Firmament' by Claire Burbridge.' Case features original artwork 'Octopus' by Claire Burbridge printed in neon Pantone 809 with scratch-proof matt lamination and high gloss uv.' Black book-block edges ribbon and head and tail bands.

Par VERSCHAEVE MICHEL. 'Du point de vue spectacle, l'opéra-comique français est, dans l'ensemble, une réussite, et la musique y joue un rôle souvent fort plaisant. Tout cela est vif, alerte, spirituel, habile, parfois pétillant - cela chante dans toutes les mémoires, et il n'est nul besoin de connaître le rudiment du solfège pour s'en délecter. La musique, presque uniquement mélodique, encore qu'elle soit soutenue par un orchestre à la fois léger, transparent et qui, jamais, n'accapare indiscrètement l'attention, suit l'action avec souplesse, avec esprit, avec bonne humeur.' * C'est dans les Airs sérieux et à boire, la Comédie Italienne et dans les théâtres de foires que l'Opéra-Comique confirme sa naissance, se développe et finit par s'imposer notamment grâce, à la fin du XVIIe siècle, aux foires St-Laurent et St-Germain (qui se déroulent du 3 février au dimanche de la Passion). A la fin de l'année 1714, l'Opéra autorise le nom définitif de l'Opéra-Comique composé alors du Vaudeville (à l'origine Vau de Vire) mêlé d'ariettes. C'est donc l'alternance du parlé et du chanté qui fait la spécificité de l'Opéra-Comique contrairement à l'Opéra qui est chanté de bout en bout. Il faut donc aux interprètes un solide travail d'acteur allié à des qualités vocales de plus en plus exigeantes. Le XIXe siècle produira un nombre considérable de partitions jouées des centaines de fois parmi lesquelles se distinguent notamment : La Dame Blanche (1825) de Boieldieu, Les Dragons de Villars (1856) de Maillard, Le Pré aux Clercs (1832) d'Hérold, Les Noces de Jeannette (1853) de Massé, Lalla Roukh (1862) de David ou Le Postillon de Longjumeau (1836) d'Adam. Dans notre série de recueils, nous ne manquerons évidemment pas de proposer des oeuvres antérieures et postérieures à ces dates, oeuvres particulièrement choisies pour leurs différences (au niveau des tessitures, de l'agilité, du legato, etc.). Il nous est apparu évident, lorsque c'était le cas, de laisser les textes parlés avant, pendant et après les airs, ce qui caractérise l'essence même de l'Opéra-Comique. Le but de nos recueils est avant tout de développer un répertoire incontournable de l'histoire de la musique française et de donner la possibilité aux interprètes d'épanouir au mieux leurs qualités vocales et théâtrales. / classique / Répertoire / Mezzo-Soprano et Piano ou 2 Mezzo-Soprano

Complet avec des traductions et des conseils sur la prononciation. ' Comme chaque chanteur et amant de l'opéra français sait, Editions de même les plus célèbres arias opéra français sont difficile - et parfois cher - à obtenir. Sélection scrupuleusement équilibrée de Roger Nichols des airs français du XIXe siècle donne le point de départ idéal pour l'exploration plus large. Nichols, qui a défendu la musique française dans ses écrits, les pourparlers et les émissions de radio plus de trois décennies avec éloquence et de la bourse, est le guide idéal pour ce répertoire qui, aujourd'hui encore, est souvent négligée, mal compris ou mal exécutée. / Voix Et Piano

Lyric opera in two acts. Libretto by David Pountney.Commissioned?jointly by the Royal Academy of Music London UK and The Juilliard School New York USA.UK premiere: 18th March 2011 - Royal Academy of MusicOpera and Sinfonia at the Royal Academy of Music London conducted by Jane Glover.US premiere: 16th November 2011 - Students of The Julliard School at Peter Jay Sharp Theatre New York conducted by AnneManson.Overview.The piece consists of three interlocking stories of students involved in political action in three different situations.?Die Weiße Rose? was the name taken by a group of students atthe University of Munich led by Sophie and Hans Scholl. They produced leaflets protesting against the National Socialist government of Germany in 1942-3 until they were arrested and guillotined.?Soar to Heaven? follows twocharacters Wu and Zhou involved on opposite sides of the Cultural Revolution in China.?The Oxford Revolution? tells the story of James Meredith who fought a lonely battle against segregation and racial prejudice to becomethe first black student to enrol at ?Ole Miss? the University of Mississippi in the USA.Librettist's Note.There are inevitably and properly some differences between the original libretto and whatMax ultimately set to music. Most of these are insignificant but all the Latin texts in the opera were added by Max and texts for the alternating black / white choruses (Scene 19) and final chorus (Scene 28) were written by him.

Loved Pieces From The Baroque Period With A Certain Jazzy Twist. Bleu Baroque Saxophone est une collection de re-rouages modernes de huit pièces tirées de la période Baroque et dans divers styles de blues. Pendant de nombreuses années, il a été apprécié que directes transcriptions de musique de cette époque fonctionnent particulièrement bien au saxophone comme l'instrument a beaucoup en commun avec le hautbois. Ici, nous prenons les choses un peu plus loin et introduire des dispositifs rythmiques et harmoniques de nos jours. Les pièces sont de difficulté et de longueur modérée. James RaePieces comprennent : Toccata / j. s. Bach - Musette / Anon - Menuet BWV Anh. 115 / Petzold - Les Moissonneurs / Couperin - Gavotte / Corelli - Allegro (Concerto Op.3/6) / Vivaldi - Allegro / Handel - Air / Purcell/ Recueil / Saxophone Alto ou Saxophone Ténor et Piano

George Frederick Handel's (1685-1759) Sonata No. 6 is well-known to the Violin repertoire. Therefore when French saxophonist Marcel Mule (1901-2001) arranged the popular piece for the Saxophone in 1951 it was very well-received. The Sonata No. 6 is made up of four movements: Adagio Allegro Largo and Allegro non troppo. Handel's Sonata No. 6 was first published in 1732. Mule's editions ensure that the Saxophone part contains the articulation phrasing and breath marks necessary to the instrument. For all classical saxophonists this Mule arrangement of the popular SonataNo. 6 is essential.

Romantische Opera in three acts-Alfonso und Estrella D 732Romatic Opera in 3 ActsIn late September or early October 1821 Schubert and his close friend Franz von Schober vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle which belonged to the Bishop of St. Pölten (a close relative of Schober's) after which they moved on to St. Pölten itself. Roughly a year earlier two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann who blamed the press for the indifferent reception the two works weregiven by the audience. Schubert and Schober now decided it would seem to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.Not until 24 June 1854 was the opera finally performed in Weimar under the baton of Franz Liszt. It only achieved success however in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881 2 allegedly with 'brilliant acclaim'.Urtext of the New Schubert EditionFull score (BA5540) and vocal score (BA5540-90) available for salePerformance material (BA5540-72) available for hire

Move up to the next step of Jazz Conception with this terrific book by Lennie Niehaus! The exercises and pieces inside are of intermediate standard and build on the concepts and techniques found in the two previous Basic Level books. All 45 studies tackle a different Jazz feel with melodies that reflect the styles of swing cool bop and more.While focussing on technique this splendid method is one which clearly stresses the fundamental rhythms articulations and phrasings commonly used by Jazz groups. These are the keys that unlock proper Jazz conception and are the elements which usually requires the most time. This method can save you months or even years!The first section of this book consists of twenty Jazz exercises each stressing different rhythmic patterns which reinforce important elements. The second section consists of twenty-five tunes which utilise the material initiated within the exercises making this an invaluable source for the young saxophone player.

for Flute and Piano-La musique de salon tient son nom de son lieu d?exécution : les salons nobles et bourgeois du XIXe siècle. Au cours de cette période la flûte est dotée du système Boehm une invention qui lui permit d?arpenter de nouvelles possibilités sonores ettechniques encourageant l?écriture de nouvelles pièces par de nombreux compositeurs comme Franz Doppler ou Theobald Boehm. La Flûte au Salon réunit sept charmantes pièces de ces deux compositeurs entre autres. Le compact disc inclus proposeune version intégrale de chaque pièce et une version où ne subsiste que l?accompagnement de piano.Sommaire: Valse gracieuse Op. 261 2 (Popp) ? Scherzino Op. 55 6 (Andersen) ? Romance op. 41 (Brun) ? Barcarolle et Tarantella Op. 70 2 (Molique) ? Mazurka de Salon Op. 16 (Doppler) ? Souvenir des Alpes Op. 27 1 (Böhm) ? Csárdás (Monti).

Iain Bell's A Harlot's Progress is an Opera in six scenes featuring a libretto by Peter Ackroyd based upon William Hogarth’s 1730 etchings of the same name.This is a vocal score for Soprano Mezzo-Soprano (x2) Baritone Tenor and Bass soloists with an SATB Chorus and Piano accompaniment.

Après la publication de Adolphe Sax album consacré aux premiers solos caractéristiques du temps d'Adolphe Sax, ce second volume propose un travail similaire et retrace le parcours du saxophone du commencement en 1840 jusqu'au 20e siècle naissant. Au-delà de la lecture des partitions proposées, cet ouvrage sera un outil pédagogique indispensable pour élargir la connaissance de l'instrument de Sax, bien avant la popularité qu'on lui connaît avec le jazz, la pop etc. Saxophonistes, professeurs, élèves, musicologues et amateurs de saxophone apprécieront certains solos, mélodies rares voire inconnues, les caractéristiques de l'écriture de l'époque propres à l'instrument et l'utilisation qu'en ont fait les compositeurs selon les contextes musicologiques, historiques et esthétiques. Contenu BERG Alban : Lulu symphonische stücken - CAPLET André : Impression d'automne - CRAS Jean : Demain - INDY Vincent d' : Poème des rivages - DUKAS Paul : L'ondine et le pêcheur - FRANCK César : Hulda et les pêcheurs - HOLST Gustav : Suites : HURE Jean : Concertstuck et Andante - KASTNER Georges : Le dernier Roi de Juda -LOEFFLER Charles-Martin : Ballade carnavalesque - MAGNARD Albéric : 1re Symphonie - MASSENET Jules : La valse de Lahore - MAYEUR Louis : Grande fantaisie de concert - MOUSSORGSKY Modeste : Le vieux château PUCCINI Giacomo : La sui monti dell'est de Turandot - RAVEL Maurice : Boléro - ROBJOHN William : Introduction et Thème - ROSSINI Gioacchino : La corona d'Italia - SOUSA John Philip : The Stars and Stripes Forever