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Hautbois et Harpe (4)
Clarinette, Violon, Alto, Violoncelle, Piano et Pe (4)
Violon 1 (6 parts) Violon 2 (6 parts) Alto (4 part (4)
Ensemble de Cuivres et Percussion (4)
Trio à Cordes (4)
Sextuor à Cordes (4)
Quatuor à Cordes et Enregistrement (4)
Livres Education (4)
Harpe, Flûte (duo) (4)
Trio de Flûtes: 3 flûtes (4)
2 Violons, Alto, Hautbois, Cor et Basse Continue (4)
Ligne De Mélodie, (Paroles) et Accords (4)
Cornet A Pistons (4)
2 Trombones (duo) (4)
Quatuor à Cordes et Electronique (4)
Flûte Traversière, Clarinette et Piano (4)
Flûte Traversière et Trio à Cordes (4)
Clarinette et Quatuor à Cordes (4)
Flûte, Violon, Alto (4)
5 Instruments à Vent (4)
Clarinette, Violon, Violoncelle, Piano (4)
Concert Band/Harmonie et Corne de Bugle (4)
Conducteur (4)
2 Violons, Guitare (trio) (4)
Clarinette, Violoncelle et Piano (4)
Choeur Mixte (SSATB) Et Instrument(s) Ad Lib (4)
2 Altos (duo) (4)
Xylophone ou Marimba ou Vibraphone (4)
Solistes SATB, Choeur SATB, 2 Clarines, Timbales, (4)
Voix, Guitare (4)
Flûte, Clarinette (duo) (4)
Piano Quatuor: piano, 2 violons, violoncelle (4)
Viole de Gambe (4)
Trompette, Orchestre (4)
Concert Band ou Harmonie et Baryton ou Tuba (4)
Solistes SATB, Choeur SATB, 2 Pianos et Harmonium (4)
Orgue, Voix (4)
Cornet et Piano (4)
Opéra Full Score (4)
Tuba (4)
Orgue et Quatuor de cuivre (4)
4 Guitares (Quatuor) (4)
Ensemble Mixte (4)
Violoncelle, Orgue (3)
Chorale SSATBB (3)
Flûte, Hautbois, Piano (trio) (3)
Voix, Clarinette, Piano (3)
Choeur Mixte (SSATB) et Instruments Ad Libitum (3)
Choeur SSATTB et Basse Continue (3)
Instruments Sib, Mib et Do (3)
Quatuor à cordes : 4 altos (3)
Flûte à bec, Basse continue (3)
Concert Band et Tuba (3)
Flûte, Basson et Piano (3)
Euphonium Clé de Sol et Fa (3)
Piano, Hautbois et Basson (3)
Trompette et Guitare (3)
Solistes ATB, Choeur SATB, Cor Da Caccia, 2 Hautbo (3)
Flûte, Clarinette, Piano (trio) (3)
Violon 2 (3)
Quatuor de cuivres: 4 trompettes (3)
Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarines (3)
2 Mandolines (duo) (3)
Voix Mezzo-Soprano, Orchestre (3)
Choeur De Femmes A 3 Voix (Choeur De Garçons) (SS… (3)
Soprano, Choeur Mixte (SATB), Orchestre Et Orgue (3)
3 Clarinettes (trio) (3)
Guitare Fingerpicking (3)
Concert Band ou Harmonie et Baryton ou Tuba, Cor (3)
Concert Band ou Harmonie et Tuba (3)
Ensemble d'École (3)
ENS::Ensemble (3)
Choeur De Femmes Et Orchestre (3)
Baryton, Choeur Mixte Et Orchestre (3)
Piccolo (3)
3 Saxophones (trio) (3)
Flûte à Bec et Piano (3)
Xylophone (3)
Trompette I (2)
Piano Trio: Violon, Alto, Piano (2)
Chœur Mixte [SATB] et Orchestre à Cordes (2)
Saxophone Baryton, Piano (2)
Marimba et Guitare (duo) (2)
ST (A) BarB et Piano (2)
Ensemble (2)
Tuba et Brass Band (2)
Concert Band ou Harmonie et Clarinette (2)
Voix d'Enfants, Instruments (2)
Ensemble d'Accordéons (2)
Hautbois, Percussion (2)
Flûte, Basson (duo) (2)
Sopran and Violin (2)
Percussions et Piano (2)
Ensemble de Violoncelles (2)
2 Ou 4 Voix Mixtes Et Piano (Ou Orgue) (2)
4Part Flexible Band et Opt. Piano (2)
Orchestre d'harmonie, Percussion (2)
Caisse Claire, Piano (2)
Choeur (SATB) et Concert Band, Combo (2)
VCE/VLN/VLC/DB::Voice, Violin, Cello, Double Bass (2)
Baryton ou Tuba. Cor et Brass Band (2)
3 Clarinettes et Concert Band ou Harmonie (2)
Cornet (2)
Guitare ou Luth (2)
Clarinette Basse (2)
Concert Band et Marimba (2)
28 à 67 Joueurs (2)
VCE/FLT/VLC/DB::Voice, Flute, Cello, Double Bass (2)
3 Trompettes et Concert Band ou Harmonie ou Fanfar (2)
Soli/Choeurs d'Enfants et Orchestre/Chant et Piano (2)
Violon, Contrebasse (duo) (2)
Violon Et Harpe (Ou Piano) (2)
Saxophone, Clarinette (duo) (2)
Ensemble D'Instruments A Vent (2)
Instrument seul et Orgue (2)
Solistes SAB, Choeur SATB, ou 2 Hautbois, 3 Trombo (2)
Batterie et Piano (2)
2 Marimbas (2)
Choeur SSA, Orgue, (Solistes SSA) (2)
Soli (SATB), Chor (SATB), 2 Klaviere und Harmoniu… (2)
Chant et Basse Continue (2)
SATB et Orchestre (2)
Clarinette, Basson (duo) (2)
Flûte à bec Alto, Piano (2)
Guitare Tablatures Flatpick et Plectre (2)
Trombone basse et Piano (2)
FLT/VLN/VLA/VLC/PFC::Fl–te TraversiŠre, Violon,… (2)
Diverses Formations (2)
Trompette Et Orchestre (2)
8 [4] Violoncelles (2)
2 Xylophones et 2 Marimbas (2)
Violin and Guitar (2)
Choeur d'Enfants à 2 Voix et Piano (2)
2 Choeurs Mixtes à 4 Voix et Basse Continue (2)
Band Score (2)
4 Parties Mixtes et Basse Continue (2)
Alto, Guitare (duo) (2)
Tiefe Singstimme und Klavier (2)
Voix basse (2)
:: (2)
Flûte Seul Ou Avec Piano (2)
Quatuor à Vent Variable avec Percussions (2)
VLN/STR ORCH::Violon/Orchestre De Cordes (2)
Choeur De Femmes (SSA) Et Instruments Divers (Ou P… (2)
REC ENS(3)::Recorder Ensemble (Trio) (2)
Fanfare Band, SATB + combo (2)
Hautbois, Basse continue (2)
Clarinette, Violoncelle (duo) (2)
Matériel D'Orchestre (2)
Voix, Orgue (2)
MAND::Mandolin (2)
Violon, Orgue (2)
Choeur a Cappella (SATB, TTBB, SSAA ou Mixte) (2)
Flûte, Violon, Violoncelle et Piano (2)
Guitare Pedal Steel (2)
Voix de Femmes (2)
Cithare (2)
Chœur Mixte [SATB] et Orchestre (2)
Voix d'Enfants, Piano (2)
Scores (2)
Clarinette et Accordéon (2)
Ensemble de cuivres, Orgue (2)
12 Parties de Choeur a Cappella (2)
2 Flûtes à Bec (2)
Voix Soprano, Orchestre (2)
Flûte à bec, Guitare (duo) (2)
Saxhorn et Piano (2)
Quatuor de cuivres: 4 trombones (2)
Ensemble de Clarinettes (2)
Flûte à bec Alto, Basse continue (2)
Soli et Orchestre (2)
Voix Mixtes (2)
Ensemble De Flûte à bec (2)
Alto (Viole) (2)
Travaux Pour Choeurs (2)
Tous instruments (2)
Chorale SSATB (2)
Saxophone Baryton (2)
Choeur Mixte Et Soprano Solo (1)
Violon 1 (1)
Mixed Choir (SATB), Clarinet, Percussion, Harp and… (1)
ST (A) BarB et Orchestre (1)
3 Flûtes à Bec SAB/STB (1)
Orchestre et Quatuor à Cordes (1)
SA/PFA::SA, Piano Accompaniment (1)
Soprano, Quintette à vent (Flûte / Petite flût… (1)
Chœur à 4 parties de Voix Egales [SSAA] et Orgue (1)
5TET/STR ENS::Quintet, String Ensemble (1)
Hautbois et Orchestre (1)
MAR::Marimba (1)
Flûte Et Hautbois Ou 2ème Flûte (1)
VLA/PF::Viola, Piano (1)
SATB/PF DUET::SATB, Piano Duet (1)
Orchestre à Cordes, Harpe, Timbales et Percussion (1)
Basson et Orchestre à Cordes et Piano ou Basson e… (1)
Choeur Mixte (SSAATTBB) Et Soprano Solo A Cappella (1)
Harmonica (1)
Violon/Continuo (1)
Guitare Electrique (1)
Choeur de Femmes et Orchestre/Choeur Accolade (1)
Saxophone (Soprano, Alto, Ténor) (1)
HIGH VCE/VLN/VLC/PFA::Voix Haute/Violon/Violoncell… (1)
Guitare Classique et Fingerpick (1)
BAR/VN/VLC/ORGA::Baryton/Violoncelle/Accompagnemen… (1)
Holzbläserquintett - Flöte, Oboe, Klarinette in… (1)
Musique De Chambre (1)
Sopran solo, Alt solo, Tenor solo, Bass solo, Gem… (1)
Flûte traversière, Orchestre (1)
Chœur Mixte SATB ou Solistes et Orgue (1)
Saxophone En Mib Et Orchestre Cordes (1)
Clarinet, Piano Accompaniment (1)
2 Barytons, SATB, Orgue Acc (Duet) (1)
VLC or BSN/PFA::Accompagnement Piano (1)
Flûte à bec Soprano, Piano (1)
Timbales (Batterie) Et Piano (1)
2 Violons, Violoncelle Et Contrebasse (1)
Ensemble de Violons (1)
Paroles Seulement (1)
Orgue ou Clavecin (1)
Saxophone en Mib et Piano (1)
Trompette / Clarinette / Saxophone Ténor (1)
Ensemble de Cors (1)
VLC/VLN/PFC::Violoncelle/Violon/Piano De Chambre (1)
Saxophone Baryton et Piano (1)
Cuivres (1)
Saxophone Alto ou Ténor (1)
VLN/VLA/VLC::Violin, Viola, Cello (1)
Alto Et Percussions (1 Joueur: Marimba, Vibraphone… (1)
Guitar (1)
Cordes (1)
BASS CLT/PERC::Clarinette Basse, Percussion (1)
Solistes SATB, Choeur SATB, Orgue Solo, 2 Clarines (1)
3 Flûtes A Bec (AAB) (1)
2 Oboen, 2 Klarinetten, 2 Bassetthörner, 4 Hörn… (1)
Flûte A Bec Et Instruments Divers (1)
Livret (1)
Cor en Fa et Piano (1)
Voix Baryton (1)
Voix ou Plus et Piano 2 ou 4 Mains (1)
4 Saxophones Identiques (1)
3 Hautbois (1)
Choeur Mixte a Cappella (SSAATTBB et Basse Profond (1)
VLN/VLC/ORCH::Violin, Cello, Orchestra (1)
Flûte, Mezzo-Soprano, Violoncelle (1)
Voix d'Enfants, Percussion (1)
Soli (SSA), gemischter Chor (SATB) und Orchester (1)
Ensemble de Bois et Percussion optionnelle (1)
Choeur Mixte, Solistes, Orchestre Et Orgue (1)
Solistes SATB, Choeur SATB, 2 Hautbois d'Amour, 2 (1)
Saxophone en Mib ou Sib (1)
Chœur Mixte [SATB] et Piano (1)
Vibraphone et Clarinette (1)
Flûte à bec Soprano, Basse continue (1)
Choeur Mixte a Cappella (1)
SOP/SATB/UNIS/TPT/HARP/ORGA/STR ENS::Soprano, SATB… (1)
Trompette en Do (1)
Guitare Tablatures Flatpick et Fingerpick (1)
Soliste bzw. FrauenChoeur avec Begleitung (1)
Voix de femme (Soprano ou Mezzo), Cordes, Basse c… (1)
6 Parties Mixtes (1)
Choeur d'Enfants et Piano (1)
Tuba ou Saxhorn (1)
Ensemble De Violon (1)
SAM et Piano (1)
Livre Musical (1)
Alto Solo, Grand Ensemble en 6 groupes: 1) Contreb (1)
Cor anglais, Piano (1)
Soli, gemischter Chor, 2 Klaviere und Harmonium (1)
Choeur SSSSAAAATTTTBBBB (1)
VLN/VLA/VLC/ORCH::Violon/Viola/Violoncelle/Orchest… (1)
4 Percussionistes (1)
Orgue Et Narrateurs (1)
Solistes SATB, SATB, 2 Violons et Basse Continue, (1)
Flûte A Bec Soprano Et Flûte A Bec Alto (1)
Streicher (1)
2 Orchestres (1)
Chœur d'Enfants et Piano ou Ensemble (1)
3 Flûtes à bec (trio) (1)
Piano Et 2 Pianos 4 Mains (1)
Guitare Acoustique Tablatures (1)
Guitare Basse et Batterie (1)
Percussion, Piano (duo) (1)
Choeur SSSSAAAATTTTBBBB et Piano (seulement Pour L (1)
Ch?ur de femmes et Orchestre de chambre (1)
Hautbois (Ou Flûte Traversière), Clarinette Et B… (1)
Clarinette Basse et Marimba (1)
Baryton, Choeur Mixte (SATB), 2 Cors, Trompette, 3… (1)
Orchestre Symphonique (1)
Orgue ou Clavecin ou Harmonium (1)
2 Trompettes en Sib, Cor en Fa, Trombone et Tuba (1)
SOP/FLT/HARP::Soprano/Flûte Traversière/Harpe (1)
Voix d'Hommes (1)
Ensemble flexible à 4 parties (1)
STR ORCH/PFA::String Orchestra, Piano Accompanimen… (1)
Soprano Et Contrebasse (1)
Harfe (Tamtam et Grosse Caisse) (1)
Clarinette et Orchestre (1)
1-4 Voix avec et sans Accompagnement de Piano (1)
Choeur SSAA/TTBB/SATB, Piano Préparé, Orchestre … (1)
FLT/OB::Fl–te TraversiŠre, Hautbois (1)
Guitare (Fingerpick) (1)
Flûte Ou Hautbois (1)
CHAM::Musique De Chambre (1)
2 Flûtes traversières, Piano (1)
Basson, Orchestre (1)
Chant Solo, Choeur, 2 Pianos et Harmonium (1)
Ensemble de Cuivres et Voix (1)
Mixed Choir (SATB), Congregation and Organ (1)
Soprano et Baryton, Hautbois, Violon, Violoncelle (1)
Clarinette, Alto et Piano (1)
Hautbois Et Instruments Divers (1)
Accordéon Basse Amplifiée (1)
TEN/FLT/CORA/STR QUARTET::Tenor/Flute/Cor Anglais/… (1)
Ensemble à Cordes (1)
Instruments à Vent (1)
Documentaire (1)
Voix d'Enfants, Choeur à Voix Egales et Piano (1)
Voix moyenne, Orgue (1)
Choeur De Femmes Et Harpe (1)
BASS CLT/BSN/CLT/CBSN/CORA/FLT/HARP/HN/OB/PERC/PF/… (1)
Récitant, Soli, Choeur Mixte Et Orchestre (1)
Baryton, Flûte et Piano (1)
Cornet en Sib (ou Trompette en Ut ou Sib) et Pian… (1)
Tuba Ou Saxophone Ou Cors Et Piano (1)
Trompette, Trombone, Cordes, Piano, Percussions/Tr… (1)
Double Chœur Mixte SATB (1)
Oud (1)
Cor et Orgue (1)
Ensemble de Cordes (1)
Choeur de Femmes ou d'Enfants (1)
Quatuor De Flûtes A Bec (1)
Violon, Violoncelle Et Basse Continue (1)
FLT/CLT/OB::Flute, Clarinet, Oboe (1)
Cor Français (1)
Trombone ou Euphonium (1)
Choeur SSA, Contrebasse, Piano Et Percussions (1)
Klavierauszug - Soli (STB), Chor (SATB) und Klavie… (1)
Quintette à Vent (1)
Instruments Acoustiques (1)
Euphonium, Piano (duo) (1)
CD (1)
SCORE::Partitions (1)
Choeur Mixte et Instrument Divers (1)
2 Flûtes Traversières Accompagnement Rythmique A… (1)
Cornemuse (1)
Soprano, Quintette à Vent et Harpe (1)
Cor en Fa (1)
Arrangement et Composition (1)
Flûte, Hautbois, Clarinette et Basson (1)
OB/STR::Oboe (1)
Orchestre à Cordes et Piano (1)
Choeur SSATB et Basse Continue (1)
Klavierauszug - Soli (STT), Gemischter Chor (SATT… (1)
Guitare Harpe (1)
Percussions Diverses (1)
VLAM/ORG::Viole d'Amour, Orgue (1)
4 Trompettes, 2 Cors, 2 Trombones, Tuba et Narrate (1)
2 Violons, Alto, 2 Violoncelles, Violone (Contreba… (1)
Soprano et Harpe ou Piano (1)
Ensemble de guitares (1)
Flûte Traversière et Piano Resonateur (1)
ENS/FLT/CLT/GTR/MAND/PERC/PFC/HARP/VLN/VLA/VLC/DB:… (1)
2 Violons (2 Flûtes Traversières) Et Basse Conti… (1)
Flûte à Bec Alto et Guitare (1)
Cloches (1)
Choeur de Femmes (SSA) et Piano (1)
Chant et Orchestre/Réduction Chant et Piano (1)
Flûte traversière, Orgue (duo) (1)
Solo T (Ms), Choeur d'Enfants à 1 Partie, Choeur … (1)
SATB/SOP::SATB, Soprano (1)
Voix Soprano (1)
Solistes SSATB, Choeur SATB, 2 Cors, 2 Flûtes Tra… (1)
Choeur Jazz ou Pop (1)
Accordéon et Percussion (1)
REC(4)::Fl–te … Bec (Quatuor) (1)
4-Parties Flexible Band et Piano optionnel (1)
2 Flûtes Traversières ou Violons (1)
TTBaBB sans Accompagnement (1)
Choeur TB (1)
Soprano et Ensemble de Chambre (1)
Solistes SMsTB, Choeur SATB, 2 Flûtes Traversièr… (1)
FLT2::Fl–te TraversiŠre Duo (1)
Flûte Traversière et Violoncelle (1)
FLT/CLT/HN/PFA/STR INST::Flûte Traversière/Clari… (1)
Voix (1)
2 Accordéons (1)
Euphonium (1)
Batterie et Percussions (1)
SOP/TPT/ORGA::Soprano/Trompette/Accompagnement Org… (1)
Chœur Mixte SATB et Orchestre (1)
Tout Instrument à Clés (1)
Accompagnement Piano Pour Violon (enseignement) (1)
Soprano, Violon et Orgue (1)
Choeur SSATBB Et Orgue (1)
Quatuor à Cordes et Orchestre (1)
Flûte A Bec Alto Et Orchestre A Cordes (1)
Flûte à Bec et Clavecin (1)
Trompette II (1)
2 Clarinettes, Piano (1)
Trumpet with Chord Symbols (1)
Viole de Gambe, Basse continue (1)
3 Clarinettes et Concert Band/Harmonie (1)
Partition D'Ensemble (1)
4 Flûtes à Becs (1)
2 Violons et Basse continue (1)
VLN/PF::Violin, Piano (1)
Clarinette Alto et Piano (1)
Instruments Mélodiques en Do (Fl/Gtr/Pf) (1)
Choeur Mixte, Piano Et Rythme (1)
Flûte à bec Tenor (1)
Ensemble Instrumental (1)
Vibraphone, Piano (1)
Choeur Mixte Sans Accompagnement (1)
Soprano, Cor et Orgue (1)
Quatuor de Percussions et Piano (1)
Voix et Instruments (1)
2 Choeurs Mixtes à 4 Voix (1)
CORA/VLN/VLA/VLC/PFC::Cor Anglais, Violon, Viola, … (1)
ENS/VLN(2)/VLA/VLC(2)/ORG::Ensemble, Violin (Duet)… (1)
2 Mandolines (1)
SOP/MEZ/TEN/BASS/SATB/ENS::Soprano/Tenor/Basse/SAT… (1)
Chœur SATB et Orchestre à Cordes (1)
Clavecin ou Piano (1)
Flûte Traversière (Matériel Pédagogique) (1)
Ensemble Flexible 4 Parties (1)
Choeur Mixte SATB a Cappella (1)
GTR(3)::Guitare (Trio) (1)
Choeur Mixte (SABar) (1)
Bodhran (1)
Flûte Traversière Et Piccolo Album (1)
Choeur Mixte SATB et Piano (1)
VLN/VLC/PFC::Violin, Cello, Piano Chamber (1)
Violon II (1)
Choeur d'Enfants (1)
Flexible Ensemble (1)
Choeur Et Instruments Divers (1)
Voix haute (1)
Flûte Et Basson (1)
Alto (1)
Ch?ur de femmes, Orchestre de chambre, Harmonium … (1)
Mezzo-Soprano et Orchestre (1)
ORG/BRASS ENS::Orgue, Ensemble De Cuivres (1)
Timbales (1)
Alto et Voix (1)
Grand Orgue (1)
Choeur A Cappella (1)
4 Saxophones [SATB/AaTB] (1)
Solistes, Choeurs et Orchestre (1)
Saxophone Alto ou Baryton et Piano (1)
Saxophone alto (soprano ou ténor) et Piano (1)
Contrebasse Ou Tuba Do Ou Trombone Basse Et Piano (1)
Mallet (1)
Instruments A Vent (1)
2 Harmonicas (1)
Soprano, Clarinette et Piano (1)
Percussions (1)
Vibraphone (1)
Hautbois, Violon, Alto, Violoncelle, Contrebasse (1)
Trompette Solo (1)
CHAM/STR INST/PFA::Musique De Chambre/Instruments … (1)
3 Guitares (trio) (1)
Clarinette, Alto et Piano (trio) (1)
Zheng (1)
Voix Moyenne (Ou Basse) Et Piano (1)
3 Saxophones (Alto, Ténor, Baryton) (1)
Voix d'Enfants (1)
Ottavino, 2 Flûtes Traversières, 2 Hautbois, 2 C… (1)
Choeurs SATB et Orchestre (1)
OB/VLN/VLA/VLC::Oboe/Violon/Viola/Violoncelle (1)
Gemischter Chor-SATB, Orgel/ Klavier ad lib. (1)
2 Parties Voix Aigues (SA) Et Piano (1)
ENS::Ensemble d'cole (1)
Guitare Et Flûte Traversière (1)
SOP/BARITONE/PFA::Soprano/Baryton/Accompagnement P… (1)
Voix Mixtes SAB et Piano (1)
Guitare, Basse, Batterie (trio) (1)
Voix Elevée(s) Et Orchestre (1)
Voix Haute(s) Et Piano (1)
Choeur d'Hommes et Piano (1)
Choeur Et Ensemble (Piano) (1)
Quatuor de cuivres: 4 cors (1)
Guitare Tablatures Classique et Fingerpick (1)
Soprano, Violon, Violoncelle Et Piano (1)
2 Et 3 Voix Sans Accompagnement (1)
Xylophone, Carillon, Vibraphone et Marimba (1)
REC/FLT/PFA::Flûte à Bec/Flûte Traversière/Acc… (1)
3 Trompettes et Concert Band/Harmonie/Fanfare (1)
Soloists (ST) and Mixed Choir (SATB) (1)
2 Violons Et Orchestre (1)
Soprano Et Saxophone Soprano (1)
Choeur Mixte Et Instruments Divers (1)
2 Violons, Alto, Basse et 2 Cors en Fa (1)
Guitare Flatpicking et Fingerpicking (1)
Récitant, Chœur d'Hommes et Orchestre (1)
Solo SMsTB, SATB et Orchestre (1)
4 Voix Mixtes a Cappella (1)
Singstimme (1)
2 Hautbois (duo) (1)
Flûte Traversière, Clarinette, Alto Et Violoncel… (1)
Papeterie (1)
4 Saxophones [SATB] (1)
Voix et Orgue (1)
Violine und Orchester (1)
HN/VLN/PFC::Cor/Violon/Piano De Chambre (1)
Accordéon et Piano (1)
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Détails
Détails
Couverture
Arranging Music For The Real World (COROZINE VINCE)
40.80
Arranging Music For The Real World (COROZINE VINCE)
Arrangement et Composition
[Partition + CD]
Mel Bay
Classical And Commercial Aspects. Par COROZINE VINCE. Ce livre est écrit du com...
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Classical And Commercial Aspects. Par COROZINE VINCE. Ce livre est écrit du compositeur, un point de vue et est destiné à être un ouvrage de référence pour l'analyse d'arranger les techniques. Son objectif est d'aider les compositeurs et arrangeurs améliorer leurs compétences en compositionnels ainsi que leur compréhension des divers styles musicaux. Grâce à une étude et l'analyse des scores et les styles des compositeurs maîtres, l'auteur donne une vue générale de la musique, les deux du passé et du présent. Cela permet au musicien de naviguer au sein de la scène musicale contemporaine avec une sensibilisation essentielle et l'appréciation de tous les genres de musique. Les compétences et les concepts enseignés dans ce livre aidera l'arrangeur aspirant, harmoniser les mélodies et écrire counter-melodies rapidement et efficacement utilisant diverses combinaisons d'instruments et de voix, pour orchestre pop, télévision ou des enregistrements, conformément aux exigences de la musique commerciale moderne. / Niveau : Débutant à Intermédiaire / All Styles - Arranging and Orchestrating / Recueil / Arrangement et Composition
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The Library Of Modern Piano Music
36.90
The Library Of Modern Piano Music
Piano seul
[Partition]
-
Intermédiaire/avancé
Amsco Wise Publications
Some of the most beautiful and diverse pieces by some of the finest composers in...
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Some of the most beautiful and diverse pieces by some of the finest composers in recent history are included in this enormous Library Of Modern Piano Music. Such a comprehensive collection of brilliant works for solo Piano belies the rich quality and sheer amount of music being composed that just begs to be learned. Over 100 fantastic pieces are guaranteed to keep you learning from this truly classic selection until the next century!The Library Of Modern Piano Music boasts an unprecedented volume and variety of amazing compositions, some well-known, some more unfamiliar, some composed as standalone pieces and others as film scores, but the one thing uniting them all is their impeccable musicality and how enjoyable they are to play. Featuring the biggest names in contemporary classical music, composers like Einaudi lend their wonderful compositions (Primavera, Una Mattina), and all-round geniuses like Philip Glass are represented with a generous selection of their finest work (Metamorphosis Five, Opening Piece From Glassworks and more).The varied progression of Piano music through the 20th century to the present day has given rise to an exceptionally vast and diverse repertoire. The unbelievable depth of the composers included here means you'll rarely be stuck for something to play. Kaija Saariaho, Stravinsky, Francis Poulenc, Dustin O'Halloran, Nico Muhly and Witold Lutoslawski are genuinely just a fraction of the composers featured in The Library Of Modern Piano Music. Some great standalone compositions like Samuel Barber's incomparable Adagio For Strings sit aside excerpts from longer works like a portion of Edward Gregson's An Album For My Friends or Joby Talbot's Once Around The Sun.If you happen to be a fan of film and television scores, a taste of Michael Nyman's distinguished score for The Piano is included, a section from Crouching Tiger, Hidden Dragon, as well as parts of Richard Rodney Bennett's score for the now rarely-seen but superb 1980s miniseries of Tender Is The Night. Many established composers are included in this collection who are widely-recognised as masters. However, The Library Of Modern Piano Music also includes many young virtuosos who have not yet achieved that status but are certainly well on their way.These original compositions span standalone pieces, albums, suites and arrangements from diverse talents, making The Library Of Modern Piano Music a collection that is certain to be seen by future generations as a perfect collection of the best of contemporary classical music. / Piano
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Mike Svoboda Michel Roth: The Techniques of Trombone Playing: Score
57.50
Mike Svoboda Michel Roth: The Techniques of Trombone Playing: Score
Barenreiter
paperback-With “The Techniques of Trombone Playing” Mike Svoboda ha...
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paperback-With “The Techniques of Trombone Playing” Mike Svoboda has written a book conceived as a valuable guide for composers and trombonists.It familiarises composers with contemporary trombone techniques and shows how to put them to creative use. Furthermore it helps trombonists to view and employ their versatile instrument as a multi-functional sound generator.Together with composer Michel Roth Mike Svoboda explores what might today be called “the unlimited expansion of new performance possibilities”: micro-intervals multiphonics and the combination of the trombone sound with the humanvoice – all accurately described and illustrated with many annotated music examples.• Includes many tables and music examples on the basics and expanded techniques of trombone playing• Practical information on mutes repertoire etc.• With 92 sound files and 5 newly composed études which can be downloaded from the Bärenreiter websiteThe authorsSince September 2007 Mike Svoboda has been professor of trombone and contemporary chamber music at the Basel Academy of Music (Switzerland). Of formative importance to his artistic development was his nearly 11-year collaboration with Karlheinz Stockhausen in the 1980s and 1990s. His exchanges with Stockhausen and other composers such as Peter Eötvös Beat Furrer Helmut Lachenmann Wolfgang Rihm and Frank Zappa allowed him to premiere more than 400 works over the last 30 years.Michel Roth is professor of composition and music theory at the Basel Academy of Music and a member of their research department. As a composer he has been a regular guest at various international music festivals and more recently particularly in the area of music theatre. Numerous radio and CD productions document his compositional output for which he has also been awarded the composition prize by Music Viva Munich. In addition Roth also researches and publishes on subjects concerned with music and art theory.
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In The Zoo 2 (IGUDESMAN ALEKSEY)
21.40
In The Zoo 2 (IGUDESMAN ALEKSEY)
Violon et Piano
[Partition]
-
Facile
Universal Edition
10 Easy Pieces. Par IGUDESMAN ALEKSEY. 'In the Zoo 2” is a further collection ...
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10 Easy Pieces. Par IGUDESMAN ALEKSEY. 'In the Zoo 2” is a further collection of intermediate pieces for violin and piano by Aleksey Igudesman, depicting many of a child's favourite animals. Spanning from UK Grade 2 to 4, they will inspire young violinists to interpret the sounds and actions of the animals as notated by the composer and help them understand how abstract music can depict something very real. But what makes these compositions ingenious as teaching pieces is that, hidden within, are very useful technical studies. For example, in 'The Turtle”, steady bowing is needed to make a good tone in the long notes depicting this slow-moving creature. In 'The Crocodile”, short, staccato double stops (easy ones!) depict the snapping jaws and are contrasted with legato, sinuous passages as the animal creeps up on its prey! A clever piano part allows the teacher to support his or her young student and perhaps make a captivating concert piece for the end of term presentation. / Niveau : Facile / Recueil / Violon et Piano
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Evis Sammoutis: Emmelia: Cello: Score
8.95
Evis Sammoutis: Emmelia: Cello: Score
University Of York Music Press
'Brice Catherin a cellist and a composer exploring the notion of the one-man-ba...
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'Brice Catherin a cellist and a composer exploring the notion of the one-man-band concept commissionedthis work; this composition was subsequently the result of our collaboration. My aim has been to create awork where the cellist produces sounds using his full body: his hands (employing a variety of extendedtechniques on the Cello and external objects) his feet his mouth (singing and playing the harmonica andflexible tube) and even his face on one occasion to muffle the strings.There are two central themes in the work: virtuosity and theatre both strong frequent features of mycompositional oeuvre. After several meetings andexperimentation with Brice I chose a setup thatenhances the musical scope without visually cluttering the stage. I am also using a rather unusualscordatura that not only changes the timbre of the instrument itself but also helps create uniquesoundscapes that blend together with the sounds from the spring drums the human voice (whistling groans and other effects) a singing bowl a harmonica and a flexible tube among others.The work is entitled Emmelia and there are two reasons for this: Emmelia derives from the prefix en (in) and the noun melos (harmony) thus meaning in harmony. The composition is structured and developed in clearly defined sections (noisy harmonious distorted etc.) based on information revealed by a spectral analysis of an F1 spectrum on the cello (tuned a fifth below low C) played and recorded using a variety ofattacks and triggering objects and methods.Emmelia is also the name of my baby daughter who has been my constant inspiration since she was born.' - Evis Sammoutis
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The Gibbons Hymnal (SATB)
18.40
The Gibbons Hymnal (SATB)
Chorale SATB
Novello & Co Ltd.
The Gibbons Hymnal contains the 17 hymn tunes composed by Orlando Gibbons for Ge...
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The Gibbons Hymnal contains the 17 hymn tunes composed by Orlando Gibbons for George Wither's The Hymnes and Songs of the Church (1623), many of which are still popular today. This is the first modern edition which incorporates Wither's hymn texts beyond the first verses. Gibbons composed treble and bass lines for the hymns - editor David Skinner has constructed the inner voices to create a collection of pieces that can be performed either as hymns or as simple anthems. Also in this volume are Gibbons's ten surviving full anthems, including popular works such as Almighty And Everlasting God and his masterpiece, O Clap Your Hands , alongside lesser-known compositions such as the beautiful miniature, O Lord, I Lift My Heart To Thee , and, presented here in a new reconstruction, I Am The Resurrection And The Life . / Choeur Mixte (SATB)
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The Girona Suite - Eight Evocations
Piano seul
-
Intermédiaire/avancé
Pianissimo Publishing
June Armstrong's songbook The Girona Suite - Eight Evocations For Piano features...
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June Armstrong's songbook The Girona Suite - Eight Evocations For Piano features eight original and challenging compositions for grades five to seven standard, all inspired by the shipwreck of the Spanish galleas, the Girona.The pieces included in this songbook were all composed specifically for this collection by revered pianist and teacher June Armstrong. Her many years of experience in teaching have allowed her to craft compositions both subtle and powerful that stretch the ability of students while giving them an engaging story on which to base their expression and feeling when playing. Armstrong is an advocate of focusing learning on atmosphere and tonal awareness, which, when combined with the necessary techniques and theory, makes this songbook a learning tool that is theoretically sound and musically enticing.From the first page, the composer has shown her commitment to creating pieces specifically for students learning the Piano, as she writes of how many people, including former students, have inspired her. She then writes in detail about the historical context of the theme of the work, before giving more practical advice on the music itself and how to go about playing it. The friendly and warm approach that Armstrong brings to presenting her suite makes it more than a simple songbook, it becomes a personal journey, where the composer herself guides you through the characters and settings that the music has been composed to evoke. As well as presenting challenging and entertaining pieces, Armstrong's work serves as a fantastic introduction into how major and minor keys can be manipulated to different ends, and how motifs can be used together with a theme. Armstrong writes:?The final piece, Sarabande for the Lost Souls returns to the desolation of Eb minor, closing with a final statement of the No Tengo theme.?The songs in The Girona Suite are designed to cultivate a student's ability to play in keys containing more than three flats or sharps, as well as a number of different time signatures and with varying degrees of expression. This songbook would be ideal for a student of any age who is unafraid to experiment with evoking feeling and emotion in their playing, while also learning and practicing numerous techniques in an appealing and informative context. If you would like to listen to any of the songs that are listed below, these can be heard free of charge on the composer's website. / Piano
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The Library Of Baroque Music
36.90
The Library Of Baroque Music
Piano seul
[Partition]
-
Intermédiaire/avancé
Amsco Wise Publications
The Library Of Baroque Music is an enormously expansive collection of the greate...
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The Library Of Baroque Music is an enormously expansive collection of the greatest works produced during that prolific period that flourished between the Renaissance and Classical eras. All arranged for solo Piano, this volume features works drawn from all the major Baroque composers, including some of the greatest pieces of music ever composed. The progression and development of music during the Baroque period can be heard in these pieces, providing you not only with a window into musical history, but also many exciting additions to your repertoire. The retrospective 'Baroque' label was applied to a diverse range of European compositions-often combining a spirit of experimentation with elaborate new musical structures. Dominated primarily by the Harpsichord and Organ, this period also saw the rise and development of larger-scale forms such as the concerto and oratorio. This superb volume is comprised of Keyboard and ensemble works from all the major Baroque composers, arranged for Piano. Featuring Arne, Boyce, Buxtehude, Corelli, Couperin, Gibbons, Lully, Pachelbel, Purcell, Rameau and Vivaldi, the composers here include some of the most respected and revered figures in musical history. The Library Of Baroque Music spans compositions of many of these masters, ranging from Frescobaldi in the early 1600s to Pergolesi a century later, and the famous three - J.S. Bach, Handel and Domenico Scarlatti.Baroque music, so called for its ornateness, was characterised by a bold exploration of counterpoint and new harmonic possibilities. This was variously expressed through the work of perhaps fifty or so major European composers. By the time Baroque began to segue into a new Classical period around 1750 it had already irrevocably changed and expanded the possibilities of music. The works that precipitated this change are available to play in this single volume, perfect for pianists looking to expand their repertoire with both challenging and exciting music.In this thoroughly enjoyable Library Of Baroque Music, the triumphant progression of this period is illustrated in the best possible way - through the compositions themselves, forming the definitive Baroque collection for solo pianists. / Piano
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Svoboda Mike and Roth Michel - The Techniques Of Trombone Playing
75.00
Svoboda Mike and Roth Michel - The Techniques Of Trombone Playing
Trombone
Barenreiter
With 'The Techniques of Trombone Playing', Mike Svoboda has written a book conce...
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With 'The Techniques of Trombone Playing', Mike Svoboda has written a book conceived as a valuable guide for composers and trombonists. It familiarises composers with contemporary trombone techniques and shows how to put them to creative use. Furthermore it helps trombonists to view and employ their versatile instrument as a multi-functional sound generator. Together with composer Michel Roth, Mike Svoboda explores what might today be called 'the unlimited expansion of new performance possibilities': micro-intervals, multiphonics and the combination of the trombone sound with the human voice ' all accurately described and illustrated with many annotated music examples. ' Includes many tables and music examples on the basics and expanded techniques of trombone playing ' Practical information on mutes, repertoire, etc. ' With 92 sound files and 5 newly composed études which can be downloaded from the Bärenreiter website The authors Since September 2007 Mike Svoboda has been professor of trombone and contemporary chamber music at the Basel Academy of Music (Switzerland). Of formative importance to his artistic development was his nearly 11-year collaboration with Karlheinz Stockhausen in the 1980s and 1990s. His exchanges with Stockhausen and other composers, such as Peter Eötvös, Beat Furrer, Helmut Lachenmann, Wolfgang Rihm and Frank Zappa, allowed him to premiere more than 400 works over the last 30 years. Michel Roth is professor of composition and music theory at the Basel Academy of Music and a member of their research department. As a composer, he has been a regular guest at various international music festivals and more recently particularly in the area of music theatre. Numerous radio and CD productions document his compositional output for which he has also been awarded the composition prize by Music Viva, Munich. In addition Roth also researches and publishes on subjects concerned with music and art theory.
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There Is No Rose Of Such Virtue
5.30
There Is No Rose Of Such Virtue
Chorale SATB
Novello & Co Ltd.
There is no rose of such virtue is an anonymous mediaeval text, already well kno...
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There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)
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Real Book (METHENY PAT)
40.70
Real Book (METHENY PAT)
Instruments en Sib
Hal Leonard
Artist Edition B-Flat Instruments. Par METHENY PAT. Pat Metheny is one of the mo...
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Artist Edition B-Flat Instruments. Par METHENY PAT. Pat Metheny is one of the most important voices in modern music. Through his writing, recordings and performances he has created a significant body of work that places him among the major musical figures of our time. With his recent induction as the youngest member of the Downbeat Hall of Fame, Metheny becomes only the fourth jazz guitarist to be chosen for that honor, joining Charlie Christian, Django Reinhardt and Wes Montgomery. He has won twenty Grammy' awards in twelve different categories, been named Best Guitarist in countless polls over four decades, and has sold millions of records worldwide. For all his accomplishments in music, his compositions have become modern standards, beloved by musicians all over the world. With this volume, Metheny has selected 147 of his most played tunes to create a new type of Real Book, approved and gig-tested by the composer himself! This edition is arranged for all B-flat instruments./ Recueil / Instruments en Sib
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Anthology - Original Compositions
36.30
Anthology - Original Compositions
Instruments Mélodiques en Do (Fl/Gtr/Pf)
Advance Music
A collection of 50+ Liebman original compositions, spanning the period from the ...
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A collection of 50+ Liebman original compositions, spanning the period from the '70's to 2006. The material includes all facets of Lieb's eclectic approach: modal, chromatic, blues, lyrical and free compositions. Many of the pieces include exact piano voicings and bass-lines. Also included is an essay on 'Why Compose?' as well as descriptions of the inspiration for each of the tunes.Having the invaluable experience of being associated with Lieb on many levels for many years, and also having played and recorded many of these compositions, I can say from experience that his music offers not only the greatest challenges but also the greatest rewards. Practicing and performing his compositions will give you exposure to every type of playing situation imaginable and broaden your musical and improvisational horizons. (Phil Markowitz)I call Dave an 'improvisionary? - a great jazz composer and improviser with a unique vision of the world, reflected in his compositions, some of which are found in this great new collection. It always takes more than one 'look? to play one of these pieces. They are, to say the least, challenging - but clearly worth it! Congratulations, Bro! And thanks to the wonderful Veronika Gruber of advance music for continuing Hans's great work. (Richie Beirach) / Instruments Mélodiques en Do (Fl/Gtr/Pf)
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24 Contemporary Pieces
31.80
24 Contemporary Pieces
Piano seul
[Partition]
-
Intermédiaire
Chester
Twenty-Four Contemporary Pieces For Solo Piano includes a diverse selection of w...
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Twenty-Four Contemporary Pieces For Solo Piano includes a diverse selection of works from 16 of the world's leading composers. The 24 pieces featured in this collection represent the best of contemporary classical Piano music being composed today. As well as being a compilation of fantastically enjoyable compositions, the book also features interesting notes by each composer to accompany their music.These Contemporary Pieces For Solo Piano are at once accessible and musically inspiring, featuring some of the most talented and respected composers and their most definitive contributions to Piano music. Perhaps the biggest name included here is that of Ludovico Einaudi, whose wide reputation is a result of his masterful ability to pull at heartstrings, exemplified in his works Berlin Song, The Earth Prelude and Waterways, all of which are included here. Other giants of contemporary classical music are included in the collection, names like Philip Glass (Etude #11), Max Richter (Horizon Variations and Vladimir's Blues) and Hauschka, whose Can You Dance For Me, Early In The Park and Until It's Dawn perfectly encapsulate the emotive characteristics of all the pieces in this book. Composers like Nils Frahm, Ólafur Arnalds, Dustin O'Halloran and Jóhann Jóhannsson evolved from a similar school that favours building atmosphere with hypnotic arpeggiation in composition, explaining why these composers are often used to great effect in film soundtracks.Other inclusions in Twenty-Four Contemporary Pieces For Solo Piano are simply too important to have left out, namely Nico Muhly's Hudson Cycle, two pieces by Joby Talbot as well as Tarik O'Regan's Lines Of Desire. The beauty of the songs here speak for themselves, but the composers have also written brief notes that preface each of the pieces, giving fascinating insight into either the composition itself or particular playing notes. Featuring some of the best compositions by the most respected and creative musicians writing today, the Twenty-Four Contemporary Pieces For Solo Piano within this collection are an exciting prospect for any pianist looking for some wonderfully inspiring music to learn and play. / Piano
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Play Guitar With… Book - Download Card
35.30
Play Guitar With… Book - Download Card
Guitare notes et tablatures
[Partition + Accès audio]
Amsco Wise Publications
The eclectic and versatile Mexican acoustic Guitar duo have taken the world by s...
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The eclectic and versatile Mexican acoustic Guitar duo have taken the world by storm with their fiery blend of a rock and heavy metal sensibility, a Flamenco flavour and a near-telepathic virtuoso partnership on duelling classical Guitars. This songbook features standard notation and TAB for six of their best songs, as well as professionally-recorded demonstration and backing tracks, so you truly can Play Guitar With Rodrigo Y Gabriela.Featuring six of the duo's best-loved songs, this songbook is a unique opportunity for a serious Rodrigo Y Gabriela fan to join the band, or for an aspiring guitarist to explore a very idiosyncratic style of playing. Whether it's the heavily percussive rhythms of Diablo Rojo, the beautiful palm-muted melody of Tamacun or those sumptuously strummed chords of The Soundmaker, with this sheet music songbook you can learn every single note and chord exactly as this Latin-influenced rock band play them.Each song is transcribed in standard notation and TAB, with Gabriela's punchy chord rhythms outlined, including where she hits the body of the Guitar or the strings. The chord symbols are included throughout, with chord boxes at the beginning of each song so that you always know exactly what to play. Rodrigo's brilliant solos are also represented, featuring every meticulous Latin-infused note for your sheer playing pleasure. This is not just a mere songbook, though. After you've learned every chord and every note, while listening to the demonstration tracks to make sure you have every part right, you can use the backing tracks to isolate either track. This means you can quite literally take the place of either member, strumming Gabriela's intense chords or picking Rodrigo's lightning-fast solos.Featuring a great lineup of songs from different stages of Rodrigo Y Gabriela's career, the songbook lets you learn the songs but the accompanying Dropcard gives you instant online access to 18 separate professionally-recorded tracks to put you in the shoes of either member, making this truly Rodrigo Y Gabriela Y Tú! The book also includes an explanation of how to use Guitar Tablature, as well as a guide to using your innovative download card. One of the most standout features of this innovative and interesting band is the intricacy and creativity that goes into their compositions. This has made it difficult for guitarists of all levels to learn their tunes because an accurate transcription is hard to find. Now, with this unique songbook and brilliant Download Card, you can learn their songs exactly as they played them, and even take the place of one of the members, letting you for the first time Play Guitar With Rodrigo Y Gabriela. / Guitare
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Jazzin' The Blues (COROZINE VINCE)
28.80
Jazzin' The Blues (COROZINE VINCE)
Piano seul
Mel Bay
Par COROZINE VINCE. Designed to introduce the young intermediate-level pianist t...
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Par COROZINE VINCE. Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 of the 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, and bass.Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass piano parts,making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues and pentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swing eighths, passing tones, rolled chords, riffs, 'filler' chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context of accompanying a soloist (comping): in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazz soloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book.If you are not a competent blues pianist when you first pick up this book, you will be by the time you complete it! Includes access to online audio. Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 ofthe 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, andbass. Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass pianoparts, making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues andpentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swingeighths, passing tones, rolled chords, riffs, 'filler' chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context ofaccompanying a soloist (comping) - in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazzsoloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book. If you are not a competent blues pianist when you first pick up this book, you will be by the time youcomplete it! Includes access to online audio. / Jazz / Etude / Piano
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Classical Favourites from Russia
26.40
Classical Favourites from Russia
2 Flûtes traversières (duo)
Universal Edition
A compilation of the best-loved classical tunes of Russian composers, from Borod...
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A compilation of the best-loved classical tunes of Russian composers, from Borodin to Prokofiev, arranged for two flutes. Wonderfully romantic: These arrangements of world-famous orchestra tunes for two flutes will be loved by young and older players alike. The melodies of Russian master composers are sure to inspire a dance of the fingers. Many people grow up with melodies from ballets such as The Nutcracker, Swan Lake or Sleeping Beauty, Flight of the Bumble Bee and Sabre Dance are outstanding examples of musical tone-painting. The memories they awake when you play or listen to them are all the more pleasing and evocative. In these arrangements the themes of the pieces are equally distributed across the two parts so that both flautists enjoy the variety. They remain as faithful as possible to the originals. 13 medium-difficulty arrangements from the romantic repertory of ballet, opera, and other compositions with an emphasis on authenticity and balanced voice leading Entertaining recital duets for flute which are pedagogically and musically valuable/ Recueil / 2 Flûtes Traversières
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Bright Sheng: My Other Song: Piano: Instrumental Work
13.99
Bright Sheng: My Other Song: Piano: Instrumental Work
Piano seul
[Partition]
Schirmer
There are four movements in this composition the first three of which are brief...
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There are four movements in this composition the first three of which are brief and provide contrast in character. The theme of the last movement the longest is based on a Buddhist chant heard at the wake forSheng's mother in February 2005.Composer Note: In 1990 after eight years in the United States I wrote my first work for solo Piano titled My Song commissioned for Peter Serkin. At the time myprimary compositional concentration was to develop a melodic and harmonic style within the boundaries of Chinese folk music which are mostly in pentatonic modes and contemporary Western Classical music. As a result all the fourmovements in My Song were either based on existing Chinese folk tunes or written in their style. I was asked recently by another virtuoso pianist friend Yefim Bronfman to write a work for solo piano. After thepassing of 17 years I wonder if there is any change in my writing. I therefore titled the new suite My Other Song. – Bright Sheng
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Songbook (METHENY PAT)
98.70
Songbook (METHENY PAT)
Piano, Voix et Guitare
[Partition]
Amsco Wise Publications
Par METHENY PAT. Une collection complète des travaux de Pat Metheny, qui compre...
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Par METHENY PAT. Une collection complète des travaux de Pat Metheny, qui comprend des 167 compositions couvrant du guitariste 25 ans de carrière. Ecrit en accords de style ' Real Book ', avec les symboles de la corde, cette folio comporte également des informations biographiques, une discographie et accompagnera sur chacune des chansons par Metheny lui-même. / Jazz / Recueil / Piano, Chant et Guitare
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The Choral Collection (WHITBOURN JAMES)
22.40
The Choral Collection (WHITBOURN JAMES)
Chorale SATB
SATB, Orgue
[Partition]
Chester
Par WHITBOURN JAMES. This glorious collection of beautiful choral music by compo...
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Par WHITBOURN JAMES. This glorious collection of beautiful choral music by composer James Whitbourn includes fifteen short works drawn from his oeuvre from the first few years of the 21st century. Many of his greatest compositions are included in The Choral Collection, with many of the pieces working perfectly for seasonal performances, while also reflecting the many fruitful collaborations of Whitbourn's distinguished career. All works are arranged for SATB Choir. James Whitbourn has become renowned throughout the world for his acclaimed compositions and settings of numerous texts. He has been described as truly original and an innovator of contemporary British choral music, collaborating with people like Archbishop Desmond Tutu and the Choir of King's College, Cambridge. The former appears here, as A Prayer Of Desmond Tutu, a setting of one of the Archbishop's prayers. His arrangements and compositions for the King's College Choir have been universally critically acclaimed, with A Great And Mighty Wonder, Nunc Dimittis and Were You There? representing these hugely popular collaborations. Whitbourn has also had a very close relationship with the BBC since his beginnings as a composer, working with them on three pieces within The Choral Collection. Eternal Rest and Give Us The Wings Of Faith were both composed specifically for television broadcast, the former (in its orchestral form) was played for the funeral of the Queen Mother in 2002. His longest work, for which he is most famous, is a setting of text from'the Diary of Anne Frank'. There Is No Speech Or Language comes from this work, taking its text from other sources, but that still maintain the beauty and tragedy of the wider piece. The Choral Collection of fifteen compositions by James Whitbourn is full of beautiful, haunting, uplifting and inspiring melodies for SATB Choir and Organ Accompaniment from one of the most treasured British choral composers. The brilliant choice of texts throughout is matched only by the sheer compositional skill of Whitbourn in evoking the emotions of the words in the musical form. Also included are suggestions for seasonal song use, a list of recordings, and fascinating song notes written by Whitbourn himself. The joy of choral singing is nowhere more evident than in a work by James Whitbourn, and performances of any piece within this collection is sure to be remembered for a long time to come./ Recueil / Choeur Mixte (SATB) et Orgue
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Sonata Movement For Violin And Piano C Minor Woo 2
15.80
Sonata Movement For Violin And Piano C Minor Woo 2
Violon et Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
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Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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La Muette
71.50
La Muette
Jobert
Make the silence talk'La Muette knew how to make the silence talk like no one', ...
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Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions
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Hugh Wood: Horn Trio Op.29: Chamber Ensemble: Score and Parts
21.99
Hugh Wood: Horn Trio Op.29: Chamber Ensemble: Score and Parts
Violon, Cor et Piano
[Partition]
Chester
This work was written between 1987 and 1989 it consists of two movements and th...
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This work was written between 1987 and 1989 it consists of two movements and the composition takes the form of a presentation of contrasting blocks they start in their shortest simplest form and then are juxtaposed with eachother followed by an expansion and development independent of each other.The initial block is for all three instruments with a fan-fare like figure on the horn producing a reoccuring theme. The lyrical block has asustained tune played in the high register of the violin with bass notes on the piano. The third block is a contrapuntal one which sees the first appearance of a tapping motif with the fourth block providing a chordal piano solo.These sections then expanded and developed with themes repeated on different instruments.The final movement of the piece presents three fugatos preceded by a fan-fare like introduction interspersed with rhythmic non-contrapuntal episodes each fugato is led separately by horn violin and piano. This composition is dedicated to Ingrid Lunt. Work for Horn Violin and Piano. Written in fulfilment of the Koussevitzky Foundation Award.
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