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Cancionero Internacional
17.90
Cancionero Internacional
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Piano, Voix et Guitare
Volonte and Co
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Key Features at Grade 7 Articulated chromatic runs Natural harmonics melodies hybrid picking Lydian Phrygian Mode Jazz Melodic Minor Major 9th Minor 9th and Dominant 9th Arpeggios and Chords. Stylistic Study Session Work Rockschool builds upon its 21 years of unrivalled experience in rock and pop examination by bringing you the 2012-2018 Syllabus. For this latest Syllabus Rockschool have employed some of the most sought after professional musicians to ensure that their tunes are the most authentic on offer. Guitar Syllabus features Plot your stylisticspecialism - follow your preferred style up through the grades Introduction to tone - authentic tone and amp setting suggestions for each track TAB and Standard Notation 6 Performance pieces 6 varying styles Fact files - band and artist background information with recommended further listening Walkthroughs - Hints and Tips on the tricky sections of the songs Downloads with full mixes & backing tracks Free Choice Element – You can select 2 free choice pieces in your exam All Rockschool grades are fully accredited throughout the UK by the qualifications regulators of England (OfQual) Wales (DCELLS) Northern Ireland (CCEA) AND Scotland (SQA Accreditation).
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Mozart composed the majority of his works for solo string instruments and orches...
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Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for Violin and orchestra as well as several single movements for the same scoring.The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility ofexperimenting with all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New straightforward Piano reduction (BA4863-90) with:- Violin solo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer J. Joachim S. Franko E. Ysaÿe M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.
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20 massive singles. Par . 20 grands succès de 2021-2022 spécialement arrangés...
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20 massive singles. Par . 20 grands succès de 2021-2022 spécialement arrangés pour piano, voix et guitare / Date parution : 2022-04-26/ Recueil / Piano/Vocal/Guitare (PVG)
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My Years with Townes Van Zandt: Reference Books: Biography
29.99
My Years with Townes Van Zandt: Reference Books: Biography
Backbeat Books
Music Genius and Rage-Other people locked themselves away and hid from their d...
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Music Genius and Rage-Other people locked themselves away and hid from their demons. Townes flung open his door and said 'Come on in.' So writes Harold Eggers Townes Van Zandt's longtime road manager and producer in My Years with Townes Van Zandt: Music Genius and Rage - a gripping memoir revealing the inner core of an enigmatic troubadour whose deeply poetic music was a source of inspiration and healing for millions but was for himself a torment struggling for dominance among myriad personal demons. Townes Van Zandt often stated that his main musical mission was to write the perfect song that would save someone's life. However his life was a work in progress he was constantly struggling to shapeand comprehend. Eggers says of his close friend and business partner that like the master song craftsman he was he was never truly satisfied with the final product but always kept giving it one more shot one extra tweak one last effort. A vivid firsthand account exploring the source of the singer's prodigious talent widespread influence and relentless path toward self-destruction My Years with Townes Van Zandt presents the truth of that all-consuming artistic journey told by a close friend watching it unfold.
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John Lennon: Lennon - The Solo Years: Guitar Solo: Instrumental Album
15.99
John Lennon: Lennon - The Solo Years: Guitar Solo: Instrumental Album
Guitare
Hal Leonard
An anthology of his music during the years after the break-up of the Beatles. In...
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An anthology of his music during the years after the break-up of the Beatles. Includes 41 songs and features all of Double Fantasy. Many black and white photos.
15.99 GBP - vendu par Musicroom GB
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Lukas Graham (GRAHAM LUKAS)
21.19
Lukas Graham (GRAHAM LUKAS)
Piano, Voix et Guitare
[Partition]
Faber Music Limited
Album Songbook. Par GRAHAM LUKAS. The artist-approved matching folio to Danish g...
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Album Songbook. Par GRAHAM LUKAS. The artist-approved matching folio to Danish ghetto-pop band Lukas Graham's self-titled and first worldwide studio album. Including the hit single 7 Years, which reached number 1 in the UK, Ireland, Australia and New Zealand./ Recueil / Piano, Chant et Guitare
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Steely Dan: Reeling in the Years: Mixed Choir a Cappella
27.00
Steely Dan: Reeling in the Years: Mixed Choir a Cappella
Hal Leonard
ShowTrax CD-Becker/Fagen Reeling In The Years (Brymer Mark) Showtrax Cd
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String Quartets (RAFF JOSEPH JOACHIM)
50.95
String Quartets (RAFF JOSEPH JOACHIM)
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Breitkopf & Härtel
No. 1 d minor op. 77 and No. 2 A mejor op. 90. Par RAFF JOSEPH JOACHIM. He had b...
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No. 1 d minor op. 77 and No. 2 A mejor op. 90. Par RAFF JOSEPH JOACHIM. He had been there as Franz Liszt?s assistant since 1850 and had made a name for himself in the city?s art scene now he embarked on new paths. He already composed his second Quartet in A major, op. 90, in Wiesbaden, the spa town that was to become his home for 21 years. The two quartets are unequivocal works: orchestrally-conceived, full of energetic vigor, and at times uncompromisingly modern. They confidently continue the Beethoven tradition and attest at the same time to Raff?s intensive confrontation with Richard Wagner?s music during the Weimar years. In his chamber music, the composer wanted to achieve progress ?in an inherently historical way? and ?toground the individual substance in existing forms,? as he told the Viennese violinist Josef Hellmesberger, who launched opus 77. The quartets, first published in 1860/62, found illustrious interpreters, among them, the Müller brothers? renowned ensemble, to which opus 90 was also dedicated, and Joseph Joachim. / Date parution : 2021-11-25/ Répertoire / Quatuor à Cordes
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Rammstein - Klavier
37.50
Rammstein - Klavier
Piano, Voix
[Partition + CD]
Bosworth
To mark the band?s 21st anniversary, Rammstein are releasing the luxurious songb...
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To mark the band?s 21st anniversary, Rammstein are releasing the luxurious songbook Klavier with 13 arrangements for Piano and Voice, including a CD with 13 Piano recordings ? all in an elegant hardcover edition. The music of Rammstein has been described as like listening to the construction of monumental buildings in the desert. If that is the case, such an imposing structure has been worked on over 21 years already. With album and DVD sales in the upper seven figures, Rammstein's output is at once controversial, creative and always exciting. This and their headline shows at the biggest festivals and sold-out arenas throughout the world have put this band at the top of a great pyramid of rock music titans in just two decades. They owe their status as an unmatched performing band to their unique art which is dramatic, emotional and a bleak and spectacular fairytale, always courting controversy. Such a fascinating band means this lavish songbook is fitting. Featuring 80 pages, a hardcover design with open-thread stitching and hot foil stamping of the 'Rammstein XXI' logo, this book is perfect for fans of Rammstein who want to learn the wonderful music for Piano and Voice. Donaukinder Ein Lied Engel Feuer Und Wasser Frühling In Paris Klavier Mein Herz Brennt Nebel Ohne Dich Roter Sand Seemann Sonne Wilder Wein
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Rammstein: Rammstein: Klavier: Voice: Artist Songbook
31.90
Rammstein: Rammstein: Klavier: Voice: Artist Songbook
Piano, Voix
Bosworth
To mark the band’s 21st anniversary Rammstein are releasing the luxurious...
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To mark the band’s 21st anniversary Rammstein are releasing the luxurious songbook Klavier with 13 arrangements for Piano and Voice including a CD with 13 Piano recordings – all in an elegant hardcover edition. The music of Rammstein has been described as like listening to the construction of monumental buildings in the desert. If that is the case such an imposing structure has been worked on over 21 years already. With album and DVD sales in the upper seven figures Rammstein's output is at once controversial creative and always exciting. This and their headlineshows at the biggest festivals and sold-out arenas throughout the world have put this band at the top of a great pyramid of rock music titans in just two decades. They owe their status as an unmatched performing band to their unique art which is dramatic emotional and a bleak and spectacular fairytale always courting controversy. Such a fascinating band means this lavish songbook is fitting. Featuring 80 pages a hardcover design with open-thread stitching and hot foil stamping of the 'Rammstein XXI' logo this book is perfect for fans of Rammstein who want to learn the wonderful music for Piano and Voice.
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Wolfgang Amadeus Mozart: The Mozart Violin Concerti: Facsimile
81.20
Wolfgang Amadeus Mozart: The Mozart Violin Concerti: Facsimile
Orchestre, Violon
Dover Publications
A Facsimile Edition of the Autographs-Only about a tenth of Mozarts works were p...
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A Facsimile Edition of the Autographs-Only about a tenth of Mozarts works were printed during his lifetime the rest having been published without the benefit of his supervision. This long-awaited edition of the autograph score offers a rare opportunity to see Mozarts violin concertosaccording to the composers intentions. Thanks to the well-preserved condition of the original manuscripts and Mozarts legible handwriting these reproductions of his scores can be used for study reference and performance. In addition to the fiveworks Concerto No. 1 in B Flat K. 207; Concerto No. 2 in D K. 211; Concerto No. 3 in G K. 216; Concerto No. 4 in D K. 218; and Concerto No. 5 in A K. 219 the volume includes two additional pieces the Adagio in E K. 261 and the Rondo in BFlat K. 261a. The first edition of this volume was published in a limited edition in 1986 and has been virtually unobtainable for many years. Two informative introductory essays by violinist Gabriel Banat who located the manuscripts missing sinceWorld War II supplement the collection: the first one traces Mozarts relationship with the violin and the other examines the history and importance of these manuscripts thought to have been forever lost. This outstanding edition offers teachers violinists conductors musicologists and Mozart enthusiasts an extraordinary chance to possess a score reproduced from the masters own hand.
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Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
21.10
Wieniawski H. - 2eme Polonaise Brillante Op. 21 - Violon Et Piano
Violon et Piano
PWM (Polskie Wydawnictwo Muzyczne)
2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wien...
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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.
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Antonín Dvo?ák: Piano Trio B-flat major op. 21: Piano Trio: Score and Parts
22.50
Antonín Dvo?ák: Piano Trio B-flat major op. 21: Piano Trio: Score and Parts
Piano Trio: piano, violon, violoncelle
Barenreiter
Replaces H 1128-Piano Trio B-Flat Major Op.21Score & PartsDvorák?s ?Trio In B-F...
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Replaces H 1128-Piano Trio B-Flat Major Op.21Score & PartsDvorák?s ?Trio In B-Flat Major? op. 21 the first of his four works for Violin Violoncello and Piano was composed in 1875 and premiered two years later.This edition presents the musical text from Volume IV/9 of the ?Complete Edition of the Works of Anton n Dvorák?. The Violoncello part has been newly engraved and the sections which were written in treble clef have been transferred to tenor clef.In his Foreword Dvorák authority David R. Beveridge vividly describes the work?s genesis and reception on the basis of the latest researchfindings.Standard work from the chamber music repertoireNewly engraved Violoncello partNew Foreword by David R. Beveridge (Eng/Cz/Ger)
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