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18 Hits And The Little Black Songbook - Book
46.10
18 Hits And The Little Black Songbook - Book
Paroles et Accords
[Partition + CD]
Amsco Wise Publications
This volume in the Little Black Songbook series includes a copy of the Little Bl...
(+)
This volume in the Little Black Songbook series includes a copy of the Little Black Songbook: Abba , containing over 70 songs by the Swedish pop group arranged with Guitar chords and lyrics, as well as a CD featuring 18 of the band's greatest hits. The Abba 18 Hits CD includes the favourites The Winner Takes It All, Super Trouper, Waterloo, Gimme! Gimme1 Gimme!, The Name Of The Game, Ring Ring, I Do I Do I Do I Do I Do, SOS, Fernando, Hasta Manana, Mamma Mia, Lay All Your Love On Me, Thank You For The Music, Happy New Year, Honey Honey (Swedish Version), Waterloo (French Version), Ring Ring (German Version) and Dame! Dame! Dame! The Little Black Songbook: Abba includes all of the above, alongside many more popular Abba songs. **This songbook is only available to customers in Austria.** / Paroles Et Accords
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Greatest Hits
29.30
Greatest Hits
Piano, Voix et Guitare
[Partition]
-
Intermédiaire
Amsco Wise Publications
Toutes les chansons de la compilation 2004 de ce grand showman sont arrangées p...
(+)
Toutes les chansons de la compilation 2004 de ce grand showman sont arrangées pour piano, voix et guitare. Inclus les tubes des albums Life Thru A Lens, I've Been Expecting You, Sing When You're Winning et Escapology. / Piano/Vocal/Guitare (PVG) / Partition
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Sainte-colombe - Pour La Basse (manuscrit De Tournus) - Viole De Gambe
44.90
Sainte-colombe - Pour La Basse (manuscrit De Tournus) - Viole De Gambe
Viole de Gambe
Guntersberg
Sainte-Colombe (2nd half of 17th century) Pour la Basse The pieces for Viola da ...
(+)
Sainte-Colombe (2nd half of 17th century) Pour la Basse The pieces for Viola da Gamba solo from the manuscript M.3 of the Bibliothèque municipale of Tournus In 1992, in the French town of Tournus, an extensive anonymous music manuscript was discovered, which for insiders was nothing less than a sensation. For it turned out that 143 of the pieces in this collection of music for viola da gamba solo were by Sainte-Colombe, the most important viol player and composer in France before Marin Marais. Since, for various reasons, the manuscript is not easy to read for today\'s players, we present here for the first time a practical edition that contains all of Sainte-Colombe\'s pieces from the Tournus manuscript. The transcription into modern notation has been done with great care, and the original notation retained wherever possible. Sainte-Colombe\'s music is so interesting for the performer because it violates many compositional and musical rules, and as a result often seems improvised. Its soothing and frequently melancholy character is unique. It represents a challenge that every viola da gambist should take upon him/herself.
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Master Collection Of Fiddle Tunes - Book - Online Audio (TRISCHKA TONY)
54.20
Master Collection Of Fiddle Tunes - Book - Online Audio (TRISCHKA TONY)
Banjo
[Partition]
-
Intermédiaire
Mel Bay
For Banjo. Par TRISCHKA TONY. A comprehensive repertoire book of Fiddle tunes ad...
(+)
For Banjo. Par TRISCHKA TONY. A comprehensive repertoire book of Fiddle tunes adapted for Banjo, in easy to read tablature, by the renowned player and teacher of the 5-String Banjo, Tony Trischka. For the early picker to the advanced player, this book and its online audio will enable the player to learn by example and broaden their technical range. Fiddle tunes have been adapted for Banjo since the early 1850's. The explorations contained here include a large collection of popular American Fiddle tunes and a section of Celtic tunes played in the three major Bluegrass Banjo styles. These Bluegrass, Old Time and Celtic Banjo traditions will expand the players' knowledge of the instrument, and deepen their understanding of bluegrass and traditional music. The techniques employed will build the players technical prowess and broaden their enjoyment of playing. And the tunes, both popular and lesser known, will add new variety to the next jam session! Tablature only. Repertoire of Fiddle tunes for the early to the advanced Banjo player. In easy to read tablature with downloadable online audio. Expands the players' knowledge of Bluegrass Banjo styles and Banjo music. Builds playing skills and adds variety to their playing. Online Audio download available. / Niveau : Intermédiaire / Recueil / Banjo
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Chord Songbook
19.50
Chord Songbook
Paroles et Accords
[Partition]
-
Facile
Amsco Wise Publications
Now you can play your favourite hits by AC/DC on guitar in no time... with just ...
(+)
Now you can play your favourite hits by AC/DC on guitar in no time... with just a handful of simple, easy chords for each song! All the songs have been specially arranged by Rob Smith in the original keys from the actual hit recordings. / Chant Et Guitare
19.50 EUR - vendu par LMI-partitions
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Best Top 40 Songs 70S To 90S
33.90
Best Top 40 Songs 70S To 90S
Piano, Voix et Guitare
Alfred Publishing
Alfred's Best series centers around impeccable piano/vocal/guitar arrangements o...
(+)
Alfred's Best series centers around impeccable piano/vocal/guitar arrangements of the most loved and recognizable songs in modern music. Best Top 40 Songs: 47 Hits from the '70s to '90s highlights tunes from such varied artists as Paul Simon, Journey, Bruce Springsteen, Whitney Houston, The Beach Boys, and more. / Piano/Vocal/Guitare (PVG)
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The Daily Ukulele : Leap Year Edition
59.70
The Daily Ukulele : Leap Year Edition
Ukulele
-
Intermédiaire
Hal Leonard
The Daily Ukulele contains a super collection of 366 well-known songs arranged f...
(+)
The Daily Ukulele contains a super collection of 366 well-known songs arranged for ukulele from the 1950s through today.All songs feature melody, lyrics and ukulele chord grids in uke-friendly keys. A special 'Ukulele 101? section, chord chart, and vintage ukulele-themed photos makes the experiences of learning new songs much more fun and exciting.This Songbook contains a piece of sheet music for every day of the leap year, to keep you strumming for its entirety. Featuring songs from artists such as Elton John, the Bee Gees, Stevie Wonder and Michael Jackson plus many, many more. / Ukulélé
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Johannes Brahms: Brahms Three Sock It To Me: Wind Ensemble: Score and Parts
16.95
Johannes Brahms: Brahms Three Sock It To Me: Wind Ensemble: Score and Parts
Quatuor à Vent : 4 instruments à vents
[Sheet music]
-
Intermédiaire
Spartan Press
All four movements of Brahms' Symphony No.3 have been skilfully condensed simpl...
(+)
All four movements of Brahms' Symphony No.3 have been skilfully condensed simplified and arranged for flexible woodwind ensemble by Mark Goddard. The set contains a full score plus parts for a flexible combination of four instruments.Music Teacher Magazine says 'Brahms Three Sock It To Me!....has clearly set out to cut the boring bits and only show the goals ... The arrangement itself is tastefully done and may well inspire young players to listen to the original'.'Brahms Three Sock it to Me'....has clearly set out to cut the boaring bits and only show the goals ... The arrangement itself is tastefully done and may well inspire young players to listen tothe original'. Music Teacher Magazine.Grade: 3 - 6
16.95 GBP - vendu par Musicroom GB
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Really Easy Piano: 40 ABBA Songs
16.99
Really Easy Piano: 40 ABBA Songs
Piano Facile
Hal Leonard
40 of ABBA?s most popular hits in easy-to-play arrangements for piano, presented...
(+)
40 of ABBA?s most popular hits in easy-to-play arrangements for piano, presented with background notes and performance tips for every song. These arrangements have been abridged and simplified for the beginner player, so structure and key signature may vary from the original recordings. Includes: Chiquitita · Dancing Queen · Don?t Shut Me Down · Honey, Honey · I Have a Dream · Mamma Mia · The Name of the Game · Our Last Summer · Super Trouper · Thank You for the Music · Voulez-Vous · Waterloo and many more.
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New Busker's Fakebook 1001 All-Time Hit Songs
98.70
New Busker's Fakebook 1001 All-Time Hit Songs
[Sheet music]
-
Facile
Music Sales
The second volume of a thousand and one all-time hit songs ranging from essentia...
(+)
The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare
98.70 EUR - vendu par LMI-partitions
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Complete Chord Songbook
29.30
Complete Chord Songbook
Piano, Voix et Guitare
[Partition]
-
Intermédiaire
Amsco Wise Publications
Ah, Abba ! Ce que vous pouvez dire ' le son pop des années soixante-dix, toujou...
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Ah, Abba ! Ce que vous pouvez dire ' le son pop des années soixante-dix, toujours répété avec amour à discothèques étudiant à ce jour ! Ce recueil de chansons vous apporte paroles complètes et les accords de presque toutes leurs chansons. 70 hits classiques spécialement organisés dans les keys originales, les enregistrements réelles. / Chant Et Guitare / Partition
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The Grammy Awards : Best Country Song 1964-2011
29.30
The Grammy Awards : Best Country Song 1964-2011
Piano, Voix et Guitare
-
Intermédiaire
Hal Leonard
Les Grammy Awards: Meilleure chanson country 1964-2011 compte en tout 47 chanson...
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Les Grammy Awards: Meilleure chanson country 1964-2011 compte en tout 47 chansons jugées Best Country Song par la Recording Academy, y compris le roi de la route, On The Road Again, 9-5, tu es Still The One et The Gambler.La partition dans ce songbook a été savamment arrangé pour Piano, Voix et Guitare. Il s'agit d'une grande collection tout au long de classiques de pays et journée Country Hits plus modernes. / Piano/Vocal/Guitare (PVG)
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Fundamentals (OKAZAKI MILES)
42.29
Fundamentals (OKAZAKI MILES)
Guitare
[Partition]
Mel Bay
Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skil...
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Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare
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Blackstar
29.30
Blackstar
Piano, Voix et Guitare
Amsco Wise Publications
Every song from the late, great David Bowie's number one album Blackstar (?), ar...
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Every song from the late, great David Bowie's number one album Blackstar (?), arranged for Piano, Voice and Guitar, with full lyrics, chord symbols and chord boxes. The album was released just two days before Bowie tragically passed away, and was hailed by critics and audiences as one of his greatest, taking his music in new directions as he had done for his entire life.The album was a surprise release to many fans, with the first single Blackstar hinting at a completely new direction, venturing towards jazz music. A music video for the second single, Lazarus, was released in January 2016, the day before the album. The video shows Bowie in a hospital bed, with a bandage covering his eyes before walking into a wardrobe at the end.Bowie passed away two days after Blackstar was released, to the sadness of the entire nation. Much of the album relates to life and death, and the lyrical themes have been interpreted as a 'parting gift' for fans before his death. The songs have been almost universally acclaimed for their music and lyrics, as well as the ultimate artistic swansong for a man whose life was exceptionally creative and boundary-pushing. With this Blackstar sheet music, you can learn to play David Bowie's last album in all its glory, for Piano, Vocal and Guitar. / Piano/Vocal/Guitare (PVG)
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Das Lied Der Erde (MAHLER GUSTAV)
44.10
Das Lied Der Erde (MAHLER GUSTAV)
Ténor, Alto ou Baryton et Orchestre
[Conducteur d'étude / Miniature]
Universal Edition
Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. 'I...
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Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. 'I was graced with a pleasant period, and I believe it is more personal than anything else I have done until now.' (Gustav Mahler, 1908, to Bruno Walter) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Ténor, Alto ou Baryton et Orchestre
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Contact (VAN NUETEN GUY)
28.00
Contact (VAN NUETEN GUY)
Piano seul
Metropolis Music Publishers
Par VAN NUETEN GUY. Contact by Guy Van Nueten originated from the feeling of bei...
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Par VAN NUETEN GUY. Contact by Guy Van Nueten originated from the feeling of being abandoned, such as a person who treks through a barren desert following a great disaster and asks himself if there's any point in carrying on when every day brings just more of the same - still more desert. I suspect that each of us has such a desert within himself, but that it depends on circumstances whether or not we choose to make the journey through it. Contact lays out a path that we can share. This music seems especially romantic to me, in the sense that the sounds have much to say about loneliness. There are moments where this album emphasises its own seriousness, then immediately afterwards invites us todance. Contact sticks out a hand, sometimes two, mostly to show the internal process of the composer - firstly the lack of fire and the abandoned longing for this, followed by the bewilderment that there is something that is still smouldering and that can be fanned into a blazing forest fire to burn away all the pain of desolation. For this reason it is also moving music - because it wants the recognition of the listener, wants us to feel our own desolation while the piano explores further depths and heights. At times a composition is almost carelessly abandoned and another one begun. Whoever looks closely at feelings and is honest with himself and the world is always a little cruel. But finally there is an end to that desert - he sees an oasis and also a beautiful hotel. Upon entering, he sees no-one, not even at the desk, but the reigning play of light and colour is of an otherworldly power. Maybe no other people are needed here and the beauty that prevails is enough. Then sounds of music arise and some people move across to the immense hall where a wing has been set up, behind which a man is sitting, his fingers moving across the keyboard. And only one thing is real: after desolation comes comfort. That person is you and that person is me. And that music is called Contact, directly from the soul of Van Nueten. Contact by Guy Van Nueten originated from the feeling of being abandoned, such as a person who treks through a barren desert following a great disaster and asks himself if there's any point in carrying on when every day brings just more of the same - still more desert. I suspect that each of us has such a desert within himself, but that it depends on circumstances whether or not we choose to make the journey through it. Contact lays out a path that we can share. This music seems especially romantic to me, in the sense that the sounds have much to say about loneliness. There are moments where this album emphasises its own seriousness, then immediately afterwards invites us todance. Contact sticks out a hand, sometimes two, mostly to show the internal process of the composer - firstly the lack of fire and the abandoned longing for this, followed by the bewilderment that there is something that is still smouldering and that can be fanned into a blazing forest fire to burn away all the pain of desolation. For this reason it is also moving music - because it wants the recognition of the listener, wants us to feel our own desolation while the piano explores further depths and heights. At times a composition is almost carelessly abandoned and another one begun. Whoever looks closely at feelings and is honest with himself and the world is always a little cruel. But finally there is an end to that desert - he sees an oasis and also a beautiful hotel. Upon entering, he sees no-one, not even at the desk, but the reigning play of light and colour is of an otherworldly power. Maybe no other people are needed here and the beauty that prevails is enough. Then sounds of music arise and some people move across to the immense hall where a wing has been set up, behind which a man is sitting, his fingers moving across the keyboard. And only one thing is real: after desolation comes comfort. That person is you and that person is me. And that music is called Contact, directly from the soul of Van Nueten./ Répertoire / Piano
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Music for Children Vol. 5 (ORFF CARL / KEETMAN GUNILD)
17.60
Music for Children Vol. 5 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Conducteur]
Schott
Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...
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Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Music for Children Vol. 2 (ORFF CARL / KEETMAN GUNILD)
13.40
Music for Children Vol. 2 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Conducteur]
Schott
Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his li...
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Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Music for Children Vol. 3 (ORFF CARL / KEETMAN GUNILD)
13.40
Music for Children Vol. 3 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Conducteur]
Schott
Major - Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his li...
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Major - Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Argraffiad Cymraeg Vol. 1 (ORFF CARL / KEETMAN GUNILD)
15.20
Argraffiad Cymraeg Vol. 1 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Conducteur]
Schott
Pentatonig. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life t...
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Pentatonig. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Welsh Edition This volume closely follows the English Volume 1, substituting Welsh for English wherever words are used in speech or song. It should be used in conjunction with the English version, since only the sung and spoken parts are provided./ Répertoire / Voix, Flûte à Bec et Percussion
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Music for Children Vol. 4 (ORFF CARL / KEETMAN GUNILD)
16.41
Music for Children Vol. 4 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Conducteur]
Schott
Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...
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Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Performance Practices In The Violin Concerto Op. 64 And Chamber Music For Strings Of Felix Mendelssohn Bartholdy (BROWN CLIVE)
22.70
Performance Practices In The Violin Concerto Op. 64 And Chamber Music For Strings Of Felix Mendelssohn Bartholdy (BROWN CLIVE)
Barenreiter
In The Violin Concerto Op. 64 and Chamber Music For Strings. Par BROWN CLIVE. Me...
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In The Violin Concerto Op. 64 and Chamber Music For Strings. Par BROWN CLIVE. Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Livre / Livre
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Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 erste Fassung 1844 Edition no.BA 9099-92 ISMN 9790006565733 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)
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