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Singles Collection
32.10
Singles Collection
Guitare notes et tablatures
[Sheet music]
-
Intermédiaire
Amsco Wise Publications
The importance of the single in the career of The Smiths cannot be overstated. M...
(+)
The importance of the single in the career of The Smiths cannot be overstated. Morrissey and Marr both regarded the format as hugely significant, with each release sporting a traditional paper sleeve and poignant choice of cover star, from James Dean to Shelagh Delaney. They reflected the band's shared love of the great singles of the 50s and 60s, and many have since become collector's items. This selection of songs therefore shows The Smiths at their most amusing, absurd, doleful, wry and charming. Marr's arrangements, which struck a chord with guitarists and songwriters the world over, are faithfully transcribed here. They are all here, from the early sparkle of This Charming Man and Hand In Glove to the cutting Panic and longing Boy With The Thorn In His Side . Often regarded as the last great British singles band, this collection of 19 songs represents the very best of The Smiths. This book is specially bound to help the pages lay flat while you are playing. / Guitare Tablatures
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Sämtliche Orgelwerke Band 8 (BACH JOHANN SEBASTIAN)
33.85
Sämtliche Orgelwerke Band 8 (BACH JOHANN SEBASTIAN)
Orgue
[Partition + CD]
Breitkopf & Härtel
Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Bo...
(+)
Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans music text faithful to the sources and reflecting the current status of Bach research developed for musical practice through the cooperation of scholars and performers contains all of Bach's keyboard works that require an independent pedal manual contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty features comprehensive introductions, extensive source descriptions and text-critical notes features supplementary material illustrated synoptically on CD-ROM (in printable quality) brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns 'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review) Subscription Conditions A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time. The subscription obliges the subscriber to purchase the entire collection. The New Edition of Bach's Complete Organ Works With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status, historically informed, edited with performers in mind: More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty. It offers incerta, early, and alternative versions on CD-ROM In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes. Edited by a competent team: With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes. Werner Breig (* 1932) studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition). Pieter Dirksen (* 1961) studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003. Reinmar Emans (* 1953) studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue
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O Little Town Of Bethlehem Band 5
26.64
O Little Town Of Bethlehem Band 5
Chorale 3 parties
SAB A Cappella
Schott
Chor zu dritt with its three-part settings is aimed at the large number of choir...
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Chor zu dritt with its three-part settings is aimed at the large number of choirs which cannot do full justice to the mainly four-part choral literature with divoded male voices. In Vol. 5, O little Town of Bethlehem, the singers can look forward to many national and international Advent songs and Christmas carols - and to successful concerts in the Christmas season, even with only one male voice! / Choeur Mixte (SABar) A Cappella
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Best day of my life (ODELL TOM)
17.73
Best day of my life (ODELL TOM)
Piano, Voix et Guitare
[Partition]
Faber Music Limited
Par ODELL TOM. Best day of my life is the matching artist approved songbook to T...
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Par ODELL TOM. Best day of my life is the matching artist approved songbook to Tom Odell?s fifth studio album, released 28th October 2022. The album is intentionally minimalistic, with just Tom?s voice and piano. He says: ?One year ago, almost exactly to the day, I set myself the challenge to write and record an entire album using only my voice and my piano with absolutely nothing else. I found myself digging deeper than I ever have before both with my words and piano playing. I am so proud of the way this record has turned out and I really cannot wait for you all to hear it.? Featuring an introduction from Tom himself, these songs are transcribed for piano and voice, with guitar chords and match the original recordings. / Date parution : 2022-11-29/ Recueil / Piano/Vocal/Guitare (PVG)
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19 Gilbert And Sullivan Favorites: Guitar: Instrumental Album
9.99
19 Gilbert And Sullivan Favorites: Guitar: Instrumental Album
Guitare
Guitare classique
Mel Bay
Arranged For Classical Guitar-This anthology contains nineteen of the most popul...
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Arranged For Classical Guitar-This anthology contains nineteen of the most popular Gilbert and Sullivan classics arranged in easily sight-readable versions for beginning to intermediate classical guitarists. All the favorites are here ranging fromsentimental ballads such as Little Buttercup Willow Tit-Willow and There Grew a Little Flower to more up-tempo 'patter' type pieces such as Oh! A Private Buffoon Kind Sir You Cannot Have theHeart and A Policeman's Lot. The aim has been to provide both a useful teaching resource and a light-hearted alternative to the more 'serious' music of the Classical Guitar repertoire. All the pieces lendthemselves extremely well to the common idiomatic textures of the Classical Guitar. A variety of melody and accompaniment styles are employed including block chords arpeggio patterns and passages of double-stopped thirdsand sixths. A number of the pieces are in easy first position format while others explore the common higher positions. The standard Guitar keys are utilized (C G D A E) but there are occasional more challengingtemporary modulations to 'difficult' keys such as E flat major. There are also instances of drop-D tuning which is often required in Classical Guitar playing.
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100 Most Gorgeous Songs Ever
44.36
100 Most Gorgeous Songs Ever
Piano, Voix et Guitare
[Partition]
-
Intermédiaire
Hal Leonard
100 Most Gorgeous Songs Ever contains some of the world's most beautiful ballads...
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100 Most Gorgeous Songs Ever contains some of the world's most beautiful ballads, including: All the Things You Are, Bridge over Troubled Water, Can't Help Falling in Love, Hallelujah, I Only Have Eyes for You, I'll Know, If, Just the Way You Are, Laura, Michelle, My Heart Will Go on (Love Theme from 'Titanic'), Night and Day, Over the Rainbow, She's Always a Woman, Summertime, Three Times a Lady, Time in a Bottle, Unchained Melody, Walking in Memphis, Your Song and more. / Piano/Vocal/Guitare (PVG)
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Three Late Sonatas for Classical Guitar (WEISS SILVIUS LEOPOLD)
26.13
Three Late Sonatas for Classical Guitar (WEISS SILVIUS LEOPOLD)
Guitare
[Partition]
Mel Bay
Par WEISS SILVIUS LEOPOLD. Silvius Leopold Weiss (1687 1750) is known to guitari...
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Par WEISS SILVIUS LEOPOLD. Silvius Leopold Weiss (1687 1750) is known to guitarists as the greatest baroque composer for the lute, yet most are only familiar with the earlier portion of Weiss?s prolific output found in the British Library in London. Inspired by a forty-year friendship with the late Douglas Alton Smith - a major figure in the scholarly study of the history of the lute - guitarist, composer, and head of the guitar program at Temple University in Philadelphia, Allen Krantz explored the Weiss manuscripts found in other European cities, particularly the Dresden editions which contain the fifteen sonatas that Weiss produced from the late 1730s to the end of his life. Transcriptions of three of those fifteen late sonatas are featured in this book in modern standard notation along with the original lute tablature as found in the Sächsische Landesbibliothek - Staats- und Universitätsbibliothek, Dresden. While the baroque lute?s tuning makes some works awkward or impossible on the guitar, the three works presented here?Sonatas No. 35 in D minor, No. 42 in A minor and No. 45 in A Major? are in their original keys which happen to be guitar-friendly. The author?s generous and scholarly ?Preface? provides thorough historical and performance notes for the music in this volume. While just three of Weiss?s 109 multi-movement lute sonatas are represented here, the importance of this publication cannot be overstated. It contains some of the greatest music of a masterful lutenist? Weiss once faced-off with J. S. Bach on keyboards in a counterpoint improvisation contest?now made accessible to the modern classical guitarist. / Date parution : 2022-04-09/ Recueil / Guitare Classique
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Allen Krantz: Sylvius Leopold Weiss: Guitar Solo: Instrumental Album
18.99
Allen Krantz: Sylvius Leopold Weiss: Guitar Solo: Instrumental Album
Guitare
Mel Bay
Three Late Sonatas for Classical Guitar. Silvius Leopold Weiss (1687 ? 1750) is ...
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Three Late Sonatas for Classical Guitar. Silvius Leopold Weiss (1687 ? 1750) is known to guitarists as the greatest baroque composer for the lute, yet most are only familiar with the earlier portion of Weiss?s prolific output found in the British Library in London. Inspired by a forty-year friendship with the late Douglas Alton Smith - a major figure in the scholarly study of the history of the lute - guitarist, composer, and head of the guitar program at Temple University in Philadelphia, Allen Krantz explored the Weiss manuscripts found in other European cities, particularly the Dresden editions which contain the fifteen sonatas that Weiss produced from the late 1730s to the end of his life. Transcriptions of three of those fifteen late sonatas are featured in this book in modern standard notation along with the original lute tablature as found in the Sächsische Landesbibliothek - Staats- und Universitätsbibliothek, Dresden. While the baroque lute?s tuning makes some works awkward or impossible on the guitar, the three works presented here?Sonatas No. 35 in D minor, No. 42 in A minor and No. 45 in A Major? are in their original keys which happen to be guitar-friendly. The author?s generous and scholarly ?Preface? provides thorough historical and performance notes for the music in this volume. While just three of Weiss?s 109 multi-movement lute sonatas are represented here, the importance of this publication cannot be overstated. It contains some of the greatest music of a masterful lutenist? Weiss once faced-off with J. S. Bach on keyboards in a counterpoint improvisation contest?now made accessible to the modern classical guitarist.
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Pour Une Guitare D'Aujourd'Hui Vol.1 Cy022 (TOMASI HENRI)
16.80
Pour Une Guitare D'Aujourd'Hui Vol.1 Cy022 (TOMASI HENRI)
Guitare
[Partition]
Heugel
Par TOMASI HENRI. French guitarist, François Tomasi compiles a study method of ...
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Par TOMASI HENRI. French guitarist, François Tomasi compiles a study method of the modern Guitar, filling a large gap. The first volume of For a Modern Guitar addresses fingering, chords and hand positions, understanding the 6 strings, ensemble music, the thumb, polyphony, arpeggios and chromaticims, amongst other aspects. Moreover, a detailed illustration of the Guitar is included, with all the parts of the instrument clearly labelled. For all aspiring guitarists, Tomasi 's For a Modern Guitar cannot be missed. / Pédagogie / Répertoire / Guitare
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François Tomasi: Pour une guitare d'aujourd'hui Vol 1 Débutant: Guitar:
12.50
François Tomasi: Pour une guitare d'aujourd'hui Vol 1 Débutant: Guitar:
Guitare
Heugel
French guitarist François Tomasi compiles a study method of the modern Guitar ...
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French guitarist François Tomasi compiles a study method of the modern Guitar filling a large gap. The first volume of For a Modern Guitar addresses fingering chords and hand positions understanding the 6 strings ensemble music the thumb polyphony arpeggios and chromaticims amongst other aspects. Moreover a detailed illustration of the Guitar is included with all the parts of the instrument clearly labelled. For all aspiring guitarists Tomasi's For a Modern Guitar cannot be missed.
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Jakob Lenz (RIHM WOLFGANG)
102.67
Jakob Lenz (RIHM WOLFGANG)
Piano, Voix
Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...
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Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano
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Songbook
39.50
Songbook
Piano, Voix et Guitare
[Sheet music]
Hal Leonard
67 chansons de ce compositeur maître, y compris : Adélaïde Lamentation, béb...
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67 chansons de ce compositeur maître, y compris : Adélaïde Lamentation, bébé, c' est froid dehors, A boisseau et un Peck, Fugue pour Tinhorns, les gars et poupées, coeur et l'âme, la Dame en amour avec vous, Luck être une Lady, pas deux personnes, sur un bateau lent en Chine, une fois en amour avec Amy, Sit Down vous êtes vagues, debout sur le coinThumbalina, réchauffer partout, ce que vous faisant la veille du nouvel an ? et une femme amoureuse. Complet avec beaucoup de photos souvenir et biographie. / Piano/Vocal/Guitare (PVG)
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Les Maîtres Du Violon 5 (Mathieu Crickboom)
18.87
Les Maîtres Du Violon 5 (Mathieu Crickboom)
Violon
[Partition]
Schott
Douze Cahiers D'Etudes Revues, Annotées et Doigtées Par Mathieu Crickboom. Par...
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Douze Cahiers D'Etudes Revues, Annotées et Doigtées Par Mathieu Crickboom. Par CRICKBOOM MATHIEU. The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year's time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated./ Méthode / Violon
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Mozart W.a. - Wunderkind Sonatas Vol. Ii K. 10-15 - Piano And Violin
27.40
Mozart W.a. - Wunderkind Sonatas Vol. Ii K. 10-15 - Piano And Violin
G. Henle
Wunderkind Sonatas Volume II for Piano and Violin K. 10-15 Editor: Wolf-Dieter ...
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Wunderkind Sonatas Volume II for Piano and Violin K. 10-15 Editor: Wolf-Dieter Seiffert Fingering and bowing for Violin: Benjamin Schmid Fingering Piano: Ariane Haering Leopold Mozart was only able to understand his son's musical genius in terms of it being a God-given wonder: That my boy [...] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it, cannot believe it. In 1764 Wolfgang composed six sonatas in London - possibly after the model of Johann Christian Bach's Opus 2 - that can either be played as piano trios, as violin sonatas or simply on the piano. Royal sources were consulted for the edition: the copy in the British Library bears the handwritten note: This Volume belongs to the Queen 1788. Violin Sonata (Wunderkind) B flat major KV 10 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) G major KV 11 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) A major KV 12 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) F major KV 13 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) C major KV 14 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) B flat major KV 15
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Giovannino: Sonata In F Major: Viola: Instrumental Album
5.95
Giovannino: Sonata In F Major: Viola: Instrumental Album
Contre Basse
[Partition]
Yorke Edition
For Violone-Very little is known about the two sonatas which appear here in thei...
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For Violone-Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata Violino e Violoncino … di Giovannino del Violone. Giovannino (=Little or Young John) musthave been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that are known today (see Dart
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Giovannino: Sonate A: Double Bass: Instrumental Work
5.95
Giovannino: Sonate A: Double Bass: Instrumental Work
Contrebasse, Piano (duo)
[Conducteur et Parties séparées]
Yorke Edition
Very little is known about the two sonatas which appear here in their original k...
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Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone. Giovannino(=Little or Young John) must have been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that
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Bottleneck Blues Guitar Woody Mann
33.60
Bottleneck Blues Guitar Woody Mann
Guitare notes et tablatures
Oak Publications
Une méthode claire de blues slide guitar. Contient 25 transcriptions d'authenti...
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Une méthode claire de blues slide guitar. Contient 25 transcriptions d'authentiques morceaux de bottleneck composés par Son House, Robert Johnson, Charlie Patton, Tampa Red et bien d'autres. Texte en anglais / Guitare
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In My Garden 2 (IGUDESMAN ALEKSEY)
20.53
In My Garden 2 (IGUDESMAN ALEKSEY)
Violon et Piano
Universal Edition
Spaziere Ein Zweites Mal Durch Aleksey Igudesmans Fantastischen Garten!. Par IGU...
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Spaziere Ein Zweites Mal Durch Aleksey Igudesmans Fantastischen Garten!. Par IGUDESMAN ALEKSEY. Once again, Aleksey Igudesman invites all violin students into his imaginary garden to get to know a wide variety of fruits and vegetables. Ten imaginative pieces are waiting to be discovered. Furthermore, there are again coloring pictures and short and funny poems in three languages (English, German and French). While they are fun to play, Igudesman manages to convey technical aspects as well. All the pieces have thus an educational value and are equally suitable as teaching and performance material. For those who cannot get enough of Aleksey Igudesman's funny creations we recommend 'In the Zoo' (Volume 1, Volume 2). In these two albums, the author takes us on a visit to the zoo and introduces us to the animals living there./ Recueil / Violon et Piano
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Nocturne In C# Minor (Op. Posthumous) (CHOPIN FREDERIC)
5.42
Nocturne In C# Minor (Op. Posthumous) (CHOPIN FREDERIC)
Piano seul
[Partition]
Hal Leonard
Par CHOPIN FREDERIC. This composition was never called a Nocturne by Chopin. It ...
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Par CHOPIN FREDERIC. This composition was never called a Nocturne by Chopin. It was probably written in 1830 when he was 20 years old, for his sister Louise, and was marked simply Lento, con gran espressione. It cannot be said to be in the form of a Nocturne, as Nocturnes are not written in any definite form, but the content justifies the name. It is interesting not only for itself but because it was one of Chopin's first attempts to write the kind of composition for which he afterward became famous. Edited and with a foreword by Francis L. York./ Répertoire / Piano
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Piano Concerto In A Minor And Other Works For Piano And Orchestra (SCHUMANN ROBERT)
24.41
Piano Concerto In A Minor And Other Works For Piano And Orchestra (SCHUMANN ROBERT)
Piano et Orchestre
[Partition]
Dover Publications
Par SCHUMANN ROBERT. Clara Wieck's sincerest wish was that her future husband, R...
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Par SCHUMANN ROBERT. Clara Wieck's sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that ; it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano… In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara's wish by creating a number of musical pieces composed specifically for Piano andOrchestra. Although Schumann 's genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann 's Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann 's compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstuck, Op. 92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at / Date parution : 2019-12-12/ Répertoire / Piano et Orchestre
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I'Ll Fly Away 25 Gospel Favorites Pvg
24.70
I'Ll Fly Away 25 Gospel Favorites Pvg
En Français
Piano, Voix et Guitare
[Conducteur]
-
Intermédiaire
ID Music
Albert E.Brumley était l'un des compositeurs de chansons Gospel du 20ème sièc...
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Albert E.Brumley était l'un des compositeurs de chansons Gospel du 20ème siècle, avec des standards comme 'I'll Fly Away' ou encore 'I'll Meet You In The Morning'. Pour la première fois, retrouvez les partitions pour piano, voix, guitare (diagrammes d'accords) de ses meilleures chansons!!! / Piano/Vocal/Guitare (PVG) / Partition
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Cinq Chansons Folkloriques d'Haiti: SSA: Vocal Score
Chorale 3 parties
SSA
[Vocal Score]
Kjos Music Company
Five delightful and accessible folksongs with French lyrics are to be sung toget...
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Five delightful and accessible folksongs with French lyrics are to be sung together as a set any choir would enjoy singing these! SSA A Cappella.1. Ti zuazo (Little Bird): A little bird on her way to Mrs. Lalo’s house warns the children not to go there because Mrs. Lalo may try to eat them. However the song is quite playful because the nightingale eats only fruit.2. Muen soti nan vil Leogan’ (I Come from the Town of Leogane): Thisslow soft song tells how the singer hears that his mama is sick. He is sad that he cannot be at her bedside.3. Feill’ oh (Leaves Oh!): The singer hopes that a good healer will be able to save a sick little boy. The wordsare repeated rhythmically as part of the healing charm.4. Dodo Titit (Sleep Little Child): The child must fall asleep before a crab comes. The second verse tells that the child’s parents are away at the river.5.Frere Jacques Kilik Kilik: Brother John are you sleeping? The little bells are ringing. Kilik kilik give me a piece of banana; give me a piece of sweet potato.
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Sicilianischer Jahrgang (TELEMANN GEORG PHILIPP)
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Sicilianischer Jahrgang (TELEMANN GEORG PHILIPP)
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Zwölf Kirchenmusiken Vom 7. Bis Zum 18. Sonntag Nach Trinitatis Und Michaelis. ...
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Zwölf Kirchenmusiken Vom 7. Bis Zum 18. Sonntag Nach Trinitatis Und Michaelis. Par TELEMANN GEORG PHILIPP. Following the principles of the edition, the volume contains a segment of 12 contiguous pieces of church music from a single cycle. They are excerpted from the so-called 'Sicilian Cycle” and consist of the compositions for the 7th - 18th Sundays after Trinity (except the 11th Sunday), the music for which is no longer extant) plus the feast of Michaelmas. The pieces in the cycle reveal elements attributed to the music of southern Italy, which occur in at least one movement of each work. Among these elements are pastoral instrumentation, with oboes and occasionally recorders, and the melodious writing of the arias, all embedded in a translucent texture. The cycle was written for the ducal court in Eisenach, where Telemann was titular chapel-master. It cannot be precisely dated, but the period of composition can be narrowed down between 1717 and 1721. The underlying words, printed as an annual cycle in 1720, stem from the singer, instrumentalist and later Eisenach court secretary Johann Friedrich Helbig. A Foreword and Critical Commentary provide information on the genesis, sources and reception of this very widely disseminated cycle. Also included are facsimiles from the musical and textual sources and an edition of the underlying texts./ Répertoire / Orchestre
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