in Occitanian Crusade Song-Mapping Medieval Identities in Occitanian Crusade Song focuses on two twelfth-century musical-poetic practices of southern France - the sacred Aquitanian versus and the vernacular troubadour lyric - and newly interprets them within their shared context of the early Crusades.

Par SPARKE PHILIP. Dans de nombreux pays, Noël est un moment privilégié, célébré par de nombreux chants et mélodies dont beaucoup constituent un élément central du culte chrétien. Le fait que ces chants anciens subsistent depuis si longtemps témoigne de leur attrait immuable, formant un lien tangible avec les festivités de Noël qui se déroulaient il y a des centaines d’années. A Medieval Christmas emprunte trois de ces ancestrales mélodies, demeurées populaires dans le monde entier : Gaudete, Coventry Carol, et In Dulci Jubilo. / Niveau : 3 / Musique pour célébration / Répertoire / Concert Band ou Harmonie

Par SPARKE PHILIP. Dans de nombreux pays, Noël est un moment privilégié, célébré par de nombreux chants et mélodies dont beaucoup constituent un élément central du culte chrétien. Le fait que ces chants anciens subsistent depuis si longtemps témoigne de leur attraitimmuable, formant un lien tangible avec les festivités de Noël qui se déroulaient il y a des centaines d'années. A Medieval Christmas emprunte trois de ces ancestrales mélodies, demeurées populaires dans le monde entier : Gaudete, Coventry Carol, et In Dulci Jubilo . / Niveau : 3 / Musique pour célébration / Répertoire / Brass Band

Par SPARKE PHILIP. Dans de nombreux pays, Noël est un moment privilégié, célébré par de nombreux chants et mélodies dont beaucoup constituent un élément central du culte chrétien. Le fait que ces chants anciens subsistent depuis si longtemps témoigne de leur attraitimmuable, formant un lien tangible avec les festivités de Noël qui se déroulaient il y a des centaines d'années. A Medieval Christmas emprunte trois de ces ancestrales mélodies, demeurées populaires dans le monde entier : Gaudete, Coventry Carol, et In Dulci Jubilo . / Niveau : 3 / Musique pour célébration / Répertoire / Fanfare

Learn Bass Recorder in Ensemble Playing Partitur und Stimmen - Mit Playback CD vom Ensemble Dreiklang Berlin - Anleitung zum Bassblockflötenspiel - for 3-5 recorders (sa(a)tb) and cd arranger: Ripper, Martin arranger: Rosin, Sylvia C. arranger: Beutler, Irmhild The bass recorder brings a deep, rich timbre to the recorder ensemble. Nevertheless, when beginning with the bass recorder, even players who have already mastered one or more instruments of the recorder family face the problem of learning a new clef and feeling at home with an instrument which is different from the other recorders in its shape and handling. The Bass Recorder Workshop is a 'hands-on' tutor, which helps players acquire the bass recorder skills necessary for refined ensemble playing step by step. The bass recorder is incorporated into the ensemble from the beginning. The degree of difficulty in the bass line gradually increases in terms of tone quality, rhythm and technical demands. The Bass Recorder Workshop consists of consecutive volumes with music for three to five voice recorder ensembles as well as exercises and information on the following subjects: ' the bass recorder ' construction, instrument types, historical background ' technical foundations of bass recorder playing, posture, fingering, sound and articulation ' practise and rehearsal techniques, intonation in ensemble playing ' stylistically diverse ensemble repertoire ranging from medieval to contemporary music The Bass Recorder Workshop offers the possibility of playing the bass line of the ensemble pieces along with the CD included. The audio examples come in two versions: the full versions are complemented by versions without the bass line, which can be used to play along with. Beginners who would like to start with the bass as their first recorder instrument should supplement the Bass Recorder Workshop with lessons from a teacher.

Learn Bass Recorder in Ensemble Playing Partitur und Stimmen - Mit Playback CD vom Ensemble Dreiklang Berlin - Anleitung zum Bassblockflötenspiel - for 3-5 recorders (sa(a)tb) and cd arranger: Ripper, Martin arranger: Rosin, Sylvia C. arranger: Beutler, Irmhild The bass recorder brings a deep, rich timbre to the recorder ensemble. Nevertheless, when beginning with the bass recorder, even players who have already mastered one or more instruments of the recorder family face the problem of learning a new clef and feeling at home with an instrument which is different from the other recorders in its shape and handling. The Bass Recorder Workshop is a ?hands-on? tutor, which helps players acquire the bass recorder skills necessary for refined ensemble playing step by step. The bass recorder is incorporated into the ensemble from the beginning. The degree of difficulty in the bass line gradually increases in terms of tone quality, rhythm and technical demands. The Bass Recorder Workshop consists of consecutive volumes with music for three to five voice recorder ensembles as well as exercises and information on the following subjects: ? the bass recorder ? construction, instrument types, historical background ? technical foundations of bass recorder playing, posture, fingering, sound and articulation ? practise and rehearsal techniques, intonation in ensemble playing ? stylistically diverse ensemble repertoire ranging from medieval to contemporary music The Bass Recorder Workshop offers the possibility of playing the bass line of the ensemble pieces along with the CD included. The audio examples come in two versions: the full versions are complemented by versions without the bass line, which can be used to play along with. Beginners who would like to start with the bass as their first recorder instrument should supplement the Bass Recorder Workshop with lessons from a teacher.

The new publication Essential Play-Alongs for alto saxophone is perfect for beginners who have recently started lessons. Accompanied by excellent bands on the CD, you can get a taste of popular music styles: from jazz and blues to funk and Latin. Listen to the full version or play along with the accompaniment track. The compositions were written by top authors Jim Snidero, Ed Harlow, Fernando Brandao and Fred Lipsius. A real delight to play and listen to! / Saxophone Alto

'Klezmer and Sephardic Tunes' for Accordion presents 33 beautiful pieces ranging from well known traditional tunes to the newly composed.

The collection is ideal for those looking to explore Klezmer music in more depth, as well as the lesser known music of the Sephardic Jews- drawing on the culture?s roots in Medieval Spain and the Balkans. The book contains notes on all of the pieces as well as points on general interpretation, and is accompanied by a CD with all pieces performed by Merima Klju?o.

German and French translations of all texts are available as free pdf downloads from the Schott Music website. Suitable for players of grades 3-8. / Musiques du monde / Partition CD / Agrafé /

Par FOGGITT PETER. A tour de force of choral energy and expertise in rhythmic precision, this is aerial music, fleet and vibrant as voices proclaim Martin Luther's vision of universal peace above a torrent of cascading Organ scales. The brightness of the Lydian mode matches this joyful proclamation, intoned chant-like in bold, clear intervals recalling the sounds both of medieval music and its refraction through the ears of modern masters like Stravinsky and Tavener. Cunningly constructed too, on a four-bar ostinato, the music reverses its opening scale figure for a quieter section before building again to an extrovert ending that repeats the chant against new Organ figures in aclinching 'alleluia'./ Feuillet / SATB et Piano ou Orgue

This is a spirited arrangement of the popular fourteenth-century carol Angelus Ad Virginem (Gabriel To Mary Came) for mixed voices with an optional part for tambourine in the final verse. The familiar melody weaves between the vocal parts and the piece is characterized by medieval harmonies and a rocking thirds motif. An English singing translation is presented alongside the original Latin allowing choirs to perform the carol in either language.

Davey Graham is a perfectionist. Since 1961 when he recorded the quite remarkable - and largely unnoticed - 3/4 AD with Alexis Koerner he has restricted his record output and almost everything he has recorded has been of a high standard. So when he agrees that this is one of the finest records he has made it really has to be one of the finest Guitar records of recent years.Throughout his career he has mixed these high personal standards with an inventive daring approach to music. Because he plays acoustic Guitar he may have been labelled as a 'folkie' but nothing could be further from the truth. He knows a great deal about folk music - and the folk music ofNorth Africa and India as well as Britain and America - but he also has a strong interest in medieval music later classical music jazz and the blues.The sixteen tunes on this album were all chosen because they were instrumentals Davey likes and enjoys playing rather than to demonstrate particular Guitar styles but of course the results work on both levels.This album is both an intriguing musical selection and a tribute to his remarkable technique. He has included hymn tunes a selection of Irish melodies that are a great personal favourite of his. 'They are mostly pipe and fiddle tunes and I've been working on them for some time. I take a great interest in the Irish scene and I'm learning the language'. Alongside these there are the classical and medieval pieces ranging from Vaughan Williams' Down Ampney to the Prelude From The Suite In D Minor by Robert De Visee ('a Frenchman who matched Dowland').Also included is a PDF TAB/music booklet featuring these songs from the recording: Medley: Lord Mayo/Lord Inchiquin; Lashtal's Room; Renaissance Piece; Hardiman The Fiddler; Fairies' Hornpipe; Forty-Ton Parachute. You will need Adobe Acrobat (a free download) to open and print this file from your computer.

For Four Part Choir Satb-A Medieval Carol is for unaccompanied SATB and is a setting of a text transferred from medieval English by Stephen Pegg. Originally written for the Headington Singers the carol has been performed widely by choral societies and school choirs since 1989. Duration: approx 3 minutes.