Kaléidoscope vous fera économiser du temps! Avez-vous passer des heures à arranger la musique pour des assortiments étranges d'instruments' Kaléidoscope est spécialement aménagé pour répondre à presque n'importe quelle combinaison instrumentale et ces ensembles variés sont faciles et agréables aussi. Portée tant pour pratiquement n'importe quelle combinaison d'instruments!La série est réussie avec des enregistreurs, des guitares, des percussions et du clavier ainsi que les groupements d'orchestre. Que ce soit il ya cinq ou cinquante joueurs, chaque titre Kaléidoscope travail! Juste s'assurer que les pièces mélodie et le clavier sont inclus - toutes les autres parties sont en option. Kaléidoscope est une valeur exceptionnelle pour l'argent - chaque jeu contient un score plus environ 50 parties, chacune soigneusement écrit pour répondre aux besoins de chaque instrument. Par exemple, parties de cordes faciles sont en première position seulement lorsque les parties de clarinette facile de prendre soin d'éviter la rupture. Il ya plus de pièces exigeantes aussi, pour les joueurs expérimentés.Pour vous aider à choisir les bonnes pièces pour vos joueurs, nous avons donné la clé de chaque Kaléidoscope entre parenthèses. L'option de performance complet! Ces arrangements ultra-flexible de titres bien connus sont un must pour chaque école. Pourquoi ne pas choisir un thème pour votre concert et effectuer une sélection de titres montrent Kaléidoscope et thèmes de films ou d'une soirée de grands classiques' / Orchestre

John Luther Adams' Everything That Rises for String Quartet. Composers note: I never imagined I would write a string quartet. Then I heard the JACK Quartet and I understood how Imight be able to make the medium my own. The result was The Wind in High Places - a twenty-minute work composed entirely on natural harmonics and open strings. Over the next few years twomore quartets followed. The second quartet  untouched  is a further exploration of the aeolian sound world of the first. Then in Canticles of the Sky the musicians finally touch the fingerboards of theirinstruments. And now comes Everything That Rises. This fourth quartet is more expansive both in time and in space. It grows out of Sila: The Breath of the World - aperformance-length choral/orchestral work composed on a rising series of sixteen harmonic clouds. Everything That Rises traverses this same territory but in a much more melodic way. Each musician isa soloist playing throughout. They surround the audience. Time floats. Over the course of an hour the lines spin out - always rising - in acoustically perfect intervals that grow progressively smaller as they spiralupward... until the music dissolves into the soft noise of the bows sighing. Duration: 60 minutes

Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation  which was devised by Colin Currie in conjunction with the composer. Soloists  should attempt to match the timbres used but should not feel constrained by the  exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the

Although this tutor is well over a hundred years old the methods and pieces remain appropriate today. It teaches everything from breathing tone and posture to practice methods. Ideal for those who do not wish to learn the 'pop' style exercises which are found in many modern tutors. This item is also of note for those with an interest in historical tutors.

Anyone can get started learning Bass Guitar with this user-friendly basic method. Loaded with easy-to-read examples in both TAB and standard notation this book teaches everything from how to pluck a string to how to build your own bass lines. Get ready to find out about scales and arpeggios; playing in blues rock and funk styles; and even slap 'n' pop technique!

This book teaches everything you need to know to get started playing the recorder. Beginning with how to hold the instrument and make a sound through reading music and basic technique you???ll be guided all the way to articulation dynamics and composing. With pieces in styles ranging from ethnic folk tunes to Renaissance dances and classical symphonic melodies this book is a fun method for learning to play this very accessible and enjoyable instrument.The accompanying CD includes demonstrations of all the examples presented in this book allowing you to hear how the examples should sound as well as giving you the opportunity to play along yourself.

Perfect for beginning ukulelists as well as players who want to enhance their knowledge, this book and video teaches everything you need to know to get started on the ukulele, including chords, strumming, picking, basic music theory, and reading tablature (TAB) and standard music notation. Guitarists wanting to expand their musical horizons will also find this to be the perfect introduction to playing the ukulele. The book features lots of fun songs in a variety of styles, including rock, blues, Hawaiian, fiddle tunes, and fingerstyle. The companion video, on DVD and online, features friendly, easy-to-understand explanations and demonstrations by GRAMMY® Award-winning ukulelist Daniel Ho. With practice tips and other important advice for the beginning ukulelist, Beginning Ukulele is the most thorough method available for beginning ukulele students. / Ukulélé

This book teaches everything you need to know to get started playing the banjo. Beginning with tablature reading and basic technique, you'll be guided all the way to reading music and playing great bluegrass classics like Bile That Cabbage Down, Old Joe Clark and Cluck Old Hen. With helpful tips from renowned artists such as Bela Fleck, Alison Brown and John Hartford, this comprehensive beginner's book provides a fun and unique way to get started playing this enjoyable instrument. The CD includes the exercises and songs. / Banjo

Symphonie der Tausend. Par MAHLER GUSTAV. All my earlier symphonies are mere preludes to this one. In the other works everything is subjective tragedy, - this one is a huge giver of joy.' (Gustav Mahler) Gustav Mahler's 'Symphony No. 8' is a work of exceptions. Seen from the outside, this is true of the forces that are used: with its three choirs, eight soloists and an orchestra of far more than one hundred musicians, there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work, the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony', which - as Mahler put it - 'is sung from beginning to end'. In turn, the texts that are sung influence the structure of the whole, replacing, as it were, the usual four movements of a symphony with two strongly divergent 'parts'. And, finally, as if to emphasize this divergence, the texts used - the hymn 'Veni creator spiritus' in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes, and a work of contradiction. It seems, however, that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his 'Symphony No. 8' was 'the greatest' work 'that I have composed'./ Répertoire / Chœur Mixte [SATB] et Orchestre

A series of popular music for working string quartets. Light enjoyable repertoire pieces and entertaining encores. Each folio contains five pieces. Contents: \'Bridge Over Troubled Water\', \'Candle In The Wind\', \'(Everything I Do) I Do It For You\', \'Killing Me Softly With His Song\', \'Without You\'. / Quatuor A Cordes