Classical Guitar Solos - Favorite Sonatinas. In this book, guitarist and music historian David Grimes presents 20 ?small sonatas? or sonatinas, complete with detailed performance notes and bio sketches of each of the contributing composers: Leonhard von Call, Matteo Carcassi, Ferdinando Carulli, Mauro Giuliani, Francesco Molino, and Antonio Nava. While flexible, the early 19th-century sonatina form usually consists of 2 - 4 contrasting movements, here in guitar-friendly keys, making these pieces ideal for performance by intermediate-level students. In all but the most challenging passages, Grimes has intentionally kept fingering to a minimum to allow students to form their own concept of this critical skill. Then, as many bass notes in these pieces are played on open strings, the player must develop a sense of when to selectively damp dissonant tones or observe a rest? exposing and overcoming yet another shortcoming in the education of many guitarists. Most classic guitar teachers are familiar with the easy didactic studies by Carcassi, Carulli and Giuliani; Favorite Sonatinas offers more highly developed, but not yet virtuoso pieces by the same Italian triumvirate? plus three more composers in a similar vein? promoting confident, enjoyable sight-reading by guitarists of all levels.

En 1948, lorsque Günter Henle fonda sa maison d'édition, il inaugura son catalogue par une édition en deux volumes des 18 sonates pour piano de Mozart (HN 1 et HN 2). Ces sonates figurent depuis lors au coeur du répertoire de tous les pianistes. Au cours des décennies, ces deux volumes furent remaniés à plusieurs reprises afin d'accorder le texte musical aux acquis les plus récents de la recherche. La dernière actualisation, datée de 2015, concerne K. 331 ('Alla turca' du vol. II). L'avant-propos et le commentaire critique des éditeurs fournissent des renseignements exhaustifs sur toutes les questions relatives aux sources et à l'établissement du texte. HN 1 et HN 2 sont pourvus de doigtés. Henle Verlag propose désormais deux autres volumes sans doigtés - à l'attention de tous les pianistes souhaitant se frayer leur propre accès à l'univers pianistique de Mozart. / Piano

Par . The Piano Player: Christmas Time presents 25 of the best-loved carols and Christmas songs, specially arranged for intermediate piano solo, with lyrics for singing along. Contents include Have Yourself a Merry Little Christmas, Away in a Manger, Do They Know It?s Christmas' and Little Donkey. The striking cover features Edward Bawden?s colour linocut The Titfield Thunderbolt, 1952, and a double-sided colour print provides the full artwork as a beautiful collectible. The Piano Player series includes several wonderful collections of some of the greatest classical music ever written, specially arranged for the intermediate pianist, each with its own collectible pull-out poster of the stunning Edward Bawden cover artwork.   / Date parution : 2023-10-31/ Recueil / Piano

Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Ce livre / CD Pack propose la partition de piano complète, ainsi que l'arrachement partie solo. Le CD est jouable à la fois sur votre lecteur de CD et l'ordinateur. Elle est rehaussée de telle sorte que lorsqu'il est utilisé dans les ordinateurs qu'il dispose d'un logiciel de réglage du tempo à l'aide dans la pratique. / Alto Et Piano / 70 pages / niveau : Intermédiaire / Avancé / Partition + Cd

Par ADAMS SALLY / MORLEY N.. Concert Repertoire for Flute combines imaginative arrangements with original pieces, all of which have been carefully selected and written for players of Grade 4-7 standard. The pieces are varied and fun ranging from Billy Mayerl's Bats in the Belfry to Brittens Gemini Variations the pieces in this book are bound to be a hit with both players and audiences alike. / Niveau : Assez Facile / Répertoire / Flûte Traversière et Piano

We owe a debt of gratitude to the clarinettist Richard Mühlfeld for making the elderly Brahms so interested in his instrument. In the 1890s the composer wrote the Trio op. 114, the Quintet op. 115 and the Sonatas op. 120 - three gems in the clarinet chamber music repertoire. Brahms also provided a part for viola as an alternative to the clarinet. The revision of our edition of the viola version of opus 120 is based on the musical text of the New Brahms Complete Edition and in many respects contains significant improvements: we were able to consult the autograph for the first time - the newly set piano score now contains the viola part - and viola players can benefit from fingerings and bowings by Tabea Zimmermann in the solo part. / Alto Et Piano

Par HOFFMANN ERNST THEODOR AMADEUS. Many people know E.T.A Hoffmann (1776-1822) only as an author of fantastic stories and are often not aware of the fact that he was a reasonably good composer too. This practical edition of his five fully extant piano sonatas is based on the scientific editions, also published by Schott, of his 'Selected Musical Works'. Hoffmann himself recommends these pieces as compositions which are 'set in the older style, combined with the more cheerful melodic drive of the new' which 'many piano players who are indignant at the empty tirades of the new piano composers' long for./ Répertoire / Piano

The Complete Guitar Player: Essential Acoustic Songs is a fantastic collection of classic and contemporary acoustic songs, arranged for guitar and voice. Many of the greatest artists, including Bob Dylan, Eric Clapton and Adele are included here, with melody, full lyrics, guitar chord shapes and suggested strumming or picking patterns.Easy to read and fun to play, this is an essential songbook for all acoustic guitarists looking to expand their repertoire, whether it's for gigging or simply practice. Songs like Blackbird by the Beatles, Adele's Rolling In The Deep, Bob Marley's One Love are included, representing the finest rock and pop tunes for guitar. With 50 songs, this is a collection of guitar sheet music that is sure to become a mainstay of your gig bag. / Guitare

The renowned Czech bass player, composer and conductor Franti?ek Hertl (1906-1973) led the double bass section of the Czech Philharmonic during the Václav Talich era and later taught at the Conservatory and the Academy of Musical Arts in Prague. An outstanding virtuoso, he had a consummate mastery of his instrument's expressive potential and sound qualities. He also wrote successful concert and teaching pieces for his instrument. Composed in 1946, Hertl's only Sonata for Double Bass and Piano in three movements is a work of artistic and technical challenges that has maintained its place in the double bass repertoire to the present day.o New edition of a major repertoire piece for double bass o Foreword (Cz/Eng/Ger) by Hertl's last pupil, Jan Balcar / Contrebasse Et Piano

Par KILLMAYER WILHELM. Unlike the highly virtuoso Études d’exécution transcendante by Franz Liszt, these études by Wilhelm Killmayer are written ‘in a deliberately anti-virtuoso manner, without chroma, i.e. with seven tones and largely in two parts’. (Wilhelm Killmayer) Each of the twelve pieces focusses on a single compositional or technical aspect. Diatonic scales, parallel thirds and major chords are combined with some technically very tricky passages. Killmayer makes great demands on the pianist’s concentration, subtly coloured performance and differentiated articulation. The seventh étude is given the title ‘Im Schumann-Ton’ – unforced heartfelt music, always somehow “absent” and unpredictable in its modulations./ Répertoire / Piano