Four Spanish Pieces

For the Easy Concert Pieces series, the experienced piano teacher Monika Twelsiek compiled pleasant, easy piano pieces for beginners and published them in two volumes in progressive order. The third volume is in preparation.The two volumes are intended to complement a piano tutorial method and are particularly suitable for performance at auditions at music schools, for examinations and for competitions. They offer varied repertoire in a broad selection of pieces from the Baroque, Classical, Romantic and Modern eras.Volume 1 (ED 22547) can already be used by beginners, containing pieces in the five-note range and easy pieces spanning a single octave. Other criteria for selection are simple rhythms and very easy chords. Crossing the thumb underneath, playing several parts together and pedal use are not yet required.Volume 2 (ED 22548) contains pieces with an extended range of two octaves. Crossing the thumb under, pedal use, simple polyphony and three- or four-part chords all feature here, as do simple ornaments, cantabile playing and differentiating between melody and accompaniment. / Piano

This set includes score and four parts. Please note that these pieces may be played by more than four cellos if desired. To facilitate this each cello part is also available separately. Three Spanish Pieces was originally published in 1977 by Oxford University Press. Duration: c.7-8 minutes.

16 Pieces For Beginners With Easy-To-Play Keyboard Accompaniments. Par WASTALL PETER. Fun pièces de vieux MacDonald permet aux élèves le très tôt d'enregistreur jouant à prendre part à la fabrication de musique rythmique passionnante. Les pièces de facile-à-play clavier fournissent les paramètres rythmiques dans une grande variété de styles musicaux. Beaucoup des accompagnements sont assez simples pour être joué par les élèves et peuvent fournir de superbes possibilités pour leur permettre de développer leurs compétences de clavier. Enseignants trouveront que ' De vieux MacDonald Fun Pieces ' sont vraiment plaisir à jouer et est idéal pour y compris dans les concerts et en encourageant la famille musique fabrication à la maison. / Niveau : Facile / Méthode / Flûte à Bec Soprano et Piano

with marked and unmarked string part-Just like many other violin virtuosos of the 19th century Pablo de Sarasate also composed a series of pieces for violin and piano (or orchestra) for his own concert use. Highly virtuosic salon pieces with echoes of national folkmusic traditions from all over Europe are at the centre. Sarasate published his eight Spanish dances in four books between 1878 and 1882. They alternate between fiery passion and a yearning expressiveness and are undoubtedlyamong his most successful compositions. In masterly fashion Sarasate here mixes up Spanish folk tunes with arrangements of popular compositions of the time. As in the case of the Henle Urtext edition of Sarasate???s Zigeunerweisen(HN 573) a violin wizard of our own time is responsible for the fingerings and bowings: Ingolf Turban.

In Various Styles/Book 3/Early Intermediate Level-A Dozen Piano Pieces... in Various Styles is a series of four books that contain a stylish assortment of pieces. The books are leveled progressively with Book 1 at a later elementary level and Book 4 at a later intermediate level. In true Edna Mae Burnam form all the pieces at each level have titles that are descriptive and vivid e.g. Song of the Sewing Machine (Book 1) The Princess Learns the Minuet (Book 2) Busy Little Spanish Town (Book 3) and Five O'Clock Rush Hour (Book 4).

In Various Styles/Book 1/Later Elementary Level-A Dozen Piano Pieces... in Various Styles is a series of four books that contain a stylish assortment of pieces. The books are leveled progressively with Book 1 at a later elementary level and Book 4 at a later intermediate level. In true Edna Mae Burnam form all the pieces at each level have titles that are descriptive and vivid e.g. Song of the Sewing Machine (Book 1) The Princess Learns the Minuet (Book 2) Busy Little Spanish Town (Book 3) and Five O'Clock Rush Hour (Book 4).

In 2005 it was 400 years ago that the first volume of the world-famous novel ‘El ingenioso hidalgo don Quichote de La Mancha’ written by Miguel de Cervantes Saavedra (1547-1616) was published. Don Quichote a nobleman who is under the delusion that he must fight against injustice starts out on a journey with his steed Rosinante and his peasant squire Sancho Panza and experiences all kinds of remarkable adventures. In the course of them his love for the lady Dulcinea of Tobosco plays an important role. One of the most famous scenes is that of his fight against windmills on the plain of La Mancha which he takes to be enormous evil giants. ‘DonQuichote’ consists of four short pieces: 1. Don Quichote: the ingenious Spanish nobleman. 2. Dulcinea: the lady with whom this errant knight has an imaginary courtly love affair. 3. Sancho Panza: Don Quichote’s loyal and sensible servant who compared to his master is a simple soul. 4. Rosinante: the steed that has much to put up with considering it has a rider who often spends more time on the ground than in the saddle.

By Gaspar Sanz Arranged For Uke-This volume contains 20 pieces by the famous Baroque guitarist Gaspar Sanz (1640 - 1710) arranged specially for the Ukulele. Sanz' works are tuneful and memorable with fiery cross-rhythms and cascading scalepassages. He published three books of Guitar music.The baroque Guitar could be viewed as a close relative of the Ukulele. Indeed the two instruments have much in common. The smaller four-course Guitar actually had thesame tuning as the Ukulele for example although it was largely double-strung.Sanz enjoyed playing scales in the campanella style with the notes of a scale set out on different strings sonically overlappingslightly in the style of little bells. This is a technique the Ukulele excels at and is used to good effect in these arrangements.Sanz' music for baroque Guitar transfers exceptionally well to the Ukulele asthese arrangements demonstrate. It is hoped that this repertoire will bring a refreshing addition to the repertoire of the Ukulele just as the little instrument can bring a freshness to these old but lively pieces. Includesaccess to online audio.

George Gershwin's works incorporate elements of jazz, creating a rich style that is unmistakably American. This volume contains 18 pieces, including songs later published for solo piano, seven preludes for piano, and more. / Piano

Composed by Federico Mompou  Préludes Pour Piano is a set of four pieces with two hands for upper intermediate players. It covers the Preludes n°1 to 4 written in 1928. Each of these preludes is written on one to four pages and can be played separately. The first one is short to be played like a romance with chords only. The second one lasts longer and features distinctive parts starting with an energetic section followed by a sudden musical burst the rest of it being slower until the animated close. The third prelude is quite slow and very expressive while the last piece of this book is quite short and simple. Federico Mompou was a Spanish pianist and composer. He composed numerous pieces for Piano and some songs.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

Isaac Albeniz (1860-1909) began his musical life as a piano prodigy in Barcelona at the age of four and it is as a prolific composer of solo works for the pianoforte that we must celebrate him most. This Dover edition presents two of Albeniz' best known works in authoritative editions: the piano suite Iberia generally considered to be his masterpiece; and the album leaves Espana which contain the 'Tango' his most popular individual work. Iberia is a collection of twelve musical scenes of Spanish life principally Andalusian written between 1906 and 1909. Its brilliant and complex character is suffused with the rhythms and harmonies of Spanish popular music to which Albenizturned for inspiration in the last years of his life. Espana an earlier work first published in 1890 is made up of six piano pieces that subtly reflect the influences of the piano literature of the 19th century-salon and like Iberia the harmony and style of Impressionism which Albeniz undeniably helped to establish.

The product of a 14 year research project this book contains over 350 studies to thoroughly train the right hand of classical guitarists in the use of all five fingers - adding the little finger to the present four fingertechnique. These studies build a five-finger technique in the playing of chords arpeggios tremolos and harmonics beginning with the thumb and one-finger combinations and increasing in complexity to the thumb and four fingers.The studies are played over easy yet interesting left hand progressions up and down the fingerboard. Postlewate demonstrates how to develop your own right hand studies by including examples from standard classical guitarrepertoire pieces by Fernando Sor Federico Moreno Torroba and Heitor Villa-Lobos at the end of the book. This book is a companion to MB 98711 - HOMAGE TO VILLA-LOBOS and other compositions (music composed transcribed arrangedand edited by Charles Postlewate for the guitar using five fingers of the right hand) and its accompanying 60-minute CD HOMAGE TO VILLA-LOBOS (MB 98711CD). Spanish Description [Este libro es el resultado de unproyecto de investigación de 14 años de duración. Este incluye más de 350 estudios para entrenar la mano derecha del guitarrista clásico a usar los cinco dedos-añadiendo el dedomeñique a la técnica actual de cuatro dedos. Estos estudios desarrollan una técnica de cinco dedos para tocar acordes arpegios trémolos y armónicos empezando con combinaciones del pulgar y undedo y aumentando en complexidad al uso del pulgar con los cuatro dedos. Los estudios se tocan sobre progresiones fáciles pero interesantes de la mano izquierda por el diapason. Postlewate le muestra cómodesarrollar sus propios estudios para la mano derecha a base de ejemplos del repertorio tradicional de la guitarra clásica por Fernando Sor Federico Moreno Torroba y Heitor Villa-Lobos incluídos al final del libro.

El remanso del pitido has been commissioned by the London Sinfonietta for the London Sinfonietta Chorus who give the first performance this evening.It is a work of nostalgia a lament for the decline of steam engines - the stillness of the whistle. Based mainly on a poem by the Spanish writer Gregorio Corral.The setting is for twelve voices eight of them singing through close microphones. The work is fourth in a series of pieces derived from 13th Century homophonic Spanish cantigas and canciones. The final series of works will form a sort of song-book the composer's own accounts of early Spanish music. The idea of a song-book is contained in the title of the firstwork of the series Cancionero para una mariposa.