SKU: HL.48180908
UPC: 888680984274. 9.0x12.0x0.15 inches.
This first volume of Twelve Pieces by Gaston Litaize is a set of six pieces for organ. With a difficulty that would fit the skills of upper intermediate players, these pieces require the use of pedals. This first tome includes: 1. Prelude, dedicated to Lauret Bolli, his friend 2. Double Fugue 3. Lied, dedicated to Guy Lambert 4. Intermezzo Pastoral, dedicated to Miss Line Zilgien 5. Final, dedicated to his professor Marcel Dupre 6. Lamento, dedicated to his friend Maurice Dalphin. And the second tome consists of: 7. Scherzo 8. Toccata sur le veni creator 9. Priere 10. Jeux de rythmes 11. Interlude 12. Variations sur un Noel angevin. This piece is quite famous among Gaston Litaize's compositions. Gaston Litaize (1909-1991) was a French organist and composer, blind since his youth. Considered as one of the organ masters of his times, he toured and worked on many recordings. He was also a good professor, and composed many pieces for solo organ and for organ with other instruments.
SKU: HL.49044752
ISBN 9783795749576. UPC: 841886023826. 9.0x12.0x0.14 inches.
Giving your first concert is a special occasion for any young musician, motivating players to keep working at their instrument and music making. Making this a positive experience involves choosing pieces that are technically and musically manageable, so we have chosen 44 easy and well-known solo pieces, all tried and tested in lessons and youth music competitions. This selection of works mainly written for the guitar is arranged in periods of composition, providing a little window on the history of guitar and lute music. TEXT IN GERMAN AND ENGLISH.
SKU: HL.48182125
UPC: 888680851453. 9.0x12.0x0.05 inches.
“Fren ch composer Pierre Max Dubois (1930-1995) significantly contributed to the woodwind repertoire, particularly for Saxophone. Characteristic Pieces in the Form of a Suite for Alto Saxophone and Piano was published in 1962 and remains popular in the advanced saxophonist's repertoire. Dubois' music is characteristically light-hearted with unusual harmonic and melodic textures. The second movement of Characteristic Pieces in the Form of a Suite for Alto Saxophone and Piano, To the Russian Woman reflects Dubois' compositional characteristics as well as elements of Russian characteristics, with a typical performance lasts about two and a half minutes. Characteristic Pieces in the Form of a Suite is essential to the advanced saxophonist's repertoire. Dubois' most famous work makes for an exciting and enjoyable performance for players and audiences alike.â€.
SKU: HL.48180073
UPC: 888680797294. 8.0x11.5x0.219 inches.
Composed by Joseph Bonnet, Twelve Pieces, Op. 7 is a set of organ studies for upper intermediate players. An index at the beginning gives an English translation of the terms used in the book. It features: 1. Dedicace 2. Etude de concert 3. Clair de lune 4. Stella matutina 5. Songe d?enfant 6. Chant de Printemps 7. Prelude au Salve Regina 8. Romance sans Paroles 9. Pastorale 10. Deuxieme legende 11. Elfes 12. Caprice heroique. Joseph Jongen was a Belgian organist, composer and professor of harmony and counterpoint. He won the Belgian Prix de Rome and composed numerous pieces including music chamber works, symphonies, concertos and songs. His most famous piece is the Symphonie Concertante (1926).
SKU: PR.114424090
ISBN 9781491137383. UPC: 680160690107.
Strav insky’s 1918 Three Pieces for Solo Clarinet has long been savored by clarinetists as a rare gem in the instrument’s repertory, full of rhythmic drive and Stravinsky’s jazzy neo-classicism. Composer and clarinetist Gregory M. Barrett’s remarkable adaptation for 3 clarinets is a tour de force, assimilating Stravinsky’s harmonic, rhythmic, and contrapuntal style to create a striking addition to the clarinet literature.Igor Stravinsky’s Three Pieces for Solo Clarinet (1918) is a core work in clarinetists’ repertoire, and I havereimagined it for the convivial grouping of three players. The arrangement contains all of Stravinsky’sorigin al, but now his solo line is shared among three in a new matrix of harmony, imitation, andcounterpoint.The molto tranquillo first piece develops from the emphasized C# in Stravinsky’s first measure andmoves to a somewhat somber mood when C# is revealed to be the dominant of F# minor. Withincreasing expansion of tessitura in the sustained harmonies, the sun comes out in the last phrase with ajoyous Eb major chord.The circus-like second piece finds the three clarinets whirling in the air in synchronized trapeze artiststyle. The emphasis is on imitation and fluid hand-offs. Chords with major 7ths and 2nds contrast withtriadic harmony. Following the cat and mouse middle section, where dancing patterns of twos andthrees alternate, the summit of the big top is reached again just before the players settle down to earthwith a welcome C major chord of respite.The ragtime burlesque of Stravinsky’s third piece is heightened by homophonic rhythm among the threeplayers. Each clarinet part has its own specialty. Clarinet 1 loves 32nd notes, Clarinet 2 shows off with fasttriplets, and Clarinet 3 likes the low notes and in general supporting its friends. Quartal harmony withstacked 4ths is emphasized, but where Stravinsky’s melody suggests triads, I have taken his hint. Thepropulsive rhythms are truly exciting, and with the wink of an eye, the music ends all too soon.
SKU: BT.ALHE33676
French.
As a prestigious musician during the early 1700s, Royer's Harpsichord Pieces remains a favourite in the instrument's repertoire. Joseph Nicolas Pancrace Royer (1705-1755) was born in Turin, however, he moved to Paris in 1925 andsoon became responsible for the musical education of King Louis XV's children. Royer is particularly known for his extravagant and virtuosic Harpsichord compositions, as displayed in La Pupitre's compilation of his HarpsichordPieces. Comprising famous works by the composer, including Suite Bagatelle and March of the Scythes, the collection exemplifies the composer's skills on the Harpsichord. Royer's Harpsichord Pieces is essential to the repertoire ofaspiring advanced players of the instrument.
SKU: BT.9781472923639
ISBN 9781472923639. English.
A fantastic collection of 14 classical showstoppers arranged for beginner to intermediate players. Bringing together well-known classics in varied styles from the Baroque period to the twentieth century, this versatile repertoire book includes aninspirational CD and duet parts: everything needed to givea great performance.Anyone can take centre stage and stand in the spotlight with Abracadabra Performance Pieces.This brand new book is the latest addition to the best-selling Abracadabra series, offering approachable longer arrangements with fantastic backing tracks ideal for concert performances or simply for more musical fun. The 14 pieces showcase anarray of classical favourites, from Purcell and Handel to Bizet and Bartok, and are suitable for beginner to intermediate players (Grade 1 3).The CD contains specially recorded performances and supportive backing tracks that are guaranteed to bring extra sparkle to any performance. Four pieces also include a duet part for teachers or fellow players.
SKU: BT.9781472923622
ISBN 9781472923622. English.
SKU: BT.9781472923615
ISBN 9781472923615. English.
SKU: BT.9781472923608
ISBN 9781472923608. English.
SKU: CF.H84
ISBN 9781491165539. UPC: 680160924530.
Marce l Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.
SKU: HL.48186043
UPC: 888680827588. 9x12 inches.
“From the Snare Drum to the Drums is a book by Alain Bémer, Alain Dautricourt, Guy Mauny, Bartosz Zielinski featuring fourteen pieces for beginners to advanced players. The total duration of this volume is 19'7 minutes and it includes some explanations about the symbols used. The fourteen pieces included are: 1. Des tonnes de toms 2. Petit Passage 3. Tam caisse ' drums 4. Question de feeling !!! 5. Alémilie 6. Funky Jarr 7. Et Alors ? 8. Une frappe de bûcheron 9. Plim Plum 10. Macadam 11. Yack 12. Bleu 13. For J.P.M 14. Double-celte From the Snare Drum to the Drums is a must-have for all drummers who want to develop their skills, from beginner players to advanced ones. Alain Bémer, Alain Dautricourt, Guy Mauny, Bartosz Zielinski are French professional drummers who took part in the composition of this volume.&rdquo.
