SKU: HL.50510086
ISBN 9790080400715. UPC: 073999621211. 5.5x8.0x0.091 inches. Hungarian, English, German. Bela Bartok.
'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartok had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartok explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartok was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartok New Series Vol. 5, Virag Buky).
SKU: MB.WBM58M
ISBN 9781736363058. 8.75x11.75 inches.
A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.
SKU: M7.APUE-516315
ISBN 9781875516315.
These musical gems offer a diverse array of musical styles, ensuring a rich and engaging journey into the world of flute music. From lyrical melodies to lively dances, each piece has been crafted to nurture both technique and expressive playing, exploring the beauty and versatility of the flute. There are biographies of all the composers at the end of the flute part, as well as notes and helpful performance suggestions for each work. Free Flute and Piano recordings, and Piano backing tracks for every piece can be found on YouTube at 'theyoungfluteplayer' (no spaces) channel, see the playlist for Lyrical Flute Miniatures. You can also find the link and further information at www.allegromusicpublishing.com/flutemusic Lyrical Flute Miniatures will delight students, flute teachers, and audiences alike, a valuable addition to your Flute repertoire!
SKU: PR.494032560
UPC: 680160690428.
Lyrical Flute Miniatures is a captivating collection of 40 short pieces for beginner and early intermediate flute players of all ages, exclusively commissioned from some of today's most exciting composers.These musical gems offer a diverse array of musical styles, ensuring a rich and engaging journey into the world of flute music. From lyrical melodies to lively dances, each piece has been crafted to nurture both technique and expressive playing, exploring the beauty and versatility of the flute.There are biographies of all the composers at the end of the flute part, as well as notes and helpful performance suggestions for each work.Free Flute and Piano recordings, and Piano backing tracks for every piece can be found on YouTube at “theyoungfluteplayer” (no spaces) channel, see the playlist for Lyrical Flute Miniatures. You can also find the link and further information at www.allegromusicpublishing.com/flutemusicLyrical Flute Miniatures will delight students, flute teachers, and audiences alike, a valuable addition to your Flute repertoire!
SKU: HL.50606510
ISBN 9781705190739. UPC: 196288126867.
Bartók composed the Sonatina for solo piano in his 'Romanian year' of 1915; this was when he also composed the set of Romanian Folk Dances and the Romanian Christmas Carols. In this relatively short piano piece (lasting three to four minutes), the composer used instrumental folk music collected in Transylvania. In the first movement, Bartók conjures up two bagpipes, and, in the second, a fiddler playing for a bear dance. The first edition of the Sonatina was published by Rózsavölgyi in 1919, and the composer premieredthe work in 1920 in Pozsony (Bratislava). This separate print is based on volume 38 of the Bartók Complete Critical Edition published in 2019, in which Henle Verlag of Munichand Editio Musica Budapest published the piano works composed between 1914 and 1920. The musical text is accompanied by a preface in English and Hungarian by László Somfai, and by editorial remarks which not only discuss the sources but also offer practical advice for performers. Contents: 1. Bagpipers 2. Bear Dance 3. Finale.
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: BT.EMBZ2589
English-German.
Bagpipers is the first movement of the three-movement Sonatina composed in 1915 (1. Bagpipers, 2.Bear Dance and 3. Finale). The composer said of the piece, ''Originally I planned a group of Romanianfolk dances for piano. I selected three parts of this and called it Sonatina. The first movement, Bagpipers[...] consists of two dances played by two bagpipers.'' The piece is based on a couple dance fromTransylvania, the ardeleana (also known as the kanászos), while the middle section was inspired bythe bagpipe playing of a middle-aged man recorded by Bartók in Váncsfalva (now Oncesti) of Bihar County during February 1910. In 1931, Bartók arranged it for symphony orchestraunder the title Dances from Transylvania. This arrangement for oboe and piano was made by Liszt Prize-winningoboist Tibor Szeszler (1919 1992).
SKU: BT.DHP-1114864-140
9x12 inches. English-German-French-Dutch.
In 1878, on a commission from his publisher, Anton n Dvorák wrote a series of eight Slavonic dances. Modelled on Johannes Brahmsâ?? famous Hungarian Dances, although in contrast to Brahmsâ?? work, Dvorák used no original melodies. Wil van der Beek has arranged No. 7, a brisk 2/4 dance, as well as No. 8, a passionate, exuberant furiant in 3/4. In 1878 schreef Dvoøák op verzoek van zijn uitgever een serie van acht Slavische dansen. Daarbij zouden de beroemde Hongaarse dansen van Brahms als voorbeeld moeten dienen. Dvoøák had echter zijn eigen opvattingover het kunstzinnigvormgeven van (volks)dansen. Waar Brahms meerdere bestaande melodieën van dansen uitHongarije gebruikte, beperkte Dvoøák zich tot karakteristieke ritmische patronen van dansvormen uit zijn vaderland. Oorspronkelijk zijn de Slavischedansen gecomponeerd voor klavier vierhandig. Vrij spoedig maakte Dvoøák zelf een versie voor orkest, waarmee hij wereldroem vergaarde. Het succes was zo groot (zeker ook in financieel opzicht voor de uitgever!) dat een tweedeserie van acht dansen volgde: opus 72 in het oeuvre van Dvoøák.Kenmerken:Dans nr. 4 (Tempo di menuetto, 3/4 maat)Dit is een feestelijke, vrolijke sousedská (te beschouwen als de Tsjechische variant op het menuet), een driedeligedans waarvan de hoekdelen gracieus zijn en het middendeel voor een levendig contrast zorgt.Dans nr. 7 (Allegro assai, 2/4 maat)Dvoøák lijkt hier ge nspireerd te zijn geweest door een snelle dans genaamd skocná. Het hoofdthemawerkt humoristisch doordat het in de vorm van een canon wordt gepresenteerd.Dans nr. 8 (Presto, 3/4 maat)Dit is een temperamentvolle furiant, vol vreugde en uitgelatenheid, gevolgd door een rustiger middendeel, datuitmondtin een zeer krachtig en snel slot.Im Jahre 1878 schrieb Anton n Dvorák im Auftrag seines Verlegers eine Reihe von acht slawischen Tänzen. Als Vorbild dienten die beru?hmten Ungarischen Tänze von Johannes Brahms, im Gegensatz zu diesem verwendete Dvorák jedoch keine originalen Melodien. Wil van der Beek bearbeitete fu?r dieses Arrangement die Nr. 7, einen schnellen Tanz im 2/4-Takt, sowie die Nr. 8, einen leidenschaftlichen, u?berschwänglichen Furiantâ?? im 3/4-Takt. En 1878, Anton n Dvorák composa une série de huit danses slaves. Contrairement Brahms, Dvorák sâ??est contenté dâ??emprunter aux danses de son pays natal leurs caractéristiques rythmiques. Wil van der Beek a réalisé un arrangement de deux dâ??entre elles : la danse n° 7, une vive skocná dont le thème mélodique est écrit en forme de canon et la danse n° 8, fougueuse et énergique qui est menée presto. La partie centrale est apaisée. Le _x001C_finale est vif et puissant.Nel 1878 Antonin Dvorák compone su commissione una serie di otto danze slave. Anche se le celebri Danze Ungheresi di Brahms gli servirono da modello, Dvorák non utilizzò melodie originali. Wil van der Beek ha arrangiato la Danza n.7 caratterizzata da un tempo veloce in 2/4 e la Danza n. 8, un furiant passionale in 3/4.
SKU: BT.DHP-1114864-010
SKU: BT.EMBZ40071
English-German-Hungarian.
'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartók had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartók explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartók was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartók New Series Vol. 5, Virág Büky).
SKU: HL.48011603
UPC: 073999988673. 9.0x9.0x0.122 inches.
20 great songs by Camilla During which young children will love to sing. Book includes lyris, guitar chords, and simple ideas for immediate classroom use. Quitable for ages 5-8. Contents: If You Ever Meet a Dinosaur * Wrinkly Fingers * In the Band * Autumn Leaves * You'll Never Guess * In My Garden * Clap, Clap * The Insect Dance * Who's That? * Flying * Rosie * Get Out! * We Can Hear You * Let's Make Noises * My Place * Can You Eat Your Teddy Bear * You Can Jump * What Can You Do? * Jake * Summer Lullaby.
SKU: HL.275905
ISBN 9781540026613. UPC: 888680745066. 9x12 inches. Lynda Lybeck-Robinson Late Elementary Level.
Nine piano solos with optional teacher duets by Lynda Lybeck-Robinson are presented in this Composer Showcase series volume. Includes: Cabin Dance • Cool, Shade! • Feels like Spring • Gold Creek • Little Bear Tango • Loon Song • Moongaze • Whispering Woods • The Wishing Trees.
SKU: M7.VHR-3879
ISBN 9783864341236.
Teddy-Bear's Waltz - in this enjoyable little waltz you can imagine a teddy-bear trying to dance - a little bit clumsy, but with a certain elegance. This composition fosters the study of changing finger patterns, key signatures and small glissandi. While the parts of violin 1, viola 1 and cello 1 include challenging passages (cello-part up to the 4th position), the parts of violin 2, viola 2 and cello 2 can be played by students in the first or second year of learning the instrument. Technique required: Vl. 1 and 2: all finger patterns in the 1st position Vla. 1 and 2: all finger patterns in the 1st position Cl. 1: 1st - 4th position. This part can also be played by the Viola 1 (in 1st position) Cl. 2: closed (regular) 1st position DB.: 1st position.