Come Let Us To The Bagpipes Sound
SKU: BT.CMP-0624-02-010
Two timeless Christmas favorites by J.S.Bach are gloriously arranged for the Concert Band and ready for your interpretation. BREAK FORTH, O BEAUTEOUS, HEAVENLY LIGHT and JESU, JOY OF MAN'S DESIRING comprise the two contrasting movements (a Chorale and a Ballad). You know how valuable chorale style playing can be for the band’s tone quality, breath support, intonation, and phrasing. With thorough cueing throughout the arrangement, TWO BACH CHRISTMAS CLASSICS will work beautifully even if your group has instrumentation problems. Christmas music does not ordinarily leap to mind as a choice for spring festival use, but you may wish to consider it in this case. Great music isgreat music any time of the year! Magnificent!
SKU: HL.14003052
UPC: 884088611347. 6.75x9.75x0.013 inches. English.
SKU: HL.14003053
SKU: BT.DHP-1115159-400
ISBN 9789043145503. 9x12 inches. German.
Starke Töne ist eine Sammlung, die in Zusammenarbeit mit der Bläserjugend des Bundes Deutscher Blasmusikverbände (BDB) entstanden ist. Die Sammlung enthält eine Auswahl der beliebtesten Titel aus den Literaturlisten zum Jungmusiker-Leistungsabzeichen Bronze (D1) bzw. Junior. Die Vorteile liegen dabei klar auf der Hand: Die Instrumentalisten sparen mit diesem Buch nicht nur wertvolle Vorbereitungszeit, sondern auch bares Geld, denn wer früher mehrere Hefte anschaffen musste, hat mit Starke Töne bereits das Beste in einem Band versammelt. Somit befriedigt diese Ausgabe eine lang bestehende Nachfrage. In jeder Ausgabe ist jedes Stück mit einerKlavierbegleitung notiert; ursprüngliche Solostücke wurden eigens mit einer neu komponierten Begleitung versehen. Der Klavierpart ist in der Regel einfach bis mittelschwer, sodass die Begleitung auch von fortgeschrittenen Klavierschülern übernommen werden kann.Ein großer Vorteil für die Vorbereitung auf die praktischen Leistungsprüfungen ist die jedem Heft beiliegende CD, welche die auf einem echten Konzertflügel aufgenommenen Klavierbegleitungen enthält. Neben Einspielungen im Originaltempo sind die meisten Stücke zum leichteren Einstudieren auch in einer weiteren Version im langsameren Tempo zu hören.Mit Starke Töne ist in Zusammenarbeit mit dem BDB eine wertvolle Sammlung für alle Blasinstrumente und Klavier sowie für Schlagzeug entstanden, die selbstverständlich auch unabhängig von den Leistungsabzeichen das Unterrichts- und Vortragsrepertoire für jede dieser Besetzungen bereichert.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: TA.TSPB-44
In Mainstream Mallets, Jason Hammond-Wood has compiled over 20 short, 2-mallet solos with optional piano accompaniment to challenge more experienced middle school students while offering high school percussionists more performance opportunities. All selections are familiar tunes, including classical favorites such as The Nutcracker, Sleeping Beauty, Anitra's Dance (from Peer Gynt), and The Barber of Seville. Also included are nonclassical melodies like The Stars and Stripes Forever, The Entertainer, and On Wisconsin (the university's fight song). All pieces are playable on xylophone, vibraphone, or marimba, and two of the solos are adapted to be performed as duets! The optional piano accompaniment may be performed with a pianist, or by using the provided audio accompaniment tracks. Mainstream Mallets includes these 24 pieces: On Wisconsin | J.S. Hubbard and Charles D. Rosa | (Med-Easy, :35) The Happy Farmer | Robert Schumann | (Med-Easy, :51) Bourree | Johann Sebastian Bach | (Med-Easy, 1:51) Infernal Galop | Jacques Offenbach | (Med-Easy, 1:06) Sonatina | Muzio Clementi | (Medium, 1:07) Hungarian Dance No. 5 | Johannes Brahms | (Medium, 1:47) Pizzicati | Leo Delibes | (Med-Easy, 2:07) Sleeping Beauty | Pyotr Ilyich Tchaikovsky | (Medium, 1:33) The Barber of Seville | Gioachino Rossini | (Medium, 1:22) The Royal Fireworks | George Frideric Handel | (Medium, 1:19) Anitra's Dance | Edvard Grieg | (Medium, 1:40) The Entertainer | Scott Joplin | (Medium, 2:10) Spring Season | Antonio Vivaldi | (Medium, 1:47) The Stars and Stripes Forever | John Phillip Sousa | (Medium, 2:12) Badinerie | Johann Sebastian Bach | (Med-Advanced, :57) The Chromatic Galop | Franz Liszt | (Medium, 1:19) The Sorcerer's Apprentice | Paul Dukas | (Med-Advanced, 1:43) Trepak [Russian Dance] | Pyotr Ilyich Tchaikovsky | (Med-Advanced, 1:10) Turkish March | Wolfgang Amadeus Mozart | (Med-Advanced, 1:52) Csardas | Vittorio Monti | (Med-Advanced, 1:44) Back Home Again | James F. Hanley | (Medium, 1:18) Raindrop | Frederic Chopin | (Medium, 1:45) Bourree [Duet Version] | Johann Sebastian Bach | (Med-Easy, 1:53) Sleeping Beauty [Duet Version] | Pyotr Ilyich Tchaikovsky | (Medium, 1:35) Mainstream Mallets ships as a fully-bound book with a sleek cover design by Bob Beck of Montreal's Design Society. Also included are reference recordings of each solo, PDF parts for duets, PDF parts for the piano accompaniment, and audio tracks with piano only, so that players can perform with just the piano accompaniment.
SKU: BR.EB-4323
ISBN 9790004162774. 9 x 12 inches.
Busoni's Bach Advanced SchoolIn October 1909, Breitkopf & Hartel succeeded in winning Ferruccio Busoni for the edition of Johann Sebastian Bach's piano works. Busoni had studied the music of Bach more intensively than almost any other artist of his time had. As a pianist, arranger, theorist and pedagogue, Busoni was instrumental in bringing Bach out of the 19th century and into the 20th century. That same year, Busoni and two collaborators, Bruno Mugellini and Egon Petri, began work on the instructive edition, which was to comprise 25 volumes. The first volumes were published in the spring of 1916, and in May 1923, the Bach Advanced School project was finally completed. This also marked the end of Busoni's thirty-year-long creative involvement with Bach's works, the impact of which still reaches far beyond the Bach-Busoni formula.All alterations and additions pursue the educational intent of affording the student insight into the mechanism of the composition. Moreover, they illustrate and supplement the views presented only in a sketchy manner in the introductions. In several cases, it takes the sum of the comments on the various pieces to constitute the all-encompassing opinion on one and the same question. (Ferruccio Busoni).
SKU: BR.EB-6773
ISBN 9790004169728. 9 x 12 inches.
The pieces contained in the present volume provide a link between the easy, dance-like movements contained in the Anna Magdalena Bach Book and the two-part inventions. The text corresponds very largely to that of the original source; missing dynamic and tempo markings must be supplied by the player himself in accordance with the character of each piece. The training of the student's feeling for style must begin here, his technical capabilities being taken into account. The occasionally simplified ornaments can also be treated in this manner. The fingerings are intended as suggestions for small hands; they must, of course, be adapted to the particular player's hands, taking tempo and phrasing into consideration. The editor has attempted to solve the problems of phrasing and articulation by means of his own suggestions, but without cluttering the text too much. Various alternative solutions (as indicated in no. 3) are possible, and should - insofar as they make musical sense- be realized in practice. By independently choosing a phrasing and writing it into the music himself, the student improves his unterstanding of the polyphonic structure and the form. Heinz Walter, Salzburg, Spring 1977.
SKU: HF.FH-2048
ISBN 9790203420484. 9 x 12 inches.
1. Thema mit Variationen (Johann Nepomuk Hummel); 2. Allegretto (16. Jhd.); 3. Springtanz (15 Jhd.); 4. Deutscher Tanz B-Dur (Ludwig van Beethoven); 5. Aria (Johann Sebastian Bach); 6 Sonatine (Tobias Haslinger); 7. Menuett (Henry Purcell); 8. Rigaudon (Georg Philipp Telemann); 9. Deutscher Tanz Es-Dur ( Ludwig van Beethoven); 10. Aria/Menuetto (Jean Baptist Lully); 11. Allegro (18. Jhd.); 12. Kleine Suite (Johann Nepomuk Hummel); 13. Bourree (Johann Sebastian Bach); 14. Menuetto (Wolfgang Amadeus Mozart); 15. Trompeten-Stuck (Lepold Mozart); 16. Intermezzo (Carlo Canobbio); 17. Anglaise (um 1770); 18. Fuga (Johann Pachelbel); 19. Intrade (anonymus); 20. Menuett (Johann Krieger); 21. Dolce (Georg Philipp Telemann); 22. Gavotte ( J. Pachelbel); 23. Marcia (Carl Maria von Weber).
