4 Ornaments

The understanding of ornaments can often provide a great deal of confusion to the musician and examination candidate owing to the variety of interpretations which are possible. William Lovelock offers a clear explanation to Ornaments their abbreviations and how they are realised in performance with comprehensive examples and supporting exercises with solutions.

Playful moods abound in this light-hearted set of holidayvariations based on a traditional Irish carol. Four briefsections portray the colorful ?ornaments? of the season.Exciting rhythmic motion creative and surprising variations lyrical interludes infused with rich harmonies and a jovialwaltz-like final section all combine to make a splendid anddistinct offering for your next Christmas concert. Mr. Bulla?sorchestration techniques ensure that your band will soundGREAT!Imaginative!

Edited Peter WishartIn Handel's time every aria was 'ornamented' by the singer - improvising or practising variations suggested by a teacher. In this Performing Edition the editor has provided stylistically appropriate ornaments for 32 of the best-known oratorio arias.

Nico Muhly's My Days for ATTB choir and five Viola Da Gambas. Parts for five Viols.This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall October 2 2012.'My Days is a ritualised memory piece about Orlando Gibbons (1583-1625) written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork and vocalists to singlike the Hilliard Ensemble so it was with enormous pleasure that I composed this piece. The text isderived from Psalm 39 which Gibbons himself set as well as an account of Gibbons's own autopsy which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music but made somehow electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions and many ornaments. In between iterations the voices in rhythmic unison intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate ?Gibbonsy? verses and responses. A series of semiimprovisedfragments on the text 'Take thy plague away from me' introduces the third section of the piece where plucked strings create a halo around the text 'hear my prayer OLord.' The piece ends with the ornaments wildly exploded over the voices singing two words endlessly repeated.' - Nico Muhly

Par OKAZAKI MILES. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): 'Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player 'could' do, rather than what the player 'should' do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives. This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins withthe properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetricalscales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadicsyntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in 'Symmetrical Picking, ' a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse againstpulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds ofillustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described/ Méthode / Guitare

Book 7 of Robert Schultz And Tina Faigen's Piano Technique series for Late Intermediate (all ages) piano students. Primary Subjects explored: melodic scale figures accompaniment figures octave and chordal figures combination studies and specialized skills. New Elements: scale figures continue their progression through relative major/minor key signatures with 5 sharps/flats patterned accompaniments waltz bass melodic octaves full chords ornaments finger substitutions 2 against 3 4-5 octave slurs bridging 10ths legato 6ths and repeated notes. Also Includes: circle of 5ths diagram master the metronome a table of ornaments and aglossary.

Arrangeur: Andrew Seigel. Par VIVALDI ANTONIO. One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two E-flat clarinets and piano. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger. One of Antonio Vivaldi's most oft-performed works, the Concerto, RV 537, originally for two trumpets and strings has been adapted here for two E-flat clarinets and piano. To better suit the range of the clarinets, the whole work has been transposed to the key of E-flat Major. Included in the set of parts are two different versions of the solo parts: Solo parts without alterations, and solo parts including ornaments and embellishments from the arranger./ Répertoire / 2 Clarinettes en Sib et Piano

Wiener Urtext-These sonatas are among the epoch-making works of the Violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising therefore that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in Corelli's time however more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation with embellishment and 'variations as desired'. The original score is therefore presented here withthe earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume the 'variations as desired' used by Corelli’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation but also to articulation bowings and more besides calling for specific markings in the separate Violin part. The realisation of the Continuo part echoes the fashions of that time. Here too advice on performance is meant to stimulate free interpretation by the Continuo player. A figured Bass part is included for the player who prefers to read the accompaniment from figures.

This book is the ideal primer for anyone wishing to participate in an 'Irish session'. This musical gathering is apparently quite different than a blues jazz or bluegrass jam session in that it is customary at Irish sessions toplay in tight unison with the other musicians adapting appropriate tempos rhythms and ornaments in an attempt to fit in with the 'groove'. The 'Irish Session Tune Book' features 300 reels hornpipes polkas slides andslip-jigs written without chord symbols for the melody instruments commonly played in Irish Sessions. The author shares a wealth of melodies collected over the past 10 years the majority learned by ear at Irish sessions: fiddle accordion tinwhistle tenor banjo mandolin bouzouki etc. Authentic ornamentation is suggested for each tune with the admonition that ornamentation may vary from region to region and chorus to chorus.