Regards

SKU: LM.VV261

ISBN 9790560052618.

Reverie - Marche feline - Pirouette - Etirement - Berceuse - Petit ange - Jeu - La tete dans les etoiles - le Fauve - Regards bleu - Poupee doree - Patte de velours - Clair de lune - La griffe - Balancement - Douce - Meditation - Saut.

SKU: CF.CPS252

ISBN 9781491159699. UPC: 680160918287.

America is intended for any intermediate to professional concert band looking to honor the United States of America and/or members of the Armed Forces. It is therefore ideal for performance on or around any patriotic holiday. It is not a typical setting of the tune, in that many liberties are taken to showcase each instrument of the ensemble, with the melodic focus constantly shifting. The conductor and performers should seek out these moments, and bring them to life whenever possible. The introduction, mm. 1-12, should be approached in the style of a fanfare, with an emphasis on syncopation and exaggerated nuance in regards to articulation style. Here, hidden beneath woodwind flourishes and triumphant bugle calls, the low voices play quotes of familiar American tunes such as The Star-Spangled Banner (m. 1, beat 3) and Simple Gifts (m. 3, beat 4). In mm. 15-22 the melody is carefully hidden among counter lines. This should be carefully balanced to highlight the melody, while still shaping the counter melodies appropriately. A brief return to the fanfare style occurs in mm. 33-35 before melding back into the chorale style. In regards to dynamics, performers should be reminded that within any single dynamic exists a range of expressive shades. No two notes should be played at the same volume, ensuring direction in even the simplest of phrases. Generally speaking, the fortissimo dynamic should be approached thoughtfully, with the bulk of the sound coming from the lowest voices, and the least from the highest voices.
America is intended for any intermediate to professional concert band looking to honor the United States of America and/or members of the Armed Forces. It is therefore ideal for performance on or around any patriotic holiday. It is not a typical setting of the tune, in that many liberties are taken to showcase each instrument of the ensemble, with the melodic focus constantly shifting. The conductor and performers should seek out these moments, and bring them to life whenever possible.The introduction, mm. 1–12, should be approached in the style of a fanfare, with an emphasis on syncopation and exaggerated nuance in regards to articulation style. Here, hidden beneath woodwind flourishes and triumphant bugle calls, the low voices play quotes of familiar American tunes such as The Star-Spangled Banner (m. 1, beat 3) and Simple Gifts (m. 3, beat 4). In mm. 15–22 the melody is carefully hidden among counter lines. This should be carefully balanced to highlight the melody, while still shaping the counter melodies appropriately.A brief return to the fanfare style occurs in mm. 33–35 before melding back into the chorale style.In regards to dynamics, performers should be reminded that within any single dynamic exists a range of expressive shades. No two notes should be played at the same volume, ensuring direction in even the simplest of phrases.Generally speaking, the fortissimo dynamic should be approached thoughtfully, with the bulk of the sound coming from the lowest voices, and the least from the highest voices.

SKU: CF.CPS235F

ISBN 9781491158098. UPC: 680160916696. 9 x 12 inches.

The adancea is a bright, lively Gigue (or Jig, dotted quarter note = 78), a dance form derived from the German Geige. After the introduction, the opening theme is stated at m. 9 (winds and trumpet) and re-appears at m. 25 (low brass) along with its variations at m. 33. The ritardando at m. 41 leads to the Ayre (Concert Db) at m. 44, with an opening alto saxophone solo which slowly expands to full ensemble at m. 59. Ayre presents the conductor with a great deal of latitude in regards to interpretation (ritardando, rallentando, etc.). The opening theme returns at m. 75 and to its conclusion at m. 94.
The dance is a bright, lively Gigue (or Jig, dotted quarter note = 78), a dance form derived from the German Geige. After the introduction, the opening theme is stated at m. 9 (winds and trumpet) and re-appears at m. 25 (low brass) along with its variations at m. 33. The ritardando at m. 41 leads to the Ayre (Concert Db) at m. 44, with an opening alto saxophone solo which slowly expands to full ensemble at m. 59. Ayre presents the conductor with a great deal of latitude in regards to interpretation (ritardando, rallentando, etc.). The opening theme returns at m. 75 and to its conclusion at m. 94.
The “dance” is a bright, lively Gigue (or Jig, dotted quarter note = 78),a dance form derived from the German Geige. After the introduction, the opening theme is stated at m. 9 (winds and trumpet) and re-appears at m. 25 (low brass) along with its variations at m. 33. The ritardando at m. 41 leads to the Ayre (Concert Db) at m. 44, with an opening alto saxophone solo which slowly expands to full ensemble at m. 59. Ayre presents the conductor with a great deal of latitude in regards to interpretation (ritardando, rallentando, etc.). The opening theme returns at m. 75 and to its conclusion at m. 94.

SKU: UT.CH-335

ISBN 9790215326538. 9 x 12 inches.

The Trois airs variés for violin and piano belong to the small nucleus of compositions for this scoring which, in the Catalogo tematico, also includes the Cantabile in D major (M.S.109), the only original manuscript piece for violin and piano recently published in a critical edition, and the Quattro Notturni a quartetto (M.S.15). This ‘triptych’, whose authorship is unknown, is familiar thanks to the nineteenth-century editions Ricordi, Pacini and Hofmeister, the only evidence of the piece which is placed in the Catalogo tematico at n. 3 of the uncertain works (Section V, pp. 346-347), that is, those works whose authorship remains in doubt due to the lack of objectively valid documents. This placing does not categorically exclude the originality of the piece, at least as regards the violin part, and that Gustavo Carulli ‘completed’ them later by adding the piano part. Given that to date there is no evidence to deny Paganini’s authorship of the piece, we rely on the editorial tradition documented by the three publications mentioned above and, of course, on the style of the composition.
Regarding the instrumental aspect, the technical peculiarity is given by the exclusive use of the 4th string which must be transposed one tone above, in all three airs, including the variations. Concerning the piano part composed by Gustavo Carulli, it can only be said that it is simple and functional, aimed at highlighting the violin part, nothing more. Since the piano part is not original, the guitar has been thought of as the ideal instrument (as indeed is proved by Paganini’s considerable musical production for this scoring) to support the violin part and which is better suited to these small but pleasant pieces. In the transposition for guitar, however, the aim has been to include Gustavo Carulli’s musical lesson, where it is convincing, in other cases, however, the preference has been to find different solutions, while trying to remain within Paganini’s ‘style’ also as regards writing for the guitar. The present edition therefore seeks to be a plausible alternative to the previous editions, also in order to make these delightful but forgotten pieces more usable.