Suite on 3 Notes (Recorder)

Par WEDGWOOD PAM. UNE EXCELLENTE OCCASION DE COMMANDER PLUSIEURS EXEMPLAIRES EN A CONSIDERABLEMENT REDUIT LES PRIX. RecorderWorld est une façon excitante et créative pour apprendre l'enregistreur ! C'est une méthode d'enseignement étape par étape avec plus de 40 pièces dans cet deuxième livre, à la suite des notes appris dans le livre premier. Morceaux de concert offrent des possibilités pour la performance tout de suite, et il y a beaucoup de possibilités pour travail de groupe avec les duos, des tours et des boîtes de percussions. Explorez le monde de l'improvisation et la composition si imaginative points de départ. ' Fichiers fait ' introduisent de nouvelles informations sur les battements, les marquages musicales et les signatures de temps, alors que ' Clapping Games ' insuffler un fort sens du rythme. ' Quick Quizzes ' aider à revoir et à renforcer les nouveaux concepts tout en dessins animés et des autocollants colorés rendent tellement amusement ! Ce livre présente les notes faible fa dièse, D faible, si bémol, faible F, C sharp, haut E, F haut, C faible, haut fa dièse et haut g. Un CD d'accompagnement est également disponible./ Recueil / Flûte à Bec

The Swedish guitar god's epic medieval fantasy album with an introduction musical analyses and transcriptions by Wolf Marshall. Accurately recorded guitar parts in tablature and notation with lyrics chord symbols tunings and strum patterns.

23 Works for Alto Recorder with Piano Accompaniment-This anthology presents pieces by 17th and 18th century composers in a variety of different styles providing an informed introduction to the musical forms of the Baroque period. The volume contains works by major composers such as Bach Handel and Telemann as well as lesser known composers including Caix d’Hervelois and Marcello. Insightful teaching notes and composer biographies accompany the works as well as a CD of the pieces performed by Gudrun Heyens and Wolfgang Kostujak.Ideal for players and teachers looking to explore the repertoire for their instrument further this collection provides pieces suitable for concerts festivals and competitions.Suitable for students with 8 or more years playing experience (grades 7-8).Content - Handel: Andante (from Sonata in D minor) - Handel: A Tempo di Menuet (from Sonata in D minor) - Valentine: Adagio (from Sonata in G minor) - Valentine: Corrente (from Sonata in G minor) - Valentine: Adagio (from Sonata in G minor) - Valentine: Giga (from Sonata in G minor) - Parcham: Solo - Danican-Philidor: Le Tombeau (from Sixieme Ensemble de Pieces) - Danican-Philidor: Air tendre (from Sixieme Ensemble de Pieces) - Danican-Philidor: Le Badin (from Sixieme Ensemble de Pieces) - Marcello: Ciaconna (from Sonata No.12 in F major) - Graun: Adagio (from Sonata in C major) - Graun: Allegro (from Sonata in C major) - d'Hervelois: Muzette (from the Premiere Suite) - d'Hervelois: Marche du Czar (from the Premiere Suite) - Barsanti: Adagio (from Sonata in G minor) - Barsanti: Allegro (from Sonata in G minor)- Gavotta: Adagio (from Sonata in G minor) - Teleman: Air a L'Italien - Wassenaer: Grave (from Sonata Prima in F major) - Wassenaer: Allegro (from Sonata Prima in F major) - J.S. Bach: Giga (from BWV 997) - J.S. Bach: Double (from BWV 997)

British Melodies-These English Scottish and Welsh melodies are especially well suited to performance on the soprano recorder. They also provide excellent material for developing skills in rapid tonguing extended breath-control phrasing and theplaying of high notes. Although arranged primarily for soprano recorder most of these solos can be played on tenor or alto recorder. (On the alto use C fingerings.) Old favorites include Bunessan Colonel Bogey My Eyes areFully Open and a few masterpiece solos by Handel and Purcell. Among the newly re-discovered gems are Earl Grey I Wish You Would Marry Me Now Kiss Me Quick My Mother Is Coming and Small Birds Sweetly Singing. A separate fluteedition is available.

Guitar Play-Along Volume 151-The Hal Leonard Guitar Play-Along series includes everything you need to start playing your favourite pieces quickly and easily. Each book comes with accompaniment tracks to download online - so you can sound just like a pro! Simply follow the tab listen to the audio to hear how the Guitar should sound and then play along using the separate backing tracks. This unique volume allows you to play Bach duets with both parts on the audio so you can play either part along with a professional. The audio is available online for download or streaming and is enhanced so you can adjust the recording to any tempo without changing pitch! This volume includes8 pieces that showcase J.S. Bach's musical genius: Bourrée in E Minor Gavotte Gavotte II from Lute Suite No. 3 Invention in D Minor Invention No. 1 Invention No. 13 Minuet I (Anna Magdalena) and Suite in E Minor.

Edward MacDowell (1860-1908) was the first American composer to achieve an international reputation. His music is lyrical intimate uncluttered and with a unique and quickly recognizable harmonicpalette.MacDowell's music does not aim for virtuosic display and obscure intellectual pleasures but rather it is about what is personal and what is felt by the individual in common circumstances. The ClassicalGuitar is at its best with music of smaller proportions that is personal evocative and imbued with opportunities for subtle expressive nuances in performance and so is eminently suited to MacDowell's music.Thiscollection includes his most famous composition To a Wild Rose as well as ten other beautiful Guitar solos in both standard notation and tablature. An outstanding recording by Aryeh Eller of all of the music isincluded.

Instrumentation : Orchestra Version : study score Description : The première of Daudet's play, L'Arlésienne, with incidental music by Bizet, at the Théâtre du Vaudeville on 3 September 1872, was a devastating event for both playwright and composer and the production was removed from the repertory after 19 performances. The critic Johannès Weber, however, was alert to the quality of Bizet's score and suggested that the composer should excerpt and rescore several pieces for the Concerts populaires where 'the lovely music would be better appreciated than at the Vaudeville'. Bizet must have moved rather quickly to follow Weber's suggestion, for the première of the first Arlésienne suite took place only six weeks later at the Concerts populaires on 1 November 1872 and the work in its new abridged form was soon taken up by many other orchestras. Thus, before his death in June 1875, Bizet had the satisfaction that his suite from L'Arlésienne was played by all the major concert societies in Paris and it has remained firmly in the concert and recorded repertoire ever since. Contenu : Preface - Editorial Notes - Vorwort - Revisionsbericht - Préface - Notes éditoriales - Textual Notes - Orchestration/Orchesterbesetzung/Instrumentation - I. Prélude - II. Minuetto - III. Adagietto - IV. Carillon Nombre de pages : 100 Collection : Eulenburg Miniature Scores Format : ETP small

Offering insightful interpretive suggestions, pertinent fingering and historical and stylistic commentary, the Schirmer Performance Editions series is designed for Piano students and teachers, as well as professional pianists.This volume contains 20 pieces by 12 composers, including C. P. E. Bach, Blow, F. Couperin, Daquin, Duncombe, Handel, Pachelbel, Petzold, A. Scarlatti, D. Scarlatti and Telemann.Complete with online access to recorded performances, this book provides the early intermediate level pianist with a newly-engraved collection of pieces from the Baroque Era, accompanied by historical notes and performance suggestions. / Piano

This volume contains 12 famous works by Debussy as edited and performed by Joseph Banowetz. A complete preface describing compositional and performance notes on each piece is included along with a CD recorded by Banowetz. / Piano

Par AEBERSOLD JAMEY. All the bass lines from Vol. 6 'Charlie Parker - All Bird' - by bass legend Ron Carter! For All musicians wishing to learn fantastic bass lines. While reading from the book, play along with the bassist on the recording (sold separately) until you feel you’ve mastered his “feel” and nuances. Then, using the special stereo separation on all of our Play-A-Long recordings, switch the bassist off and play along by yourself with just the piano and drums! This book (like all the Aebersold bass line transcription books) is a great study in professional bass line construction, and is a natural companion to the Aebersold Play-A-Longs. Combo instructors can use this book to give theirbass students instant, professional bass lines. Includes notes in bass clef with chord symbols above each measure. THIS BOOK: Transcribed bass lines to the chord changes of: Billie’s Bounce, Confirmation, Dewey Square, Donna Lee, My Little Suede Shoes, Now’s The Time, Ornithology, Scrapple From The Apple, Thriving From A Riff, and Yardbird Suite. / Rép International / Recueil / Guitare Basse

Cette Méthode de Luth Baroque peut vous donner les bases techniques et musicales nécessaires à l’obtention d’une structure assez solide et complète du jeu du luth baroque. Et c’est là tout l’enjeu et le défi de l’écriture de cet ouvrage : donner, au plus grand nombre de passionnés, l’opportunité de s’exprimer à travers le luth baroque, et ce, indépendamment de leur niveau d’apprentissage. Notre livre est destiné non seulement à celui qui n’a jamais joué d’un instrument de musique, mais aussi au guitariste avisé qui veut s’initier aux mystères du luth baroque ! Mode d’emploi Notre Méthode de Luth Baroque est divisée en trois parties. La première partie, plutôt théorique, aidera à mieux comprendre la façon de jouer la musique écrite pour le luth baroque. Nous avons jugé indispensable d’avoir des connaissances élémentaires de solfège occidental mais aussi de la tablature (forme de notation musicale spécifique au luth). Ces connaissances, insuffisantes si étudiées de manière isolée, ont été enrichies d’un lexique des pièces instrumentales ainsi que de biographies de la plupart des compositeurs de musique pour luth baroque à 11 et 13 chœurs. En deuxième partie, nous avons dédié tout un chapitre à l’étude de la technique et de la production sonore du luth. Riche en photos et détails de toutes les étapes techniques que nous devrons franchir, ce chapitre est, sans aucun doute, le plus important de toute notre Méthode pour bien comprendre l’univers sonore du luth baroque ! Ensuite, nous vous proposons 21 exercices, tous d’un niveau élémentaire, mais progressifs, accompagnés de plusieurs pièces de musique. Vous allez d’abord jouer des mélodies pour ensuite ajouter les basses, et seulement après commencer à jouer les ornements. En troisième partie, nous avons choisi près de 250 pièces pour luth baroque à 11 et 13 chœurs. Ces pièces, divisées en trois niveaux, sont d’un degré de difficulté qui s’échelonne du niveau « débutant », « moyen » à « avancé ». Nous avons, tout comme à l’époque baroque, séparé ces pièces selon leurs tonalités et leur nom. Aussi, nous n’avons choisi que très peu de tonalités différentes, afin que le luthiste débutant puisse travailler l’essentiel de son instrument, au lieu de perdre son temps à essayer de s’accorder tout le temps et de jouer des morceaux bien trop complexes pour son niveau. Il n’y a pas de mauvaise musique mais, parfois, il y a de mauvais musiciens ! Faire de la musique n’est simplement pas jouer des notes et réaliser quelques acrobaties, souvent sans intérêt. Un musicien « mûr » se plaît le plus souvent à jouer une simple mélodie et à jouir des merveilles sonores de son instrument ! Nous espérons que cette méthode pourra aider ceux qui n’ont pas accès à un professeur (même si nous leur conseillons d’aller en voir un le plus régulièrement possible), mais aussi tous les professeurs n’ayant pas suffisamment de matériel pour faire travailler, d’une manière systématique, leurs élèves. Bon courage à tous ! Miguel Yisrael - formerly Miguel Serdoura, now carrying the surname of his mother - was born in Lisbon, where he began his musical and artistic career, earning his Diploma in Classical Guitar in 1994. In 1995, he moved to Paris, where he studied the lute with Claire Antonini in the Early Music Department of the Conservatoire Supérieur de Paris - CNR. He also took part in several master classes in his discipline, with Rolf Lislevand and other prestigious artists. From 1999 to 2004, he completed his musical education at the Schola Cantorum Basiliensis in Basel, Switzerland with the grand maestro Hopkinson Smith. As a soloist, Miguel Yisrael has given recitals in France, Portugal, United-Kingdom, Germany, Belgium, Switzerland, China and USA. In 2000, he took part in a television documentary devoted to the lutenist Hopkinson Smith, broadcast by Arte, Mezzo, Classica, RTBF and TSR. He currently lives and teaches baroque and renaissance lute in Paris, where he gives frequent concerts/lectures in the framework of the “Musicien au Musée” program of the Musée de la Musique - Cité de la Musique in Paris. Miguel Yisrael performs on lutes built by Cezar Mateus, Princeton, USA, and with strings from Mimmo Peruffo, Vicenza, Italy. He recorded his first solo CD for the Dutch Label Brilliant Classics in 2008.

for guitar trio-The initial material for this piece came together during 2004 and evolved from technical and musical ideas I had previously used in two movements from different solo Guitar suites. The first of these was 'Sugarloaf Mountain' the opening movement of 'Scenes from Brazil'. The second 'Rockweed' is the fourth movement of 'Scenes from The Wild West'. Latin Cabaret reminded me of the energy and rhythmic drive of a Brazilian street carnival and the spectacle of a nightclub cabaret hence the 'Showgirls' of the title. The pentatonic scale features prominently in much of the melodic material often recurring in subtly different harmonicsettings as if seeing the same object in changing light or from different angles. One melodic idea is an almost exact reversal of the opening theme for example. There are also percussive techniques woven into the musical texture and elements of minimalism where I repeat the same group of notes in different permutations to create textures similar to changes in bell ringing. Latin Cabaret was commissioned by the Guitar trio 'Appassionata' and first performed in London in 2005. It features on their recording 'Let Go'. I have also recorded the work on my album 'Visions and Vistas'. - Gary Ryan

Big Note/Large Print-Warm-ups for the Violist is an adaptation of Warm-ups for the Violinist. It is targeted to help build strengthen and develop the muscles and techniques needed for viola playing. It is especially suited and created for the morecasual violist who is sincerely interested in getting maximum benefit from a minimum of effort. I first tested these scales and exercises on myself for six months faithfully using them for about 20 minutes as warm-ups to my dailypractice. I was rewarded with a definite improvement in my technique. I was actually surprised to see my dexterity grow as I charted my metronomic progress on a calendar. I remember thinking 'I will never be able to play fasterthan this.' But then a couple of weeks later I would indeed climb a notch higher!Through the years I have used these exercises in countless workshops and with private students. The letters of thanks and positive feedback fromstudents who were thrilled with improved violin and fiddle technique have brought me great satisfaction. Progress with these exercises is like the progress of a body builder. Body builders do not get up in the morning and think 'I am going to develop and build my muscles today ' and instantly look like Mr. Atlas. It takes weeks months and for some years to attain results. It must be done over a period of time. Like all diets and exercise programs determination and dedication are most important to success! I sincerely believe that these exercises when faithfully practiced will help violists improve their skills. The exercises will help develop and strengthen muscles usedfor finger dexterity clarity of notes tone bowing-arm control intonation double stops and a flexible bowing-arm wrist. A companion audio play-along recording is available online.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.