SKU: FZ.5013
ISBN 9790230650137. 24.00 x 33.00 cm inches.
This facsimile of the manuscript by Christoph Graupner is part of our Dominantes collection. Concerto for recorder, 2 violins, viol and harpsichord (c. 1731). Overture for recorder, 2 violins, viol and harpsichord (c. 1741). Canon in unisson for 2 recorders, cello or rather viola da gamba and harpsichord (c. 1737). Presentation of Susi Mohlmeier and Frederique Thouvenot: biographical details - sources - Comprehension of the score (articulation, dynamics, rhythm, terminology, embellishments, ornamentation, general notation, continuo bass) - suggestions. Graupner's complete works for recorder. Manuscripts autographs of Graupner preserved at the Hessische Landes-und Hochschulbibliothek of Darmstadt. Concerto: 2 recorders, 2 violins, viola, continuo. Overture: recorder, 2 violins, viola, continuo. Canon: 2 recorders, cello or viola da gamba. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the Hessische Landes und Hochschulbibliothek of Darmstadt (Germany). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: YM.GPE01100796
ISBN 9784636105797.
This is Simplified Chinese (Mandarin) Edition. THIS IS NOT ENGLISH EDITION, which is available as another book. About the book: The ELS-02 is the latest Electone model in the STAGEA series. Featuring the latest electronic technology, it offers a broader range of performance expression with higher quality sounds and rhythms than ever before. The Basic Book provides a complete and detailed explanation of the functions of the ELS-02 series. Starting with basic operations such as how to change Volume, it covers the basics of creating registration data, including various Displays and Voice Condition Displays. In addition, the Super Articulation Voice, first introduced in the ELS-02 series, is explained in detail. The Advanced Book, a sequel to the Basic Book, provides more detailed and advanced explanations of Rhythm Programs, Effects, Voice Edit, and other important topics and tips for creating original data. This guide is recommended for those who want to challenge making original data differently than before because it always sounds the same. Also included as an appendix is a list of Voice, Effect, and Effect Parameter useful for creating original data. We hope the perfect guides will deepen your understanding of STAGEA and enrich your Electone life.
SKU: YM.GPE01100794
ISBN 9784636105773.
About the book: The ELS-02 is the latest Electone model in the STAGEA series. Featuring the latest electronic technology, it offers a broader range of performance expression with higher quality sounds and rhythms than ever before. The Basic Book provides a complete and detailed explanation of the functions of the ELS-02 series. Starting with basic operations such as how to change Volume, it covers the basics of creating registration data, including various Displays and Voice Condition Displays. In addition, the Super Articulation Voice, first introduced in the ELS-02 series, is explained in detail. The Advanced Book, a sequel to the Basic Book, provides more detailed and advanced explanations of Rhythm Programs, Effects, Voice Edit, and other important topics and tips for creating original data. This guide is recommended for those who want to challenge making original data differently than before because it always sounds the same. Also included as an appendix is a list of Voice, Effect, and Effect Parameter useful for creating original data. We hope the perfect guides will deepen your understanding of STAGEA and enrich your Electone life.
SKU: CF.BF115
ISBN 9781491150993. UPC: 680160908493. 9x12 inches.
Johann Sebastian Bach’s (1685—1750) SixSonatas and Partitas have captivated violinistsfor centuries. Rachel Barton Pine—havingspent decades studying the music of Bach,his contemporaries, and his predecessors—now offers this unparalleled edition completewith detailed historical notes, performancesuggestions, and downloadable study materialsincluding a new Urtext edition and a speciallyprepared manuscript. Pine’s interpretationis informed by thorough historical study, which has been polished byyears of performance insight, but also encourages those studying Bach’srepertoire to craft their own unique interpretation of these timelessmasterpieces. This edition closely follows Pine’s critically acclaimed 2016recording “Testament: Complete Sonatas and Partitas for Solo Violin byJ.S. Bach†(Avie 2360) making it an invaluable resource for any student,teacher, or performer enthralled with J.S. Bach’s long standing legacy.Ms. Pine holds the distinction of being the only American and youngestperson to win the gold medal at the J.S. Bach International ViolinCompetition in Leipzig, Germany, 1992.here is no one right way to play Bach. More thanalmost any repertoire, each individual’s interpretation isas unique as their personality. Though I have spent decadesstudying Bach’s music as well as that of his contemporariesand predecessors, my final rationale for artisticdecisions is often taste and instinct. Every violinist whoundertakes a lifetime’s journey with this incredible repertoireis continually discovering new ideas. Thus, theopinions on the following pages may evolve over time.However, everything in the sheet music closely follows my2016 recording “Testament: Complete Sonatas and Partitasfor Solo Violin by J.S. Bach†(Avie 2360), which I trulyfeel represents the culmination of my exploration intothese extraordinary works.In choosing to present this edition, my hope is thatyou will find useful solutions to challenges of fingering,bowing, and polyphony, and helpful information aboutphrasing. I have also included additional dynamic suggestionswith the hope that trying these ideas will help inspireyou to discover your own. All of these markings aredesigned to work with a baroque violin and baroque bow,a modern violin and baroque bow, or a modern violinand modern bow. While the information in this editionis unusually dense, there is much that I did not include,such as lifts, breaths, articulations, whether to play on oroff the string, metronome markings, details of timing,and emphases other than hemiolas.I offer this book to you in the spirit of Bach: “SoliDeo Gloria.â€.
SKU: PR.114418820
ISBN 9781491113998. UPC: 680160667697.
Composed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.______________________________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,†for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.
SKU: CL.070-1976-99
Completely revised in 1995. Now includes the most up-to-date information available for jazz educators. New charts, lists and bibliographies have been included as well as a complete chapter on Computers, Technology and Jazz Education. This text is a must for the director with little experience with jazz ensembles or for those wanting to update their skills in areas necessary to create a comprehensive jazz program in your school system. The Jazz Ensemble Director’s Manual has been the text of choice in many college jazz classrooms and the new revisions will enhance its continued use. This book is literally loaded with charts, drawings, forms, photographs, tables and music examples and will be a source of information for years to come. It includes a compact disc recording that allows you and your students the opportunity to hear as well as see the musical examples in the Phrasing and Articulation chapter. Every practical aspect of establishing a solid jazz program is covered, ranging from the basics of starting an ensemble to effective rehearsal techniques that get the most from your students. From a musical perspective, this text will give you an in-depth understanding of jazz chord notation, phrasing and articulations. It includes a chapter on the jazz combo which presents information on the setting up of a combo in addition to suggested repertoire considered standard for combo training. The publisher index has been revised to reflect recent changes in publishing areas and the extensive bibliography of selected materials for jazz improvisation has been updated to include recent publications. This text had it all...now with a revised edition available, it has even more! Contains Chapters On: Starting a Jazz Ensemble Program, Jazz Ensemble Instrumentation, The Jazz Combo, Selecting the Music, Ensemble Set- Up, The Jazz Ensemble Conductor, Rehearsal Psychology and Techniques, Phrasing and Articulation, Contest and Concert Preparation, Sound Reinforcement, Understanding Chord Notation, The Rhythm Section, Teaching Basic Jazz Improvisation, Computer Technology and Jazz Education.
SKU: CF.O88X
ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.
These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.
SKU: HL.400061
ISBN 9781596153585. UPC: 077712334112. 9x12 inches.
Performed by Elaine Douvas, oboe Accompaniment: Erik Nielsen, piano This wonderful album for the beginning to early intermediate oboe player includes thirteen pieces ranging from Boccherini to Grieg to Richard Strauss to William Walton. Says James Roe of The Double Reed: “With the poise of a great virtuoso, [Ms. Douvas] approaches these 'easy' pieces as she would a solo line in a great symphony...the richness of her tone, the variety in her articulation, and the beauty and clarity of her line all represent the very best example for students as they develop their concept of playing. And it's all pretty inspiring for us professional oboists as well.†Ms. Douvas's extensive performance notes “are a delight, and will be inspiring to students and an important aid to teachers.†Includes a complete printed solo part annotated with performance suggestions and access to online recordings with complete versions (with soloist) followed by piano accompaniments to each piece, minus the soloist.
SKU: CL.DBI-BG1001-00
A collection of 12 original compositions by Dallas Brass arranger and composer, John Wasson. The pieces are written in a variety of music styles, Swing, Salsa, Blues, Reggae, Funk, and Broadway. They are scored for brass quintet and drums, but will also work for brass alone. Fun to listen to and even more fun to play, the difficulty level is appropriate for accomplished high school players on up. Accessible in regard to range, endurance and technique, these pieces will challenge each musician to play with good articulation, intonation and rhythm - all essential elements of any musical style. The collection is also great for gigging quintets! The COMPLETE SET includes books for: Director, Trumpet I, Trumpet II, Horn, Trombone, Tuba, Drums, and Trombone/Baritone/ Trumpet III substitute for Horn. Plus a full performance CD recorded by the Dallas Brass CONTENTS: Senor Salsa, Balloon Ride, Next Stop Funksville, Basically Basie, Surfside, Swingtime, Hearland, Catwalk Blues, Island Holiday, The Hipster, Beyond The Clouds, Curtain Call.
SKU: CL.SCM-1097-00
DEVELOPING THE LANGUAGE OF JAZZ is a unique & comprehensive warm-up method that will have your jazz ensemble reading and playing stylistically more correct after a few 5 to 8 minute warm-up sessions. This method has been used for years at the middle school and high school levels by both of the authors. This simple, straight forward method not only helps your students with the conceptual difficulties of the jazz style, but also increases both the jazz savvy and helps jazz ensemble instructors get these concepts across to their students. Those teachers who have been active in the jazz idiom will relish the fact that they have a complete curriculum of material to work with covering the 5 aspects of the language of jazz: rhythm, articulation, dynamics, balance and beginning improvisation. Teachers who do not normally bring their instruments to class will benefit from the recorded step by step examples and dialogue which will lead the students through the DEVELOPING THE LANGUAGE OF JAZZ. Sold as one complete Jazz arrangement.
SKU: CL.SCM-1097-01
SKU: HL.3710287
UPC: 697643111165. 14.0x14.0x0.156 inches.
Forged from the legendary “602 Bronze†(CuSn20), offering a complete new wide and dynamic sound dimension, developed in close collaboration with Vinnie Colaiuta, handcrafted from start to finish by highly skilled Swiss craftsmen, conceived and executed according to Vinnie's uncompromising sound concepts for a wide all-round application. Formula 602 Modern Essentials cymbals combine the essence of the Formula 602 Classic Sounds models – transparency and stick definition – with the richness, warmth, darkness and a bit of complexity of the Signature Traditionals series besides providing slightly more pizzazz than its Classic Sounds siblings. Alloy: CuSn20, also known as “Traditional Bronze†or “602 Bronze†Applications: Low to medium loud settings; especially well-suited for recording, live; extremely versatile cymbals for a wide range of music styles such as pop, rock, jazz, fusion, blues, R&B, country, folk, and acoustic music Sound: Deep, full, rich, warm, lively, silvery, dynamic, controlled and precise; Cymbals that combine clarity, consistency with deepness and warmth, yet providing a modern versatile sound character with dynamic, potent, well balanced qualities and a responsive, soft feel HI-HATS Size: 14 inches Weight: medium top/medium heavy bottom Volume: low to loud Stick Sound: soft, meaty Intensity: lively Sustain: medium Chick Sound: full, tight Sound Character: Rich, warm, lush, deep. Wide range, complex mix. Giving and responsive feel. Broad, warm open sound. Compact, lush chick sound. Extremely versatile hi-hat, perfectly suited for dynamic, articulated playing in a wide range of styles. “They are just chunky enough, but not overpowering. They are a little more chocolatey than the classic 602s,†describes Vinnie Colaiuta.