SKU: BT.AMP-413-400
ISBN 9789043148559. English-German-French-Dutch.
Part of the Anglo Music Play-Along Series, Philip Sparke’s 15 Easy Christmas Carols is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introducesthe beginning player to the world’s most popular Christmas tunes by selecting simple yet attractive melodies that fit their limited range. This book will provide invaluable additional material to complement any teaching method and includes both pianoaccompaniment and a demo/play-along CD.Philip Sparkes 15 Easy Christmas Carols sind Teil der Anglo Music Play-Along Reihe und richten sich an junge Instrumentalisten, die den Tonumfang von einer Oktave beherrschen. Auf jedes Instrument zugeschnitten, führen diese Ausgaben,für die einfache und zugleich ansprechende Melodien ausgewählt wurden die sich für diesen begrenzten Tonumfang eignen, den Anfänger an die weltweit beliebtesten Weihnachtslieder heran. Dieser Band bietet wertvolles Ergänzungsmaterial, das zu jederInstrumentalschule passt und sowohl eine Klavierbegleitung als auch eine Play-Along-CD enthält.Faisant partie de l’Anglo Music Play-Along Series, les 15 Easy Christmas Carols(15 chants de Noël faciles) de Philip Sparke visent les jeunes instrumentistes qui arrivent jouer un peu plus d’une octave. Adapté pourconvenir chaque instrument spécifique, ce recueil introduit le joueur débutant aux chants de Noël les plus populaires en sélectionnant des mélodies simples les plus intéressantes qui correspondent leur registre limité. Ce recueil fournit dumatériel supplémentaire indispensable qui complète n’importe quelle méthode pédagogique et inclut un accompagnement pour piano ainsi qu’une version sur CD avec démos.
SKU: CY.CC3088
ISBN 9790530110652. 8.5 x 11 in inches.
The writing of Romanza and Scherzo was inspired by Charles Vernon, the legendary Bass Trombonist of the Chicago Symphony, who asked Mr. Pierce to write something for me with lots of melodies. The work is in three sections: a brief introduction followed by the very expressive Romanza and the final Scherzo, which is light and bouncy. The music is full of LOTS OF MELODIES, has a very large range and features a challenging cadenza. About 10 minutes in length, this music is appropriate for advanced performers. This work is dedicated to George Curran, Bass Trombonist of the New York Philharmonic who performs it on his new CD, Vital Signs, available on iTunes, CD Baby and from other distributors. Below is a brief sample of this beautiful work performed by Mr. Curran.
SKU: CY.CC2518
The Petite Suite, published in 1885, is Borodin's major work for the Piano and originally comprised of seven movements. Mr. Sauer's arrangement incorporates three of them: Intermezzo, Reverie and Serenade. The Petite Suite was dedicated to the Belgian Countess Louise de Mercy-Argenteau, who was a supporter of Borodin and his music. After Borodin's death in 1887, Glazunov orchestrated the Suite.
The music has that Eastern flavor so indicative of Borodin's melodies, mysterious, lyrical and subtle. Advanced performers will enjoy this work which has been so beautifully arranged by Mr. Sauer.
SKU: HL.50510337
ISBN 9790080141441. UPC: 073999536621. 9.0x12.0x0.34 inches. Hungarian, English, German.
This volume in the ABC series continues the best traditions of conventional trombone teaching on the one hand and at the same time accommodates to present-day requirements and changing tastes. In concept and subject-matter it embraces the entire material for trombone teaching at the elementary level. It proceeds as far as the 7th position and provides learners with numerous studies, scale exercises and performance pieces. The pieces include many European folk melodies, extracts from classical works well adapted for the trombone, and a number of contemporary compositions written specifically for this instrument. The textual instructions are given in three languages: German, English and Hungarian. The piano accompaniment to this volume is published separetely (14144P)The trombonist Ferenc Steiner was born in 1931. From 1960 to 1991 he was a member of the Hungarian State Opera and the Philharmonic Society as well as the Hungarian Brass Ensemble. Education played a major role in the life of Ferenc Steiner as an author and editor of numerous pedagogical editions. He began teaching at the School of Music in Pecs, then moved on to the College for Officers of the Hungarian Defense Forces and later continued his teaching activity at the Liszt Academy in Budapest until 2001. He has passed away on the 25th of March in 2011.
SKU: HL.48186472
Following on the success of her two operatic works for children and teens ? Douce et Barbe Bleue, Les Fables Enchantees, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant?s short story The Dumpling (2014) ? Isabelle Aboulker once again hits the bull?s eye with Myla and the Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for narrator, children?s choir and instrumental accompaniment, was awarded the ?Music for Young Performers Prize? by the French Music Publishers Association. Both in the French version and Marci Meth?s excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she?d cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions:? for narrator, children?s choir and piano (AL 30 732)? for narrator, children?s choir and trio (clarinet in B b, cello and piano: AL 30 733)? for narrator, children?s choir and instrumental ensemble (flute, oboe, clarinet in B b, bassoon, horn, trumpet in C, trombone, percussion, 2 violins, alto, cello, bass: AL 30 734) Choral score: AL 30 743 .
SKU: BT.BMP8095417
A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert.Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. Melodieën zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer één in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreëerd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrischeÜber den amerikanischen Komponisten Leroy Anderson lässt sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen fließend, absolvierte mit einemMagna-cum-laude-Abschluss die Harvard Universität und verfasste während seiner Militärzeit im Zweiten Weltkrieg für die amerikanische Armee eine Grammatik des Isländischen. Schon während seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er für das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes Stück, Blue Tango, wurde als erste Instrumentalkomposition über eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. Für seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisch für seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebräuchlichen Tonträger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehört sein Konzert C-Dur für Klavier und Orchester. Er komponierte es 1953, die Uraufführung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei Aufführungen, wieder ein. Er hatte zeitlebens die Absicht, es zu überarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu veröffentlichen.Das dreisätzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sämtliche Kompositionen auszeichnen. Dennoch findet man darin auch Anklänge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) überleitet. Der dritte Satz schließlich ist einwaschechter Hoe Down, ein fröhlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz führt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingängigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaßen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren Atmosphäre einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes.Nous savons beaucoup de choses sur le compositeur américain Leroy Anderson. Ce fils dimmigrants suédois jouait du piano, de lorgue, de laccordéon, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et était diplômé avec grande distinction de Harvard. Pendant son service militaire, il écrivit un manuel de grammaire islandaise commandé par larmée.Étudiant, il avait déj commencé faire des arrangements et dès l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mélodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommée mondiale. Son uvre phare, Blue Tango, fut numéro un descharts américains en 1952 et se vendit plus dun million dexemplaires. Un an après sa mort en 1975, il eut droit son étoile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcèdent pas trois minutes, soit peu près la durée maximale dun single lépoque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut créé Chicago sous sa direction avec Eugene List au piano. Après trois exécutions, Anderson nétait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson décida de tout de m?me rééditer son concerto pour piano.Cette uvre en trois parties se caractérise par son élégance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxième partie (en mi mineur). La troisième partie est une danse populaire joyeuse et typiquement américaine en 2/4, une Hoe Down avec un passage lyrique et mélodieux en son milieu. la fin, un solo est suivi par une clôture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thèmes beaux et simples, sans oublier des éléments de la musique légère. Cette uvre.
SKU: BT.BMP8091417
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: HL.48181759
UPC: 888680863074. 9.0x12.25x0.059 inches.
Composed by Roger Boutry, Tubaroqueis a melodious piece of baroque music for Tuba, Bb Bass Saxhorn or Bass Trombone with Piano accompaniment. Quite difficult, it would be perfect for advanced players and would work well in a concert. Starting with a small introduction in three measures, the first part of the piece begins on a Slow Waltz movement which consists of a main theme with two variations, including one played an octave lower. The second part Allegretto is more lyrical and the last one Moderato/Allegro, starts like a march to then go back to a more melodious finale. Roger Boutry is a French musician and contemporary composer who received eight First Prizes at the Conservatoire, including composition, conducting and Piano. He also won the Grand Prix de Rome in 1954 and some prizes by the SACEM and by the city of Paris. He also got involved as a professor of Harmony and director of Orchestras..
SKU: HL.14003796
Danish.
A Chorale arranged for 15 Instruments. Full Score for ensemble.Bach's Befichl du deine Wege is a chorale setting (BWV 272), which Hans Abrahamsen has arranged for fifteen instruments. In Hans Albrahamsen's adaptation Bachs chorale gradually ernerges from two melodic fragments, both borrowed from the Danish composer Poul Ruders' Four Dances in One Movernent'. In fact both fragments are taken from the last three bars of Ruders' composition. One of Ruders' small melodies is descending, the other is ascending. The metamorphosis from Ruders to Bach can be accomplished because both of Ruders' melodic fragments are in fact 'hidden' among the parts of this Bach choraleinasmuch as the composer has transposed it into B minor. In the first verse we hear only the descending Ruders melody. In the secend verse Ruders' second, ascending and chrornatically coloured melody is added. In the subsequent verses more and more melodies are added. Thus the piece begins with Poul Ruders' melodic fragment in the foreground. In the course of the next verse Ruders' material gradually recedes into the background, and permits Bachs face to ernerge with increasing clarty in the foreground. The piece is dedicated to Poul Ruders. - Thomas MichelsenArrangement
SKU: BT.DHP-1185927-404
ISBN 9789043155076. English.
Look, Listen & Learn sets the bar for brass and woodwind teaching nowadays. These exciting method book/CD packs for beginners contain songs, music puzzles and games to increase the pupils’ understanding of music, information about their instrument, and lots of fun pieces to play. The three volumes of the method that form the basis of this series are enhanced by several books with supplementary material designed to correspond with the progress of the method.
In Meet the Masters, the melodies are arranged in increasing order of difficulty and can be used in conjunction with all three volumes of the Look, Listen & Learn method series. Pupils takea journey through music history and meet the most important composers of classical music, from Tielman Susato to Anton n Dvo ák, together with pertinent historical commentary. The present edition includes printed music for piano accompaniments, expertly arranged at a moderate level of difficulty, which are also available in recorded versions online to stream or download.
SKU: AP.1-ADV14828
UPC: 805095148282. English.
Single and group use. Easy Funk Play-Along by Ed Harlow contains 10 catchy riffs and tunes for beginners! You can play the melodies along to the fantastic play-along tracks, provided by The Boston Horns. The background parts and rhythmic hits can be played by your teacher or up to three more friends. For group use, combine the editions for flute, clarinet, alto sax, trumpet, tenor sax, and trombone at will, and set up your rhythm section with additional parts available for guitar, piano, electric bass, and drum set. For beginning improvisers. Each piece has a written solo which can be played to the play-along tracks or with a live rhythm section. If improvising is new to you, this is the ideal book to work with. Learn the pentatonic scale provided for each piece and your solos will sound great!
SKU: HL.48186479
UPC: 888680829209. 9x12 inches.
“Following on the success of her two operatic works for children and teens ' Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) ' Isabelle Aboulker once again hits the bull's eye with Myla and the Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for narrator, children's choir and instrumental accompaniment, was awarded the 'Music for Young Performers Prize' by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for narrator, children's choir and piano (AL 30 732)' for narrator, children's choir and trio (clarinet in B b, cello and piano: AL 30 733)' for narrator, children's choir and instrumental ensemble(flute, oboe, clarinet in B b, bassoon, horn, trumpet in C, trombone, percussion, 2 violins, alto, cello, bass: AL 30 734)Choral score: AL 30 743 &rdquo.
SKU: HL.48186473
UPC: 888680828165. 9x12.25 inches.
“Following on the success of her two operatic works for children and teens ' Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) ' Isabelle Aboulker once again hits the bull's eye with Myla and the Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for narrator, children's choir and instrumental accompaniment, was awarded the 'Music for Young Performers Prize' by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions:' for narrator, children's choir and piano (AL 30 732)' for narrator, children's choir and trio (clarinet in B b, cello and piano: AL 30 733)' for narrator, children's choir and instrumental ensemble (flute, oboe, clarinet in B b, bassoon, horn, trumpet in C, trombone, percussion, 2 violins, alto, cello, bass: AL 30 734) Choral score: AL 30 743 &rdquo.
SKU: HL.48186474
UPC: 888680831080. 9x12 inches.
SKU: AP.1-ADV14827
UPC: 805095148275. English.
SKU: HL.48181899
UPC: 888680954697. 9.0x12.0x0.165 inches.
Recreation (1958) by Pierre Gabaye is a piece for Brass Quartet including a Piano: Trumpet, Horn, Trombone and Piano. Ideal for concert and recitals, this very melodious and light-hearted work lasts 12?30 minutes. The Piano part is as difficult as the Brasses, which are also really harmonious together. It is divided into three movements: I. Allegretto II. Largo III. Presto Pierre Gabaye (1930-2000) was a French musician who composed both Classical and Jazz music and won the Prix de Rome in 1956..
