Zando

SKU: ND.HORN10

SKU: CF.CAS110F

ISBN 9781491151662. UPC: 680160909162. 9 x 12 inches.

Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year.
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.  Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: CF.YPS237

ISBN 9781491159538. UPC: 680160918126.

Rejoice, Dolce, and Dance is written in three different and distinct styles. Rejoice is fanfare-like in quality and should be played in a bold majestic manner; balance is important in this section. Care should be taken to not let the battery percussion overpower the ensemble The forzandos are very important to the character of the fanfare and should be carefully observed. Dolce is slow and more lyrical in manner. This section should be played in a legato style. The director is encouraged to add his own interpretative elements in this section. The Dance is fast and light in character. Keep the tempo moving and pay special attention to the articulations and dynamics. Phi Beta Mu International Bandmasters Fraternity is an honorary fraternity for band directors. There are currently 35 active chapters in the United States, Canada, and Brazil. Phi Beta Mu is a non-political, non-profit fraternity promoting fellowship among its members, encouraging the building of better bands, developing better musicians throughout the world, fostering a deeper appreciation for quality wind literature, and encouraging widespread interest in band performance. Consortium Members: Commissioned by the International Bandmasters Fraternity, Phi Beta Mu   Alpha Chapter (Texas) Theta Chapter (South Carolina) Delta Chapter (Mississippi) Omicron Chapter (Arkansas) Alpha Theta Chapter (Nebraska) Alpha Gamma Chapter (North Dakota) Gamma Chapter (Indiana) Nu Chapter (Pennsylvania) Psi Chapter (Kentucky) Mu Alpha Chapter (Alberta, Canada) Lambda Iota (Ontario, Canada) Iota Chapter (Kansas) Kappa Chapter (Colorado) Eta Chapter (Tennessee) Zeta Chapter (Georgia) Keith and June Bearden (Alpha Chapter) Steven Moss (Alpha Chapter) Jay Watkins (Omega Chapter) Anonymous, David Lambert for his service to Phi Beta Mu International Anonymous, Scott Coulson, for his service to Alpha Chapter Jacqueline Gilley (Beta Chapter), In Memoriam, Francis McBeth Dennis Beck, (Lambda Iota Chapter) In Memoriam, Donald McKeller Brek Hufnus (Xi Chapter), In Memory of David Wuersig, Roosevelt Middle School, River Forest, IL, 1974-2014 David and Sheryl Gary Lambert (Alpha Chapter), In Memory of James D Gary, John Foster Dulles High School, Sugar Land, TX 1959-1968 Phil Min (Rho Chapter), In Honor of William T. Robinson Julia Reynolds (Omicron Chapter), In Honor of Wendell O. Evanson Julia Reynolds (Omicron Chapter), In Honor of Hal D. Cooper, Senior Steve Shoop (Alpha Chapter) In Honor of Patsy Dickerson Nelson David L. Wenerd (Nu Chapter), In Honor of the Chambersburg Area Senior High School Band    .
Rejoice, Dolce, and Dance is written in three different and distinct styles. Rejoice is fanfare-like in quality and should be played in a bold majestic manner; balance is important in this section. Care should be taken to not let the battery percussion overpower the ensemble The forzandos are very important to the character of the fanfare and should be carefully observed. Dolce is slow and more lyrical in manner. This section should be played in a legato style. The director is encouraged to add his own interpretative elements in this section. The Dance is fast and light in character. Keep the tempo moving and pay special attention to the articulations and dynamics.Phi Beta Mu International Bandmasters Fraternity is an honorary fraternity for band directors. There are currently 35 active chapters in the United States, Canada, and Brazil. Phi Beta Mu is a non-political, non-profit fraternity promoting  fellowship among its members, encouraging the building of better bands, developing better musicians throughout the world, fostering a deeper appreciation for quality wind literature, and encouraging widespread interest in band performance.  Consortium Members:Commissioned by the International Bandmasters Fraternity, Phi Beta Mu   Alpha Chapter (Texas)  Theta Chapter (South Carolina) Delta Chapter (Mississippi)  Omicron Chapter (Arkansas) Alpha Theta Chapter (Nebraska) Alpha Gamma Chapter (North Dakota)  Gamma Chapter (Indiana)  Nu Chapter (Pennsylvania) Psi Chapter (Kentucky) Mu Alpha Chapter (Alberta, Canada) Lambda Iota (Ontario, Canada) Iota Chapter (Kansas) Kappa Chapter (Colorado) Eta Chapter (Tennessee)  Zeta Chapter (Georgia) Keith and June Bearden (Alpha Chapter)  Steven Moss (Alpha Chapter) Jay Watkins (Omega Chapter) Anonymous, David Lambert for his service to Phi Beta Mu International Anonymous, Scott Coulson, for his service to Alpha Chapter Jacqueline Gilley (Beta Chapter), In Memoriam, Francis McBeth Dennis Beck, (Lambda Iota Chapter) In Memoriam, Donald McKeller Brek Hufnus (Xi Chapter), In Memory of David Wuersig, Roosevelt Middle School, River Forest, IL, 1974-2014  David and Sheryl Gary Lambert (Alpha Chapter), In Memory of James D Gary, John Foster Dulles High School, Sugar Land, TX 1959-1968 Phil Min (Rho Chapter), In Honor of William T. Robinson Julia Reynolds (Omicron Chapter), In Honor of Wendell O. Evanson Julia Reynolds (Omicron Chapter), In Honor of Hal D. Cooper, Senior Steve Shoop (Alpha Chapter) In Honor of Patsy Dickerson Nelson David L. Wenerd (Nu Chapter), In Honor of the Chambersburg Area Senior High School Band  .

SKU: PR.11641861SP

UPC: 680160685202.

What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

SKU: HL.50600518

Italian.

Il Metodo moderno per chitarra di William Leavitt e usato come testo base nei corsi del Berklee College of Music.Dalla sua prima pubblicazione ha guadagnato un nutrito e fedele seguito di studenti e insegnati.Articolato in tre volumi, il metodo accompagna il chitarrista in un percorso di studio che spazia dalle nozioni di base fino alle tecniche piu avanzate attraverso un approccio pratico e completo.Il primo volume offre un'ampia gamma di nozioni fondamentali per lo studio della musica e della chitarra.Contenuto:* scale maggiori e minori* studi melodici, di arpeggio e di accordi* esercizi di lettura e per lo sviluppo della tecnica di entrambe le mani* tecniche di accompagnamento* un approccio unico alla chitarra solista utilizzando diteggiature mobil.

SKU: BT.DHP-1115043-010

9x12 inches.

The Loco-motion was the hippest dance routine to hit the clubs in the 1960s. In contrast to many songwriters who write songs after a trend has taken off , singer/songwriter partners and couple Gerry Goffi n and Carole King wrote the song that kicked off the entire dancesong craze. Little Eva was the fi rst of several artists to reach the top of the US charts with this hit in 1962. Let your band rise to new heights with Hideaki Miuraâ??s funky arrangement!

The Loco-motion was een bijzonder geliefde manier van dansen in de jaren zestig. Gerry Goffin en Carole King waren met hun gelijknamige hit de trendsetter van deze muziek- en dansstijl. Dit in tegenstelling tot wat veel songwritersdoen: pas bepaalde muziek schrijven als het al een trend is. De eerste die het nummer vertolkte was Little Eva en zij scoorde er een nummer één hit mee. Hierna werd de song nog vaak en succesvol gecoverd. En nu is er dusook een lekker vlotte versie voor harmonieorkest van Hideaki Miura.

The Loco-motion war ein Modetanz in den 1960er-Jahren. Entgegen der weit verbreiteten Annahme sprang aber nicht das Songwriter-Ehepaar Gerry Goffin und Carole King mit ihrem gleichnamigen Hit auf diesen Zug auf, sondern sie waren tatsächlich diejenigen, die mit dem Titel den Trend erst auslösten. Nach dem Nr. 1-Erfolg der ersten Interpretin Little Eva wurde der Song oft und erfolgreich gecovert und liegt nun in einer flotten Blasorchesterbearbeitung von Hideaki Miura vor.

Au début des années 1960, le couple dâ??auteurs succès, Gerry Goffin et Carole King, compose la chanson, The Loco-motion, qui sera lâ??origine dâ??un phénomène qui va balayer tous les pays, le locomotion, un twist en ligne avec des mouvements de bras imitant le va-etvient des bielles de locomotives vapeur. Immortalisée aux Ã?tats-Unis par Little Eva, la chanson sera reprise en France par Henri Salvador, puis par Sylvie Vartan, lâ??égérie des années yé-yé. Hideaki Miura en a réalisé un arrangement pour Orchestre dâ??Harmonie, aussi twistant que la version originale.

The Loco-motion è stato un ballo di moda negli anni â??60. Al contrario di molti autori che scrivono canzoni utilizzando trend gi esistenti, la coppia Gerry Goffin e Carol King fu lâ??artefi ce di questo ballo di successo. La prima interprete della canzone fu Little Eva che nellâ??ormai lontano 1962 raggiunse la vetta delle canzoni più vendute. Un tuff o nel passato con questo arrangiamento molto riuscito fi rmato Hideaki Miura.

SKU: HL.50492111

Italian.

LIBRETTO.

SKU: HL.49007036

ISBN 9790001075381.

SKU: BT.DHP-1023324-401

ISBN 9789043117173. English.

This second volume of easy duets offer a vast array of practice and performance material. The duets have been carefully composed and arranged to tie in with the Look Listen and Learn method books, although they can equally well be used separately. Titles in Book 2 includes: Party Animal, Cool Man, It’s Swingtime, The Chef of Kiev and many more.

Secondo la filosofia dellla serie Ascolta, leggi & suona, l‘allievo può fin da subito imparare l‘importanza di suonare insieme agli altri utilizzando i due volumi supplementari Buo Book. Avr così a disposizione duetti che vanno dal grado iniziale fino alle difficolt proposte nel secondo volume del metodo.

SKU: HL.14046098

ISBN 9788438712528. Spanish.

Nueva edicion de la coleccion Lenguaje Musical de Felix Sierra que abarca los 4 cursos de Grado Elemental y 2 de Grado Medio. Cada curso consta de dos volumenes: A y B. En esta nueva edicion se han ampliado el numero de ejercicios dedicados, tanto ala formacion ritmica y de lectura de notas - escasa en la edicion original-, como a la entonacion de melodias. Los ejercicios de entonacion incluyen un sencillo acompanamiento pianistico, con el que se pretende un triple objetivo: facilitar suestudio estabilizando la afinacion, ayudar a la interiorizacion de las funciones armonicas y aproximarlos a esa musica que, como se ha dicho con fina ironia, tambien existe fuera de los conservatorios. No se trata, con ellos, de descifrar unapartitura. A pesar de lo limitado de los medios empleados, se puede -y se debe- realizar con estas piezas en miniatura una labor artistica. El CD que se incluye con el libro, aunque nunca puede suplir al profesor, si que, al menos en parte, cumpleesta funcion. Otra novedad la constituye la inclusion del arreglo para instrumentos escolares de una de las canciones con que se inicia cada unidad didactica, canciones que siguen siendo la materia principal que se desarrolla en el resto de launidad. Canciones y melodias a una y dos voces con acompanamiento de piano, ejercicios de ritmo y lectura de notas, percusion corporal, pequenas obras escritas para instrumentos de laminas, nociones de teoria, juegos musicales, practica de laimprovisacion y la creacion musical... y todo ello con un riguroso planteamiento didactico en el que la armonia es el eje vertebrador de todas las actividades que se proponen. Ayudar a descubrir el apasionante mundo musical debe de ser, a juicio delautor, la tarea principal del maestro de musica. Esperamos con estos libros, favorecer esta dificil labor. Lenguaje Musical , Lecciones De Entonacion y Educacion Auditiva son las colecciones de Felix Sierra que contemplan la ensenanza del lenguajemusical. Se trabaja en este cuaderno la tonalidad de DO mayor -sin alteraciones accidentales y sin incluir la nota SI-, las figuras blanca, negra, corchea, sus silencios y el puntillo aplicado a la blanca y a la negra, los compases de dos y tres porcuatro, la anacrusa, la ligadura de union y las funciones armonicas basicas: tonica, dominante y subdominante.

SKU: HL.50492319

ISBN 9788875923525. Italian.

LIBRETTO.