SKU: YM.GTP01097599

ISBN 9784636975994.

From easy to advanced level, piano solo to duet. Please enjoy one melody in 12 various styles.
CONTENTS
1. Ito: Piano Solo - Entry; 2. Ito: Piano Solo - Easy; 3. Ito: Piano Solo - Intermediate(arr. by Murakami); 4. Ito: Piano Solo - Intermediate(arr. by Anzai); 6. Ito: Piano Solo - Advanced; 7. Ito: Piano Solo in Jazz Style - Advanced; 8. Ito: Voice with Piano accompaniment - Intermediate; 9. Ito: Duet(1P4H) - Intermediate; 10. Ito: 2-part Chorus with Piano accompaniment; 11. Ito: Voice with Piano accompaniment - Advanced: 12. Ito: Melody.

SKU: YM.GTP01097060

ISBN 9784636970609.

From easy to advanced level, piano solo to duet. Please enjoy one melody in various styles.
Cong Chu Ji Dao Gao Ji ,Cong Gang Qin Du Zou Dao He Zou ,Xiang Shou Tong Yi Xuan Lu De Bu Tong Feng Ge .

1. Paprica: Melody; 2. Paprica: Piano Solo - Entry; 3. Paprica: Piano Solo - Easy; 4. Paprica: Piano Solo - Intermediate; 5. Paprica in C Major: Piano Solo - Intermediate; 6. Paprica: Piano Solo - Advanced; 7. Paprica: Voice & Piano; 8. Paprica: Piano Duet.

SKU: YM.GTP01097921

ISBN 9784636907414.

From easy to advanced level, piano solo to duet. Please enjoy one melody in various styles.

SKU: BT.MS0415

Spanish.

Con no menos de 25 toques para piano en los estilos boogie-woogie y ragtime, nuestro método le divertirá durante mucho rato. Pero no sólo… En efecto, la idea es aprender tocando, progresar pasándolo bien, pero estos toques le permitirán también descubrir y trabajar todas las técnicas, los gimmicks y otras figuras de estilo que hacen su originalidad. Y para ayudarle a abordarlos más fácilmente, le señalamos todas las digitaciones. Inspirados en los mayores artistas y teclistas de dichos estilos (Scott Joplin, Joseph Lamb, James Scott, Pine Top Smith, Meade Lux Lewis, Albert Ammons... y otros muchos), estos 25 toques brindan un amplio panorama del boogie-woogie y del ragtimeen el piano. En el disco incluido en el método, uno encontrará varios archivos audios y v deos. Los v deos (mp4) presentan en imágenes los 25 toques tales como se deben tocar, a velocidad normal o más lenta. Las grabaciones audios (mp3), por su parte, nos brindan los playbacks correspondientes, aqu también en dos aires diferentes. Ud podrá tocar los toques propuestos al estudio o aprovechar la ocasión para desarrollar libremente sus propias ideas de acompañamiento en el estilo.

SKU: BT.MS0378

Spanish.

Con no menos de 25 toques reggae y ska para piano y otros teclados, nuestro método le permitirá pasarlo bien durante un buen rato pero no sólo… En efecto se trata de aprender tocando, de progresar disfrutando, y nuestros toques le permitirán también descubrir y trabajar todas las técnicas que contribuyen a crear unos buenos acompañamientos en el estilo… y en particular ¡el famoso “skank”! Y por último, inspirándose en los mayores artistas y teclistas de ayer y de hoy (The Skatalites, Bob Marley / The Wailers, UB40, Madness, The Specials, Jimmy Cliff, Alpha Blondy, Burning Spear, Peter Tosh...),dichos 25 toques le brindarán un amplio panorama de los estilos reggae y ska en elteclado. En el disco incluido en el método, Ud encontrará varios ficheros audios y v deos. Los v deos (mp4) presentan en imágenes los 25 toques tales como uno debe tocarlos, a velocidad normal, y luego más lenta. Las grabaciones audio (mp3), por su parte, presentan los playbacks correspondientes, aqu también en dos aires diferentes. Ud podrá tocar los toques propuestos al estudio, o aprovechar para desarrollar libremente sus propias ideas de acompañamiento en el estilo.

SKU: HL.14045610

ISBN 9788438703199. Spanish.

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: BT.EMBZ7190

English-German-Hungarian.

The most important and only autograph source of the French Suites, the Klavierbüchlein für Anna Magdalena Bach (1722) contains the first three suites in fragments only, and the sixth not at all. This is why the numerous copies which have come down to us, are of special significance. Among the copies of major importance is the manuscript which for a long time had been attributed to Bach, and which comprises the first for suites in full (Deutsche Staastsbibliothek, Berlin) as well as the copy by Gerber (1725-26) and the second volume of the Klavierbüchlein (1925). A few manuscripts originating from the circle of Bach's pupils should also be added to them.The texts of thevarious copies show a lot of deviations. The present edition relies on the first formulation - at least where this can be decided at all - but it gives all the major devations of the copies as variants, either in footnotes or after the movement concerned. (Tamás Zászkaliczky).