SKU: HL.35007834
UPC: 747510051954. 7.0x10.5x0.016 inches. French.
Avoir une bonne oreille musicale fait indéniablement partie des éléments requis pour être ou devenir un bon pianiste. C’est bien simple... tout part de là ! Et tout passe par là !Mais à l’instar des doigts qui sont au contact du clavier, l’oreille doit aussi être formée et entraînée pour devenir performante. Et cela passe inévitablement par des exercicesspécifiques, tels que ceux qui vous sont proposés dans cette méthode. Savoir reconnaître les intervalles entre les notes est la base de la formation auditive (ear training, en anglais). C’estpourquoi un premier grand chapitre est consacré ici à leur étude approfondie. Dans les suivants, vous serez alors en mesure d’aborder, pas à pas, les arpèges et accords de 3 et 4 sons,ainsi que les gammes... qui sont autant d’outils indispensables pour identifier à l’oreille les mélodies et accompagnements joués par le piano. Chaque étape de l’apprentissage estponctuée d’un quiz musical, permettant d’évaluer vos acquis, vos progrès... mais aussi votre aptitude à passer à la suite. Vous trouverez sur le disque MP3 joint tous lesenregistrements audios (au format mp3) correspondant aux multiples exercices et autres quiz de la méthode.
SKU: HL.49045966
Georg Kreisler equals scathing, dark black humour on the piano!The Singphoniker have arranged Georg Kreisler's best known songs for all-male ensemble and recorded them on CD. Schott now publishesthe corresponding music edition for mixed choir SATB with piano accompaniment (Georg Kreisler - Lieder und Chansons, ED 22737). In addition, all songs from the sheet music album are available in separate editions: What should a wonderful woman be able to do? Cooking, singing and dancing or should the beloved have other qualities after all? Sieist ein herrliches Weib will give you the answer to this question. This pleasant arrangement with Kreisler's humorous text most certainly creates an exuberant atmosphere in the concert.
SKU: HL.49045967
Georg Kreisler - that's sharp, profoundly dark black humor! The Singphoniker have arranged Georg Kreisler's most famous songs for male ensemble and recorded on CD. The corresponding sheet music for mixed choir SATB with piano accompaniment was published by Schott Music (Georg Kreisler - Lieder und Chansons, ED 22737). In addition to this, individual editions of all songs from the sheet music album are available: The fact that the triangle is a highly underrated instrument is obvious. How good that Kreisler's ambiguous homage to this instrument definitively clarifies its significance. This appealing arrangement with Kreisler's humorous lyrics guarantees a lively atmosphere in the concert.
SKU: HL.49045964
Georg Kreisler - that's sharp, profoundly dark humor! The Singphoniker have arranged Georg Kreisler's most famous songs for male ensemble and recorded on CD. The corresponding sheet music for mixed choir SATB with piano accompaniment was published by Schott Music (Georg Kreisler - Lieder und Chansons, ED 22737). In addition to this, individual editions of all songs from the sheet music album are available: It is loaded to the summer party in the garden, you spend a good time with food, drink and pleasant company. However, this is supplemented shortly thereafter by several hungry tigers, whereupon the host sits at the end of the piece again alone on his terraceand sips with relish on his glass of wine. What a (tiger) party!
SKU: HL.49045965
Georg Kreisler equals scathing, dark black humour on the piano! The Singphoniker have arranged Georg Kreisler's best known songs for all-male ensemble and recorded them on CD. Schott now publishesthe corresponding music edition for mixed choir SATB with piano accompaniment (Georg Kreisler - Lieder und Chansons, ED 22737). In addition, all songs from the sheet music album are available in separate editions: Tauben vergiften im Park puts the relationship between dove and man in a nutshell and suggests a funnily described, yet ethically not correct method of taking action against the pigeon terror. This pleasant arrangement with Kreisler's humorous text most certainly creates an exuberant atmosphere in the concert.
SKU: BA.BA25136
ISBN 9790006575022. 29.7 x 21 cm inches. Text Language: French.
The motets and choral pieces, composed with the distinctive features of the Madeleine organ in mind, enchant with their colourful, floating harmonies and convey a certain intimacy even with their ritualized Latin texts. These works are very well suited for performances by small vocal ensembles. A novelty is the inclusion of the double bass part (ad libitum) which does not appear consistently in the first editions but corresponds to the musical practice at the Madeleine.Numerous gems such as the â??Cantique de Jean Racineâ? or the â??Messe basseâ? are published in performing editions based on the musical text of the â??Gabriel Faur â?? Å?uvres complètesâ?.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49045978
ISBN 9783795711870.
Georg Kreisler equals scathing, dark black humour on the piano! The Singphoniker have arranged Georg Kreisler's best known songs for all-male ensemble and recorded them on CD. Schott now publishesthe corresponding music edition for mixed choir SATB with piano accompaniment. The topics range from the poisoning of pigeons to thelove of a wonderful woman to a tribute to the triangle. These pleasant arrangements for mixed choir SATB and piano with Kreisler's humorous texts most certainly create an exuberant atmosphere in the concert. All pieces contained in this volume are also available in separate editions. Content text: Tauben vergiften im Park Warum Sie ist ein herrliches Weib Das Triangel Das Tigerfest Please, shoot your hasband.
SKU: BA.BA25149
ISBN 9790006575152. 29.7 x 21 cm inches. Text Language: Latin.
The motets and choral pieces, composed with the distinctive features of the Madeleine organ in mind, enchant with their colourful, floating harmonies and convey a certain intimacy even with their ritualized Latin texts. These works are very well suited for performances by small vocal ensembles. A novelty is the inclusion of the double bass part (ad libitum) which does not appear consistently in the first editions but corresponds to the musical practice at the Madeleine.Numerous gems such as the “Cantique de Jean Racine†or the “Messe basse†are published in performing editions based on the musical text of the “Gabriel Faur – Å’uvres complètesâ€.
SKU: AP.48943
UPC: 038081562674. English.
Attention all Hamilfans! This act one favorite recounts the correspondence, courtship, and romance between Alexander Hamilton and Eliza Schuyler. The blended pop/R&B style shines brightly in this choral setting that allows entire sections to perform those half-rapped, half-sung phrases that made the musical so famous. A couple of brief solos are easy to assign, with more character than range required. Fun fact: repetitive I do's foreshadow the wedding to come.
SKU: HL.241125
ISBN 9788759830666. 12.0x16.5x0.44 inches.
Songs For Einar Christiansens Play Cosmus by Carl Nielsen, for Tenor solo and Choir SATB.Score corresponding to The Carl Nielsen Edition: CN00043 - Incidental Music.
SKU: CA.965850
ISBN 9790007164959. Text language: French. Text: Rilke, Rainer Maria. Text by Rainer Maria Rilke.
In his settings of five quatrains by Rilke, Cyrill Schurch explores the colorfulness of the literary model. His mainly homophonic, song-like style of setting corresponds to the compactness of the poetry. Schurch wanders freely, but always comprehensibly, through the keys and employs dissonances pointedly and economically. In this way, Schurch's songs for choir are comparable to Hindemith's sophisticated choral settings of Rilke, while speaking their very own tonal language. The short compositions with their poetically sanguine basic character will enrich every concert program focused on the topics of nature and landscape. They represent a rewarding project for any choir that finds pleasure in exploring tone colors and delicate emotional nuances.
SKU: CA.965820
ISBN 9790007164973. Text language: French. Text: Rilke, Rainer Maria. Text by Rainer Maria Rilke.
SKU: CA.965810
ISBN 9790007164966. Text language: French. Text: Rilke, Rainer Maria. Text by Rainer Maria Rilke.
SKU: CA.965830
ISBN 9790007164980. Text language: French. Text: Rilke, Rainer Maria. Text by Rainer Maria Rilke.
SKU: CA.3116405
ISBN 9790007187194. Language: German/English.
This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score available separately - see item CA.3116400.
SKU: CA.3112305
ISBN 9790007166519. Text language: German/English. Text: Fritsch, Ahasverus.
This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias. Score available separately - see item CA.3112300.
SKU: HL.14014221
12.5x16.5x1.122 inches.
George Frideric Handel's sacred oratorio Israel In Egypt, written in 1738, for SSATBB and Orchestra. Full score.
A corresponding Vocal Score is available under the code NOV070126.
SKU: AU.978-1-5064-8495-2
ISBN 9781506484952. 7 x 10.25 inches.
Wayne Wold wrote the poetry of this dramatic and stirring anthem while visiting the Holy Land and musically captures all the emotion of the Passion story with intense and colorful text painting. Written in four sections that reflect on Jerusalem, Gethsemane, the upper room, and Golgotha, each section concludes with the refrain, O Jerusalem . . . While the score is more advanced with dissonant and chromatic writing, the reoccurring motifs and refrains will aid the learning process. Consider singing each section as a response to the corresponding Bible verses as the Passion narrative is read. _x000D_.
SKU: CA.5032605
ISBN 9790007107277. Key: A minor. Language: Latin.
May also be used, without the Gloria, during Advent. This Mass, completed on 6 March 1794, was not a new composition, but a re-used version of the Missa Dolorum Beatissimae Virginis Mariae which Haydn had composed in 1762 in Grosswardein. With its economical resources and pronounced homophonic style, it corresponds with works which were written under the influence of the liturgical reforms in Salzburg in the 1790s. Score available separately - see item CA.5032600.
SKU: LO.45-1636H
ISBN 9780787766092.
This festive Christmas work for chorus, soprano soloist, and optional orchestra and handbells includes three familiar carols arranged in Mark Hayes's signature, colorful style. Over the course of twelve minutes, Angels We Have Heard on High, I Heard the Bells on Christmas Day, and Hark! the Herald Angels Sing are joined together by sections of original music, making a memorable Christmas concert selection for community choirs, churches, and schools. Perform with Mark’s own vibrant orchestration to experience the full effect of this outstanding holiday composition. A track listing corresponding to the Performance/Accompaniment CD is available as a free download.
SKU: CA.3116400
ISBN 9790007187170. Language: German/English.
This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form.
SKU: CA.3116449
ISBN 9790007209070. Language: German/English.
This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and part available separately - see item CA.3116400.
SKU: CA.3119249
ISBN 9790007210298. Language: German/English.
The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and part available separately - see item CA.3119200.
SKU: CA.3116409
ISBN 9790007209018. Language: German/English.
This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and parts available separately - see item CA.3116400.
SKU: CA.3116419
ISBN 9790007209063. Language: German/English.
SKU: CA.3116403
ISBN 9790007187187. Language: German/English.
SKU: CA.3119209
ISBN 9790007210236. Language: German/English.
The cantata Nun danket alle Gott (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig). Score and parts available separately - see item CA.3119200.
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