Clarinet and orchestra (solo: clar - 1.2.0.1. - 2.0.0.0. - str)

SKU: BR.MR-2290B

Authenticity disputed. Composed by Gioachino Antonio Rossini. Edited by Nicolai Pfeffer. Orchestra; stapled. Musica Rara.

Introduzione e Tema con Variazioni for clarinet and orchestra has long since carved a lasting niche in the clarinet repertoire. The composition is an impressive example of Italian bel canto writing with a refreshing alternation between the cla. Romantic period. Score and parts. 80 pages. Duration 15'. Breitkopf and Haertel #MR 2290b. Published by Breitkopf and Haertel (BR.MR-2290B).

ISBN 9790004489376. 9 x 12 inches.

The only printed source is a set of parts published by Breitkopf & Hartel in 1823. The variations are perfectly idiomatic for the instrument. Moreover, the edition will increase the performance opportunities: Additional to the original setting, the score and parts offer the possibility for a performance with string orchestra only.

Introduzione e Tema con Variazioni for clarinet and orchestra has long since carved a lasting niche in the clarinet repertoire. The composition is an impressive example of Italian bel canto writing with a refreshing alternation between the clarinet's lyrical qualities and a virtuoso lightness and exuberance.

Anleitung f!r eigenst0ndige Realisierung bezifferter Continuo-Stimmen. Mit Ausz!gen und Beispielen aus der Literatur des 17. Und 18. Jh. Ausz!ge aus theoretischen Werken von C P E Bach, J S Bach, J D Heinichen, Padre Mattei, J Mattheson, F E Niedt, J J Quantz, M Praetorius, G Ph Telemann. By Herman Keller. For Piano/ Harpsichord/ Organ. Playing Score (paperbound). Published by Baerenreiter-Ausgaben (German import).

Bass Guitar

SKU: BT.MUSMI0342

Tuition. Book with CD. Composed 2017. 40 pages. Play Music Italy #MUSMI0342. Published by Play Music Italy (BT.MUSMI0342).

Italian.

Le scale pentatoniche, che siano maggiori o minori, costituiscono il “mezzo” ideale per tutti i bassisti che desiderano avvicinarsi all’improvvisazione. Con questo metodo, imparerete quindi adutilizzare questo tipo di scala per improvvisare con il basso.

Dopo un minimo di teoria (costruzione, posizioni, relazione con l’armonia…), vi troverete tantissimi esempi musicali, accompagnati da una basemusicale specifica per poter applicare subito gli insegnamenti. Affronterete quindi l’improvvisazione in modo graduale, prima su un solo accordo, poi due, tre ed infine quattro accordi. Con una sola pentatonica odipiù. Poi su un giro completo od una cadenza specifica.

Scoprirete infine la tecnica delle sostituzioni, la quale permette di rimpiazzare una pentatonica con un’altra, per 'condire' le vostre improvvisazioni.Il CD MP3 allegato al metodo presenta tutti gli esempi con le basi musicali corrispondenti, ossia più di 4 ore di musica in tutto! Su ogni traccia, il basso suona l’improvvisazione proposta poi lascia la base musicaleandare avanti per qualche minuto per permettervi di suonare. Tali esempi vi servono quindi da trampolino per improvvisare poi più liberamente.

Composed by Trevor Salloum. Squareback saddle-stitched. Book. 96 pages. Published by Mel Bay Publications, Inc

SA, Piano

SKU: SU.80300221

For SA, Piano. Composed by Mary Carmichael. Vocal/Choral, Secular Choral. Accompanied by piano. Choral Octavo. Treble Clef Music Press #80300221. Published by Treble Clef Music Press (SU.80300221).

Our latest contribution to the simple does not have to mean stupid niche. First published in 1885, these settings are modest in scope, yet imaginatively constructed. With considerable rhythmic energy, independence of the two voices, harmonic variety, and interesting accompaniments, they transcend the idiom of the Victorian parlor ballad which they superficially resemble. SA & Piano; English. Easy. SA, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.

Bass guitar - Beginning-Intermediate

SKU: MB.96534M

Composed by Marc Ensign. Lines/Phrases/Rhythm Patterns, Saddle-stitched, Style, Electric Bass, Technique, Theory and Reference. Value Line. Rock and Blues. Book and online audio/video. 32 pages. Mel Bay Publications, Inc #96534M. Published by Mel Bay Publications, Inc (MB.96534M).

ISBN 9780786686551. 8.75 x 11.75 inches.

Gleaned from years of teaching, performance, and listening experience -bass players at all levels will benefit from studying the numerous exercises, grooves, and musical examples offered in this book. Whether you are into funk, RandB, fusion, jazz, rock, punk, reggae, alternative music, or any other style; the slap technique will find a niche in your bass playing vocabulary. Chapter headings include: Technique, Hammer-Ons and Pull-Offs, Ghost Notes, Left Hand Slap, Open Strings, Double Slap, Double Stops, Double Pops, Other Licks and Tricks, and Advanced Grooves and Solos Using All Techniques. The author strongly advises the student to play each lesson slowly until the exercise or principle being illustrated is thoroughly mastered. Written in notation and tablature. Includes access to online audio and video.

Chamber Music String Quartet

SKU: PR.114414250

Composed by Lowell Liebermann. Contemporary. Set of Score and Parts. With Standard Notation. Op. 103. 28+9+8+9+8 pages. Duration 25 minutes. Theodore Presser Company #114-41425. Published by Theodore Presser Company (PR.114414250).

UPC: 680160607846.

Lowell Liebermann's 4th String Quartet was commissioned by the Canandaigua Lake Chamber Music Festival and the Wood Library, Canandaigua, NY, for the Orion Quartet in celebration of their 20th Anniversary. The quartet was premiered by the Orions at the Canandaigua Lake Chamber Music Festival in Rochester, NY on February 9th, 2008. To quote the writer Mark Greenberg: It's a remarkable piece. The mood is elegiacal and meditative, the melodic lines sinuous and searching, the harmonies rich and astonishingly beautiful. Liebermann works within the traditions of Western tonality, but that is a mansion with many rooms. Liebermann inhabits all of them as his expressive purposes require, and he doesn't mind knocking down a wall to create new harmonic spaces. The Fourth Quartet doesn't exactly fit the neoromantic niche into which Liebermann is sometimes placed. Much of the music, especially near the beginning, is a highly advanced and fluid chromatic expressionism with modernist tendencies. Sometimes this roiling cloudscape breaks open to allow a patch of near-classical harmony and almost-resolution. Near the midpoint the clouds lift in leaping modulations. Several chordal passages recall Russian Orthodox chant. Suddenly, when you've begun to think the somber, deliberate pace has gone on a bit too long, Liebermann introduces a kind of hobbled, stilted jazz idiom. The piece dies in pensive quiet.