This collection showcases the syncopated piano music of Latin American during the nineteenth and early twentieth centuries. It features Latin rhythms, which are really African rhythms brought to the Americas by slaves and applied to the music of the European colonists. These rhythms are varied and complex and so is their history. They've had a widespread and profound influence on the evolution of popular music not only in Latin America, but also in the United States. The most obvious offshoots are the tango in Argentine and Uruguay and most of the other popular dances of South and Central America, as well as ragtime and jazz in the United States. Jelly Roll Morton claimed this Latin tinge is the essential element that distinguishes jazz from ragtime. These rhythms are the musical roots of groups like The Buena Vista Social Club.Adios a Cuba (I.Cervantes) - Almendares (I.Cervantes) - Carioca (Ernesto Nazareth) - Coquetona (Danza) (Jose I.Quinton) - Cruz, Perigo!! (Ernesto Nazareth) - El Entreriano (Tango) (A.Rosendo) - El Esquinazo (Tango Criollo) (A.G.Villoldo) - El Panuelo de Pepa (Contradanza) (manuel Saumell) - El Zurdo (Tango) (Juan Maglio) - Esta Chumbado (Ernesto Nazareth) - Garoto (Ernesto Nazareth) - Ilusiones Perdidas (I.Cervantes) - l Chicotazo (Tango No.2) (Vincente Greco) - La Encantadora (I.Cervantes) - La Isabelita (J.Morel Campos) - La Luz Electrica (Tomas Leon) - La Matilde (Contradanza) (Manuel Saumell) - La Paloma (Sebastian Yradier) - La Quejosita (Manuel Saumell) - La Reina de las Flores (Tomas Leon) - Lamentos de Amor (Manuel Saumell) - Laura y Georgina (J.Morel Camppos) - No Me Toques! (J.Morel Campos) - O Que Ha? (Tango) (Ernesto Nazareth) - Por Que, Eh? (Why, Eh?) (I.Cervantes) - Que Le Importa a Usted? (Tomas Leon) - Quien Sabe (Tomas Leon) - Recuerdos de Gottschalk (Contradanza) (Manuel Saumell) - Remando (Tango) (Ernesto Nazareth) - Suipacha (Tango Milonga) (Eduardo Arolas) - Tiene Que Ser (It Must Be) (I.Cervantes) - Trocha (A Cuban Dance) (Wm.H.Tyres) - Tu (Habanera) (E.Sanchez Fuentes) - Vaya Una Pregunta (Tomas Leon) - Vitorioso (Tango) (Ernesto Nazareth) - Vuelta al Hogar (I.Cervantes) - Yo Se Lo Dire a Ustted (Tomas Leon)

Le style décontracté de David Benoit est apparent dans cette composition Jobim-esque de son CD 2006 and ldquo-Full Circle. and rdquo - version de Mark caractéristiques lisse des harmonies et des lignes fluides dans une excellente adaptation pour convenable pour festivals ou occasionnels concerts de jazz ensemble. / Saxophone Alto, Saxophone Tenor, Saxophone Baryton, Trompette, Trombone, Guitare, Piano, Contrebasse, Percussions, Tambours Congas, Vibraphone Et Flûte Traversière En Partition

Le piano, dans ce nouveau cycle de canons, est pensé comme coprésence de trois discours - trois compossibles - avec, toujours, l'ombre portée de fragments de la Missa prolationum de Johannes Ockeghem. Le fantasme de la voix rôde souvent lorsqu'il s'agit de piano. Ici, c'est par la mémoire, le travail de réminiscence que le son percussif tente s'arracher à l'échec du continu. / Partition /

Toutes les chansons de l'album No.1 de la plus grande nouvelle star de soul anglaise. Inclus les tubes You Had Me et le prochain single Right To Be Wrong. Arrangées dans les tonalités originales pour piano, voix et guitare.

Fragment I-IV was composed between 1959 and 1961. I premiered the piece myself on February 12 1962 at a concert where Fragment V for violin and piano and Fragment VI for six orchestra groups were also performed. The four piano pieces contain the first audible results of my preoccupation with the fractal “infinity series” discovered in 1959. “Fractal” designates the property of for example visual form patterns that appear in a process of infinite “microscoping” where the figures reappear for the spectator in constantly enlarged segments of the original fractal form. In much the same way thescore-reader as well as the listener can follow how in for example Fragment III the six notes of the first measure reappear in a much slower figure an octave lower in the left hand (that only manages to get through these six notes in the course of the entire movement) analogous to the zooming-in on a visual fractal form. Each Fragment has its own defining appearance: Fragment I consists of two staccato melodies (with built-in rests) that are tied to a distinct third melody. Fragment II stammers and stutters its way through various shorter note values that are almost identical to boot (for instance they include isolated triplet notes that come immediately before or after notes of another equally short duration). Great demands are thus made on the pianist’s scrupulous attention to the details of this fine-grained universe of rhythms! Of the four pieces Fragment III offers the most directly accessible demonstration of this composition technique – as mentioned above its opening measure fractally projects itself six times as slowly and an octave lower in the left hand through the rest of the movement. Fragment IV is a kind of shadow that reproduces – in a vague “dreaming” manner – all the melodic notes from Fragment III but

for Pianoforte and Orchestra op. 73-Many wholly new corrections in the solo and orchestral parts.Piano reduction with a separate solo part as was customary in Beethoven’s day.With Beethoven’s continuo figures for the first time in a modern edition.Beethoven’s fifth and final Piano Concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.The editor Jonathan Del Mar has closely scrutinised the autograph solo piano part and reproduced Beethoven’ssophisticated performance instructions for the first time in a modern edition. Among other things this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4 the Piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the Piano.

The series Get to Know Classical Masterpieces provides an introduction to well-known compositions in simple arrangements for piano by Hans-Günter Heumann. Complete with texts and colour illustrations throughout these editions will appeal not only to both child and adult pianists but to any music-lover who wishes to get to know these works better.

Repertoiresammlung herausgegeben von Peter Anton Ling. Par . The Three Tenors Are Coming On the opera stage, the tenor is often the most eminent protagonist. Whether as ardent lover or tragic hero, he is in the limelight to show lyrical sensitivity, sonorous euphony and smoothness, a maximum of nuances. The vocal range creates high expectations and provides an extraordinary aura. The three volumes for tenor represent the grand finale of the most comprehensive collection of repertoire for all vocal genres, with 16 volumes. ?Our goal is to give the user a modern-day, systematically structured vocal coach who satisfies the demands of present-day theater practice. At long last a consistent repertoire and a well-ordered conflation of respective audition arias for all vocal genres.? (Peter Anton Ling, editors) OperAria ? repertoire anthology of opera arias according to vocal criteria (range, tessitura, specifics, type of aria) with due regard to practical aspects of musical and theatrical nature (style, era, role type, national provenance) with comments on the arias information on the composer, the librettist, the work, the range and of versions or casting a short synopsis of the contents illuminating the basic dramatic constellation in the context of the opera?s plot an evaluation from the singer?s point of view with ?phonetic assistant? and ?text assistant? aria texts in the original language spoken by native speakers as an audio file (mp3) aria texts in German and English translations as a text file (pdf) available for download / Date parution : 2023-03-11/ Recueil / Tenor et Piano

Now you can be the featured soloist on eight specially recorded arrangements. On the CD: full backing tracks professionally arranged and recorded full demonstration recordings to help you learn the songs In the book: carefully selected and edited easy tenor saxophone arrangements for players around grades 1-2 standard chord symbols in correct pitch Plus: fingering charts a guide to notation instrument care

An appetiser for our high-quality Urtext opera vocal scores give it a try and enjoy!This collection of opera arias for Soprano (or Mezzo-Soprano) and Piano offers a cross-section of Bärenreiter?s extensive catalogue of stage works.An affordable anthology with such well-known and favourite arias as Handel?s famous ?Ombra mai fu? and Mozart?s ?Ach ich fühl?s es ist verschwunden!? is not only suited for voice students and aspiring singers preparing for examinations and auditions but also provides seasoned professionals with inspiration and material for programming their recitals.The collection spans a representative arch from the earlybaroque to the romantic era gathering together repertoire masterpieces by Monteverdi Handel Gluck Haydn Mozart Beethoven Berlioz Smetana and Chabrier. The pieces are in Italian French Czech and German and include for the most part a singable translation in German. The spectrum ranges from the declamatory style to easy coloratura. The Piano arrangements have been prepared by experienced conductors and répétiteurs.A Bärenreiter anthology for opera singersContains important arias from the opera repertoire for (Mezzo-)Soprano

Latino For Trumpet arranged by Robert Ramskill for Trumpet and Piano accompaniment. Some of the greatest melodies of twentieth century popular music are Latin American either in origin or in inspiration. The subtle and evocative rhythms of such forms as the Samba Bossa Nova Tango and Rumba are to be found in this collection of arrangements of Latin favourites all of which would make excellent concert material.