Par FREEMANTLE MARK E.. With decades of experience on the mandocello and even more on the mandolin and guitar, the author presents a comprehensive and progressive approach to learning to play this versatile instrument.Written entirely in bass clef?the logical clef for an instrument with the same low-to-high CGDA tuning as an orchestral cello?the book starts with basic technique and music theory and ultimately brings the reader to an intermediate to advanced plateau. Whether you come to the mandocello as your first fretted instrument or transition from mandolin or guitar, this method will facilitate your progress as a literate musician.The method includes mandocello etudes by pioneering multi-instrumentalist Myron Bickford (1876?1960), popular folk melodies, a pair of duets, and a few mandocello parts from mandolin orchestra arrangements. Fretboard diagrams and standard notation introduce scales, chords, position playing, and shifting/stretching concepts as each new key signature engenders new challenges. From basic down and upstrokes to tremolo, great attention is paid to mandocello picking technique, sight reading and overall musicianship.Most tunes in this book are written as solos. Along with its online play-along audio tracks, the variety of teaching repertoire in this new method will guide you step by step in mastering the mandocello in several musical genres. Then, as a skilled mandocellist who reads the bass clef, you will be welcome as an optional low voice in any musical ensemble. Includes access to online audio. / Date parution : 2023-06-01/ Méthode / Mandoline

Par BANCALARI ROBERT. The German Baroque period featured three virtuosi—Biber, Westhoff and Johann Jakob Walther. Walther (1650-1717) performed as a violinist in the orchestra of Cosimo III from 1670 to 1674 (Medici dynasty) and served as concertmaster at the court in Dresden. Walther's compositions are contained in two books: Scherzi da Violino solo con il basso continuo (1676) and Hortulus Chelicus (1688). This book presents six sonatas for violin from Hortulus Chelicus transcribed for the mandolin. The collection is a wonderful addition to the classical mandolin repertoire. All the sonatas are written in standard notation and tablature./ Recueil / Mandoline

Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject

Mandolin 2-Manhã De Carnaval is the title of the popular song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria. Manhã De Carnaval appeared as a principal theme in the 1959 Portuguese-language film Orfeu Negro (Black Orpheus). Manhã De Carnaval became one of the first compositions identified with Bossa Nova to gain popularity outside Brazil. The title was particularly popular in the United States where the song is considered to be one of the most important Brazilian Jazz/Bossa songs that helped establishthe Bossa Nova movement in the late 1950s. Here it has been arranged for Mandolin Orchestra. This is the part for Mandolin 2.

Manhã De Carnaval is the title of the popular song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria.Manhã De Carnaval appeared as a principal theme in the 1959 Portuguese-language film Orfeu Negro (Black Orpheus).Manhã De Carnaval became one of the first compositions identified with Bossa Nova to gain popularity outside Brazil. The title was particularly popular in the United States where the song is considered to be one of the most important Brazilian Jazz/Bossa songs that helped establish the Bossa Nova movement in the late1950s.Here it has been arranged for Mandolin Orchestra.

La Cucaracha-The traditional Mexican folk song arranged for Mandolin Orchestra. Part for Mandolin no. 1.

For 12 players.Flute Clarinet Acoustic Guitar Mandolin Percussion Piano Harp Violin Viola Cello and Double Bass.Composed as part of the Huddersfield Contemporary Music Festival's European Composers'Professional Development Programme for the Icarus Ensemble and the Nieuw Ensemble.Matthew Sergeant is a graduate of the Royal Northern College of Music. His work has been commissioned by the London Symphony Orchestra theNieuw Ensemble and the BBC Concert Orchestra. He teaches composition and contemporary performance-practice at the Royal Northern College of Music and it's Junior Department.

Czardas is a piece for a Saxophone quartet (SATB) by Vittorio Monti. This composition arranged by Armando Ghidoni lasts 5’30 minutes and has a name taken from a Hungarian National Dance. Divided into six distinctive parts this piece is really cheerful and energetic. It requires some really strong technique as some sections are really fast. - Lento cadenza a piacere / Largo Maestoso - Vivace - Lento Maestoso - Vivace - Piu Mosso - Presto Czardas is the most famous piece by Vittorio Monti which was also arranged for other instruments: Violin andGuitar String quartet and accordion among others. It is a really entertaining work to play that will definitely be enjoyed by the audience during a recital. Vittorio Monti is an Italian composer mandolinist and violinist who worked in many gypsy orchestras.

The Full Story from Orchestras to Bluegrass to the Modern Revival-The sound of the Mandolin is well-known today due to its use in classical music blues Western swing jazz and even rock 'n' roll. This insightful book tells the fascinating story of The Mandolin In America charting its history from the 1880s when the instrument first became a national craze to the 21st century where it is still enjoyed as an established instrument with its own distinctive sound and repertoire. Filled with colour photographs posters and more this book covers every aspect of this unique instrument's past including: The makers - the companies that pushed the evolution of theAmerican Mandolin from the early copies of Italian bowbacks to the revolutionary carved-top designs of Orville Gibson and the later refinements of the Gibson company. The players - from classical virtuoso Giuseppe Pettine to vaudeville star Dave Apollon from bluesman Charlie McCoy to jazzers Tiny Moore and Jethro Burns from Bill Monroe's foundation of bluegrass to the cross-genre excursions of Mike Marshall Sam Bush Dave Grisman Chris Thile and many more. The music - the author Walter Carter discovers important musical moments in the Mandolin's history including the recordings of the early virtuosos film shorts in the 20s and 30s popular hit songs inspired by the Mandolin and the development of Mandolin techniques from the classical tremolo and duo styles to the bluegrass chop.  The instruments - the book features a glorious set of photographs of key instruments historical memorabilia and leading players. The last section is a reference section with detailed specifications of the models of the major makers including serial number lists for Gibson and Martin.

This chart contains 87 tunings (47 for guitar) for various common and hard to find instruments. The accompanying CD has all the tunings played on the actual instruments. Many tunings are offered for most instruments. Instrumentsinclude guitar mandolin banjo dulcimer bass harp guitar balalaika oud charrango bouzouki tres ukulele bajo sexto dobro/lap steel vihuela and requinto. Included are the most common tunings as well as many exotictunings especially for guitar.

Despite his having moved to the United States with his family when he was 11 years old Robert Nathaniel Dett (1882-1943) was born in Canada where glimpses of his talent had already begun to manifest themselves at an early age. Among Dett's earliest titles was his Characteristic March Two-Step After the Cakewalk. Perhaps written when Dett was just a teenager this current edition is wholly based upon its original 1901 band publication that was arranged by Lee Orean Smith. Smith was also responsible for preparing Dett's piano solo version for publication as well as its form for theatre orchestra and mandolin club. Owing to the fact that Smith's highly idiomatic scoring wasprepared for a band of that period this edition adapts edits and extends Smith's instrumentation in order to make it possible for Dett's music to become available to a new generation of musicians and listeners alike. (Grade 4)

dinstrumentation et dorchestration modernes. Par BERLIOZ HECTOR. / Répertoire / Livre

Manhã De Carnaval is the title of the popular song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria.Manhã De Carnaval appeared as a principal theme in the 1959 Portuguese-language film Orfeu Negro (Black Orpheus).Manhã De Carnaval became one of the first compositions identified with Bossa Nova to gain popularity outside Brazil. The title was particularly popular in the United States where the song is considered to be one of the most important Brazilian Jazz/Bossa songs that helped establish the Bossa Nova movement in the late1950s.Here it has been arranged for Mandolin Orchestra. This is the part for Mandola.