SKU: BR.BV-395
Bei den Satzarbeiten zum PDF Nr. 70, das die einzuklebenden Texte fur das Lexikon enthalt, ist uns ein bedauerlicher Fehler unterlaufen. Die Flachen passen nicht in die dafur vorgesehenen Felder im Schulerheft (EB 8829).
Wir bitten, das Versehen. Music pedagogy. Book. 112 pages. Breitkopf and Haertel #BV 395. Published by Breitkopf and Haertel (BR.BV-395).
ISBN 9783765103957. 8.5 x 11.5 inches. German.
Next to imparting a well-founded playing technique, it is the joint discovery of music that is at the center of this book, the secrets of the flutes sound, and the personal resources of expressiveness. The many trios, duos and solo pieces, new tunes and well-known melodies (all with an accompanying part for teacher and piano) encourage joint music-making, and do it yourself suggestions stimulate the conscious experience of music. Wir floten QUER! boasts the perfect concept for flexible use in classroom teaching or private lessons, and is ideal for everyday use: In their design and appeal, the two student books retrace childrens learning and development arcs corresponding to their age The detailed and in-depth suggestions provided in the lavishly prepared book for the teachers comments give the teacher maximum freedom in the planning of the teaching mode and the choice of methods, apart from offering a general introduction into aspects of group work with young children. There are duo versions of the trios for individual lessons The supplementary volume, Learning Games and General Suggestions, is a genuine treasure chest of material with a wealth of additional ideas. The enclosed CD contains all kinds of do-it-yourself modules and print models. This book can also be used independently of the method, and for other instruments as well. More information you will find on the author's website www.wirfloetenquer.deDiscover - Play - Learn. Together - From One Another - With One AnotherSuch buzzwords can be used to summarize the fundamental concept of the new flute method. More information on www.wirfloetenquer.de and on the author's website.
SKU: AP.48483
UPC: 038081553061. English.
This fresh-off-the-charts arrangement of Shawn Mendes's global hit is all the buzz. The rhythmic chorus is driven by a bright stream of upbeat pop lyrics accompanied by an undeniably funky groove. A guaranteed singer-favorite with an incredibly catchy hook!
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: AP.48482
UPC: 038081553054. English.
SKU: AP.48484
UPC: 038081553078. English.
SKU: AP.48485
UPC: 038081553085. English.
SKU: LO.60-1310H
UPC: 000308109627.
Composer Russ Michaels has earned a reputation for creating exciting music for young jazz players that is easy to rehearse and sounds solid from the start-if you've used Russ' Maximum Velocity you know what the buzz is about. This new funk-rock chart really lives up to the high expectations. It's written in cut-time to make it look nonintimidating, and there are plenty of punches on downbeats to help keep the ensemble tight. Your young rhythm section will be able to play this one with confidence!
SKU: XC.RCB2305FS
Sean O’Loughlin is an expert at melding motivic material throughout his works and the buzzing bees in this piece are no exception. Sophisticated, and dedicated to a wonderful school and music educator, Heart of the Hive is a definite winner.
SKU: XC.RCB2305
SKU: YM.GPP01096080
ISBN 9784636960808.
Unique arrangements based on the world traditional songs for advanced pianists. Yi Shi Jie Chuan Tong Ge Yao Wei Ji Chu Zhong Xin Bian Pei De Gang Qin Qu ,Gao Ji Yan Zou Zhe Yong . Variations on the themes; 1. The Other Day I Met a Bear; 2. Mary Had a Little Lamb; 3. Flea Waltz; 4. London Bridge; 5. Lightly Row; 6. Buzz, Buzz, Buzz; 7. Ich bin ein Musikante; 8. If You're Happy and You Know It. Zhu Ti Bian Zou ; 1.Sen Lin Li De Xiong Xian Sheng ; 2.Ma Li You Zhi Xiao Yang Gao ; 3.Tiao Zao Hua Er Zi ; 4.Lun Dun Qiao ; 5.Chuan Er Qing Qing Hua ; 6.Xiao Mi Feng Weng Weng Weng ; 7.Wo Shi Yin Le Jia ; 8Xing Fu Pai Shou Ge.
SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: PE.EP14581
ISBN 9790014137175.
Memory jolts. Flashes of pink in the brain. by Clara Iannotta is a 17-minute work for string orchestra. Written for the non bthvn project of the Cologne Philharmonic, the work reflects Beethoven's hearing loss and the unbearable condition when his ears began to buzz and roar. The title describes the memory jolts that take place in the inner ear.
Memory jolts. Flashes of pink in the brain. was premiered by Ensemble Resonanz on 31 October 2021 at the Philharmonic Hall Cologne.
The full score (EP 14581) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
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