182 of the best European jazz tunes make The European Real Book a must have for any jazz player. This volume contains pieces by Michel Petrucciani, Florian Ross, George Shearing, Nguyen Le, Toots Thielemans, Philip Catherine, Bill Bruford, Tommy Smith, Enrico Rava, Django Reinhardt and almost 100 others. As with all Sher Real books this book features: 100% accurate composer-approved charts easy-to-read manuscript A great selection of tunes Many extra features like sample Bass lines, chord voicing, Rhythm section hits, harmony parts and an extensive Drum appendix. An exclusive and exciting feature of The European Real Book is that streaming MP3 files of over 100 tunes in the book are available free of charge from Sher Music.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

Par DRUEL GUILLAUME. Animaux minute, ce sont 60 pièces très courtes (1 à 2 minutes) pour clarinette seule, prévues pour accompagner un élève dès le début de son apprentissage, et tout au long de sa progression jusqu'aux niveaux les plus avancés. Ce n'est pas une méthode d'apprentissage, mais une série de 'vignettes', dans lesquelles on pourra choisir un morceau pour une audition, un examen... ou juste pour le plaisir. Au fil des morceaux apparaissent çà et là des éléments particuliers du langage musical, certains communs à nombre d’instruments, d’autres plus spécifiques à la clarinette. Par exemple, et dès la première page, on trouvera des appoggiatures brèves, et aussi une portée sans indication de mesure... Plus loin une note piquée, une syncope, puis deux... Tiens, un quintolet, tiens, un doigté spécial, Ici un '3 pour 2', un trille... Là, une douzième, une cadence, un do bémol... donc ça existe ? Il faut croire ! Et plus loin, un Flatter... quoi ? Ah ? Ici on joue à la croche, plus tard on jouera à la blanche, à la blanche pointée... Ces petites découvertes sont distillées une par une, 'tranquillamente', couche après couche, et elles sont là non pas comme un simple prétexte d'exercice, mais parce qu'elles sont nécessaires à la musique. Les animaux proposent souvent leur rythme, leur chant, leur activité frénétique ou lente ; il y a leur milieu (l'eau, l'air qui ondulent...), leur localisation (l'Orient, l'Afrique et leurs parfums...); autant de pistes que j'ai pu suivre comme sources d'inspiration. Tout ce petit monde, tous ces petits mondes organisent le temps, le remplissent et le vident. Et organiser le temps, ne serait-ce pas ça, la musique ? Nous sommes principalement des tubes où passent des aliments, avec quelques appendices autour pour organiser la collecte desdits aliments. Chez les humains, ces appendices permettent aussi de jouer des instruments de musique. Guillaume Druel Les pièces sont présentées en 3 volumes : Volume 1 (Cycle 1) pièces 1 à 20 - durée 26 minutes Volume 2 (Cycle 2) pièces 21 à 40 - durée 28 minutes 30 Volume 3 (Cycle 3 et plus) pièces 41 à 60 - durée 28 minutes/ Recueil / Clarinette Bb

14 Accordion Solos On European Melodies. Par FAZIO JAMES. Cette collection de 14 original valse, tangos et danses pour piano accordéon est représentant de nombreux monuments et les sons de l'Europe. Chaque chanson a sa propre histoire à raconter. ' A Little Town Called Mulhausen ' a été écrite en l'honneur du titulaire d'un petit café en Allemagne. De même, toutes les autres chansons sont sur les lieux du compositeur visités et les choses, lui et sa famille a fait tout en visitant l'Europe. / Niveau : Débutant à Intermédiaire / European - Solos / Recueil / Accordéon ou Clavier

Romeo And Juliet is an orchestral work by Tchaikovsky. Written in the form of a symphonic poem it was styled a Fantasy Overture by the composer. First written in 1870 and based on the Shakespeare play of the same name it was revised several times with notable suggestions from Balakirev before the final version was produced in 1880. Pyotr Ilyich Tchaikovsky (1840 - 1893) is one of the best-known Russian composers in the West. He was the first Russian composer to write in the European style generating criticism from his peers for abandoning the Russian cultural heritage but gathering acclaim across both Europeand America.

Parlor Gems A Treasury of 19th Century Music for Classical Guitar. In the late eighteenth and nineteenth centuries, the parlor was a room set aside for particular functions. Before the advent of the radio, it was the place where formal presentations were staged, including amateur and semi-professional concerts. This classical guitar solo collection for the intermediate to advanced player offers nine engaging and lyrical European and North American favorites of this bygone era. All of the solos are presented in standard notation only and played on authentic reproductions of period instruments on the book?s online companion recording. Author Joseph Mayes plays works by well-known guitarist-composers Carulli, Coste and Giuliani as well as the lesser-known but deserving ?Kathleen Mavoureen?Romanza? by Frederick N. Crouch arranged by Charles de Janon, and Felix Arndt?s ?Nola,? one of the era?s most popular ragtime piano themes, here transcribed and arranged by William Foden and the author. Includes access to online audio.

In recent times there has been a surge of interest in the uniquely beautiful song forms of Roma (or 'gypsy?) music. Its variety, richness and influence have won international admiration, even as the Romani people themselves have so often been the victims of misunderstanding, prejudice and repression. The Romani people emerged in Eastern Europe almost a thousand years ago and can trace their origins to the Indian sub-continent. Their itinerant culture and wide global dispersal have led to a unique richness of musical style which, in part due to the rise in interest in World Music, is now being more widely appreciated. Whether performed in one of several Eastern European tongues or in the Romani's own language, the 21 songs featured here reflect the haunting, diverse voices of a unique ethnic culture. The songs are presented both in print-with melody lines, chord boxes and lyrics in their original language and English-and in classic recordings by the original artists on the accompanying CD. Donald Cohen, guitarist, folklorist and college history and music professor, has spent his life studying, researching and collecting music from Europe and the Americas. He is also the author of Fado Português, Songs from the Soul of Portugal and Tango Voices: Songs from the Soul of Buenos Aires and Beyond . / Mélodie/Accords/Paroles