SKU: BT.EMBZ5665
English-German-Hungarian.
These excerpts from Bach cantatas were chosen not only for the beauty of their musical content, but also because of the pedagogical value they possess. The excerpts embrace two distinct areas of Baroque vocal music: the melodic realms of the aria and recitative. The aria and arioso quotations in the collection, generally presented without accompaniment, are intended for sight-singing. The aria and recitative excerpts with continuo accompaniment also provide students with serious harmonization tasks and are, therefore, principally related to their music theory studies. Volume I contains the easier cantata excerpts, Volume II the more difficult ones.
SKU: HL.50489942
ISBN 9790080028063. B/5 quer (24x17) inches. Hungarian.
Based on sol-fa notation combined with unaccompanied part singing from the earliest stages in a child's school music, the Zoltan Kodaly Method develops musical literacy, secure intonation and rhythmic confidence-essential fundamentals of sound music education. Bicinia Hungarica comprises a series of 4 books featuring the music which Kodaly composed and collected for the Method. The songs provide a welcome introduction to elementary two-part singing. These works are not merely exercises, but miniatures which may serve as an introduction to the composer's larger works.Territorial restrictions may apply. Please ask before ordering.
SKU: HL.50489943
ISBN 9790080063361. B/5 quer (24x17) inches. Hungarian.
SKU: BT.EMBZ5666
This collection is a selection of excerpts from Bach cantatas, chosen not only for the beauty of their musical content but because from the pedagogical point of view too they deserve a place in a publication intended for educational purposes. The excerpts embrace two distinct areas of Baroque vocal music, the melodic realms of the aria and the recitative. The aria and arioso quotations in the collection, generally presented without accompaniment, are intended for sight-singing. The aria and recitative excerpts with continuo accompaniment also provide students with serious harmonization tasks and are therefore principally related to their music theory studies. Volume Icontains the easier cantata excerpts, Volume II the more difficult ones.
SKU: BT.EMBZ5725
Hungarian.
With a new cover but unaltered content we are re-issuing the Reading Book and related Training Exercise Book (Z. 6102) by Mrs András József and Magda Szmrecsányi, for music teaching institutions. These volumes, containing 236 musical examples (one- and two-part songs, solmization and rhythm exercises) and illustrated with drawings, are recommended for teaching and learning elementary solfeggio.
SKU: HL.50489944
ISBN 9790080028087. B/5 quer (24x17) inches.
SKU: BT.EMBZ12428
This volume contains one-, two- and several-part excerpts, in chronological order, from the music of the Renaissance (Clemens non Papa, 1510/15-1555/56) to that of the 20th century (Shostakovich, 1906-1976). Complete works are included in only a few cases. The majority of the examples are given in simplified form in this collection, with modest alterations by the editors.
SKU: BT.RHG307
ISBN 9781785581670. English.
Written by an experienced teacher and examiner, this book will help you to prepare for the Appraising component of the course. It contains:
SKU: M7.AHW-4019
English.
If beginning players learn the twelve major scales, twelve jazz melodic minor scales, two whole tone scales and three diminished scales, they will be able to negotiate more than 95% of the chords that will be coming their way. Many corresponding scales that fit chords are simply modes of one the above scales. A major scale gives seven modes that fit seven different chords. Times that by twelve and 84 chords can be covered by simply knowing the twelve major scales. It can sound overwhelming, not to worry, after all music is about what you have to say not how many musical nick-knacks you collect. Jazz players of all eras have looked for new devices to experiment with. Students are no different. Once I have given the foundation of the above scales I let students choose a sound or device that they like. This book is a result of that teaching perspective. It is also a result of me being tired of writing out the same information year after year and serves as a compilation of many jazz improvisation and compositional techniques. Learning them all is not the goal. The book is simply a collection and includes brief explanations and drills to help utilize a new sound into a player's vocabulary. This text can be used individually or in a group of any instrument combination. A good number of the chapters are organized specifically for this.
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