SKU: AD.ADG244
ISBN 9781958017333. UPC: 663389124424. 9 x 12 inches.
The Blues Scale for Organ is one of a series by Andrew D. Gordon is a comprehensive collection of educational books that explores the intricacies, techniques, and applications of the blues scale in contemporary music. Designed for musicians of all levels, this series serves as an indispensable resource for guitarists, pianists, saxophonists, and other instrumentalists looking to delve into the expressive and soulful world of blues music. Andrew D. Gordon, an accomplished musician and renowned educator, combines his vast knowledge and experience to provide a step-by-step guide for mastering the blues scale. Each book in the series offers a well-structured curriculum, progressing from fundamental concepts to advanced improvisation techniques, ensuring a thorough understanding of the blues scale's potential. Through detailed explanations, musical examples, exercises, and play-along tracks, readers will embark on a transformative journey, gaining fluency and confidence in playing the blues. The books cover various styles showing how the blues scale can be used, including , jazz, funk , new age, Latin, pop, gospel, acid jazz and rock enabling musicians to expand their repertoire and adapt their skills to different musical contexts. The Blues Scale series not only equips musicians with the technical aspects of playing the blues but also emphasizes the importance of creativity and personal expression. Gordon encourages readers to develop their improvisational skills, providing tools and strategies to create unique solos and express their musical personality within the framework of the blues scale. Whether you are a beginner seeking to explore the foundations of the blues scale or an advanced player looking to refine your improvisational abilities, The Blues Scale series by Andrew D. Gordon offers a comprehensive and accessible approach to learning and mastering the blues. With its clear instruction, engaging exercises, and practical examples, this series is an invaluable resource for musicians passionate about incorporating the soulful and timeless sounds of the blues into their playing.
SKU: M7.DOHR-20476
ISBN 9790202044766.
Der Danse Bacchanale aus dem zweiten Bild des dritten Aktes der biblischen Oper Samson und Dalila zählt zu den bekanntesten und populärsten Kompositionen von Camille Saint-Saëns. Den bacchantischen Tanz hat Saint-Saëns in typisch orientalischem Kolorit gehalten: die lyrisch-freie Einleitungsmelodie der Oboe bedient sich mit ihren Halbton- und übermäßigen Sekundschritten morgenländischer Skalen. Die orientalischen Melodien ertönen überwiegend einstimmig, doch in unterschiedlichen Klangfarben und mit charakteristischen Rhythmen unterlegt. Saint-Saëns hatte die orientalische Musik auf zahlreichen Reisen in der arabischen Welt kennen und schätzen gelernt. Die Orgelbearbeitung erschließt dieses fulminante Tanzstück für die Königin der Instrumente und zielt damit auf eine attraktive Bereicherung des konzertanten Repertoires. Der versierte Organist wird die Gelegenheit nutzen, die Klangfarben seiner Orgel zur differenzierten Entfaltung zu bringen. Die Registrierungshinweise orientieren sich an der Disposition einer typischen Orgel von Cavaillé-Coll, wie sie auch dem Maître der Kirche St. Madeleine in Paris zur Verfügung stand. (Otto Depenheuer).
SKU: M7.DOHR-20446
ISBN 9790202044469.
Max Reger fühlte sich nicht nur als neuer Bach, sondern wurde von seinen Zeitgenossen auch als solcher angesehen. Tatsächlich war Bach Regers Bezugspunkt in all seinen künstlerischen Äußerungsformen: als Komponist, der Bach''sche Formen - Fugen, Motetten, Choralvorspiele - aufgriff; als Interpret, der Bach immer wieder auf seine Programme setzte; als Bearbeiter, der sich mehr als jeder andere Komponist mit seinem Übervater auseinandersetzte. So hat Reger insgesamt etwa 150 Werke Bachs bearbeitet, um Bach populärer zu machen, aber auch, um sich kompositorisch an seinen Werken weiter zu bilden. Die hier in fünf Heften vorgelegten 15 Bearbeitungen Bach'scher Klavierwerke entstanden 1902/1903 und erschienen im gleichen Zeitraum im Verlag Joseph Aibl (München). Mit ihnen verfolgte Reger das Ziel, das Repertoire des Organisten um weitere authentische Bachsche Kompositionen zu bereichern. (Otto Depenheuer) Die vorliegende Ausgabe bietet den Notentext im Reprint der erwähnten Erstausgabe.
SKU: M7.DOHR-27538
ISBN 9790202015384.
Happy Birthday! ist - bewusst historisierend - in die ehrwürdige Tradition der Choralbearbeitung gestellt worden. Dabei liegt ein gewisser Reiz in dem Gegensatz, der darin besteht, dass es sich um eine verhältnismäßig junge und in modernem Sinne populäre, dazu in einschlägigem Zusammenhang funktionale Melodie weltlichen Charakters handelt, die hier in das reiche und schwere Gewand gehüllt wird. Doch birgt der gedachte funktionale Anlass ja durchaus einige unabweisbare Anhaltspunkte für transzendente Überlegungen. (Ulrich Kallmeyer).
SKU: HL.50605486
ISBN 9781705190500. UPC: 196288126539.
Bela Bartok composed Dance Suite in 1923 for the 50th anniversary of the foundation of Hungary's capital through the unification of Buda, Obuda, and Pest. It soon became one of his most popular orchestral works, and in 1925 he arranged it for piano solo. Adam Tabajdi completed the organ version of Dance Suite in 2019/20, and recorded it on the Kern organ of Sapporo's Kitara Concert Hall later that year. His transcription was inspired by the composer's own version for piano, exploiting the alternative solutions offered by the ''orchestral'' timbres of the organ, with its manuals and pedals. The ideal instrument for the present version is an expansive, eclectic style organ with at least three manuals. This flamboyant arrangement requires great virtuosity, stamina, and creativity from the performer. Adam Tabajdi (b. 1993) is an outstanding young Hungarian organist. Alongside the music of J. S. Bach, his repertoire includes Liszt,and Franck, as well as twentieth-century works, with a special focus on Messiaen, Ligeti, and Florentz. He is a committed performer of contemporary music, but he also feels a close connection with the works of old masters such as Sweelinck, Weckmann, and Couperin. In 2021 he won first prize in the Toulouse International Organ Competition, and in 2022 he was awarded the Junior Prima Award.
SKU: BR.EB-8703
ISBN 9790004180686. 9 x 12 inches.
Please note: this edition has nothing to do with Arnold Schonberg! The Schonberg in question is a town near Kronberg in Germany's hilly Taunus region. Around the turn of the last century, the organist Ludwig Sauer (1861-1940) wanted to have a new organ built at his church there and came up with a novel way to finance it: he asked a number of composers to donate a musical piece. He eventually obtained 36 (!) pieces which he grouped together in the Organ Album for the Benefit of the New Organ in Schonberg by L. Sauer and had published in 1900 by Breitkopf & Hartel. Deserving particular mention is Max Reger's popular Introduction and Passacaglia in D minor, which was printed for the first time in that collection and which no doubt helped Sauer's project make organ history. The Schonberger Orgelalbum contains both free pieces and works based on chorales. Thanks to the brevity of the pieces, the book is ideal for use in teaching and in the religious service..
SKU: CA.310960
ISBN 9790007175627. Key: G major. Language: German.
SKU: CA.310530
ISBN 9790007151065. Key: D major. Language: German.
SKU: HL.14017035
ISBN 9788759850961. English.
SKU: MN.10-060
UPC: 688670100604.
Following the popularity of Set 1, this seasoned composer provides another six pieces for worship or recital use. Unlike some of his other popular works, these are not based on hymn tunes but on original material. The movements are: Pastorale, Allegretto, Aria, Fugue (for manuals only), Scherzo, and Finale.
SKU: ST.H493
ISBN 9790220224935.
This matching pair of stirring marches is the latest addition to Stainer & Bell's popular 'Light Organ' series. Joe Marsh writes with a particular flair for rhythmic heft and swing, and his work shows the great British tradition of martial music for the instrument alive and thriving in the hands of one of its most noted practitioners, who is also President of the Sunderland Theatre Organ Preservation Society.
SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
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