SKU: BT.1683-09-401-M
ISBN 9789043132428. 9x12 inches. German.
Weihnachtsmusizieren ist ein Spielbuch mit ansprechenden Bearbeitungen beliebter Weihnachtslieder für Klavierschüler, die mit Tastenzauberei oder anderen Klavierschulen lernen. Es erfüllt alle Ansprüche an ein Spielbuch für Klavierschüler: DieKlavierstimmen sind in mehreren Varianten vorhanden, sodass das Notenmaterial vom ersten Unterrichtsjahr an mindestens vier Jahre lang mit den Fortschritten der Schüler mithalten kann. Dank der verschiedenen Besetzungsmöglichkeiten kann nicht nuralleine zu Hause und im Unterricht, sondern auch bei Feiern, Konzerten und im Freundes- und Familienkreis musiziert werden. Besetzungsmöglichkeiten: • Klavier solo • Klavier vierhändig (zwei Schüler, oder Schüler-Lehrer) • Klavier und verschiedene C-Instrumente • Klavier und Gesang • C-Instrumente mit Gitarren- oder Keyboardbegleitung • alle genannten Instrumente zusammen.
SKU: BA.BA05505
ISBN 9790006472000. 33 x 26 cm inches.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: YM.GTP01100746
ISBN 9784636105377.
This is a collection of melody scores with easy-to-play lyrics for children playing keyboard instruments for the first time. Melody notations and keyboard diagrams are included. Children who cannot read sheet music can also use this book with ease. Nicely arranged to be played on all keyboard instruments, including piano, mini keyboard, and pianica. Includes 20 well-known Japanese children's songs and play songs. This book is full of cute illustrations that match the images of the songs. Let's start the piano by playing with a single hand first with this book.
SKU: HL.49019854
ISBN 9783795748142. UPC: 841886018068. 9.0x12.0x0.186 inches. German.
30 beliebte Weihnachtslieder fur das Musizieren zuhause oder in Schule und Musikschule. Zu den gut klingenden Klaviersatzen wird eine Melodieausgabe fur 1-2 Singstimmen angeboten, die auch fur Melodieinstrumente (Violinen, Floten) geeignet ist. So ergibt sich eine Fundgrube fur das Musizieren in den unterschiedlichsten Besetzungen: mit Klavier und Singstimme, mit Klavier, Gesang und 1-2 Instrumenten, aber auch fur 2 Instrumente und Klavier.Passend zum Klavierheft ist auch eine Ausgabe fur 3-4-stimmigen gemischten Chor erschienen (ED 21301).
SKU: M7.ART-80779
ISBN 9783936807790. German.
Diese Klavierausgabe enthält keine Melodiestimme. Sie dient der Begleitung der drei Einzelausgaben für C-Instrumente (z. B. Querflöte, Blockflöte, Violine, Oboe), B-Instrumente (z. B. Tenorsaxophon, Trompete, Klarinette) und Es-Instrumente (z. B. Altsaxophon). Das Album mit 94 beliebten Weihnachtsliedern für Blasinstrumente Noten für bis zu 3 Melodieinstrumente (3-stimmig) Jeweils erhältlich für C-Instrumente (z. B. Querflöte, Blockflöte, Violine, Oboe), B-Instrumente (z. B. Tenorsaxophon, Trompete, Klarinette), Es-Instrumente (z. B. Altsaxophon) und Klavierbegleitung Alle Ausgaben sind miteinander kombinierbar! Das Weihnachstliederbuch ist eine ausgesprochen schöne Sammlung aller gängigen Advents- und Weihnachtslieder. Michael Koch arrangierte sie so, dass sie für ein oder zwei Melodieinstrumente, mit oder ohne Begleitung, leicht zu spielen sind. Die Begleitung kann entweder das Klavier oder ein Bassinstrument übernehmen (Posaune, Bariton, Cello, Kontrabass, Fagott, Saxophon etc.). Durch seine Vielfalt bietet diese Weihnachtsliederbuch die Grundlage für alles weihnachtliche Musizieren - im Instrumentalunterricht, in verschiedenen Musikgruppen und natürlich in der Familie! Die Lieder sind geordnet nach: Adventslieder, Nikolauslieder, Weltliche Weihnachtslieder, Hirtenlieder, Engelslieder, Herbergslieder, Wiegenlieder, Allgemeine Weihnachtslieder.
SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: BR.EB-6774
ISBN 9790004169735. 9 x 12 inches.
The pieces contained in this volume prepare the student for the playing in three and four parts that is required for the perfomance of the three-part inventions and the French suites. They are most appropriately incorporated into the teaching material after the two-part inventions have been studied. New technical problems, such as the passing under and over of fingers without using the thumb and the rapid substitution of fingers on one key, must here be solved. In order to make the fonn clear, the notation has been simplified as much as possible; the indications of fingering remain quite complicated enough, even though they cannot by far show all the possibilities. lt is necessary to adapt the fingerings to the mobility and span of the particular player's hands, whilst retaining the chosen phrasings to the best of his ability. Isolated notes which require a span exceeding the octave have been placed in brackets; the performance of the ornaments is shown in footnotes. As in the first volume, the missing dynamic and tempo indications must be supplied by the performer himself in accordance with the character of each piece. Especial attention must be paid in polyphonic music to the problem of phrasing and articulation. The editor's suggestions can be replaced by other solutions that make musical sense; these should then be written into the parts. An intensive preoccupation with polyphone structures can even at an early age increase the understanding and love of the musical work of art. Heinz Walter, Salzburg, Summer 1977.
SKU: NR.98410
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