SKU: HL.14081021
About A New Tune A Day
Since it first appeared in the 1930s, the concise, clear content of the best-selling A Tune A Day series has revolutionized music-making in the classroom and the home. Now, for the first time, C. Paul Herfurth's original books have been completely rewritten with new music and the latest in instrumental technique for a new generation of musicians. The A New Tune A Day books have the same logical, gentle pace and keen attention to detail, but with a host of innovations: the inclusion of an audio CD-with actual performances and backing tracks-will make practice even more fun and exciting, and the explanatory diagrams and photographs will help the student to achieve the perfect technique and tone. This book contains: easy-to-follow lessons on clear, uncluttered pages; tips for technique; improvising hints; audio CD with a virtuoso performance, backing tracks, and audio examples; great music, including duets and ensemble pieces; useful pull-out fingering chart
SKU: BT.MUSBM12650B
English.
SKU: BT.MUSBM11803B
SKU: PR.144405700
UPC: 680160609888.
The seventh wind quartet was completed in 2002 and is fashioned after a childhood memory of a chaotic and impromptu music experience. I remembered a children’s birthday party where several sisters, who had taken music lessons, were pushing each other off a piano bench in order to have a brief turn playing easy tunes. This artless ruckus turned out to be an exciting 'performance' despite being unplanned. The girls were laughing, pushing, shoving, struggling, even banging and pounding, while managing to render chopped-up tune fragments from pieces that were popular at the time. The result is a single-movement quartet, where surrealism is based on non-surrealistic reality. For advanced performers. Duration: 9'15.
SKU: PR.14440570S
UPC: 680160609901.
SKU: GI.G-10678
ISBN 9781622776436.
Drawing from his five decades of success as a conductor and educator in the choral field, Will Kesling has compiled a comprehensive choral methods resource that addresses every necessary fundamental for achieving artistry in the choral art. Written in clear and conversational language, this resource covers: Building a healthy and beautiful choral sound Dealing with vocal issues Selecting repertoire and programming concerts Developing score study skills and interpretive insights Understanding the characteristics of musical periods and composers Planning, preparing for, and running rehearsals The Voices I Hear also explores important but often overlooked topics, including a discussion of performing sacred music in secular education settings, techniques for performing choral-orchestral works, choral versus orchestral conducting, and how to become a true “maestro.†Individual chapters also function as standalone topics of study. A valuable read for emerging and seasoned conductors alike, The Voices I Hear is an expert study of the aesthetic, intellectual, and practical aspects of the choral art. Dr. Will Kesling is Professor of Choral and Orchestral Conducting at the University of Florida, where he has taught for two decades. He has conducted hundreds of choral ensembles and nearly fifty of the world’s finest symphony orchestras. His ensembles have received international attention for their excellence and musical expression.  Thank you, Dr. Kesling, for the decade you gave of yourself to write the most complete and comprehensive writing on the topics of choral techniques, methods, and conducting I have seen. It is in-depth yet practical, to the point of being a valuable resource for both the young conductors entering the choral field to the well-established professionals. You have given us a solid foundation in all significant areas of the choral art, including, among many others, the production of beautiful vocal tone, detailed physical vocal production, textual and physical components of English diction, repertoire programming, appropriate style, interpretation and phrasing, and a pathway to successful conducting of combined choral and orchestral forces. Your enormous and highly successful career, with worldwide performances and numerous awards and honors, has enabled you to bring validity and integrity to the entire writing. —Donald Neuen   Distinguished Professor Emeritus, UCLA   Former member of the Robert Shaw Chorale   Mr. Shaw’s Assistant Conductor with the Atlanta Symphony Orchestra and Choruses For more than 50 years, Dr. Will Kesling has been and continues to be a prominent figure and voice in the International and American choral profession. His new book, The Voices I Hear, is the distillation of his long and distinguished career as a conductor and choral music educator. The driving and consuming passion throughout Kesling’s life is the preparation and performance of the world’s rich and diverse choral and orchestral repertoire and the education, development, and growth of those who perform and conduct it. This book is a summation of a lifetime immersed in the choral art and all its many aspects. It overflows with insights into the choral art that will not only instruct the beginning conductor but also will enlighten and entertain the seasoned professional conductor and educator. It is filled with wit, wisdom, and practical advice to all practitioners of the choral arts. I enthusiastically recommend Kesling’s enlightening new book as an important addition to the choral pedagogy bibliography and for use as an invaluable new text for choral practicum classes for both graduate and undergraduate students. Dr. Kesling has brought to the choral profession significant new insights to all lovers of the choral art. —Craig Jessop   Professor of Music, University of Utah   Former Music Director of the Tabernacle Choir and Orchestra at Temple Square   and the United States Air Force Singing Sergeants Will Kesling’s book, The Voices I Hear, is practical and philosophical, useful and inspirational, focused and comprehensive. The observations and advice are based on his vast personal experiences on the podium with choirs and orchestras, and the book is a monumental resource for both the young conductor and the veteran. Containing a broad spectrum of musical styles, composers, and topics, Kesling’s direct and practical writing connects immediately with today’s choral musician. Keep The Voices I Hear nearby as there will be many times down the road where the information and opinions in Dr. Kesling’s book will answer the questions you have, as well as the ones you didn’t even know to ask! —Jerry Blackstone   Professor Emeritus of Music (conducting) and Director of Choirs (retired)   School of Music, Theatre & Dance, University of Michigan This is the textbook I wish had been available when I was beginning my studies. It is comprehensive in scope, practical and helpful in its suggestions, and, perhaps most surprising in a book from an academic, superbly written in clear and powerful English. Kesling speaks with conviction, clarity, and polish, and he finds colorful and memorable ways of making his points and presents the material from the perspective of one who has done all these things for decades at a highly professional level. I give this volume the highest possible recommendation. —Daniel Gawthrop   Composer & Conductor.
SKU: BR.PB-32026
Have a look into PB 32026.
ISBN 9790004215142. 10 x 12.5 inches.
Finally performable again Eduard Franck's Piano Concerto in D minor Op. 13 is the first major orchestral work by this Mendelssohn pupil. The pianist, already celebrated at a young age, had early plans for the piano concerto that he completed at the latest in 1846. Contemporary critics emphasized the catchy motives and the balanced relationship of solo instrument to the orchestra. Ignaz Moscheles was impressed by the noble manner, the poetic ideas, and the orchestration. Thanks to the kind support of the Accademia di Santa Cecilia, in whose library the orchestral parts, once thought to be lost, are preserved, the work can be introduced for the first time in the present edition.
SKU: BR.OB-5329-11
ISBN 9790004333525. 10 x 12.5 inches.
According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.
SKU: BR.OB-5329-16
ISBN 9790004333549. 10 x 12.5 inches.
SKU: BR.OB-5329-26
ISBN 9790004333556. 10 x 12.5 inches.
SKU: BR.OB-5329-30
ISBN 9790004333563. 10 x 12.5 inches.
SKU: BR.CHB-5289-02
ISBN 9790004412046. 7.5 x 10.5 inches.
SKU: BR.PB-5329
ISBN 9790004210420. 10 x 12.5 inches.
SKU: BR.OB-5329-15
ISBN 9790004333532. 10 x 12.5 inches.
SKU: RM.TOUL01648
ISBN 9790231016482.
SKU: BT.CMP-0991-06-010
9x12 inches.
Feature anywhere from one Saxophone up to the entire Sax section in Stephen Bulla’s jazzy new arrangement titled Swingin’ at the Riverside. The quick, rhythmic swing-style music is catchy to say the least! It’s the perfect opportunity to “lighten up†during the next concert performance. In addition, it’s a good piece to program just before or after that large work that’s taxing for the Brass players. It’s lots of fun for Brasses to play but gives them plenty of short rests throughout so they can refresh their chops. Now’s the time to let the Saxes shine!Light-hearted and fun!Dit is een lekker vlot en swingend werk waarin een hoofdrol is weggelegd voor de saxofoon. De interactie tussen het orkest en de solist(en) is leuk en boeiend voor zowel de muzikanten als het publiek. De titel Swingin’at the Riversideis natuurlijk een zinspeling op de alom bekende spiritual Down by the Riverside, die te horen is terwijl de muziek zich ontvouwt. Een levendige aanvulling op uw eerstvolgende concertprogramma!Rücken Sie einen Saxophonisten oder auch das ganze Register ins Rampenlicht - mit Stephen Bullas jazzigen Titel Swingin’ at the Riverside haben Sie die Wahl! Die flotte, swingende rhythmische Musik ist absolut eingängig, ein strahlendes Highlight für jedes Konzertprogramm! Idealerweise planen Sie dieses Stück nach einem für die Blechbläser anstrengenden Programmpunkt ein, da sie hier zwar auch jede Menge Spaß, aber auch genügend Pausen haben. Nun sind die Saxophone dran!Cette œuvre de Stephen Bulla trouve ses origines dans le swing et combine avec originalité l’un des plus célèbres standards du jazz Nouvelle-Orléans, Down by the Riverside. L’accompagnement est brillant et les solistes effervescents ! Questo brano di Stephen Bulla nasce dallo swing e combina con originalit uno dei più grandi successi del jazz di New Orleans, Down by the Riverside. L’accompagnamento è brillante ed i solisti semplicemente sfavillanti!
SKU: RM.TOUL01681
ISBN 9790231016819.
Chapeau chinois, General plastic, Poupee qui ferme les yeux + planche a roulettes, Ours bossu.
SKU: XC.UTP1901
UPC: 812598030655. 6.75 x 10.5 inches.
Ai Hai Yo is a Chinese folk song used as a blessing towards a bountiful harvest and a good year. Composer Tyler Arcari write’s Folk songs speak to the common man. Hardships, and hope abound when we all realize that something as simple as a few notes in time can bridge the gap of thousands of years of cultural differences and distance across our large planet..
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