Par BACH JOHANN SEBASTIAN. All of Bach ’s six authenticated motets were written between 1723 and 1727 for St Thomas’ Church, Leipzig, where Bach was appointed as director of music in 1723. During this period, Bach composed most of his cantatas, and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition, reserving his own motet compositions for special occasions. Four of his six motets were written for the funeral services of prominent members of the St Thomas’ congregation. Jesu, Meine Freude (BWV 227), the longest, most musically complex and earliest of the six, was written in 1723 for the funeralof Johanna Maria Käsin, the wife of Leipzig’s postmaster. Jesu, Meine Freude BWV 227 is a beautifully constructed motet for five-part mixed choir, by J. S. Bach. This Urtext edition provides you with a clear and accurate realisation of the composer’s original intentions and includes thoroughly detailed editorial markings and suggestions, as edited by Konrad Ameln. Urtext of the New Bach Edition Performance material and choral score (BA5132) available for sale Complete edition of the 6 Motets Vocal score with Piano reduction (BA5193-90), choral score (BA5193) / Mottet / Répertoire / Choeur Mixte (SSATB) et Instruments Ad Libitum

Par HANNICKEL MIKE. Let your young band ROCK with BACH! The “Musette” from the “Anna Magdalena Notebook” forms the basis of this light-hearted mis-treatment of the original rocker, J. S. Bach. The limited rhythmic pallet is a great way for young players to reinforce their basic eighth-note reading and every section gets its time in the spotlight. A few simple accidentals add some spice to the stew. The familiar tune and rock-n-roll treatment will catch the attention of your audience for sure. This arrangement even invites a bit of historical discussion or youthful research about the man who many consider to be the greatest composer of all time. Any season of the year, there’s always time forsome FUN! Let’s hear some BACH ‘N ROLL! / Niveau : 1.5 / Musique légère originale / Répertoire / Concert Band

Improve your bass guitar technique and musicality by studying the music of the masters. Classical Favorites for Electric Bass is a collection of solos and duets featuring the music of Bach, Beethoven, Haydn, Dragonetti and other composers of the Baroque, Classical and Romantic periods. Some of these pieces are well-known and others are a bit off the beaten path, but each composition encourages technical and musical development in players who want to expand the scope of the electric bass beyond traditional bass lines. This book is written in standard bass clef notation and tablature and is recommended for the intermediate to advanced player.Improve your bass guitar technique and musicality by studying the music of the masters. Classical Favorites for Electric Bass is a collection of solos and duets featuring the music of Bach, Beethoven, Haydn, Dragonetti and other composers of the Baroque, Classical and Romantic periods. Some of these pieces are well-known and others are a bit off the beaten path, but each composition encourages technical and musical development in players who want to expand the scope of the electric bass beyond traditional bass lines.This book is written in standard bass clef notation and tablature and is recommended for the intermediate to advanced player. / Niveau : Intermédiaire à Avancé / Classique / Date parution : 2019-05-27/ Tablatures / Guitare Basse

This collection of Rummel's J.S. Bach 'adaptations' for the Piano presents twelve titles from the original twenty-five originally published by J & W Chester between 1922 and 1938, demonstrating a range of styles from the contemplative Liebster Jesu, Wir Sind Hier to the uninhibited Sturze zu Boden. A close friend of Debussy, Rummel belonged to a younger generation of leading composers, leading a trend away from previous Keyboard transcribers, established by Busoni, Liszt, Reger and others who concentrated on adapting Bach's Organ works rather than the Vocal music. <br>This vibrant collection is suitable for intermediate to advanced pianists but will be of interest to all who enjoy Bach's music for Keyboard. <br>Born in Berlin to a diversely creative family, Walter Rummel (1887 - 1953) was surrounded by art and music from an early age. He came from a pedigree of distinguished musicians, his family home a favoured meeting place for musicians and artists alike. His great grandfather, Christian Rummel (1787 - 1849) was director of the court orchestra at Wiesbaden for Duke Wilhelm of Nassau and his maternal grandfather, Samuel Morse (1791 - 1892), the American painter and inventor of the telegraph. / [J.S. Bach Adaptions: Piano Transcriptions By Walter Rummel] / Classique / Partition /

1722-1725. Par BACH JOHANN-SEBASTIAN. In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court's Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces - by Bach and other composers - to play orsing, early composition efforts from the children, and first versions of some of Bach's more ambitious keyboard works. What is usually presented as 'the' Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then. Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach. - Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format - Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach ArchiveRepresents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists - Extensive preface, detailed critical commentary, and beautifully engraved notation - Hardcover clothbound edition with gold embossing - Printed in Köthen and bound in Leipzig - the home of Bach and the home of Edition Peters - this cutting-edge, premium modern edition's journey to your library retraces the Bach family's own move from the princely town to the city. This premium edition offers a truly best-in-class publication. In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court's Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces - by Bach and other composers - to play orsing, early composition efforts from the children, and first versions of some of Bach's more ambitious keyboard works. What is usually presented as 'the' Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then. Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach. Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format. Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach Archive. Represents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists. Extensive preface, detailed critical commentary, and beautifully engraved notation. Hardcover clothbound edition with gold embossing. Printed in Köthen and bound in Leipzig - the home of Bach and the home of Edition Peters - this cutting-edge, premium modern edition's journey to your library retraces the Bach family's own move from the princely town to the city. This premium edition offers a truly best-in-class publication. Alongside it, Edition Peters presents a selection of the most popular pieces from the two notebooks in a practical student edition, drawing on the material of Christoph Wolff's scholarly edition, to be enjoyed by teachers and students alike. / Classique / Répertoire / Piano

Par YEAGER JEANINE. The works found in Classic Echoes are inspired by the great music of Baroque, Classical, Romantic and Contemporary periods. They reflect the varied styles and harmonies of music by the great composers. Ms. Yeager provides each with a musical flair and depth that make them outstanding for recitals, festivals, weddings, memorial services, and other performances. The contrast in texture, energy and mood is clearly apparent in these stylistic expressions. BAROQUE: ?ala Bach? and ?A Bit of Baroque? CLASSICAL: ?Sicilienne,? ?Aria,? ?Sarabande? and ?Scherzo in C? ROMANTIC: ?Valse Romantique,? ?Pas de deux,? ?Lament,? and ?Prelude in D? CONTEMPORARY: ?Toccata in A Minor? Intermediate-level pianists of all ages will find these pieces to be among their favorites to play and perform. / Date parution : 2022-11-08/ Recueil / Piano

Par BLACKWELL KATHY / DAVID. Il couvre les modèles utilisés dans les doigts Viola Time Joggers et coureurs, et comprend toutes les gammes et arpèges pour les élèves de ABRSM 1 et 2, y compris le mineur naturel Etablit chaque forme avec un tableau de doigté, d'un téléphone 'helpline' pour renforcer le doigté arpège, et un jeu de rythme à pratiquer l'échelle Inclut une variété de pièces amusantes pour chaque touche, et une gamme de puzzles et des jeux de composition L'édition révisée de Viola échelles de temps déborde d'idées créatives et emballé avec des dessins animés imaginatives et amusantes à faire échelles d'apprentissage et d'arpèges faciles. / Niveau : Facile / Etude / Alto

48 Easy Pieces From 5 Centuries. Pour la série ' Easy Concert Pieces ', Monika Twelsiek, pédagogue de piano expérimentée, a assemblé des pièces pour piano faciles et plaisantes pour des débutants et les a publiées en trois volumes dans un ordre progressif. Les trois volumes doivent être des ajouts à une méthode de piano et sont idéaux pour des représentations dans des écoles de musique, des examens et des concours. Le répertoire est varié, en offre un grand choix de pièces baroques, classiques, romantiques et modernes. Le volume 1 (ED 22547) peut être utilisé par des débutants. L'étendue des pièces est limitée à l'échelle pentatonique et l'ambitus d'une simple octave. D'autres critères pour le choix de pièces sont des rythmes simples et des accords très faciles. Ce volume n'exige pas encore la maîtrise du passage du pouce, de la polyphonie et de la pédale. Le volume 2 (ED 22548) contient des pièces sur une étendue de 2 octaves, et exige la maîtrise du passage du pouce, de la pédale, de la polyphonie simple et des accords à trois ou quatre notes, ainsi que des ornements faciles, du jeu cantabile et de la différenciation entre mélodie et accompagnement. / Niveau : Facile / Recueil / Piano

50 kleine Klavierstücke. La collection Mini Maestro en trois volumes présente de petites pièces pour piano de difficulté progressive de très facile à moyenne, datant de cinq siècles, par ordre chronologique, de la musique baroque, classique, romantique, moderne au jazz, à la pop et à la musique minimale. A la fin de chaque volume se trouvent trois pièces bonus à quatre mains - sous la devise ' Plus de plaisir à deux '. Faciles à apprendre, toutes les pièces offrent un répertoire varié qui constitue un complément idéal à toute méthode de piano et convient à des concerts, leçons, examens et concours. Le volume 1 contient des morceaux dans la gamme pentatonique / dans des gammes pentatoniques changeantes, suivis de morceaux dans l'ambitus d'une octave avec un rythme simple et un jeu d'accords facile. D'autres critères sont la différente articulation, la mélodie à la main gauche, les signes d'octave et les pièces en majeur/mineur jusqu'une armure à un dièse/bémol. Le volume 2 contient des pièces dans l'ambitus étendu de deux octaves et avec un jeu des accords à trois ou quatre voix et des renversements. Les autres critères sont le jeu de pédale, des ornements élémentaires, la polyphonie simple, la différenciation de la mélodie et de l'accompagnement et les pièces en majeur/mineur jusqu'une armure à deux dièses/bémols. Le volume 3 contient des pièces avec un ambitus allant jusqu'à quatre octaves, avec un rythme et une vélocité plus exigeants. D'autres critères sont la différenciation subtile des tons, le jeu expressif, la polyphonie dans une main, la polyphonie avancée et les pièces en majeur/mineur jusqu'une armure à trois dièses/bémols. / Niveau : 2 / Classique / Recueil / Piano

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V

Kantate zum 1. Sonntag nach Epiphanias. Par BACH JOHANN SEBASTIAN. Among the vocal compositions incorrectly attributed to Johann Sebastian Bach, the cantata has a place of its own, because its tonal language approaches the unmistakable style of the Thomaskantor. This applies especially to its choral movements and recitatives. In the surviving sources, only one of which dates back to the 18th century, there are certain compositonal errors which cannot possibly be reconciled to Bach's mature style. The implication is that this is not a genuine cantata by the Leipzig Thomaskantor, but an ambitious piece by one of his pupils./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 V