Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

Jan Sweelinck (1562-1621) was among the most famous organists of seventeenth century Europe and an influential composer in the Dutch and North German tradition. Bridging both Renaissance and Baroque styles the Dutch composer is best remembered for the inventive sparkling music he wrote for organ and other keyboard instruments. This remarkable treasury includes nearly all of Sweelinck's brilliant keyboard works most of which have survived only in widely scattered seventeenth century manuscripts. In Sweelinck's day these were some of Europe's most popular pieces for organ and keyboard. Nowadays they retain every bit of their original intensity and vigour. Reproduced inthis authoritative complete-resource edition they will be welcomed by serious keyboard artists who will find them as praiseworthy today as they were when first known and played in Europe over three hundred years ago.

Modal Improvisation and Melodic Construction in the Flamenco Environment-The definitive comprehensive explanation of both the harmonic and melodic aspects of flamenco! Flamenco Improvisation - Modal Improvisation and Melodic Construction in the Flamenco Environment by famed guitarist Enrique Vargas.Before delving into the more complex polytonal tetrachordal modal structures of flamenco Volume 1 explores the melodic and harmonic aspects of the seven basic Greek modes (Ionian Dorian Phrygian Lydian Mixolydian Aeolian and Locrian) even if they are not bona fide flamenco modalities. In addition the general rules of left-hand guitar fingerings are established here to avoid possible confusion when interpreting the wealth ofmaterial offered in the second and third volumes.In this first volume the concept of symmetrical permutations is analysed and explained and three types of symmetrical permutations with their corresponding guitar fingerings are presented for the basic modes. These permutations are perfectly valid for musical instruments other than the guitar ??? one can play them and just ignore the guitar fingering symbols. Every harmonic aspect of the seven basic modes are explained ??? triads seventh ninth and add chords etc. One appendix gives a compendium of 72 licks or melodic examples/ideas for improvisation written in each of the basic modes.

From three Marian carol arrangements written for Seraphic Fire. This carol first appeard in a collection of 15th-century tunes compiled by G.R. Woodward. The aeolian tonality gives the tune an earthiness and other-worldliness. Rhythmic and driving this will be a unique work on your Christmas program.

To every young musician, the first concert is a special experience. It is a motivation to study the instrument and its music even further. A suitable selection of technically and musically manageable pieces is an important prerequisite for first successes. The selection of the mostly original works has been arranged according to epochs, thus providing a small overview of the history of guitar and lute music from John Dowland via Gaspar Sanz to Leo Brouwer. / Guitare

The Frank Gambale Improvisation Made Easier couse looks in-depth at the twelve most important scale sounds the chords and voicings derived from these scales and licks. This book includes : 119 Music Examples Over 50 CD Tracks 2 CDs Standard Notation And Tablature The Most Useful Scales And Modes: Mixolydian Aeolian Lydian Lydian b7 Dorian Super Locrian Ionian Half-Whole Diminished Phrygian Aeolian b5

John Luther Adams' Everything That Rises for String Quartet. Composers note: I never imagined I would write a string quartet. Then I heard the JACK Quartet and I understood how Imight be able to make the medium my own. The result was The Wind in High Places - a twenty-minute work composed entirely on natural harmonics and open strings. Over the next few years twomore quartets followed. The second quartet  untouched  is a further exploration of the aeolian sound world of the first. Then in Canticles of the Sky the musicians finally touch the fingerboards of theirinstruments. And now comes Everything That Rises. This fourth quartet is more expansive both in time and in space. It grows out of Sila: The Breath of the World - aperformance-length choral/orchestral work composed on a rising series of sixteen harmonic clouds. Everything That Rises traverses this same territory but in a much more melodic way. Each musician isa soloist playing throughout. They surround the audience. Time floats. Over the course of an hour the lines spin out - always rising - in acoustically perfect intervals that grow progressively smaller as they spiralupward... until the music dissolves into the soft noise of the bows sighing. Duration: 60 minutes

Light And Matter was jointly commissioned by the Library of Congress Britten Sinfonia Norrbotten NEO and the Aeolian Chamber Players in honour of the 50th anniversary of the Bowdoin International MusicFestival. Composed in 2014 by Finnish composer Kaija Saariaho the piece is for Violin Cello and Piano. Saariaho states that her inspiration for this work came from looking out of herwindow in New York at the changing lights and movements of Morningside Park. The piece manages to accurately represent the dynamism of movement and kinetic energy through the musical interplay of the threeinstruments. The piece saw its world premiere at  Bowdoin International Festival on July 30th 2014 with Renee Jolles on Violin Nicholas Canellakis on Cello and Benjamin Hochman onPiano.

Musicians Institute-Aspired to by the many but understood by the few the art of soloing with the diatonic modes has challenged and baffled guitarists for many years. This book is a step-by-step guide to expanding your tonal vocabulary through modal improvisation. Features a complete and thorough hands-on explanation of the Ionian Dorian Phrygian Mixolydian Lydian Aeolian and Locrian scales. Also covers superimpositions patterns progressions and a reliable catalogue of real licks to get you going in no time. The accompanying audio tracks available to download feature over 80 full-band backing tracks to further inspire your confidence and creativity.

Par MARA WASBURN. This outstanding children's method for mountain dulcimer is the result of the author's many years of sharing the dulcimer with children, and has been successful with children as young as 5 years old. This single volume combines the best material from the author's two previous volumes, Children's Dulcimer Method Volumes One and Two. In it you will find many traditional songs and folk tunes arranged for the mountain dulcimer. Each song has a simple strum pattern indicated above it with fret numbers for the melody notes and lyrics included where appropriate. There are instructions for strumming, chording, fingerpicking, and for three modal tunings (Ionian, Aeolian, and Mixolydian). Harmony is included for many of the songs, so that two or more dulcimers can play together. / Niveau : Débutant / Acoustic Music - Methods / Méthode / Dulcimer des Appalaches (Cordes pincées)

?Sonata quasi una fantasia? was the title given to it by Beethoven and yet the world of music knows it as the ?Moonlight Sonata? an epithet that was already around during the composer?s lifetime. ?The lake rests quiet under thelight of the moon at twilight; the wave thuds against the dark bank? wrote Ludwig Rellstab on the 1st movement in 1823. ?It is as if we catch sight of a colossal grave in the middle of a lonely plain palely lit by the sicklemoon? was what Wilhelm von Lenz wrote. Beethoven might have been influenced by the sound of the Aeolian harp as Murray Perahia and Norbert Gertsch explain in the introductory texts to this edition referring to the latestresearch. Perahia also provided the fingerings.