| Bel Canto: A Theoretical and Practical Vocal Method Voice solo [Textbook] Dover Publications
By Mathilde Marchesi. For voice. Band/Orchestra. Size 9 3/8 x 12 1/4. 108 pages....(+)
By Mathilde Marchesi. For voice. Band/Orchestra. Size 9 3/8 x 12 1/4. 108 pages. Published by Dover Publications.
(1)$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Exercises Complementaires Techniques et Melodiques - Volume 3 Bassoon Leduc, Alphonse
[Technical and Melodious Complemental Exercises] for Bassoon. Composed by Fern...(+)
[Technical and Melodious
Complemental Exercises] for
Bassoon. Composed by Fernand
Oubradous. Leduc. Classical.
Softcover. 24 pages. Alphonse
Leduc #AL19709. Published by
Alphonse Leduc
$32.75 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Chorale Prelude Brass ensemble [Score and Parts] - Intermediate Forton Music
Brass Band - Intermediate SKU: FT.FM508 Composed by Keiron Anderson. Bras...(+)
Brass Band - Intermediate SKU: FT.FM508 Composed by Keiron Anderson. Brass Band. Score and Parts. Forton Music #FM508. Published by Forton Music (FT.FM508). ISBN 9790570484072. This stately work is very loosely based on the opening chords from 'The Lamb', although there are no direct quotations from that work. The opening chorale is played as gradually more themes are added above in a dignified and legato subject where instruments sustain notes to give a lingering echo effect. Players need to be aware of their role in this to maximise the effect. The second subject increases the intensity until the time signature change introduces a second chorale. Then, a short imitative passage leads to a rising appogiatura theme and the climax of the work, which re-introduces the original chorale in a major tonality. With versions for brass ensemble, brass band, wind orchestra and woodwind orchestra, this work has been placed in concerts when a meaningful, reflective moment is required. $64.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 20 Elementary and Progressive Vocalises, Op. 15 Medium voice, Piano Schirmer
Medium Voice. By Salvatore Marchesi. Vocal Method. Size 7.7x11 inches. 44 pages....(+)
Medium Voice. By Salvatore Marchesi. Vocal Method. Size 7.7x11 inches. 44 pages. Published by Schirmer.
$8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| La Clarinette A L'Ecole De Musique - Volume 3 Clarinet [Score] Lemoine, Henry
Composed by Jean-Louis Margo. For clarinet. Method / Etudes. Score. 54 pages. Pu...(+)
Composed by Jean-Louis Margo. For clarinet. Method / Etudes. Score. 54 pages. Published by Editions Henry Lemoine
$28.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Gifted Pianist: Book 4 Piano solo Roger Dean
By Walter Noona. For piano. Level: Level 4. Piano method. Published by Roger Dea...(+)
By Walter Noona. For piano. Level: Level 4. Piano method. Published by Roger Dean.
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Nicola Vaccai: Practical Method of Italian Singing - High Soprano
Soprano voice, Piano [Sheet music] Schirmer
High Soprano. By N. Vaccai. Arranged by J. Paton. Vocal Method. Size 7.5x10.7 in...(+)
High Soprano. By N. Vaccai. Arranged by J. Paton. Vocal Method. Size 7.5x10.7 inches. 48 pages. Published by Schirmer.
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| Symphony nr. 5 Concert band [Score and Parts] - Intermediate Baton Music
(4. Adagietto). By Gustav Mahler (1860-1911). Arranged by Christiaan Janssen. Fo...(+)
(4. Adagietto). By Gustav Mahler (1860-1911). Arranged by Christiaan Janssen. For Concert Band. Grade 5. Full score and set of parts. Duration 11:00
$169.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Nicola Vaccai: Practical Method of Italian Singing - Mezzo Soprano (Alto) or Baritone
Mezzo-Soprano voice [Sheet music] Schirmer
Composed by Nicola Vaccai (1790-1848), edited by John Glenn Paton. For mezzo sop...(+)
Composed by Nicola Vaccai (1790-1848), edited by John Glenn Paton. For mezzo soprano voice, alto voice, baritone voice and piano accompaniment. Format: instructional book. With introductory text, instructional text, vocal melody, lyrics and piano accompaniment. Opera and Vocal. Text language Italian and English. 42 pages. 8.5x11 inches. Published by G. Schirmer, Inc.
(1)$7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Practical Method of Italian Singing
Soprano voice [Sheet music] Schirmer
Soprano or Tenor. By N. Vaccai. Arranged by J. Paton. Vocal Method. Size 7.5x10....(+)
Soprano or Tenor. By N. Vaccai. Arranged by J. Paton. Vocal Method. Size 7.5x10.7 inches. 48 pages. Published by G. Schirmer, Inc.
(5)$7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 18 Etudes Variees (saxophone Solo) Saxophone Leduc, Alphonse
Saxophone (Saxophone) SKU: HL.48185589 Composed by Michel Mé and ri...(+)
Saxophone (Saxophone) SKU: HL.48185589 Composed by Michel Mé and riot. Leduc. Classical. Softcover. 20 pages. Alphonse Leduc #AL29255. Published by Alphonse Leduc (HL.48185589). UPC: 888680854300. 9.0x12.0x0.096 inches. Composed by Michel Meriot, 18 varied studies is a set of studies for intermediate players. Written in French, English, German, Spanish and Italian, each study focuses on a technical aspect to help the player to improve. 1. Espieglerie - Accentuation 2. Giration - Smooth fingering 3. Meditation - Phrasing and air column 4. Fantaisie - Articulation 5. Sicilienne - Dotted rhythms 6. Badinage - Ties two by two 7. Mignonne - Phrasing 8. La Decidee - Articulation 9. Amusette - Staccato 10. L'entrainante - Ternary articulation 11. L'Eclopee - Asymmetrical bars 12. Jacasserie - Appogiaturas 13. L'Hesitante - Asymmetrical bars 14. Fileuse - Smooth fingering 15. La Martiale - Binary rhythms 16. La Melodieuse - Phrasing 17. La Sautillante - Staccato 18. La Resolue - Articulation Really helpful and quite nice to play, this set is a must-have for all intermediate Saxophone players. Michel Meriot (1928-2003) is a French musician and saxophonist. He played for the French Navy before joining the Paris Conservatoire. He also worked with the French Police and composed some pedagogical volumes for Saxophone players. . $28.60 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Afstaedur, Edition Nr 18 Triopno/vln/vc Alfred Lengnick
SKU: HL.50514335 Composed by Thorarinsson. Lengnick Publishing. Classical...(+)
SKU: HL.50514335 Composed by Thorarinsson. Lengnick Publishing. Classical. Alfred Lengnick & Co #AL1832A. Published by Alfred Lengnick & Co (HL.50514335). $10.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Art of Singing (24 Vocalises), Op.81 Soprano voice, Piano Schirmer
Soprano, Mezzo-Soprano or Tenor. By H.P. Panofka. Vocal Method. Size 9x12 inches...(+)
Soprano, Mezzo-Soprano or Tenor. By H.P. Panofka. Vocal Method. Size 9x12 inches. 52 pages. Published by Schirmer.
(2)$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata for Flute and Harpsichord Flute and Piano EMB (Editio Musica Budapest)
Flute and Piano (fl, cemb) SKU: HL.50510612 By Gyorgy Orban. By Johan Chr...(+)
Flute and Piano (fl, cemb) SKU: HL.50510612 By Gyorgy Orban. By Johan Christian Bach. Arranged by Gyö, n, and rgy Orbá. Baroque. EMB. Book [Softcover]. 16 pages. Editio Musica Budapest #Z8977. Published by Editio Musica Budapest (HL.50510612). ISBN 9790080089774. UPC: 073999657449. 9.0x12.0x0.089 inches. Gyorgy Orban. As sources for this present edition served the manuscript marked Mus. ms. Bach St. 296 held in the Staatsbibliothek Preussischer Kulturbesitz at Berlin. The original title reads: Sonata / a / Flauto Traverso / e / Cembalo Concertato / di / J. C. Bac h. Our edition follows closely the manuscript except for the arrangement according to present-day notation (use of accidentals, the addition of slurs to tie the appoggiatura to the main note, etc.). Obvious errors are listed in the Critical Notes. Sl urs have been but in square brackets. The basso continuo marked in the original by figuring is given here in small print. Gyorgy Orban
Als Quelle der vorliegenden Ausgabe wurde das in der Berliner Staatsbibliothek preussischer Kulturbesitz unter der Signatur Mus. ms. Bach st. 296 aufbewahrte Manuskript herangezogen. Der Titel lautet: Sonata / a / Flauto Traverso / e / Cembalo Conc ertato / di / J. C. Bach. Unsere Ausgabe folgt treu dem Manuskript, mit Ausnahme von der heutigen Notation entsprechenden Transkription (die Anwendung von Versetzungszeichen sowie der Ersatz von Bogen, die den Vorschlag mit der Hauptnote verbinden us w.) Auf die offensichtlichen Fehler wird in dem Kritischen Bericht hingewiesen. Die Bogen wurden dagegen auf Grund von eindeutigen analogen Stellen stillschweigend ersetz. Alle anderenZutaten stehen in eckigen Klammern. Der Basso continuo, der in de m Originalmanuskript durch Bezifferung gekennzeichnet wurde, wird hier in Kleinstich gebracht. Gyorgy Orban. $11.45 - See more - Buy online | | |
| Methode Complete (trombone-bass Solo) Bass Trombone Leduc, Alphonse
SKU: HL.48181907 Composed by Paul Bernard. Leduc. Classical. Softcover. 6...(+)
SKU: HL.48181907 Composed by Paul Bernard. Leduc. Classical. Softcover. 65 pages. Alphonse Leduc #AL21921. Published by Alphonse Leduc (HL.48181907). UPC: 888680848385. 9.0x12.0x0.388 inches. Written by Paul Bernard, Complete Method is a full method for Bass Trombone, Tuba, Bass and Counter-Bass Saxhorn. With comments in French, English, German and Italian, this method provides all the necessary information for beginner musicians to become the greatest players. It features a ?Preliminaries? section explaining the specificities of the instruments, and follows on with chapters on the placing of the sounds, the intervals, the major and minor scales, the articulations as well as some techniques for appoggiatura, trills, grupettos, nuances among many others subjects. This great method also includes some daily exercises, some great, technical or modern studies and introduces to the work in an orchestra. It is a definite must-have to become familiarised with all the techniques and eventually master them.. $66.40 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Shaker Gift Song Concert band [Score and Parts] - Easy Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert band. Suitable for middle school and high school bands. Grade 2. Conductor score and set of parts. Duration 2:15. Published by Manhattan Beach Music
$125.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Afstaedur, Edition Nr 18 Alfred Lengnick
Piano Trio SKU: HL.50514791 Composed by Thorarinsson. Lengnick Publishing...(+)
Piano Trio SKU: HL.50514791 Composed by Thorarinsson. Lengnick Publishing. Classical. Book Only. Alfred Lengnick & Co #AL5484. Published by Alfred Lengnick & Co (HL.50514791). $7.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Prophesies [Score and Parts] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score and Parts. Composed by Mohammed Fairouz. Sws. Score and parts. With Standard notation. 68 pages. Duration 25 minutes. Theodore Presser Company #114-41903. Published by Theodore Presser Company (PR.114419030). ISBN 9781491114124. UPC: 680160669851. 9 x 12 inches. A fascination with polycultural synergy between diverse literary textsdrives the inspiration for much of Mohammed Fairouz’s prodigiouscreative output, including instrumental music as well as vocal. Inhis profound and extensive essay preceding the score, Fairouz shedslight on how Edgar Allen Poe’s “Israfel” relates to the prophetsand prophesies of the Quran, Old Testament, and New Testament.The eight-movement quartet may be heard as a dramatic galleryof portraits and of story-telling, flourishing in a post-traditionallanguage that is at once vernacular and spiritual, Middle Easternand Western. The complete set of score and parts is included in thispublication. (See pages 2-3 of score for clear distinction of paragraphs, etc.)Prophesies, by Mohammed FairouzEdgar Allen Poe’s rendition of Israfel was the point of departure for the final movement of my previous stringquartet which is titled The Named Angels. At the opening of his poem, Poe evokes the Quran:“And the angel Israfel, whose heartstrings are a lute, and who has the sweetest voice of all God’s creatures.”This informs the first lines of the poem that, in turn, gave me the title for the final movement of The Named Angels,“Israfel’s Spell”:In Heaven a spirit doth dwell“Whose heartstrings are a lute”None sing so wildly wellAs the angel Israfel,And the giddy stars (so legends tell),Ceasing their hymns, attend the spellOf his voice, all mute.It is the end of that poem, however, that is the starting point for the current quartet, Prophesies, which concernsitself with mortal prophets rather than eternal Angelic spirits.If I could dwellWhere IsrafelHath dwelt, and he where I,He might not sing so wildly wellA mortal melody,While a bolder note than this might swellFrom my lyre within the sky.Islamic thought has asked us to look at the example of the prophets. That’s significant because of the fact thatJoseph and all the prophets were human beings with the flaws of human beings. No prophet was perfect, andIslamic tradition has never asked its followers to aspire to the example of the Angels, the perfected ones. Instead weare given the gift of our prophets. While The Named Angels drew on the motion and energy of everlasting spirits,Prophesies is a depiction of the movements within our own mortal coil.This quartet is a continuation of a long tradition of Muslim artists telling their stories and singing their songs.Many of these renditions are, in fact, figurative and (contrary to popular belief) the Quran contains no “Islamicedict” prohibiting figurative renditions of the figures described in the Old Testament, New Testament, or Quran.The majority of artists, however, have preferred eternal and abstract forms such as words and their calligraphicrepresentations, poems (Yusuf and Zuleikha or the Conference of Birds come immediately to mind), architecture,and many other non-figurative art forms to the representation of man. These cold, ancient, and everlasting shapesof unending time flourished, and the divine infinity of representing geometric forms gained favor over the placementof the explicit representation of mankind and our own likeness at the center of the universes.Adding the string quartet to these forms which express the recursive spheres of heavens and earth abstractly shouldexplain why I have chosen to render higher things through the use of music without the addition of words or anyother art-form. It is the abstract art of pure form, in which all is form and all is content, which compels me. Thisquartet should be seen as no more programmatic than the arches of the Great Mosque at Cordoba.The first movement, Yāqub (Jacob), is slow, quiet and prayerful. It evokes the patient sorrow of a slow choraledeveloping over time as it coaxes our pulse out of the ticking of a clock-like meter that defines our day-to-day livesand into a divine eternity.The second, Saleh, imagines the spirit of that desert-prophet through the use of a Liwa; the dance-sequence that hasbeen such a prevalent form of expression in the Arabian Peninsula for much of our recorded history.The third movement is titled Dawoōd, and it is emblematic of the beloved Prophet, King, and Psalmist, David.Though it has no lyrics, the movement functions as a dabkeh (an ancient dance native to the Levant) and also “sets”the opening of Psalm 100 (Make a joyful noise unto the Lord, all ye lands). This line is never set to music or sung inthe quartet but is evoked through the rhythmic shape of the violin part which imitates the phonology and rhythmof my speaking the opening line in the Hebrew and develops the contours of that line incessantly throughout themovement.3The fourth movement is an ode to Yousef (Joseph) and relates to the first movement in tempo and tone just as Josephrelates to Jacob, his father. Together, the first and fourth movements provide a sort of Lamentation and relief.Joseph had the appearance of a noble angel, but he was very much a human being. And the story of this particularprophet had tragic beginnings many years before he found himself in a position of power in Egypt. Back in his youth,still among the Israelites, Joseph experienced a series of revelations through his dreams that spoke of his impendingcareer in prophecy. He confided his dreams to his father, the Prophet Jacob, who told his son of the greatness thatawaited him in his future only to have his brothers throw him into a well and leave him for dead. Joseph eventuallyfound his way from Israel to Egypt and rose out of slavery into a position of power. Meanwhile, famine engulfs Israel.Forty years pass, and back in the land of Jacob and Rachel, of Joseph’s brothers and Abraham’s tribe, Israel wasnot spared the effects of the famine. They sorely lacked Joseph’s prophecy and his vision. The Qur’an then tells usthat Jacob, sensing Joseph, sends the other brothers to Egypt instructing them to come back with food and grain.Arriving in Egypt, they unwittingly appear before Joseph. They don’t recognize their little brother who has risen toa position of might, dressed in his Egyptian regalia. They ask for the food and the grain.After some conversation, Joseph is no longer able to contain his emotion. Overcome, he reveals himself to his nowterrified brothers. He embraces them. He asks them eagerly, “How is our father?” Joseph gives them the gift of thefood and the grain that they came in search of. He relieves them from hunger and alleviates their fear. He sendsthem back with proof that he is alive, and it is this joyful proof from the miraculous hands of a prophet that bringsback the ancient Jacob’s vision after 40 years of blindness.In this story, I am struck by the fact that Joseph may not have made the decision to forgive his brothers on thespot, but that something inside the prophet’s soul found forgiveness and peace for the brothers who had so gravelywronged him at some point along his journey. I would suspect this point to have been present at Joseph’s inception,even before he had ever been wronged.This is proof, if we needed it, that Joseph’s angel-like beauty was not only physical and external, but also internalas well: Joseph possessed a profound loveliness of spirit that bound his appearance and his soul. In Joseph, formand soul are one.Time is to musicians what light is to a painter. In this way, the story of Joseph also shows us that time can affectour perception of even the most tragic wounds. In fact, the most common Arabic word for “human being” is insaan,which shares its roots with the word insaa, “to forget.” While our ability to remember is essential to how we learnabout ourselves, our capacity to “forgive and forget” may also be one of our great gifts as human beings.The fifth movement follows my ode to Joseph with a structural memory of Mūsa (Moses). The movement consistsentirely of descending motifs which I constructed as an indication of Moses’ descending movement as he emergedto his people from the heights of Mt. Sinai. The music is constructed in five phrases which function as a formalreference to the five books of Moses, the Pentateuch. The movement is placed as the fifth of the quartet for the samereason.While Joseph is always evoked as supremely beautiful in the Books of Judaism, Christianity, and Islam, Suleiman(Solomon) is described as surpassing in his quicksilver intelligence. This movement is composed of a seven-partriddle which passes by in an instant but can be caught by the attentive listener. From Solomon, we work our wayback to Yishak (Isaac) in a seventh movement that evokes Isaac’s literal meaning in Arabic and Hebrew: laughter.The eighth and final movement of this quartet is named for the Patriarch of the entire Book: Ibrahim (Abraham). Itrelates to Isaac just as Joseph relates to Jacob; they are father and son. The lines are prayerful and contemplative;the form of the music evolves from a fugue joining together many different forms of prayer into a single tapestry ofcounterpoint, to the cyclical form of this entire quartet which is rendered through the motion of pilgrims circling theKaaba (cube) in Mecca — a structure which was built by Abraham for Hagaar and their son Ismail.These are just some of the figures that are cherished by all three of the Middle Eastern monotheisms (Judaism,Christianity, and Islam) that the Qur’an refers to collectively as Ahl Al-Kitab. This Arabic phrase is most commonlytranslated as “The People of the Book,” but here the most common translation is a flawed one: the Arabic word“ahl” means “family” and not just “people.” A better translation would be “Family of the Book.” Each of the eightmovements of Prophesies grows from a single musical cell.This quartet is a family album.—Mohammed Fairouz (2018. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Zwischenklänge for Organ Solo (2011) Organ Barenreiter
Organ SKU: BA.BA11045 Composed by Dominik Susteck. Edited by Zsigmond Sza...(+)
Organ SKU: BA.BA11045 Composed by Dominik Susteck. Edited by Zsigmond Szathmary. Stapled. Organova, Volume 10. Performance score. Composed 2011. 14 pages. Duration 10 minutes. Baerenreiter Verlag #BA11045_00. Published by Baerenreiter Verlag (BA.BA11045). ISBN 9790006543243. 30 x 23 cm inches. Language: German/English. Preface: Dominik Susteck. Thoughts on the composition “Zwischenklänge†with regard to the subject of “home and abroadâ€: - Music that never rests, that is in constant motion and mutation, its tones almost trembling, on the run, in constant tension. - Music that unfolds its beauty in the “in betweenâ€, in the appoggiatura, in the flash-like emergence and disappearance of harmonic colors. - Music as an evolvement of time, waiting, bustling, erupting, or withdrawing.
The composition “Zwischenklänge†was awarded tje 11th Composition Prize of Contemporary Sacred Music of the European Church Music Festival Schwäbisch Gmünd. – The premiere was given on 27 August 2012 by Roman Summereder (Vienna).
Listen to “Zwischenklänge†on Youtube
$31.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Abecedario Musical Music Theory Spanish Leduc, Alphonse
(Book) SKU: HL.14077424 Leduc. General Merchandise. Duration 240 seconds....(+)
(Book) SKU: HL.14077424 Leduc. General Merchandise. Duration 240 seconds. Alphonse Leduc #AL21693. Published by Alphonse Leduc (HL.14077424). $11.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Elementary Progressive Exercises, Op. 1 Voice solo Schirmer
Voice Technique. By Mathilde Marchesi. Vocal Method. Size 9x12 inches. 40 pages....(+)
Voice Technique. By Mathilde Marchesi. Vocal Method. Size 9x12 inches. 40 pages. Published by Schirmer.
$7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto In La Minore Cello, Piano EMB (Editio Musica Budapest)
Violoncello and Piano (Violin An Cello) SKU: HL.50511962 Per violoncel...(+)
Violoncello and Piano (Violin An Cello) SKU: HL.50511962 Per violoncello solo, con violini e basso continuo. Composed by Nicola Porpora. Baroque. EMB. Piano score. Editio Musica Budapest #Z12802. Published by Editio Musica Budapest (HL.50511962). ISBN 9790080128022. A/4 inches. Nicola Porpora; Gyorgy Orban; Arpad Pejtsik. The source of the present edition is preserved in the Archivio di Stato, Bologna. Editorial principles: In the score, the number of editorial interventions has been kept to a minimum. The original dynamic and expression markings are extremely few and far between, but precise. Only three dynamic levels are specified: forte, dolce ( = piano) and dolce assai ( = pianissimo). As regards expression markings we note the complete absence of the legato sign, though the appoggiatura, staccato, trill and two different types of bow-vibrato (both in association with dolce or dolce assai) can all be found. It is a well known fact that 18th century vibrato, obtained not by a movement of the left hand but rather by a variation in the pressure of the bow, was an expressive effect to be used with discretion and not, as today, a constant means of sound production. Territorial restrictions may apply. Please ask before ordering. $16.45 - See more - Buy online | | |
| Three Piano Concerto No. 2 in C, BWV 1064 Orchestra [Score] Lucks Music Library
Orchestra (str,3 pf soli) SKU: TM.00008SC Composed by Johann Sebastian Ba...(+)
Orchestra (str,3 pf soli) SKU: TM.00008SC Composed by Johann Sebastian Bach. Score. Lucks Music Library #A1236. Published by Lucks Music Library (TM.00008SC). Solos sold individually. Solo (no pf red.). $30.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Studies on Ornamentation for Trumpet Trumpet [Sheet music] Carl Fischer
By Sigmund Hering. Edited by Eric Chaiken; Thomas R. Erdmann. Text: Sigmund Heri...(+)
By Sigmund Hering. Edited by Eric Chaiken; Thomas R. Erdmann. Text: Sigmund Hering. For Trumpet. Soft Cover. 32 pages. Published by Carl Fischer.
$11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Piano Concerto No. 2 in C, BWV 1064 Orchestra Lucks Music Library
Orchestra (str,3 pf soli) SKU: TM.00008SET Composed by Johann Sebastian B...(+)
Orchestra (str,3 pf soli) SKU: TM.00008SET Composed by Johann Sebastian Bach. Set Type: D. Set of parts. Lucks Music Library #A1236. Published by Lucks Music Library (TM.00008SET). Solos sold individually. Solo (no pf red.). $60.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata per flauto e cZalo (pianoforte) Flute and Piano EMB (Editio Musica Budapest)
Flute and Piano SKU: BT.EMBZ8977 By Gyorgy Orban. By Johann Christian Bac...(+)
Flute and Piano SKU: BT.EMBZ8977 By Gyorgy Orban. By Johann Christian Bach. EMB Urtext. Book Only. Composed 1980. 20 pages. Editio Musica Budapest #EMBZ8977. Published by Editio Musica Budapest (BT.EMBZ8977). English-German-Hungarian. As sources for this present edition served the manuscript marked Mus. ms. Bach St. 296 held in the Staatsbibliothek Preussischer Kulturbesitz at Berlin. The original title reads: Sonata / a / Flauto Traverso / e / Cembalo Concertato / di / J. C. Bach. Our edition follows closely the manuscript except for the arrangement according to present-day notation (use of accidentals, the addition of slurs to tie the appoggiatura to the main note, etc.). Obvious errors are listed in the Critical Notes. Slurs have been but in square brackets. The basso continuo marked in the original by figuring is given here in small print. (György Orbán)
Als Quelle der vorliegenden Ausgabe wurde das in der Berliner Staatsbibliothek preussischer Kulturbesitz unter der Signatur Mus. ms. Bach st. 296 aufbewahrte Manuskript herangezogen. Der Titel lautet: Sonata / a / Flauto Traverso / e / Cembalo Conc ertato / di / J. C. Bach. Unsere Ausgabe folgt treu dem Manuskript, mit Ausnahme von der heutigen Notation entsprechenden Transkription (die Anwendung von Versetzungszeichen sowie der Ersatz von Bögen, die den Vorschlag mit der Hauptnote verbinden us w.) Auf die offensichtlichen Fehler wird in dem Kritischen Bericht hingewiesen. Die Bögen wurden dagegen auf Grund von eindeutigen analogen Stellen stillschweigend ersetz. Alle anderenZutaten stehen in eckigen Klammern. Der Basso continuo, der in de m Originalmanuskript durch Bezifferung gekennzeichnet wurde, wird hier in Kleinstich gebracht. György Orban. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| bel Canto [Score] Breitkopf & Härtel
Oboe(s) solo SKU: BR.EB-9240 For Solo Oboe. Composed by Jorg Birke...(+)
Oboe(s) solo SKU: BR.EB-9240 For Solo Oboe. Composed by Jorg Birkenkotter. Solo instruments; stapled. Edition Breitkopf. Solo concerto; Music post-1945; New music (post-2000). Score. Composed 2013/14. 16 pages. Duration 13'30. Breitkopf and Haertel #EB 9240. Published by Breitkopf and Haertel (BR.EB-9240). ISBN 9790004185407. 9 x 12 inches. Belcanto is a term for the Italian art of singing which took its development from the richly ornamented solo vocalism of the early 17th century (nobile maniera di cantare) and dominated European operatic singing until the first half of the 19th century. Complete control over the voice meant not only legato and messa di voce, but also appoggiatura and portamento, as well as virtuoso ornamentation by means of coloratura (canto fiorito). This development towards utmost virtuosity, emulating instrumental playing techniques, led to a mannered, artificial style on the one hand, but on the other also emphasized the physical aspects of interpretation (castrati were considered the ideal belcanto singers). And today? In his essay The Grain of the Voice, Roland Barthes writes: The grain is the body in the voice as it sings, the hand as it writes and the limb as it performs. Initially, he refers to the friction between language and voice in singing, but then transfers his thoughts to the physicality of instrumental music. In this spirit, I went in search of beautiful singing, a beauty which perhaps results in the very place where the grain, the roughness, meaning also physical resistance, are not smoothed over. The oboe seemed very suitable to me for singing with such a physical expressivity, as a very unruly instrument! The backbone of my piece is one single, quasi endless melodic line, consisting of intervals that are constantly pulled apart and contracted again (breathing). Many different actions attach themselves to these notes: coloratura, trills, chords (multiphonics), double flageolets. However, there are not only sound types, but also impulses, repetitions, rhythmic figures and other elements: composed elements of belcanto. In the opera tradition described above, these were improvised ornaments or additions; here they become composed figures which originate with the notes of the melody, but also pull on them, bend them, and charge them with physicality. (Jorg Birkenkotter). $36.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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