SKU: GI.G-1109

SKU: UT.DM-8

ISBN 9790215300477. 9 x 12 inches.

Musicologo e musicista hanno rappresentato, in questi ultimi decenni, due entita distinte. Il musicologo e quasi sempre uno studioso di preparazione o di inclinazione piu teorica che pratica e che possiede conoscenze scientifiche e letterarie di gran lunga superiori a quelle musicali pratiche. Il musicologo e stato ed e tuttora di grande aiuto al musicista pratico nel suo rendere nota una grande mole di documenti riguardanti la prassi esecutiva delle epoche passate, in particolare del Rinascimento e del Barocco. Cio nonostante, sembra quasi che il musicologo e il musicista pratico lavorino su due piani paralleli destinati a non incontrarsi mai: da un lato la musicologia spesso dimostra di essere fine a se stessa o comunque non destinata a scopi immediatamente pratici, dall'altro il musicista e di solito abbastanza recalcitrante nell'apprendere tecniche esecutive diverse da quelle imparate in conservatorio.
Come risolvere questo problema? Qualcuno lo ha gia fatto fondendo nella stessa persona le due specialita: questo sembra difficile - e forse lo e - ma probabilmente e l'unica soluzione pos- sibile per lo sviluppo futuro della prassi esecutiva della musica antica. Qualcuno potrebbe obiettare che anche nell'antichita convivevano 'musici teorici' e 'musici pratici', ma questi ultimi era- no certamente preparati sia negli aspetti che oggi consideriamo attinenti la musicologia sia in quelli puramente pratici, cioe riguardanti la tecnica vocale e strumentale. Inoltre, gli antichi musici teorici avevano ben poco in comune con i moderni musicologi: essi appartenevano ad una speciale categoria di scienziati-filosofi, indagatori di speculazioni teoriche e matematiche nonche astrologiche e cabalistiche, tesi a investigare i segreti piu occulti in relazione con la musica.
E quindi auspicabile che il musicista moderno approfondisca la sua conoscenza della prassi esecutiva della musica antica per poterla eseguire rispettandone la vera natura. Il presente studio, gia in uso nella classe di Flauto Dolce del Conservatorio <> di Bologna, rappresenta un utile supporto per giungere a questo scopo. Il contenuto delle varie sezioni e sintetico, ma, crediamo, esauriente e comprensibile a tutti coloro che desiderano elevare il proprio livello di conoscenza nel campo della musica antica o che, piu semplicemente, necessitano di un'agevole guida che permetta di risolvere rapidamente eventuali dubbi di carattere storico e pratico.
(G. Pacchioni).

SKU: GI.G-7651

UPC: 785147765196.

This well-known and frequently performed carol is scored for brass. After a unique 16-measure intro, the first time through is very close to the choral version. The second and third repetitiona contain enough variation to keep things interesting. Probably equally as enjoyable in this version as when sung. For this arrangement, substituting the French horn for trombone I might be the preferred choice. The tuba is entirely optional. .

SKU: GI.G-7648

UPC: 785147764892.

A wonderful, fairly brief arrangement, full of interesting twists. Gets the most out of the brass players-that is to say, it's a bit challenging, but the reward is worth the effort. Fine with or without tuba. Horn in F can be substituted for Trombone I.

SKU: DY.DO-1522

ISBN 9782897963026.

Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

SKU: GI.G-012697

UPC: 641151126975. Spanish.

Estos paquetes presentan la lectura de la Pasión en un formato para que fácilmente pueda proclamarse, la cual corresponde a la lectura de la Pasión que está en el leccionario y en los misales como el de ¡Celebremos!/Let Us Celebrate! Cada paquete contiene tres ejemplares de la lectura de la Pasión para cada Evangelio: Una parte para el narrador, una parte para el lector, una parte para Jesús. Cada parte tiene el tamaño de la letra en 14 puntos y negrita en aquellas línea que le corresponde. Las hojas son tamaño carta, 8.5” x 11” y tienen 3 perforaciones para que se pongan en una carpeta, como la carpeta ceremonial. This Spanish-language Passion are similar in content to its English-language counterpart. The Gospel Passion account is presented in a dignified, easy-to-proclaim format that corresponds exactly to the Passion readings found in the Mexican lectionary (as approved for use in worship in the United States) and in seasonal worship aids and missals like WLP‚ ¡Celebremos/Let Us Celebrate!. No longer must lectors and presiders use pew editions of missals and worship aids for such a solemn and important Gospel proclamation! Each packet contains 3 complete sets of the Passion account for the Gospel of Mark: one set for the part of the Narrator, one set for the part of the Speaker‚ one set for the part of Jesus. Each reader's part is set in large, 14-point, bold-faced type arranged in sense lines in their set, making it easy to find and proclaim effectively. The packets measure a standard 8.5 x 11 and are 3-hole-punched for easy insertion into a WLP ceremonial binder. In each packet, you'll also find a list of appropriate music suggestions and a copy of Del Årbol de la Cruz by Eduardo Rivera, a newly composed musical refrain with guitar chords and piano accompaniment, for use with during Lenten services. A reproducible assembly box for this refrain is also included.

SKU: GI.G-8809

UPC: 785147880905. English. Text Source: Excerpts from the Preface of Byrd's anthology, Psalms, Sonets, and Songs of Sadnes and Pietie, 1588 Text by William Byrd. Scripture: Psalm 150:6.