SKU: HL.48030621
UPC: 884088937829.
SKU: HL.48180328
UPC: 888680796341. 9x12 inches.
Written by the French flautist and composer Marcel Moyse and published in 1927, Technique – Chromaticism proposes a method to work on technique and chromaticism. Created for the use of advanced flautists, the exercises should help players to gain clarity and sonority. Considered as a maestro by some musicians, Marcel Moyse has composed many flute methods and exercise books also published by Alphonse Leduc, such as Scales and Arpeggios (1933), Daily Exercises (1922) and On Sonority (1934). His methods are widely used and recognised worldwide.
SKU: CA.3500809
ISBN 9790007212988. Text language: Latin.
Johann Sebastian Bach was able to appreciate good works by other composers, as is shown by contemporary accounts, and by a glimpse into what remains of his music library. Francesco Durante, maestro di cappella in Naples, was known in his time as an accomplished composer, who in his sacred works sought to achieve accommodation between the strict stile antico and the stile moderno of concert music at that time. This combination distinguishes his Mass in C minor, and it may have been what awakened Johann Sebastian Bach's interest in this work. He copied it about 1730, not merely for study purposes but in order to perform it, as is indicated by various alterations which he made to the composition. Bach replaced the Christe by a composition of his own, and for the Kyrie II he used Durante's music for the Gloria, making the alterations required by the different words. A worthwhile discovery! Score and parts available separately - see item CA.3500800.
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: XC.MCB2302FS
This charming composition features a rhythmic dance in 3/2 time, a playful tune in ¾ time and a heartfelt lyrical interlude in 4/4 time. These three themes seamlessly flow into each other to create a tapestry of contrasting styles and emotions.
SKU: BT.DHP-1175789-140
English-German-French-Dutch.
Glorioso was commissioned by, and is dedicated to, the ‘Siena Wind Orchestra’. The work opens after a short aleatoric intro, with an energetic and brassy ‘one tone fanfare’. The note F acts as an omnipresent note, and is also used as a bridge into the second, rather static movement. A noble sounding theme leads to an impressive climax, shortly followed by the spectacular and virtuoso finale, which is built on the musical elements that have been heard before. Stylistically, this sparkling finale is clearly influenced by Dmitri Shostakovich, hence the use of the famous signature used by the Russian Master: C D E flat B (or C flat). A glorious finish to a special workthat highlights various facets of the modern concert band. Glorioso werd geschreven in opdracht van en is opgedragen aan het Japanse Siena Wind Orchestra. Het werk opent na een korte aleatorische intro met een energieke ‘one tone fanfare’, waarin voornamelijk het koper aan zet is. De noot F, als een pedaaltoon alomtegenwoordig, blijft nog even klinken in het aansluitende langzame deel. Na een nobel thema volgt de spectaculaire en virtuoze finale, die voortbouwt op de muzikale componenten die al eerder te horen waren. Stilistisch is in deze wervelende finale onmiskenbaar de invloed van Dmitri Sjostakovitsj aanwezig, het hoofdmotief is tot C D Eb B (of Cb) getransformeerd: het anagram dat de Russische meester vaak als muzikalehandtekening heeft gebruikt. Een glorieus slot aan een bijzonder werk dat diverse facetten van het moderne harmonieorkest aan bod laat komen. Glorioso wurde vom Siena Wind Orchestra in Auftrag gegeben und ist diesem gewidmet. Das Werk beginnt nach einer kurzen, aleatorischen Einleitung mit einer schwungvollen Blechbläser-Fanfare auf nur einem Ton. Dabei ist der Ton F allgegenwärtig und leitet in den langsamen, eher statischen Satz über. Nachdem das nobel klingende Thema zu einem beeindruckenden Höhepunkt geführt hat, setzt sich das fantastische und virtuose Finale aus den zuvor erklungenen Elementen zusammen. Stilistisch ist dieses schwungvolle Finale deutlich von Dmitri Schostakowitsch beeinflusst, daher wird die berühmte musikalische Unterschrift des russischen Meisters verwendet, die dieser oftbenutzte: C D Es H (oder Ces). Ein eindrucksvolles Ende eines besonderen Werkes, das verschiedene Facetten des modernen Blasorchesters hervorhebt. Glorioso est une commande du, et dédicacée au ‘Siena Wind Orchestra’. L’œuvre commence après une courte introduction aléatoire qui comprend une fanfare énergique et cuivrée « sur une note », puisque la note fa est omniprésente et est utilisée comme pont dans le deuxième mouvement plutôt statique. Un thème noble mène vers une apogée impressionnante et le final spectaculaire et virtuose se compose d’éléments musicaux entendus plus tôt. Le style de ce final bouillonnant est évidemment influencé par Dmitri Chostakovitch, ce qui explique l’usage de sa célèbre signature fréquemment utilisée : do ré mi bémol si (ou do bémol). Une fin glorieuse d’uneœuvre spéciale qui met en scène les nombreuses facettes d’un orchestre d’harmonie moderne. Glorioso è stato commissionatodalla Siena Wind Orchestra, ed è a loro dedicato. Il lavoro si apre dopo una breve introduzione aleatoria, con una fanfara energica e dai suoni simili agli ottoni. La nota Fa agisce come una nota onnipresente, ed è anche usata come un ponte nel secondo movimento piuttosto statico. Un tema sonoro nobile porta ad un climax impressionante, seguito a breve distanza dal finale spettacolare e virtuoso, che è costruito sugli elementi musicali che sono stati ascoltati precedentemente. Stilisticamente, questo frizzante finale è chiaramente influenzato da Dmitri Shostakovich, da qui l'uso della famosa firma usata dal Maestro russo: Do Re Mib Si (oDob). Un finale glorioso per un'opera speciale che mette in risalto varie sfaccettature della banda moderna.
SKU: AP.EMC4001VID
ISBN 9780757915215. UPC: 654979065739. English.
The Music Expressions Grade 4 DVD and VHS videos provide a multimedia tool with additional instructional material and student assessment support. The content of the DVD and VHS formats is identical. These interactive videos feature Mr. Art and lively puppets including Maestro, Largo the Snail, and Cadenza the Cat. Guest instrumentalists demonstrate proper form and technique with a variety of instruments.
SKU: BT.DHP-0950641-130
Inspired by the music of legendary Italian composer, Ennio Morricone, A Morricone Portrait is a skilfully arranged piece from Roland Kernen containing some of Morricone’s most beautiful melodies. Songs include: My Name Is Nobody, Metello and Here’s to You. These familiar songs will be well received by any audience! De indrukwekkende muziek van de Italiaanse componist Ennio Morricone inspireerde Roland Kernen tot een prachtig arrangement. A Morricone Potrait bevat de prachtige melodieën uit My Name Is Nobody, Metello en Here’s to You. Bekendemuziek die vast en zeker ook bij uw publiek in de smaak zal vallen!Die eindrucksvolle Musik des italienischen Komponisten Ennio Morricone inspirierte Roland Kernen zu dieser Bearbeitung, die einige von Morricones schönsten Melodien enthält. Bekannte Musik, die jedem Publikum gefällt! Né en 1928 Rome, Ennio Morricone a donné la musique de film ses lettres de noblesse. Il collabore dans les années 60 avec Sergio Leone et ses compositions pour les westerns italiens feront sa gloire. De très grands chefs-d’œuvre comme Il était une fois dans l’Ouest ou Il était une fois la révolution lui ont permis de se faire connaître auprès d’un large public et de composer les bandes sonores de films de grands réalisateurs tels que Pasolini, Bertolucci, Brian de Palma (Les incorruptibles, Mission to Mars) et Roland Joffe (Mission, Vatel). Ennio Morricone est l’auteur de plus de 200 musiques de film. A Morricone Portrait rassemble trois mélodies de ce grandcompositeur italien : My name is nobody (Mon nom est personne) - Metello et Here’s to you (La ballade de Sacco et Vanzetti). Affascinato dalla splendida musica del grande Ennio Morricone, Roland Kernen ha voluto arrangiare per banda tre successi del Maestro: My Name Is Nobody, Metello e Here’s to You.
SKU: GI.G-9986
Affectionately known as “Tommie†and referred to as the “Maestro†by gospel music professionals, Thomas Whitfield should be considered the Dean of Contemporary Gospel Music. Whitfield’s work with his ensemble, The Thomas Whitfield Company, set a standard for contemporary gospel choral singing. His revelatory blending of gospel, jazz, and classicism explored previously uncharted territory in gospel music. As the “Master Producer,†he provided the foundation for studio production standards within the genre while elevating the careers of some of gospel music’s most beloved voices, including Vanessa Bell Armstrong and Yolanda Adams. His sudden passing in 1992 proved a tragic blow to the gospel music community. However, he left an indelible mark on the industry, and his distinctive sound is heard in all of gospel music today. The songs included in this set represent but a brief overview of his musical legacy…just in case you’ve forgotten. Contents: Look and Live (G-9706) • Blessed Be the Ties (G-9929) • With My Whole Heart (G-9177) • I Shall Wear a Crown (G-9350) • Walk in the Light (G-9349) • Gos Is on Our Side (G-9571) • When I'm Weak, I'm Strong (G-9570) • Just in Case You've Forgotten (G-9962) • Only a Look (G-9961) • Down at the Cross (G-9772).
SKU: KN.61583S
UPC: 822795615838.
This relaxed swinger for advancing groups is in the style of many Count Basie/Sammy Sammy Nestico charts. Written in memory of legendary Hall High School jazz band director BillaEUR^Stanley (West Hartford CT). Written or ad lib solos are assigned to 1st Alto Sax and 1st Trombone. A guitar chord chart by Jim Greeson is included in each set. Duration 5:20.
SKU: HH.HH220-FSP
ISBN 9790708059288.
These two sonatas/sinfonias survive in Durham Cathedral Library as part of a collection of numerous late 17th and early 18th century Italian instrumental compositions which contain a substantial amount of music by other composers with Mantuan connections, Tomaso Albinoni and Marc’Antonio Ziani. MS M.175 contains a score of these works whilst MS M.193 holds a set of parts, although sadly the tenor viola part is missing. The parts, which are in the north European portrait format, were probably copied from the scores which are in the Italian oblong format and in a different hand. The scores possibly hail from a source close to the composer judging from the high degree of accuracy on behalf of the copyist and also due to the biographical information contained therein; the work in A minor records the date of 1697 and his post at the Mantuan court – Maestro di Cappella di S.A.S. di Mantova, whilst the work in C is inscribed Fatta per la Signora Cati, probably alluding to one of the ladies of the court.
SKU: CU.EC11040
ISBN 9790215901100.
SKU: BT.DHP-0970960-120
Don’t Cry for me Argentina is the best-known song from the 1976 musical Evita. It was sung by Eva Peron when she was addressing the crowds amassed in the square below her balcony. More recently it was a hit for Madonna, who sang it in the 1996 film version of Evita. This arrangement retains the broad emotive melody of the original together with its intense emotion. Julie Covington maakte dit lied uit de musical Evita in 1976 onsterfelijk. Twintig jaar later werd de versie van Madonna, die de hoofdrol speelde in de fraaie verfilming, een hit. De musical over Eva Perón, echtgenote van deArgentijnse president Juan Perón, blijft tot de verbeelding spreken. In 2008 gaat er een Nederlandse versie in première. Velen bekeken het voorafgaande televisieprogramma Op zoek naar Evita. Met Don’t Cry for Me Argentina>/I>brengt u zowel een tijdloze, ontroerende melodie als een actuele hit.Die Sängerin Julie Covington machte dieses Lied aus dem Musical Evita von Andrew Lloyd Webber und Tim Rice unsterblich. Zuletzt feierte Madonna sowohl mit dem Lied als auch in der Rolle der Evita Peron einen Riesenerfolg. Ebenso anrührend und stimmungsvoll wie die Geschichte des Musicals ist die Bearbeitung für Fanfareorchester von Ron Sebregts! Cette chanson, interprétée par Madonna dans l’adaptation cinématographique d’Alan Parker, est extraite de la comédie musicale Evita, écrite par le maître et inventeur de l’opéra-rock Sir Andrew Lloyd Webber. Evita retrace le destin exceptionnel d’Eva Peron, première dame d’Argentine. Elle a incarné l’espoir de tout un peuple et fut le guide spirituel de l’Argentine des années 40. Questa canzone, interpretata da Madonna nella versione cinematografica diretta da Alan Parker, è estratta dalla commedia musicale Evita, scritta dal maestro e inventore dell’opera-rock Sir Andrew Lloyd Webber. Evita riprende il destino di Eva Peron che ha incarnato la speranza di un intero popolo e che fu la guida spirituale dell’Argentina degli anni ’40.
SKU: HL.14046100
ISBN 9788438712535. Spanish.
Nueva edicion de la coleccion Lenguaje Musical de Felix Sierra que abarca los 4 cursos de Grado Elemental y 2 de Grado Medio. Cada curso consta de dos volumenes: A y B. En esta nueva edicion se han ampliado el numero de ejercicios dedicados, tanto ala formacion ritmica y de lectura de notas-escasa en la edicion original-, como a la entonacion de melodias. Los ejercicios de entonacion incluyen un sencillo acompanamiento pianistico, con el que se pretende un triple objetivo: facilitar su estudioestabilizando la afinacion, ayudar a la interiorizacion de las funciones armonicas y aproximarlos a esa musica que, como se ha dicho con fina ironia, tambien existe fuera de los conservatorios. No se trata, con ellos, de descifrar una partitura. Apesar de lo limitado de los medios empleados, se puede -y se debe- realizar con estas piezas en miniatura una labor artistica. El CD que se incluye con el libro, aunque nunca puede suplir al profesor, si que, al menos en parte, cumple esta funcion.Otra novedad la constituye la inclusion del arreglo para instrumentos escolares de una de las canciones con que se inicia cada unidad didactica, canciones que siguen siendo la materia principal que se desarrolla en el resto de la unidad. Canciones ymelodias a una y dos voces con acompanamiento de piano, ejercicios de ritmo y lectura de notas, percusion corporal, pequenas obras escritas para instrumentos de laminas, nociones de teoria, juegos musicales, practica de la improvisacion y la creacionmusical... y todo ello con un riguroso planteamiento didactico en el que la armonia es el eje vertebrador de todas las actividades que se proponen. Ayudar a descubrir el apasionante mundo musical debe de ser, a juicio del autor, la tarea principal delmaestro de musica. Esperamos con estos libros, favorecer esta dificil labor. Lenguaje Musical, Lecciones De Entonacion y Educacion Audivita son las colecciones de Felix Sierra que contemplan la ensenanza del lenguaje musical. En un ambito de decima(LA a DO) y tratando de que se interiorice la modalidad, se trabajan en este cuaderno las tonalidades de DO, mayor y menor y LA, menor y mayor. Ademas de las figuras presentadas en el cuaderno anterior, en este se incluyen la semicorchea y lasincopa, el compas de seis por ocho, la clave de FA y se sigue trabajando con las funciones armonicas basicas: tonica, dominante y subdominante.
SKU: BT.PS2401
Italian.
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