SKU: LO.AC1013
ISBN 9781429102278.
• Activate your students to love music, learn by doing, and be excited about education with these collections. Featuring songs, lessons, and reproducible activities by leading music experts, Activate! is an all-you-need resource for the K–6 classroom teacher. Cross-curricular opportunities are frequently provided and the National Standards for Music Education are always referenced!
SKU: PR.41641531L
UPC: 680160625949.
Far from Home is originally for solo cello based on my exploration of the use of Western instrumental and compositional techniques to express the emotional and cultural characteristics of Thai traditional music. This piece contains both lyrical and virtuosic passages that derived from the traditional Thai fiddle playing and Krao-nai style, which is considered to be among the most demanding styles for solo instruments. Although the musical expression and techniques used in this piece are somewhat different from the traditional Krao-nai style, it still convey the emotions and cultural references of that style. Far from Home was graciously commissioned by the Thailand Philharmonic Orchestra with the generous support of Dr. Sugree Charoensook. It was given its first performance by Thai cellist Tapalin Charoensook, the Thailand Philharmonic Orchestra, and Maestro Alfonso Scarano conducting, on August 22-23, 2014, at Mahidol University, Bangkok, Thailand.Far from Home is originally for solo cello based on my exploration of the use of Western instrumental and compositional techniques to express the emotional and cultural characteristics of Thai traditional music. This piece contains both lyrical and virtuosic passages that derived from the traditional Thai fiddle playing and Krao-nai style, which is considered to be among the most demanding styles for solo instruments. Although the musical expression and techniques used in this piece are somewhat different from the traditional Krao-nai style, it still convey the emotions and cultural references of that style.Far from Home was graciously commissioned by the Thailand Philharmonic Orchestra with the generous support of Dr. Sugree Charoensook. It was given its first performance by Thai cellist Tapalin Charoensook, the Thailand Philharmonic Orchestra, and Maestro Alfonso Scarano conducting, on August 22-23, 2014, at Mahidol University,Bangkok, Thailand.
SKU: HG.GH-11775
ISBN 9790202825105.
Howard Griffiths hat ein spannendes, musikalisches Marchen zum Anschauen und Anhoren geschrieben: Katzenmusik, eine Mause-Band und ein Orchester mit einem Maestro und einer echten, Geige-spielenden Hexe! Dazu noch ein bis zwei Zaubermelodien und nicht zu vergessen: ein Waldgeist. Ein finsterer Waldgeist mit einem Herzen aus Stein... - fertig ist die schaurig-musikalische Geschichte von den Orchestermausen. Illustriert wurde das Buch von Karin Hellert-Knappe. Altersempfehlung: ab 5 Jahren Auf der beiliegenden CD erzahlt Carmen-Maja Antoni die Geschichte von den Orchestermausen. Das Brandenburgische Staatsorchester Frankfurt unter der Leitung von Howard Griffiths spielt die Musik von Fabian Kunzli. (Laufzeit: 41:03 Min.) Die CD ist auch einzeln erhaltlich (PSD 250091). Wer Freude an dem erfolgreichen Debut `Die Hexe und der Maestro`von Howard Griffiths hatte, fur den gehoren `Die Orchestermause`zum Pflichtprogramm. Doch auch alle anderen kleinen und grossen Zuhorer werden an dieser fantasievollen Geschichte des Generalmusikdirektors des Brandenburgischen Staatsorchesters Spass haben. (...) Fazit: Ein Buch, das immer wieder Spass am Entdecken macht und ein Horspiel, das zum Traumen einladt. (Susanne Engelbach, Pamina, 33/16) Es ist eine witzige Geschichte um Mause, Katzen und Musik, in Klang gesetzt vom jungen Komponisten Fabian Kunzli, illustriert von einer jungen deutschen Buchkunstlerin, Karin Hellert-Knappe. (...) Da trifft die bunte, etwas anarchistische Mauseschar auf ein richtiges Symphonieorchester. (...) Dieses Orchester probt tagsuber und raubt den Mausen den Schlaf. Und die klauen dem Orchester die Musik - also die Tone, die Vorzeichen, die Verzierungen, so dass das Orchester vor leeren Notenlinien steht. (Annelis Berger, SRF 2, Musikmagazin 27/2/16) Howard Griffiths fuhrt die Kinder mit marchenhafter Leichtigkeit in die Welt der Musik ein. (...) Die fantasievolle Musik, die Fabian Kunzli eigens dafur komponiert hat, wird vom Brandenburgischen Staatsorchester Frankfurt unter seinem Chefdirigenten Griffiths mit viel musikalischem Spielwitz dargeboten. (IrRne Maier, Radio Swiss Classic, Webseite, 12/2015) Wie sehr die Ausrichtung auf die junge und somit sehr bestimmte Leserschaft gelingt, wird besonders deutlich, wenn man Buch und CD im Zusammenspiel betrachtet. Mit einem klangstarken Intro des Brandenburgischen Staatsorchesters Frankfurt (Oder) unter der Leitung von Griffiths selbst beginnt die CD, die mit der emotional starken Musik von Fabian Kunzli zusammen mit Carmen-Maja Antonis faszinierender Ezahlweise auch eigenstandig als Horbuch gut funktioniert. Mit dem Gesamtensemble aus Geschichte, Musik und nicht zuletzt den charmanten, klaren Illustrationen von Karin Hellert-Knappe lasst sich die Fantasie anregend geniessen. (Judith Ph. Franke, Das Orchester 02/2017).
SKU: BT.EMBZ14768
Not many people know that Franz Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and that these versions of the works appeared in print during the maestro's lifetime. Ãrpád Pejtsik selected two of these for this volume compiled to mark Liszt's jubilee: Elegies I and II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour (pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt the cello version, transposed into G major, of the E Major Consolation is by Jules de Swert, solo cellist in the Weimar orchestraof those days that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage ) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20th century. The Valse oubliée No. 1 was transcribed by Liszt s virtuoso piano pupil Ferruccio Busoni Notturno, which became famous as the third piece in the Liebesträume series, is a transposed version of the original song ( O lieb, so lang du lieben kannst ) made by the editor of this volume. Not many people know that Ferenc Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and this version of the works appeared in print during the maestro's lifetime. Ãrpád Pejtsik selected two of these forthis volume compiled to mark Liszt's jubilee: Elegy I and Elegy II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour(pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt; the cello version, transposed into G major, of the E major Consolation is by Jules de Swert, solo cellistin the Weimar orchestra of those days; that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20thcentury.Nur Wenigen ist bekannt, dass Liszt einige seiner Klavierstücke auch für Violoncello mit Klavierbegleitung bearbeitet hatte, und dass diese Version der Werke noch zu Lebzeiten des Komponisten in Druck erschien. In diesem Band nahm Ãrpád Pejtsik zwei dieser Stücke, die I. und II. Elegie auf. Die anderen Liszt-Kompositionen in der Sammlung sind auch ursprünglich Klavierwerke: der Bearbeiter ist beim Ave Maria und Cantique d'amour (Stücke aus dem Zyklus Harmonies poétiques et religieuses) der Liszt-Schüler Robert Pflughaupt. Von Jules de Swert, der damals Solocellist des Weimarer Orchesters war, wurde die in G-Dur transponierte Violoncelloversion der E-Dur Consolation, und vonLothar Windsperger, dem an der Wende zum 20. Jahrhundert lebenden deutschen Komponisten, das Angelus (das Eröffnungsstück des III. Bandes des Zyklus Pilgerjahre) bearbeitet.
SKU: ML.013313060-S
As a young man, Andrew Pearce had fond memories of playing cornet in the local Youth Brass Band, where he first experienced the power and beauty of brass music. After completing 'The Maestro' concertino for Philip Cobb, he decided to write a more gentle and lyrical piece for him, which paid homage to his musical roots in the Salvation Army. 'Interlude' is ideal for a proficient solo cornet player in any brass band: tuneful, reflective and elegiac with lots of expression.Andrew Pearce heeft goede herinneringen aan zijn jeugd bij de lokale Brass Band waar hij zijn eerste positieve muzikale ervaringen had. Na zijn compositie 'The Maestro' voor Philip Cobb besloot hij een meer warm en gedragen stuk voor hem te schrijven wat een homage is geworden aan het orkest van Het Leger des Heils waar hij vroeger in speelde. Interlude is perfect voor een bedreven solocornet, melodieus, reflecterend en elegisch met veel expressie.
SKU: UT.CH-191
ISBN 9790215322295. 9 x 12 inches.
Davide Anzaghi: SegovianaAndrea Cappelli: Corpo e animaFabio Luppi: Rondò delle quarteGian Paolo Luppi: Bagatelle per Andrés SegoviaMarco Reghezza: Fughetta sulle corde vuoteAlessandro Spazzoli: Preludio CoraleRoberto Tagliamacco: Homenaje a SegoviaPaolo Ugoletti: Omaggio a SegoviaOne outstanding feature of Andrés Segoviaâ??s artistic activity was the systematic way in which he commissioned new works from leading composers who were not guitarists. This highly original initiative proved to have historic consequences for the emancipation of the guitar from the rather provincial milieu of aficionados in which it was confined, enabling it to emerge as a major protagonist in its own right on the international music scene.To mark the 25th anniversary of his passing (1987-2012) I asked some composers to write a piece paying tribute to Andrés Segovia. Most responded with enthusiasm and I was able to perform their tributes to Segovia in the concerts honouring the memory of the Maestro I held in 2012 â?? in venues including the Ravenna Festival, the Ateneo in Madrid, the Royal Academy of Music, London, and the Meeting in Rimini, as well as many others. In my turn I dedicate this volume, containing a selection of these pieces, to the memory of the Maestro.The volume is undoubtedly enhanced by the inclusion of two further tributes to Segovia, both produced to accompany concerts I gave in 2012: a poem by Davide Rondoni and a portrait of Segovia by Roberto Casadio.(Piero Bonaguri).
SKU: SS.50600030
Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor. First performed in 2006. Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet - and bass clarinetists - to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things - he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me - I'm much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment - that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piu mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist's gentle cajoling and supportive commentary, the strings accompany - with pleasure, you might say - the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist's substratum A, accompanied quietly by the strings.
SKU: BT.ERBA-10017
SKU: BT.ERBA-13259
SKU: BT.ERBA-9211
SKU: BO.B.1665
SKU: LM.C06328CD1
SKU: BT.FORFBR01
ISBN 9780951479513. English.
SKU: BT.MUSMS0353
Spanish.
Con no menos de 50 solos de guitarra 100% Blues a la manera de los mayores bluesmen de ayer y de hoy (Eric Clapton, Buddy Guy, Joe Bonamassa, Chris Duarte, B.B. King, Albert King, Stevie Ray Vaughan, Otis Rush, Muddy Waters,Buddy Guy...), nuestro método le va a encantar, pero no se trata sólo de eso... En efecto, además del gusto que le procurará tocarlos, dichos solos le permitirán descubrir muchos clichés estilo Blues... que podrá integrarfácilmente en sus propios solos.
Y nada mejor que inspirarse en los grandes maestros del estilo. El hilo conductor es el Blues pero estos solos son muy variados. Ternarios sobre todo, pero a veces binarios. Elaborados enelfamoso «12 bar blues» pero no solamente. En unos aires lentos, estilo Slow Blues, o más enérgicos. En todas las tonalidades y con todo tipo de inspiraciones.
El DVD v deo permite o r y visualizar el conjunto de los 50solos pormenorizados, a velocidad normal y luego lenta, brindándole as la posibilidad de elegir los buenos ademanes las buenas digitaciones y tocar r tmicamente «a compás». El CD mp3 por su parte, abarca el mismo número deplaybacks que de solos. O sea 50 playbacks tocados en dos aires diferentes: el aire deseado (velocidad real) y el aire de trabajo (lento). Son de larga duración (4 o 5 minutos cada uno, o sea ¡más de 7 horas de música en total!)para darle el tiempo de trabajar en las mejores condiciones posibles.
SKU: BT.ERBA-13255
SKU: BT.VOLMB60
ISBN 9788863880588. Spanish.
This book is excellent for guitarists with a base in Guitar blues ready to step up a rung. It includes techniques in blues and phrasing, R&B and funk, discords, extensions, substitute chords and more. You will begin with aquick revision of the basic materials and finish with the 'Lick of the Masters'.
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