Tuba

SKU: HL.841331

Book/Online Audio. Edited by Linda Rutherford. Master Solos. Technique, Classical and Play Along. Softcover Audio Online. With introductory text, instructional text, illustrations, fingering chart, musical examples, solo parts, piano accompaniment and accompaniment CD. 32 pages. Published by Hal Leonard (HL.841331).

ISBN 9780793595556. UPC: 073999593716. 9x12 inches. Book/Online Audio.

Master Solos book/online audio packs are a fresh source of solo literature in a comprehensive package for developing instrumentalists. The collections for the various instruments were personally selected and performed by world-famous performing artists and educators (see below), and each features a specially prepared lesson. Every Master Solos pack includes 8 selections by renowned composers â?? different for each instrument â?? and a piano accompaniment book. The accompanying audio is uniquely designed to serve in practice and performance situations, and offer immeasurable benefits for the intermediate soloist and for the instrumental instructor. The first track features the solo performance with piano accompaniment providing tempo and musical style, and the second track is the piano accompaniment only, designed for rehearsal. The recorded accompaniment can also be used in performances. Flute by Gary Sigurdson, Oboe by Don Jaeger, Bassoon by Leonard Sharrow, Bb Clarinet by Ramon Kireilis, Eb Alto Saxophone by Larry Teal, Bb Trumpet/Cornet by Robert Getchell, Horn by Louis Stout, Trombone by Buddy Baker, Baritone Horn by Larry Campbell, Tuba by Daniel Perantoni, Percussion by Peter Magadini. All books edited by Linda Rutherford. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Schirmer's Library of Musical Classics, Vol. 2139. Composed by Various. Piano. Classical. Softcover. 386 pages. G. Schirmer #LIB 2139. Published by G. Schirmer

Romantic Piano Repertoire, Level 1 (Original Piano Masterworks (Early to Late Intermediate, Grade 4-6)). Edited by Stephen Coombs. For solo piano. Book; Graded Standard Repertoire; Masterworks; Piano Collection. Faber Edition: Trinity Repertoire Library. Romantic. Early Intermediate; Intermediate; Late Intermediate. Published by Faber Music (AP.12-0571529054).

Piano Solo - SMP Level 3 (Early Intermediate) SKU: BU.EBRA041 Composed by Johann Sebastian Bach. This edition: French Edition. Classique. Anacrouse. Partition Biographie Notes sur l'oeuvre. Score. Editions Bourges #EBRA041. Published by Editions Bourges (BU.EBRA041). ISBN 9790560151120. 8.58 x 12.48 inches. Partition Biographie Notes sur l'oeuvre

by Dr. William Weiss. For soprano recorder. Classic, ensembles. Level: Intermediate. Book. Solos. Size 8.75x11.75. 64 pages. Published by Mel Bay Pub., Inc.

Piano - late intermediate

SKU: BT.SLB-00596300

By Robert Orledge. By Erik Satie. Durand-Salabert-Eschig-Signature Series. Set of Books. Composed 2016. 600 pages. Editions Salabert #SLB 00596300. Published by Editions Salabert (BT.SLB-00596300).

PIANO inches. English-French.

This new, completely revised and reset centenary edition of Satie’s complete piano music in three volumes has returned to Satie’s manuscripts and first editions to give pianists completely accurate and reliable texts to play from.

As well aspresenting every piece for piano solo or piano reduction that Satie published, this edition also includes some previously unknown pieces, like the Petite Sonate that he wrote for Vincent d’Indy at the Schola Cantorum, as well as some interestingfirst versions of well-known pieces, like San Bernardo, a trial version of Españaña (1913) and the markedly different first version of Les Pantins dansent (1914). In addition, there areexamples of the different types of exercises that Satie completedat the Schola between 1905 and 1912, some extra trial Enfantines, and some earlier drafts of his famous Sports et divertissements. To help pianists, suggested metronome marks have been added throughout, and there are also some performance suggestionsfor the Rose Croix pieces of the 1890s, which otherwise appear to be all quiet and slow. The notation has been made as user-friendly as possible, without detracting from Satie’s concerns about the “extériorisation” of his musical thought in print.

Cette nouvelle édition de l’intégrale de la musique pour piano d’Erik Satie, en trois volumes, est une version totalement révisée et regravée de l’édition centenaire de son oeuvre pianistique. Elle revient aux sources manuscrites et premièreséditions des pièces de Satie, et offre aux interprètes des textes musicaux fi ables et pertinents.Ces volumes proposent toutes les pièces pour piano solo, ou en réduction pour piano, publiées par Satie, incluant quelques pièces antérieures inconnues, telles la Petite Sonate que Satie écrivit pour Vincent d’Indy la Schola Cantorum, et quelquespremières versions de pièces très connues, comme San Bernardo, version d’essai d’Españaña(1913), ou encore les premières versions très différentes de Les Pantins dansent (1914).

On trouvera également quelques exemples des différents exercicesque Satie exécuta la Schola entre 1907 et 1912, quelques tentatives supplémentaires d’Enfantines, et quelques brouillons antérieurs de ses célèbres Sports et divertissements.

Des indications métronomiques ont été ajoutées afi n d’aider lesinterprètes, de même que certaines suggestions de jeu pour les oeuvres relatives la période Rose Croix des années 1890, pièces qui sinon pourraient ne sembler que lentes et tranquilles. La notation a été envisagée sous l’angle le plus pratiquepossible, sans pour autant négliger le soucis de Satie quant l’ « extériorisation » de sa pensée musicale sur papier.

Questa nuova edizione in tre volumi delle composizioni per pianoforte di Satie offre ai pianisti una revisione accurata e fedele alle intenzioni dell’autore grazie all’analisi e al confronto dei manoscritti e delle loro prime edizioni astampa.

La pubblicazione, oltre a includere tutti i pezzi per pianoforte o in riduzione che Satie ha pubblicato, offre anche alcuni brani fino a oggi sconosciuti, come la Petite Sonate che ha scritto per Vincent d’Indy e interessanti primeversioni di pezzi celebri, tra cui San Bernardo, un primo tentativo di Españaña (1913) e la prima versione, considerevolmente diversa, di Les Pantins dansent (1914).

Per agevolare gli interpreti, il curatoreha aggiunto, all’occorrenza, segnidi metronomo e alcuni suggerimenti per l’esecuzione. La notazione musicale è stata resa il più possibile comprensibile senza depauperare il pensiero musicale di Satie sull’esteriorizzazione della musica.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.