Modern and Contemporary Music. Par . Now finally in English too: The third part of the organ method Historical Performance Practice in Organ Playing follows on from part two with contributions by Guy Bovet (on Jehan Alain), Hans-Ola Ericsson, Anders Ekenberg, Markus Rupprecht (Olivier Messiaen), Hans Fagius (Maurice Duruflé), Jeremy Filsell (Marcel Dupré), Bernhard Haas (Arnold Schönberg, Ernst Krenek, John Cage, György Ligeti, and others, plus the latest developments) and Armin Schoof (neoclassicism). As in the first two parts of the organ method, here too a representative selection of composers is discussed. Alongside mainly personal recollections (e.g. from Hans Fagius) there are analytical essays (including by Jeremy Filsell). Bernhard Haas has organised one section of his text as an introduction to the playing techniques and aesthetics of new music, beginning with pieces which are easy to play. This English edition contains new chapters by Kevin Bowyer (The Development of New Organ Music in Britain / Contemporary Organ Music in North America). Laukvik?s organ method Historical Performance Practice in Organ Playing has now become established as a standard work. It is aimed at organists who want to incorporate the latest thinking on historical performance practice into their interpretations of works. The three volumes provide a practical introduction in a detailed, scholarly and comprehensible form, by giving organists as precise a picture of the interpretative traditions and aims of previous and modern/ contemporary eras as possible. The editions are aimed not only at organists, but also at organ teachers who are looking for a manual to use in their teaching. / Date parution : 2022-05-03/ Recueil / Orgue

Par PEETERS FLOR. Flor Peeters, né en Belgique en 1903, est un des plus importants organistes et compositeurs d'orgue du XXe siècle. Après avoir terminé ses études à l'Institut Lemmens célèbre à Malines, il y travaille comme professeur d'orgue et d'improvisation avant/ Méthode / Orgue

The Faber Early Organ Series is among the most comprehensive anthologies of early organ music ever published. In 18 volumes it spans two centuries and six geographical regions, presenting a broad and balanced view of the main forms, styles and composers. Within each geographical region the pieces, most of which are for manuals only, are arranged by date of composition or publication. The presentation is both scholarly and practical; all of the music has been newly edited from the earliest surviving sources according to a systematic editorial method that preserves as many features of the original notation as possible while making it fully accessible to modern players. In everyvolume, an informative introduction sets the music in historical context. There are also helpful sections on Ornamentation and Registration, and a Critical Commentary giving detailed information on the sources./ Recueil / Orgue

Instrument : organ Nombre de Pages : 62 This School of Organ Playing presupposes a certain technical facility on the piano. The pedal exercises at the beginning are rudimentary and should be practiced in all keys, gradually accelerating the tempo. The studies are graded according to their polyphony, beginning with simple two part exercises, followed by those in three and more parts. This acquaintance with the strict principles of polyphonic music, and the introduction to effective part writing, with a knowledge of harmonic form and architectonic values, provide the essential background for the correct performance of polyphonic music, especialle the fugue. The most important musical forms have been used to illustrate the various possibilites of registration and its relationship to style (colourful, individualistic and smooth playing). The studies are so arranged that earlier technical points, etc. are constantly reviewed, through comparison of style and form, in order to fix, or refreshen, the ideas in the student's mind. It is very important that the evolution of organ music from vocal music should be made clear to the student the very beginning, both musically and intellectually. He will be shown the technical evolution of organ music during the centuries and thus prepared for an artistic execution and interpretation of old and new words, especially for the incomparable art of our great Johann Sebastian Bach. Content : Grundlagen des Pedalspiels - T.L. da Vittoria: Bicinium: Bonum erat - A. Zoilo: Bicinium: Quare fremuerunt - Melius illi - W. Dietrich: Übung in e-Moll - G.P. Telemann: Largo - J.K.F. Fischer: Übung d-Moll - G.P. Telemann: Kanon - J. Pachelbel: Magnificat peregrini toni Meine Seele erhebt den Herrn - T.L. da Vittoria: Accedentes principes - J.K.F. Fischer: Übung in g-Moll - W. Dietrich: Pedalübung - S. Scheidt: Vater unser im Himmelreich VI. Versus Choralis in Basi - H.L. Haßler: Crucifixus - J.K.F. Fischer: Praeludium D-Dur - J. Pachelbel: Übung in a-Moll - W. Dietrich: Übung in As-Dur - R. Schwarz-Schilling: Kanon a 2 - Kanon a 3 - G. Aichinger: Stabat mater - J. Pachelbel: Durch Adams Fall ist ganz verderbt - J.K.F. Fischer: Praeludium fis-Moll - H.L. Haßler: Benedictus - J. Pachelbel: Was mein Gott will, das gescheh' allzeit - T.L.da Vittoria: Exclamans Jesus - S.Scheidt: Warum betrübst du dich, mein Herz IX. Versus. Choralis in Basso - D. Zipoli: Pastorale - J. Pachelbel: Vom Himmel hoch - J.S. Bach: Pedal-Exercitium - J.K.F. Fischer: Fuga g-Moll - J. Pachelbel: Komm, Gott Schöpfer, heiliger Geist - J.K.F. Fischer: Praeludium und Fuga cis-Moll - W. Dietrich: Pedalsolo - Übungen für mehrstimmiges Spiel in einer Hand: J.K.F. Fischer: Praeludium und Fuga e-Moll - H.L. Haßler: Da Jesus an dem Kreuze stund - M. Praetorius: Es ist ein Ros entsprungen - S. Scheidt: Vom Himmel hoch - M. Praetorius: Nun bitten wir den heiligen Geist - B. Resinarius: Nun bitten wir den heiligen Geist - S. Scheidt: Psalmus: Da Jesus an dem Kreuze stund - J.K.F. Fischer: Praeludium und Fuga h-Moll - J.S. Bach: Vom Himmel hoch - O Welt ich muß dich lassen - Herzlich tut mich verlangen - D. Buxtehude: Ach Herr, ich armen Sünder - J.S. Bach: Trio c-Moll - W. Dietrich: Pedalsolo/Trillerübung - J.S. Bach: Allein Gott in der Höh' sei Ehr' - J.K.F. Fischer: Praeludium und Fuga e-Moll - J.L. Krebs: Trio für 2 Manuale und Pedal

L'édition fait partie du syllabus Trinity 2007 (grades 2 and 3) / Saxophone Alto

Par . Both volumes of Easier Together - Recorders contain short and easy duos that can be performed by beginners either with their teachers or with more advanced learners. The pieces progress gradually from easier ones to more difficult works. This collection of recorder duos can also, with some supplementary material, be used as a recorder method. In these volumes, the musical experience of two-part playing is further enriched by the use of different recorder types: where indicated, the lower part can be played not only on soprano recorder but also on alto, tenor, or even sopranino recorder. Some pieces include harmonic indications, so an accompaniment can be improvised alongside the two recorder parts. The process of learning and practising is additionally supported by a fingering chart and articulation marks for tonguing, with new musical elements highlighted in the score. Trombone and recorder teacher Péter Perényi (b. 1954) was for many years the head of the wind department at the Bence Szabolcsi Music School in Budapest. He has held several training courses for recorder teachers, and the recorder gatherings he organised in Budapest gave rise to the National László Czidra Recorder Competition. He is the author and editor of several publications on wind pedagogy, including methods for trombone and recorder. / Date parution : 2022-12-12/ Recueil / 2 ou Flûtes à Becs

Anyone with a knowledge of basic chords and guitar scales can dig right in and learn to play jazz right away. This well-paced, comprehensive method covers everything, from basic to advanced techniques. The clearly organized lessons add up to a step-by-step, enjoyable method supplemented by full-length etudes or songs with every new concept. Beginning concepts span from major scale and basic triad theory all the way to extended chords and the modes. For the intermediate player, this book can help with the ii-V-I progression, creating solo lines, altered chord formulas, and comping in such jazz feels such as Latin, swing, ballad, and even funk. You will then master the art of playing harmony, melody, rhythm, and bass parts of a song simultaneously, making your guitar the ultimate jazz solo instrument. The book concludes with advanced techniques for improvisation. Whether you are starting to learn jazz guitar or are an advanced player looking to give your playing more nuance, Jazz Guitar Method Complete is all you'll ever need. An MP3 CD demonstrating examples in the book is included. / Guitare

Méthode pour Clavecin. Guide pratique pour Pianistes, Organistes et Clavecinistes Langue française Enrico Baiano is considered one of the most interesting artists on early music scene. He was born in Naples in 1960 and subsequently graduated in piano and composition at Naples’ Conservatorio ‘San Pietro a Majella’ before specialising in harpsichord, clavichord and fortepiano with Emilia Fadini at Milan’s Conservatorio ‘Giuseppe Verdi’. Enrico Baiano has performed at the most renowned early music festivals. He is one of the co-founders of the Italian ensemble Cappella della Pietà dei Turchini, with whom he has played and recorded from 1986 to 2000. He often plays with the Neapolitan contemporary music ensemble Dissonanzen and with Piccolo Concerto Wien. His solo recordings for Symphonia have won him several international prizes such as Deutsche Schallplattenpreis, Diapason d’Or, Choc de la Musique and Platte des Monats. He took part in the documentary film on Domenico Scarlatti Un gioco ardito, directed by Francesco Leprino. He is professor of harpsichord, clavichord and fortepiano at the Conservatorio «Domenico Cimarosa» in Avellino.

Well-respected educator and best-selling author Jerry Snyder has put together the most versatile guitar method available. This comprehensive method for classroom or individual study comes in two sections: the first section teaches chords and accompaniment, while the second teaches note reading. This flexible method allows you to start with either section or use both sections simultaneously. The Teacher's Guide helps the instructor develop and organize a guitar class curriculum and provides background on the guitar class, teaching tips, elements of music and how to address the National Standards for Arts Education. The Teacher's Guide also includes 48 pages of reproducible worksheets. The ensemble book offers graded duets, trios and quartets as well as optional parts for bass.