SKU: MB.30653
ISBN 9781513463810. 8.75 x 11.75 inches.
As one of the most productive composers in history, Georg Philipp Telemann endeavored to supply a steady stream of new music for both professional and amateur musicians. The 64 compositions in this collection fall into three categories:
SKU: BA.BA04733-67
ISBN 9790006539079. 32.5 x 25.5 cm inches.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: FG.55011-183-7
ISBN 979-0-55011-183-7.
This collection of Toivo Kuula's violin works was carefully edited by Sirkka Kuula. It includes also works not previously published. Together with the violin sonatas, to be published in 2015, Toivo Kuula's complete violin oeuvre will be available for all music enthusiasts.
SKU: BT.DV-11782
SKU: HL.49018922
ISBN 9790001174527. UPC: 841886015913. 9.25x12.0x0.163 inches.
When writing his Concerto No. 1 in A minor, Op. 33, Camille Saint-Saens created a 'classic' of violoncello literature. But the French musician even wrote other solo works for this instrument: a second concerto, two sonatas, the 'Swan' from 'The Carnival of the Animals' as well as a 'Suite with Piano Accompaniment' Op. 16. Premiered on 27 April 1866 and probably written shortly before, the work is based on the composer's study of tradition, especially of the form of the Baroque suite, integrated in a Romantic tonal language. Many years later (1919) the composer also presented a version with orchestral instead of piano accompaniment, and for this version he replaced movements 3 and 5 and changed the ending of the fourth movement. The present edition contains the text of the orchestral version: The five-movement suite begins with a prelude reminiscent of Bach which is followed by a pleasant serenade, a stylized gavotte and a sentimental romance before a passionate tarantella puts a virtuoso end to the piece. The enthusiastic, melodic 'Suite' is a valuable addition to the cello repertoire, suitable for both tuition and concert purposes.
SKU: TM.01260SC
SKU: ST.MB103
ISBN 9790220225178.
Music for three violins and bass formed a small yet distinctive corpus of instrumental music at the Restoration court of Charles II and in the Catholic chapel of James II. Introduced to England by the German violinist Thomas Baltzar, the genre was adopted by John Jenkins, whose ten late fantasia-suites for three violins, bass viol and continuo, together with Gottfried Finger's five sonatas for the same group of instruments, constitute the bulk of this volume. Other representative works include Baltzar's own Suite in C major and Bartholomew Isaack's Ground in A minor, all fascinating progenitors of Purcell's crowning contributions to the repertoire, his Pavan in G minor and 'Three Parts upon a Ground'.
SKU: TM.01260SET
SKU: HL.50489682
9.0x12.0x0.515 inches.
SKU: BT.EMBZ14968
Hungarian-English-German-French.
Sonatinas form a vital part of the teaching material for beginner and intermediate piano students. Compared to the great classic piano sonatas, they are technically and musically simpler and typically shorter. However, they still convey the basic elements of Classical style: the relation of melody to accompaniment, articulation, stylistically authentic playing, and correct interpretation. For the two volumes of Giraffe Piano, the most favoured and instructive of the sonatinas have been chosen. Volume 1 contains simpler pieces and Volume 2 is compromised of moderately difficult ones. Correct interpretation of the pieces is facilitated by added performance and fingeringmarks. Learning is helped along by clear presentation of the score, carefully placed page turns, and by inspiration from colour images showing the keyboard instruments of the 1720-1820 period for which the pieces were written. The most notable of them is the giraffe piano, after which the collection is named. Im Lehrstoff für Anfänger und fortgeschrittene Klavierschüler auf Mittelstufenniveau sind Sonatinen unverzichtbar. Sie sind technisch und musikalisch einfacher und vor allem kürzer als die großen klassischen Klaviersonaten, zugleich kann man an ihnen gut die Grundelemente des klassischen Stils, das Verhältnis von Melodie und Begleitung, eine klare, stilgetreue Vortragsweise und die richtige Formgebung üben.
In den zwei Bänden des Giraffenklaviers haben wir die beliebtesten und auch für den Unterricht am meisten geeigneten Sonatinen zusammengestellt. Im 1. Band befinden sich leichte, im 2. mittelschwere Stücke. Den richtigen Vortrag der Stücke unterstützt der Herausgeber mit Hilfe von Artikulations- und Vortragszeichen sowie Fingersätzen. Über das klare Notenbild und die sorgsam gewählten Stellen zum Umblättern hinaus machen farbige Bilder von zeitgenössischen, zwischen 1720 und1820 gebauten Tasteninstrumenten, für die auch Stücke des Bandes geschrieben wurden, ihre Aneignung zu einem besonderen Erlebnis. Das eigentümlichste unter ihnen war das auf dem Umschlag abgebildete Giraffenklavier, das dem Album auch seinen Namen gab.
SKU: BT.EMBZ14967
Sonatinas form a vital part of the teaching material for beginner and intermediate piano students. Compared to the great classical piano sonatas, they are technically and musically simpler and typically shorter. However, they still convey the basic elements of Classical style: the relation of melody to accompaniment, articulation, stylistically authentic playing, and correct interpretation. For the two volumes of Giraffe Piano, the most favoured and instructive of the sonatinas have been chosen. Volume 1 contains simpler pieces and Volume 2 is compromised of moderately difficult ones. Correct interpretation of the pieces is facilitated by added performance and fingeringmarks. Learning is helped along by clear presentation of the score, carefully placed page turns, and by inspiration from colour images showing the keyboard instruments of the 1720-1820 period for which the pieces were written. The most notable of them is the giraffe piano, after which the collection is named. Im Lehrstoff für Anfänger und fortgeschrittene Klavierschüler auf Mittelstufenniveau sind Sonatinen unverzichtbar. Sie sind technisch und musikalisch einfacher und vor allem kürzer als die großen klassischen Klaviersonaten, zugleich kann man an ihnengut die Grundelemente des klassischen Stils, das Verhältnis von Melodie und Begleitung, eine klare, stilgetreue Vortragsweise und die richtige Formgebung üben.
In den zwei Bänden des Giraffenklaviers haben wir die beliebtesten und auch für den Unterricht am meisten geeigneten Sonatinen zusammengestellt. Im 1. Band befinden sich leichte, im 2. mittelschwere Stücke. Den richtigen Vortrag der Stücke unterstützt der Herausgeber mit HIlfe von Artikulations- und Vortragszeichen sowie Fingersätzen. Über das klare Notenbild und die sorgsam gewählten Stellen zum Umblättern hinaus machen farbige Bilder von zeitgenössischen, zwischen 1720 und1820 gebauten Tasteninstrumenten, für die auch Stücke des Bandes geschrieben wurden, ihre Aneignung zu einem besonderen Erlebnis. Das eigentümlichste unter ihnen war das auf dem Umschlag abgebildete Giraffenklavier, das dem Album auch seinen Namen gab.
SKU: MB.30989
ISBN 9781513466705. 8.75x11.75 inches.
In this book, guitarist and music historian David Grimes presents 20 â??small sonatasâ? or sonatinas, complete with detailed performance notes and bio sketches of each of the contributing composers: Leonhard von Call, Matteo Carcassi, Ferdinando Carulli, Mauro Giuliani, Francesco Molino, and Antonio Nava. While flexible, the early 19th-century sonatina form usually consists of 2 - 4 contrasting movements, here in guitar-friendly keys, making these pieces ideal for performance by intermediate-level students. In all but the most challenging passages, Grimes has intentionally kept fingering to a minimum to allow students to form their own concept of this critical skill. Then, as many bass notes in these pieces are played on open strings, the player must develop a sense of when to selectively damp dissonant tones or observe a restâ?? exposing and overcoming yet another shortcoming in the education of many guitarists.  Most classic guitar teachers are familiar with the easy didactic studies by Carcassi, Carulli and Giuliani; Favorite Sonatinas offers more highly developed, but not yet virtuoso pieces by the same Italian triumvirateâ?? plus three more composers in a similar veinâ?? promoting confident, enjoyable sight-reading by guitarists of all levels. .
SKU: P2.PZA90187
Concert Duets is a collection of 14 arrangements of works by prominent 18th-century composers, mostly taken from Trio Sonatas. Duet 11 is a Jim Self original work in the Rococo style; and Duets 12, 13 and 14 are arrangements of the three-movements of the Bach Concerto for Two Violins. Included with this edition are play-along recorded tracks by tubist Zach Collins, who also served as editor of the current edition.I created these duets as Christmas gifts for my tuba playing friends, with the first duet being arranged in 1976. All 14 of the duets are challenging and fun to play and are especially effective as concert pieces.As a young musician I had the privilege of playing duets with many of the world’s finest tubists including Harvey Phillips, John Fletcher, Bob Pallansch, Chester, Schmitz, Dan Perantoni, Toby Hanks, Ron Bishop, Winston Morris and Tommy Johnson. I learned more about playing music in these duo sessions than from any other musical activity I have ever experienced. Duets are powerful teaching tools for learning and mastering rhythm, phrasing and intonation and for developing overall musicianship.Jim Self:Self (b. 1943) is a Los Angeles free-lance musician, a veteran of thousands of Hollywood motion pictures, television shows and records, and tuba soloist on many prominent movies. His tuba was the “Voice of the Mothership†in Close Encounters of the Third Kind. He is Principal Tuba/Cimbasso with the Pacific and Pasadena Symphonies and the Los Angeles Opera and Hollywood Bowl Orchestras. Formerly he was in The U.S. Army Band and tuba / euphonium professor at the University of Tennessee. He holds a DMA from the USC Thornton School of Music where he is Adjunct Professor of Tuba and Chamber Music. His compositions and arrangements include works for solo tuba, brass quintet, other brass, string and woodwind chamber music, wind band and orchestra. Jim has produced many solo jazz and classical recordings. His music and recordings are available from Potenza Music and www.jimself.com. Jim Self is a Yamaha Performing Artist.Zach Collins, editor:Zach Collins is professor of Tuba and Euphonium at Indiana University of Pennsylvania. In 2019, he released his first solo album, Chronicle. It was recognized with the 2021 ITEA Roger Bobo Award for Excellence in Recording for the best Solo Tuba Album.His interpretation of William Kraft’s Encounters II for Solo Tuba was released on Cambria Master Recordings. Zach performs with Eastern Standard, a horn, tuba, piano trio he formed with Heidi Lucas and Jacob Ertl. The ensemble has released two commercial albums, Eastern Standard and Wanderlust.Zach regularly performs with the Keystone Chamber Winds, Altoona Symphony Orchestra, and West Virginia Symphony Orchestras. His compositions and arrangements for brass and for tuba and euphonium can be purchased from Cimarron Music and Eighth Note Publications. Zach earned degrees from Texas Christian University and the University of Southern California. His primary teachers have been Richard Murrow, Jim Self, Tommy Johnson, and Norm Pearson. Zach Collins is a Miraphone artist.
SKU: FP.FHP06
ISBN 9790570504053.
The heartachingly beautiful Tallis Remembered is a timeless little piece composed by outstanding British composer Peter Hope for the 2013 William Alwyn Festival, where it featured a violin instead of the clarinet. The work was inspired by Wendy Cope’s wistful poem ‘Tallis’s Canon’ and is effectively a set of through-composed variations on Tallis’s well-known tune. A recording of the work can be heard on the CD 'Windblown: Sonatas for Wind Instruments by Peter Hope'. It has been regularly featured on Radio 3.Hope has written and arranged for many internationally known names, including Jose Carreras and Kiri te Kanawa, and other composers including John Williams and James Horner. His original compositions include the Suite: Ring of Kerry (which won an Ivor Novello Award in 1968/9), a Trumpet Concerto, performed by Elgar Howarth, a Concertino for bassoon and orchestra, recorded by Graham Salvage with the Royal Ballet Sinfonia, and a Recorder Concerto, recorded by John Turner with the Manchester Camerata Ensemble. His Bramall Hall Dances, for recorder and guitar/piano are published by Forsyth Brothers Ltd. and have become a standard repertoire work for the recorder.
SKU: UT.MAG-268
ISBN 9790215326798. 9 x 12 inches.
The study of Johann Sebastian Bach’s compositions on the harp has a long history. The first who understood its importance for educational purposes was Robert Nicolas Charles Bochsa, who inserted some fugues of Bach and Haendel in his monumental method for the harp op. 60, accompanied by detailed fingerings. However, it was from the beginning of the 20th Century that the great harp teachers began to work extensively on Bach’s repertoire. Among the most illustrious examples we can mention Henriette Renié, who published two volumes of transcriptions, one containing ten preludes and one ten short pieces, Alfred Kastner who worked on the Two–part Inventions, Marcel Grandjany with his famous studies based on partitas and sonatas for solo violin, or Annie Louis David, who published two important volumes of preludes and fugues taken from The Well-Tempered Clavier, not to mention all those who transcribed just a single piece for concert purpose.As is known, the Notebook for Anna Magdalena (Notenbüchlein für Anna Magdalena Bach), consists of two small manuscript volumes, the first compiled in Köthen in 1722 and the second in Leipzig three years later. The first contains only compositions by Johann Sebastian, while the second also includes pieces by other authors such as Couperin, Hasse and Carl Philipp Emanuel Bach.The idea of ​​collecting in a volume some of the simplest compositions contained in the Notebook was born mainly from the desire to introduce even the youngest students to Bach’s music, in an easy and progressive way, so as to start as soon as possible at make them familiar with polyphonic writing and the use of embellishments, introduced here in a simplified version.
