SKU: BT.AMP-393-400

ISBN 9789043135931. 9x12 inches. English-German-French-Dutch.

Part of the Anglo Music Play-along Series, Philip Sparkeâ??s 15 Intermediate Classical Solos is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkeâ??s 15 Easy Classical Solos. Specifically tailored to suit the individual instrument, this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles, from Handel to Tchaikovsky and from Clementi to Brahms.The book will provide invaluable additional material tocomplement any teaching method and includes both piano accompaniment and a demo/play-along CD.

Philip Sparkeâ??s 15 Intermediate Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die ongeveer anderhalf octaaf kan spelen. Het boek is een vervolg op Sparkeâ??s 15 EasyClassical Solos en het sluit qua instrumentaal bereik en gebruikte toonsoorten aan bij het Expert Level van Hal Leonards Essential Elements ®, maar het kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieën, diespecifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen: van Handel tot Tsjaikovski en van Clementi tot Brahms.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd metpianobegeleiding en een cd met demo- en meespeeltracks.

15 INTERMEDIATE CLASSICAL SOLOS ist als Ergänzung zur bewährten ANGLO MUSIC PLAY-ALONG Reihe gedacht und richtet sich an Schüler, die ungefähr einen Tonumfang von eineinhalb Oktaven beherrschen. Es schlie�t an Sparkes 15 EASY CLASSICAL SOLOS an undentspricht dem Niveau des Expert Levels der ESSENTIAL ELEMENTS Methode von Hal Leonard, kann aber auch unabhängig davon verwendet werden.

Genau auf jedes Instrument zugeschnitten, ermöglichen die sorgfältig ausgewählten Melodien noch mehr Spielerfahrung mit klassischer Musik. Die Stücke umfassen verschiedene Stilrichtungen und Komponisten wie z.B. Händel, Tschaikowsky, Clementi undBrahms.

Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.

SKU: CA.1631000

ISBN 9790007242800. Language: all languages.

1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.

SKU: M7.DUX-6011-96

ISBN 9783868493559.

35 Christmas carols for the first years on the tenor saxophone. Ideal for beginners, with the first carols kept within a range of five notes and the level of difficulty gradually increasing. A second part and chords are included so that the carols can also be played by a duo or trio. Audio download included: the files with interesting audio and playalong versions in keeping with the particular style can be downloaded with the code printed in the edition. The transposed 2nd part can be downloaded for free for those who would like to play with other instruments from the series 'Alle Jahre wieder'. The volume is also available without audio download (D 6011). A separate piano volume (D 6018) provides an accompaniment for the carols.

SKU: AP.1-ADV7622

UPC: 805095076226. English. Traditional.

Writing these arrangements, Frank Reinshagen has created little masterpieces, which broaden the rhythmical and harmonic context of the original tunes in an interesting manner without detracting from their archaic and melancholic character. These original tunes have been borrowed from the Irish, Scottish, and Gaelic musical tradition. These through-composed arrangements are rather easy to perform from the rhythmical and technical point of view, yet they are quite demanding in respect of the key they are written in, their intonation and, especially, their interpretation. Their different instrumentations are fully compatible with each other and, due to their overall structure, they are also suitable to be played with multi-scored parts. The interpretation of 'S mo lamh air a stiuir---the song of a helmsman living on the Isle of Skye---should be interpreted with the musicians paying careful attention to its dynamics and phrasing, which reflect the up-and-down motion of the stormy Artic Ocean. For this arrangement the key D minor---which is one whole tone lower than the original---has been chosen to make sure that the piece is playable, especially for a clarinet quartet.

SKU: BT.DHP-1084462-070

ISBN 9789043129053. 9x12 inches. English-German-French-Dutch.

The American composer George Gershwin (1898-1937) wrote the energetic song I Got Rhythm, with lyrics by his brother Ira Gershwin, in 1930 for the musical Girl Crazy. The story of Girl Crazy takes place in the theatre world of the 1930s. The Gaiety Theater in Deadrock, Nevada, is practically bankrupt, but the rich banker’s son Bobby Child turns things around. His passion for the theatre leads to the customary love vicissitudes and comical intricacies - and a new successful show.I Got Rhythm, now a jazz standard, has been performed over the years by numerous famous and not-so-famous artists. The chord scheme has become so well-known that it has been named rhythm changes, and is oftenused by jazz musicians.

Der Jazz-Standard, aus dem das oft zitierte Akkordschema Rhythm Changes stammt, in einer flotten Bearbeitung für Saxophonquartett: Altsaxophon 1 & 2, Tenorsaxophon und Baritonsaxophon.

Questo arrangiamento vi permetter di chiudere in bellezza un vostro concerto con uno spumeggiante bis.