Composed
by Camille Saint-Saens.
Edited by Fritz Naf.
Requiem Op. 54. Sacred
vocal music, Requiem.
Single Part, Double Bass.
Composed 1878. Op. 54. 8
pages. Duration 35
minutes. Carus Verlag #CV
27.317/15. Published by
Carus Verlag
(CA.2731715).
ISBN
9790007201821. Language:
Latin.
During his
most productive period as
an opera composer,
Camille Saint-Saens also
wrote sacred works, among
which his Oratorio de
Noel has enjoyed great
worldwide popularity. The
colorful and opulently
orchestrated Messe de
Requiem was composed in
1878 in Bern. The
composer dedicated it to
his patron, Albert Libon.
We have published this
edition both with its
larger orchestral forces
and to enable perfomances
of the Requiem in
slightly reduced scoring
(without losing the
special characteristics
of the work), in a
version with a smaller
orchestra consisting of
11 winds, two harps,
organ and string
instruments. The full
score reproduces the
Urtext of the Requiem
with its original
scoring, whereas the
performance material is
presented and conceived
so to enable it to be
performed either in the
original orchestration or
the version with reduced
forces. Score and part
available separately -
see item CA.2731700.
Alto Sax. Composed
by Jaap Kastelein and
Michiel Oldenkamp. De
Haske Play-Along Book.
Instruction, Scales. Book
and CD. Composed 2001. 24
pages. De Haske
Publications #1013077.
Published by De Haske
Publications
(HL.44000785).
ISBN
9789043114608. UPC:
073999119886.
International (more than
one language).
If
you see a house under
construction, it's on its
way to becoming a
complete home for people
to live in. With
Scales under
Construction, it's
much the same: step by
step, you'll build up a
framework while learning
to play more and more
scales, until you master
all the major scales and
feel comfortable with
them.Scales under
Construction deals
with all major scales up
to those with three
sharps or flats in their
key signatures - first in
the form of an exercise
and then in a short fun
piece made up of scale
fragments. Gradually
you'll learn to play all
the major scales.
Practising scales is
important as they help
single out different
aspects of making music,
such asdeveloping your
technique and your sense
of tonality, and playing
by heart.
Als je
onderweg 'Werk in
uitvoering' tegenkomt,
betekent dat meestal niet
veel goeds. De borden
waarschuwen je al van
verre dat je in de file
komt te staan, waardoor
je humeur er meestal niet
beter op wordt. Gelukkig
is het met
Toonladdersin
uitvoering iets
anders gesteld. In
Toonladders in
uitvoering worden de
majeurtoonladders tot en
met drie vaste voortekens
behandeld. Eerst in de
vorm van een oefening en
daarna met een leuk
speelstuk,
waarintoonladdermotiefjes
steevast verwerkt zitten.
Gaandeweg zul je op een
speelse manier alle
belangrijke toonladders
leren spelen. Het spelen
van toonladders is in de
muziek een oefenvorm die
van groot belang is en
die verschillendekanten
van het muziek maken
uitlicht. Het ontwikkelen
van je techniek, je
gevoel voor tonaliteit en
het uit je hoofd spelen
zijn hiervan een paar
goede
voorbeelden.
Tonle
itern uben und spielen
muss nicht langweilig
sein! In diesem Buch
werden Dur-Tonleitern bis
einschliesslich drei
Vorzeichen zunachst in
Form einer Ubung gelernt
und vorgestellt. Dann
wird jede Tonleiter mit
einem kurzen, lustigen
Stuck, das sich aus
Tonleiterabschnitten
zusammensetzt, geubt. Auf
diese Weise wird ein
solides Gerust aufgebaut,
bis der Spieler alle
Dur-Tonleitern
beherrscht. Auf der
mitgelieferten CD sind
sowohl die Ubungen als
auch die Stucke zu allen
Tonleitern enthalten. So
werden mit Scales
under Construction
zugleich Spieltechnik,
Gehor und Auswendig
spielen geschult und
verbessert.
Lorsqu
'une maison est en
construction, elle est en
voie de devenir un lieu
dans lequel des gens vont
vivre. Dans Gammes en
Construction, le
principe est assez
similaire : etape par
etape, vous allez batir
une structure en
apprenant a jouer de plus
en plus de gammes,
jusqu'a ce que vous
maitrisiez toutes les
gammes majeures et
qu'elles constituent pour
vous un cadre
familier.Gammes en
Construction aborde
toutes les gammes
majeures jusqu'a celles
dont l'armature comporte
trois dieses ou trois
bemols - d'abord sous la
forme d'un exercice et
ensuite dans un morceau
court et amusant
constitue de groupes de
notes d'une gamme.
Progressivement, vous
apprendrez a jouertoutes
les gammes majeures. Il
est important de
travailler les gammes car
elles permettent de se
concentrer sur differents
aspects de la pratique
musicale en vous aidant
notamment a developper
votre technique
instrumentale, a vous
familiariser avec la
tonalite et a jouer par
c?ur.
E'
importante praticare le
scale, perche aiutano a
sviluppare la tecnica e
il senso della tonalita.
In Scales Under
Construction vengono
proposte tutte le scale
maggiori fino a tre
diesis e tre bemolli: in
primo luogo sotto forma
di un esercizio e poi
come un breve pezzo con
gruppi di note dalla
scala.
Organ SKU: HL.48180238 For Organ. Composed by Marcel Dupre. Leduc....(+)
Organ
SKU:
HL.48180238
For
Organ. Composed by
Marcel Dupre. Leduc.
Post-1900. Softcover. 8
pages. Alphonse Leduc
#AL16850. Published by
Alphonse Leduc
(HL.48180238).
UPC:
888680794699. 9x12
inches.
This
version of Cortege and
Litanie by Marcel
Dupré was written
for organ. For upper
intermediate players,
this 8 page composition
is written with 4 sharps
and includes the use of
the pedals. The piece,
initially written for a
small orchestra in 1922,
was created for a play.
Dupré integrated
it into one of his piano
recitals and was later
asked to arrange it for
other instruments. These
scores therefore exist
also arranged for piano,
orchestra (in 4 and 16)
and for the conductor. In
terms of composition, the
piece is divided into
two:
“Cortege,”
which title describes a
solemn procession, begins
in E major and lasts
twice as long as the
introductory theme; and
“Litanie,”
which is describing the
prayer sung during a
procession and which
follows the
“Cortege”
part to then be joined by
it. Marcel Dupré
is a French composer and
virtuoso organist who won
the Prix de Rome in 1914.
He became famous when he
played the work of Bach
in its totality from
memory in 1920. He later
became the professor of
many renowned students at
the Paris Conservatoire
such as Messiaen,
Langlais and Cochereau
among others.
By Groeber, Hoge, Sanchez, Welch. For Guitar. Lesson Book 2 provides a seamless ...(+)
By Groeber, Hoge,
Sanchez, Welch. For
Guitar. Lesson Book 2
provides a seamless
transition from Book 1.
Guitar. Level: Late
Elementary. Book.
Published by The FJH
Music Company Inc.
(Intermediate to Late Intermediate Piano Solos in All Major and Minor Sharp ...(+)
(Intermediate to Late
Intermediate Piano Solos
in
All Major and Minor Sharp
Keys). Composed by Melody
Bober. For Piano. Book;
Graded Standard
Repertoire;
Piano Collection; Piano
Supplemental. In All
Keys.
Recital. Intermediate;
Late
Intermediate. 52 pages.
Published by Alfred Music
Urtext. Composed
by Johann Baptist Vanhal.
Edited by Tobias
Glockler. Orchestra;
Folder.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early classical;
Classical. Set of parts.
16 pages. Duration 20'.
Breitkopf and Haertel #OB
15143-30. Published by
Breitkopf and Haertel
(BR.OB-15143-30).
ISBN
9790004342046. 10 x 12.5
inches.
The
unbroken popularity of
Vanhal's sole double bass
concerto in competitions
and for practice and
concert purposes is
reason enough for us to
publish the work in
Breitkopf Urtext. The
edition profits from
Tobias Glockler's
experience of many years.
As with the other great
double-bass concertos of
the classical Viennese
repertoire (Dittersdorf,
Hoffmeister), Glockler
arrives at convincing
solutions. He began by
filtering out a solid
musical text from the
source (which was not
always free of
contradictions) that was
supplied with many
additions. The
disposition of the solo
part required detailed
knowledge of performance
practice, since the work
was written in the
historical Viennese
double bass tuning, and a
few passages cannot be
played without difficulty
on a modern instrument.
As with Dittersdorf and
Hoffmeister, the piano
reduction makes it
possible to use three
different double-bass
tunings (solo, orchestral
and Viennese). Moreover,
it contains the editor's
virtuoso cadenzas as
well.I have performed the
Vanhal in Viennese tuning
and it was my thesis
topic so I am thrilled to
see an edition that makes
this tuning so
accessible. I highly
recommend this
all-encompassing edition.
(Marian Heckenburg,
Stringendo).
Urtext. Composed
by Johann Baptist Vanhal.
Edited by Tobias
Glockler. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early classical;
Classical. Part. 8 pages.
Duration 20'. Breitkopf
and Haertel #OB 15143-16.
Published by Breitkopf
and Haertel
(BR.OB-15143-16).
ISBN
9790004342015. 10 x 12.5
inches.
The
unbroken popularity of
Vanhal's sole double bass
concerto in competitions
and for practice and
concert purposes is
reason enough for us to
publish the work in
Breitkopf Urtext. The
edition profits from
Tobias Glockler's
experience of many years.
As with the other great
double-bass concertos of
the classical Viennese
repertoire (Dittersdorf,
Hoffmeister), Glockler
arrives at convincing
solutions. He began by
filtering out a solid
musical text from the
source (which was not
always free of
contradictions) that was
supplied with many
additions. The
disposition of the solo
part required detailed
knowledge of performance
practice, since the work
was written in the
historical Viennese
double bass tuning, and a
few passages cannot be
played without difficulty
on a modern instrument.
As with Dittersdorf and
Hoffmeister, the piano
reduction makes it
possible to use three
different double-bass
tunings (solo, orchestral
and Viennese). Moreover,
it contains the editor's
virtuoso cadenzas as
well.I have performed the
Vanhal in Viennese tuning
and it was my thesis
topic so I am thrilled to
see an edition that makes
this tuning so
accessible. I highly
recommend this
all-encompassing edition.
(Marian Heckenburg,
Stringendo).
Urtext. Composed
by Johann Baptist Vanhal.
Edited by Tobias
Glockler. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early classical;
Classical. Part. 4 pages.
Duration 20'. Breitkopf
and Haertel #OB 15143-19.
Published by Breitkopf
and Haertel
(BR.OB-15143-19).
ISBN
9790004342022. 10 x 12.5
inches.
The
unbroken popularity of
Vanhal's sole double bass
concerto in competitions
and for practice and
concert purposes is
reason enough for us to
publish the work in
Breitkopf Urtext. The
edition profits from
Tobias Glockler's
experience of many years.
As with the other great
double-bass concertos of
the classical Viennese
repertoire (Dittersdorf,
Hoffmeister), Glockler
arrives at convincing
solutions. He began by
filtering out a solid
musical text from the
source (which was not
always free of
contradictions) that was
supplied with many
additions. The
disposition of the solo
part required detailed
knowledge of performance
practice, since the work
was written in the
historical Viennese
double bass tuning, and a
few passages cannot be
played without difficulty
on a modern instrument.
As with Dittersdorf and
Hoffmeister, the piano
reduction makes it
possible to use three
different double-bass
tunings (solo, orchestral
and Viennese). Moreover,
it contains the editor's
virtuoso cadenzas as
well.I have performed the
Vanhal in Viennese tuning
and it was my thesis
topic so I am thrilled to
see an edition that makes
this tuning so
accessible. I highly
recommend this
all-encompassing edition.
(Marian Heckenburg,
Stringendo).
Urtext. Composed
by Johann Baptist Vanhal.
Edited by Tobias
Glockler. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early classical;
Classical. Part. 8 pages.
Duration 20'. Breitkopf
and Haertel #OB 15143-26.
Published by Breitkopf
and Haertel
(BR.OB-15143-26).
ISBN
9790004342039. 10 x 12.5
inches.
The
unbroken popularity of
Vanhal's sole double bass
concerto in competitions
and for practice and
concert purposes is
reason enough for us to
publish the work in
Breitkopf Urtext. The
edition profits from
Tobias Glockler's
experience of many years.
As with the other great
double-bass concertos of
the classical Viennese
repertoire (Dittersdorf,
Hoffmeister), Glockler
arrives at convincing
solutions. He began by
filtering out a solid
musical text from the
source (which was not
always free of
contradictions) that was
supplied with many
additions. The
disposition of the solo
part required detailed
knowledge of performance
practice, since the work
was written in the
historical Viennese
double bass tuning, and a
few passages cannot be
played without difficulty
on a modern instrument.
As with Dittersdorf and
Hoffmeister, the piano
reduction makes it
possible to use three
different double-bass
tunings (solo, orchestral
and Viennese). Moreover,
it contains the editor's
virtuoso cadenzas as
well.I have performed the
Vanhal in Viennese tuning
and it was my thesis
topic so I am thrilled to
see an edition that makes
this tuning so
accessible. I highly
recommend this
all-encompassing edition.
(Marian Heckenburg,
Stringendo).
Double bass and orchestra (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) ...(+)
Double bass and orchestra
(solo: db - 0.2.0.1(ad
lib.) - 2.0.0.0 - harps -
str)
SKU:
BR.PB-15144-07
Urtext. Composed
by Johann Baptist Vanhal.
Edited by Tobias
Glockler. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
In
Cooperation with G. Henle
Verlag
Solo concerto;
Early classical;
Classical. Study Score.
28 pages. Duration 20'.
Breitkopf and Haertel #PB
15144-07. Published by
Breitkopf and Haertel
(BR.PB-15144-07).
ISBN
9790004215968. 6.5 x 9
inches.
The
unbroken popularity of
Vanhal's sole double bass
concerto in competitions
and for practice and
concert purposes is
reason enough for us to
publish the work in
Breitkopf Urtext. The
edition profits from
Tobias Glockler's
experience of many years.
As with the other great
double-bass concertos of
the classical Viennese
repertoire (Dittersdorf,
Hoffmeister), Glockler
arrives at convincing
solutions. He began by
filtering out a solid
musical text from the
source (which was not
always free of
contradictions) that was
supplied with many
additions. The
disposition of the solo
part required detailed
knowledge of performance
practice, since the work
was written in the
historical Viennese
double bass tuning, and a
few passages cannot be
played without difficulty
on a modern instrument.
As with Dittersdorf and
Hoffmeister, the piano
reduction makes it
possible to use three
different double-bass
tunings (solo, orchestral
and Viennese). Moreover,
it contains the editor's
virtuoso cadenzas as
well.I have performed the
Vanhal in Viennese tuning
and it was my thesis
topic so I am thrilled to
see an edition that makes
this tuning so
accessible. I highly
recommend this
all-encompassing edition.
(Marian Heckenburg,
Stringendo).
Double bass and orchestra (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str) ...(+)
Double bass and orchestra
(solo: db - 0.2.0.1(ad
lib.) - 2.0.0.0 - harps -
str)
SKU:
BR.PB-15144
Urtext. Composed
by Johann Baptist Vanhal.
Edited by Tobias
Glockler. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). Solo
concerto; Early
classical; Classical.
Study Score. Duration
20'. Breitkopf and
Haertel #PB 15144.
Published by Breitkopf
and Haertel
(BR.PB-15144).
ISBN
9790004215968. 6.5 x 9
inches.
The
unbroken popularity of
Vanhal's sole double bass
concerto in competitions
and for practice and
concert purposes is
reason enough for us to
publish the work in
Breitkopf Urtext. The
edition profits from
Tobias Glockler's
experience of many years.
As with the other great
double-bass concertos of
the classical Viennese
repertoire (Dittersdorf,
Hoffmeister), Glockler
arrives at convincing
solutions. He began by
filtering out a solid
musical text from the
source (which was not
always free of
contradictions) that was
supplied with many
additions. The
disposition of the solo
part required detailed
knowledge of performance
practice, since the work
was written in the
historical Viennese
double bass tuning, and a
few passages cannot be
played without difficulty
on a modern instrument.
As with Dittersdorf and
Hoffmeister, the piano
reduction makes it
possible to use three
different double-bass
tunings (solo, orchestral
and Viennese). Moreover,
it contains the editor's
virtuoso cadenzas as
well.I have performed the
Vanhal in Viennese tuning
and it was my thesis
topic so I am thrilled to
see an edition that makes
this tuning so
accessible. I highly
recommend this
all-encompassing edition.
(Marian Heckenburg,
Stringendo).
Urtext. Composed
by Johann Baptist Vanhal.
Edited by Tobias
Glockler. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early classical;
Classical. Part. 8 pages.
Duration 20'. Breitkopf
and Haertel #OB 15143-15.
Published by Breitkopf
and Haertel
(BR.OB-15143-15).
ISBN
9790004342008. 10 x 12.5
inches.
The
unbroken popularity of
Vanhal's sole double bass
concerto in competitions
and for practice and
concert purposes is
reason enough for us to
publish the work in
Breitkopf Urtext. The
edition profits from
Tobias Glockler's
experience of many years.
As with the other great
double-bass concertos of
the classical Viennese
repertoire (Dittersdorf,
Hoffmeister), Glockler
arrives at convincing
solutions. He began by
filtering out a solid
musical text from the
source (which was not
always free of
contradictions) that was
supplied with many
additions. The
disposition of the solo
part required detailed
knowledge of performance
practice, since the work
was written in the
historical Viennese
double bass tuning, and a
few passages cannot be
played without difficulty
on a modern instrument.
As with Dittersdorf and
Hoffmeister, the piano
reduction makes it
possible to use three
different double-bass
tunings (solo, orchestral
and Viennese). Moreover,
it contains the editor's
virtuoso cadenzas as
well.I have performed the
Vanhal in Viennese tuning
and it was my thesis
topic so I am thrilled to
see an edition that makes
this tuning so
accessible. I highly
recommend this
all-encompassing edition.
(Marian Heckenburg,
Stringendo).
Urtext. Composed
by Johann Baptist Vanhal.
Edited by Tobias
Glockler. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early classical;
Classical. Part. 12
pages. Duration 20'.
Breitkopf and Haertel #OB
15143-12. Published by
Breitkopf and Haertel
(BR.OB-15143-12).
ISBN
9790004342169. 10 x 12.5
inches.
The
unbroken popularity of
Vanhal's sole double bass
concerto in competitions
and for practice and
concert purposes is
reason enough for us to
publish the work in
Breitkopf Urtext. The
edition profits from
Tobias Glockler's
experience of many years.
As with the other great
double-bass concertos of
the classical Viennese
repertoire (Dittersdorf,
Hoffmeister), Glockler
arrives at convincing
solutions. He began by
filtering out a solid
musical text from the
source (which was not
always free of
contradictions) that was
supplied with many
additions. The
disposition of the solo
part required detailed
knowledge of performance
practice, since the work
was written in the
historical Viennese
double bass tuning, and a
few passages cannot be
played without difficulty
on a modern instrument.
As with Dittersdorf and
Hoffmeister, the piano
reduction makes it
possible to use three
different double-bass
tunings (solo, orchestral
and Viennese). Moreover,
it contains the editor's
virtuoso cadenzas as
well.I have performed the
Vanhal in Viennese tuning
and it was my thesis
topic so I am thrilled to
see an edition that makes
this tuning so
accessible. I highly
recommend this
all-encompassing edition.
(Marian Heckenburg,
Stringendo).
(TB) SKU: HL.49021411 2004. Composed by Institut. Edited by Guenth...(+)
(TB)
SKU:
HL.49021411
2004. Composed by
Institut. Edited by
Guenther Wagner. This
edition: Paperback/Soft
Cover. Book. Edition
Schott. 386 pages. Schott
Music #BN 2004. Published
by Schott Music
(HL.49021411).
ISBN
9783795720049. UPC:
841886002685.
6.25x9.25x1.08 inches.
German.
Die beim
78. Bachfest der Neuen
Bachgesellschaft in
Frankfurt an der Oder
gehaltenen Vortrage
werden in gedruckter
Fassung vorgelegt. Ein
weiterer thematischer
Schwerpunkt ist dem
fruhen Hammerflugel
vorbehalten; die
Resultate eines
Symposiums im
Musikinstrumenten-Museum
werden prasentiert. In
einem umfangreichen
Beitrag zum Musikleben
der preussischen
Hauptstadt wahrend der
Regierungszeit Friedrich
II. werden die
Zeitungsmitteilungen
ausgewertet und die
musikalischen Ereignisse
in Berlin dokumentiert
und kommentiert. Der
Bedeutung des Volksliedes
fur die Kunstmusik im
ausgehenden 19. und
beginnenden 20.
Jahrhundert aus deutscher
und aus litauischer Sicht
sind zwei weitere
Betrachtungen
zuzuordnen.
Harpsichord SKU: BT.ALHE31970 Le Pupitre. Composed by Francois Cou...(+)
Harpsichord
SKU:
BT.ALHE31970
Le
Pupitre. Composed by
Francois Couperin. Book
Only. Heugel & Cie
#ALHE31970. Published by
Heugel & Cie
(BT.ALHE31970).
French.
The
third volume of
Couperin's Pieces for
Harpsichord does not
contain a date of
publication, however it
is thought to have been
composed during
1716-1717, due to the
address which the
composer gave on his
other
Harpsichordcompositions.
Yet, the compilation
remains a favourite.
François Couperin
(1668-1733) is often
nicknamed 'Couperin the
Great' to distinguish him
from other members of the
musical family. Many of
the composer's works
havepicturesque titles.
Examples of this in his
third volume of Pieces
for Harpsichord include,
La Langueur (Languor), Le
Petit-Rien (The
Little-Nothing) and
L'Artiste (The Artist).
Couperin's moods are
expressed through choices
ofkeys, adventurous
harmonies and discords.
With a significant amount
of variation and
inspiration, these Pieces
for Harpsichord are
essential to the
repertoire of aspiring
players of the
instrument.
Dedication Orchestre Edward B. Marks Music Company
Orchestra (Full Score) SKU: HL.1283364 For Orchestra. Composed by ...(+)
Orchestra (Full Score)
SKU: HL.1283364
For Orchestra.
Composed by William
Bolcom. Arranged by
Edmund Cionek. LKM Music.
Classical. Softcover.
Duration 480 seconds.
Edward B. Marks Music
#MP077085. Published by
Edward B. Marks Music
(HL.1283364).
UPC:
196288166641.
Dedic
ation for chamber
orchestra by William
Bolcom was written in
2021-2022, especially for
the ROCO Chamber
Orchestra. The commission
was the result of a
meeting between Alecia
Lawyer and the composer
at a Great American
Songbook concert, hosted
by Arthurand Shelley
Gottschalk. Dedication is
a concise but dramatic
work. Its threepart is
determined by tempo and
motif. The work begins
with Intro: Moderato.
After a very soft
ostinato sounds from the
depths of the orchestra,
two melodies emerge: the
first in the Piccolo and
Eb Clarinet, the second
in the English Horn and
Bassoon. They are
complemented by strings
in close harmony and
lyrical muted brass. This
is followed by Feroce!
which engages the tutti
ensemble in a cascade of
brilliant fortissimo
block harmonies. The next
section, Allegro molto,
is characterized by
agile, virtuosic passage
work and brash chords.
Tempo I returns with
familiar motifs wrapped
in six sharps. Marked
espressivo e cantabile,
tutti strings provide an
incandescent conclusion.
Then soft string
glissandi allow the music
to fade back from
wherever it came.
Dedication is
orchestrated by his
former student Edmund
Cionek.
Written by L.C. Harnsberger, Ron Manus. Instructional book and instructional vid...(+)
Written by L.C.
Harnsberger, Ron Manus.
Instructional book and
instructional video: DVD
for bass guitar. Series:
Bass Guitar Method or
Supplement. Published by
Alfred Publishing.
Voice and Organ or Piano Organ Accompaniment; Piano Accompaniment; Voice (Voice ...(+)
Voice and Organ or Piano
Organ Accompaniment;
Piano Accompaniment;
Voice (Voice and Piano)
SKU: HL.49047076
Zur Ruh', zur Ruh' ihr
muden Glieder / Wenn der
Herr... Voice and.
Composed by Johanna
Senfter. Edited by Rolf
Schö and nstedt.
Vocal Collection.
Classical, General
Worship, Sacred.
Softcover. 16 pages.
Schott Music #ED23654.
Published by Schott Music
(HL.49047076).
ISBN
9781705184035. UPC:
196288115076.
There
are only two sacred solo
songs in the extensive
oeuvre of the Oppenheim
composer Johanna Senfter.
Both songs, probably
composed in 1917, are
influenced by the
catastrophe of the First
World War. They are
hereby presented as the
first publication.
JOHANNA SENFTER 1879 -
1961 Born and raised in
Oppenheim/Rhein - First
lessons from the mother
(piano, violin) - School
and university years in
Frankfurt/Main -From 1895
parallel music studies at
the Hoch Conservatory in
Frankfurt, graduating in
1903 (piano, organ,
violin, composition;
especially dealing with
J.S. Bach) - From 1907
private lessons with Max
Reger - October 1908 to
1909 his student at the
Leipzig Conservatory -
1909 Arthur Nikisch Prize
for the best composition
- Then worked in
Oppenheim as a freelance
composer and music
teacher - Friendly
relationship between the
Reger family and Senfter
- With Reger's death in
1916 she lost the protege
for the advertising of
her works (approx. 130) -
1921 founding of two
music societies. ROLF
SCHONSTEDT Born in
Erfurt/Thuringia in 1944
- studied church music in
Herford and Cologne -
church music exams (B / A
/ artistic maturity exam
/ concert exam) Kantor
positions in Remscheid,
Wuppertal, Hamm/Westf. -
KMD, state chairman of
church musicians, state
church music director,
lecturer at the Westf.
phil. (The organ song - a
new genre on the
threshold of the 20th
century) - As an
organist,
harpsichordist,conductor,
lecturer in Europe,
Russia, North and South
America, Africa -
Co-founder of the 2nd
Reger Festival in
Argentina - Boardmember
of the International Max
Reger Society - Member of
the Argentine National
Academy for Art and Music
- Honors and awards
(national /
international) -
Publisher: Series The
Spiritual Song / The
Organ Works by Karl Hasse
- Radio, television, disc
/CD.
Recorder SKU: UT.DM-79 Composed by Ludovica Scoppola. Paperback (Soft Cov...(+)
Recorder
SKU:
UT.DM-79
Composed by
Ludovica Scoppola.
Paperback (Soft Cover).
Classical. Ut Orpheus #DM
79. Published by Ut
Orpheus (UT.DM-79).
ISBN 9790215324565. 9
x 12 inches.
This
method of instrumental
practice is aimed at all
those who, at any age,
wish to learn to play the
treble recorder, through
the reading of music.
During the course, step
by step, the various
chapters introduce the
fingering for the
recorder, together with
the understanding of the
musical symbols. The
goal, at the end of the
study course, is to be in
a position to perform all
the notes on the
instrument and to be able
to read music at a basic
level, which is the first
step in dealing with the
specific technical
studies and the music
written for the
instrument. Each
chapter, through
progressive exercises,
introduces a new note and
new topics of music
theory, in order to
achieve a gradual mastery
of the fingering of the
instrument. The
progression suggested for
learning the fingering
begins with the use of
the five fingers of the
left hand, then to
proceed to the use of the
right hand. Each topic is
then examined closely by
studying pieces from the
traditional, Renaissance,
Baroque and Classical
repertoires. The scales
are also introduced
gradually, aiming to help
the student master the
fingering of the scales
up to three sharps and
three flats and relative
minor scales. The
progressive difficulty
found in the course of
the method is measured
according to the
experience gained from
teaching students of
different ages, and can
be varied and adapted to
the needs of each
student. The workbook at
the start of each chapter
can be condensed,
expanded or developed in
relation to different
learning abilities.
By Mel Bay and William Bay. For Guitar (All). method. Non-Series. All Styles. L...(+)
By Mel Bay and William
Bay. For Guitar (All).
method. Non-Series. All
Styles. Level: Beginning.
Book CD DVD. Size
8.75x11.75. 88 pages.
Published by Mel Bay
Publications, Inc.