Piano (Piano) - very easy SKU: HL.49007464 Volume 1. Composed by A...(+)
Piano (Piano) - very easy
SKU: HL.49007464
Volume 1. Composed
by Alex Benson. This
edition: Saddle
stitching. Sheet music.
Edition Schott. The
Keyboard Method for all
one manual models with
automatic accompaniment
and rhythm facility for
teaching and private
study. Classical,
Contemporary,
Educational. 64 pages.
Schott Music #ED 7710.
Published by Schott Music
(HL.49007464).
ISBN
9790001080293.
9.0x12.0x0.217 inches.
English.
Keyboard
Essentials is aimed at
all who want to learn to
play keyboards
successfully in
methodically thought-out
teaching units with the
aid of popular songs and
useful tips, though
tutoring or private
study. It is aimed at
beginners of all ages but
also, for example, wind
players, singers or
guitaristswho want to
become musical 'insiders'
and who though playing
the keyboard see an
introduction to
improvisation,
composition, harmony,
etc. On the keyboard in
particular, with its
clearly arranged, regular
structure of keys,
scales, chords, and
harmonic relations are
presented more clearly
and systematically than
on any other instrument.
Musicians with previous
knowledge may join in at
volume 2 or 3.
Cello solo SKU: BR.EB-8817 Materialien fur die Unterstufe. Compose...(+)
Cello solo
SKU:
BR.EB-8817
Materialien fur die
Unterstufe. Composed
by Michael Dartsch and
Susanne Richter. Solo
instruments; Softbound.
Edition Breitkopf.
This large volume is
designed for the young
beginner cellist, and is
attractively presented
with large print and
enchanting colour
illustrations.
(Stringendo AUSTA)
Music pedagogy. Score.
124 pages. Breitkopf and
Haertel #EB 8817.
Published by Breitkopf
and Haertel (BR.EB-8817).
ISBN 9790004183830. 9
x 12 inches.
The
Cellokasten (Cello Case)
offers a wealth of varied
material for the
beginner. Like the
successful Geigenkasten,
it can be used in
teaching as a supplement
to any cello method. And
with its steadily
increasing level of
difficulty within each
chapter, it can also
serve as a kind of
instruction method as
well. The chapters are
devoted to the following
topics: - Games of
posture and movement -
Music on open strings and
fundamentals of bowing
technique - Playing with
close stops and
wide-stretch stops, high
and low - Combination of
close stop, wide-stretch
stop and chromaticism -
Playing, reading,
notating rhythms; reading
and notating tones as
well as improvisation in
the chapter Inventing
Music . Along with lyrics
for singing, there is
almost always a second
part, which lets two
cello lovers make music
together. The book offers
songs and cello pieces
for a variety of
occasions and for every
season. Interesting
information about the
instrument is also
scattered throughout the
book.
This large
volume is designed for
the young beginner
cellist, and is
attractively presented
with large print and
enchanting colour
illustrations.
(Stringendo AUSTA).
NFMC
2016-2010 Piano Duet
Event Primary
III-IV-Elementary I
Selection. Arranged
by Wesley Schaum.
Educational Piano. Duet,
Recital, Supplementary.
Softcover. 32 pages.
Duration 7200 seconds.
Schaum Publications, Inc.
#0572. Published by
Schaum Publications, Inc.
(HL.645554).
ISBN
9781495081569. UPC:
008148005727. 9.0x12.0
inches.
A great
music educator once said,
Rhythm is caught, not
taught. Duet playing
provides valuable
experience developing a
sense of rhythm. These
duets are designed for
two students at the same
level - primo and secondo
parts are of equal
difficulty. Both parts
are fun to learn because
both players are given
interesting acompaniments
as well as melodies. It
is suggested that a
student alternate parts,
learning the primo part
for one piece, the
secondo part for the
next, etc. This gives
valuable sight-reading
experience with both
hands in treble clef and
with both hands in bass
clef. Duet playing
provides an excellent
opportunity for ear
training, too. Emphasis
should be placed on
listening carefully to
both parts so that the
melody can be heard
clearly and the
accompaniment subdued.
Book Two includes 12
duets: Blue Tail Fly *
(She'll Be) Comin' Round
the Mountain * Down by
the Riverside * Jimmy
Crack Corn (Blue Tail
Fly) * Little David Play
on Your Harp * Marines'
Hymn * My Wild Irish Rose
* You're a Grand Old Flag
* and more.
NFMC 2016-2010 Piano Duet Event Primary II-III-IV Selection. Arranged by ...(+)
NFMC 2016-2010 Piano
Duet Event Primary
II-III-IV Selection.
Arranged by Wesley
Schaum. Educational
Piano. Duet, Recital,
Supplementary. Softcover.
32 pages. Schaum
Publications, Inc. #0571.
Published by Schaum
Publications, Inc.
(HL.645553).
Holderlin lesen
III. Composed by Hans
Zender. Chamber music;
stapled.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere: Museum
Island Hombroich, May 31,
1992. Music post-1945;
New music (post-2000).
Performance score.
Composed 1991. 36 pages.
Duration 24'. Breitkopf
and Haertel #KM 2432.
Published by Breitkopf
and Haertel (BR.KM-2432).
ISBN 9790004502020. 10
x 15 inches.
In den
alten Kulturen war das,
was wir heute ,,Musik und
,,Dichtung nennen, eine
Einheit. Denken wir nur
an die lotrijgn<'
[musike] der Griechen,
oder an Beschreibungen,
die wir in den
klassischen chinesischen
Schriften finden. Aber
naturlich:
Kulturgeschichte ist ein
Differenzierungsprozess,
und so finden wir zur
Zeit unserer europaischen
Klassiker den Vorstoss
der Musik zu ihrer
,,Autonomie - ihrer
offiziellen Scheidung von
dem Metier der Dichter.
(Noch 1739 hatte
Mattheson in seinem
Vollkommenen
Capellmeister von jedem
Musiker ,,Gewandtheit in
der Dicht-Kunst und
genaueste Kenntnis der
Verslehre verlangt.)Seit
dieser Scheidung sind nun
die Musiker sehr eifrig
damit beschaftigt, eine
autonome Grammatik und
Syntax der ,,Tonkunst,
wie die Musik jetzt
genannt wird, zu
entwickeln, wahrend in
der Dichtung - besonders
naturlich in der
experimentellen, von Jean
Paul und Mallarme bis zu
Joyce und Celan - gerade
das ,,Musikalische in der
Poesie gesucht wird.
Hierunter ist oft der
Wunsch verborgen, die
Verhartung, welche die
Wortsprache durch ihre
begriffliche Fixierung -
extrem in der
Wissenschaft! - erfahrt,
wieder aufzuheben und sie
in einen ,,musikalischen
Zustand von
Unbestimmtheit, von
Offenheit zuruck zu
versetzen.Oberflachlich
betrachtet entwickeln
sich die beiden Kunste in
der Moderne also
auseinander; eine
Beruhrung zwischen ihnen
wird immer schwieriger.
Zu gross die Gefahr, dass
die muhsam errungene
Autonomie der einen
wieder der Ubermacht der
andern geopfert wird!
Entweder wird die Musik,
wenn sie schwach ist, zu
blosser Illustration und
Stimmungskulisse; oder
sie verschlingt in ihrer
klanglichen und
zeitlichen Ausformung den
eigenen Klang und
Rhythmus der
Dichtung.Manche Musiker
haben in den letzten
Jahrzehnten dieses
Problem noch
verinnerlicht und eine
Art Bilderverbot auch
innerhalb der Musik
aufgestellt: Gestik,
Expressivitat,
Assoziationsfahigkeit der
musikalischen Strukturen
wurden unterdruckt. Ich
halte das fur ein
neurotisches Verhalten
und ausserdem fur
irrefuhrend. Es gibt
schon seit jeher auch
eine musikalische
Semantik - das vergessen
manche vor lauter Syntax
und Grammatik; und es ist
kein Grund einzusehen,
warum in der Situation
der Autonomie nicht
musikalische und
sprachliche Semantik in
eine neue Art von
Verhaltnis treten
konnten. In der
Bach-Kantate, im
Schubert-Lied, in der
Wagnerischen Leitmotivik
waren das 1:1-Losungen;
aber schon Wagner hat
gezeigt, dass man diese
Identitat auch
dialektisch aufsprengen
kann.Und wie erst in der
Vielsprachigkeit der
heutigen Moderne! In
meiner Oper Stephen
Climax habe ich den
Hauptpersonen des Ulysses
von James Joyce bestimmte
- historisch ortbare -
Musiksprachen zugeteilt
(welche jeweils wieder
bestimmte intervallische
und rhythmische
Struktureigenschaften
zeigen, welche ihrerseits
wieder seriell oder
statistisch geordnet sind
- es geht bis ins
kleinste Detail ganz
,,autonom zu!!); der
Kosmos unserer
europaischen
Musikgeschichte wird
sowohl dem Kosmos der
Joyceschen Figuren
(ihrerseits
,,geschichtstrachtig!)
wie auch dem aktuellen
musikalischen Bewusstsein
zugeordnet, aber eben oft
auch uber Kreuz, paradox,
mehrschichtig, mehrdeutig
... Die Tatsache, dass
diese spezifische
Moglichkeit einer
neuartigen Einheit von
Sprache und Musik von den
berufenen Musikologen
noch kaum bemerkt worden
ist, zeigt nicht nur
deren Langsamkeit,
sondern auch die Dominanz
des ,,bildlosen Denkens
in der - jetzt
abgelaufenen - Phase der
Neuen Musik.In meinen
Holderlin lesen-Stucken
ging es mir darum, Wege
zu finden, die gewaltigen
Sprachstrukturen
Holderlins so in die
zeitliche Form der Musik
zu integrieren, dass sie
Funktionen der
musikalischen Form
ubernehmen, ohne in ihrer
Eigenkraft (sowohl
akustisch wie auch im
Sinne expressiver
,,Deutung) im geringsten
geschmalert zu werden.
Das hiess zunachst:
Sprechen, nicht singen! -
Aber das wurde nur
bedeuten, dass es nicht
um die Musikalisierung
von Text geht; ebenso
wichtig ist es, dass es
auch nicht um
melodramatisch
,,erzahlende Musik geht.
Sondern: Zwei autonome
Kunste durchdringen sich
auf diaphane Weise, ohne
sich zu uberformen oder
auszuloschen; es handelt
sich um einen Dialog,
nicht um eine
Vereinnahmung durch
Hierarchisierung.Ein
weiteres Thema, das in
der musikalischen
Diskussion der letzten
Jahrzehnte zu kurz
gekommen ist und deswegen
jetzt neu am Horizont
erscheint, ist die
Rhetorik. Inwieweit kann
musikalische Form nicht
nur logisch bzw.
syntaktisch, sondern auch
rhetorisch verstanden
werden? Rhetorik und
Satztechnik z.B. hangen
zusammen. Ich kann diese
Problematik (die ich in
meinem vierteiligen,
abendfullenden Shir
Hashirim ,,auskomponiert
habe) hier nur
andeuten.Musik steht
zwischen Zahl und Wort;
sie hat an beidem teil.
So konnte sie das Zentrum
der ,,Sieben Freien
Kunste in alten Zeiten
bilden ... (Heinrich
Schutz sagte, dass sie zu
diesen - also zu den
mathematisch-astronomisch
en und den literarischen
Kunsten - wie die ,,Sonne
zu den Planeten sich
verhalte.) Mir scheint,
dass wir die Komposition
seit 50 Jahren zu
einseitig nur von der
Zahl her definieren; sie
hat geschichtlich ebenso
viel mit Sprachstruktur
zu tun. Wir konnen
Neuland gewinnen, wenn
wir als heutige Musiker
dies neu durchdenken.Es
handelt sich hier um
meinen dritten Versuch
einer Annaherung an das
Problem einer
,,Verzeitlichung der
Holderlinschen Texte d.h.
einer Moglichkeit, diese
Texte in einer
Performance darzustellen:
da die Musik das
eigentliche Element der
zeitlichen Darstellung
ist, werden die
Holderlinschen Worte mit
Tonen konfrontiert.Im
Fall von denn
wiederkommen geht es um
neun Zeilen aus
Holderlins Patmos-Hymne.
Je eine solche Zeile wird
einem Formabschnitt der
Musik zugeordnet (das
Stuck ist also, wie meine
Lo-Shu-Stucke,
neunteilig). Die
betreffende Zeile
erklingt nicht nur
einmal, sondern wird, in
der gleichen Weise wie
auch das musikalische
Material, nach einem
chaotischen
Repetitionsprinzip
mehrfach
wiederholt.Auffallig ist
ferner, dass fur jeden
der neun Teile ein von
einem der vier
Quartettspieler
festgehaltener ,,Grundton
gewahlt wurde; durch
diese orgelpunktartige
Wirkung wird jeder der
neun Teile
zusammengehalten, und der
Horer kann die langsame
Bewegung der Grossform im
unmittelbaren Horprozess
mitvollziehen.Die neun
Satze von Holderlin
lauten:1. Furchtlos gehen
die Sohne der Alpen uber
den Abgrund weg auf
leicht gebaueten
Brucken...2. Sie horen
ihn und liebend tont es
wieder von den Klagen des
Manns...3. Im goldenen
Rauche bluhte schnell
aufgewachsen mit
Schritten der Sonne, mit
tausend Gipfeln duftend,
mir Asia auf, und
geblendet...4. Gegangen
mit dem Sohne des
Hochsten, unzertrennlich,
denn es liebte der
Gewittertragende die
Einfalt des Jungers...5.
Wenn aber stirbt alsdenn,
an dem am meisten die
Schonheit hing...6.
Eingetrieben war wie
Feuer in Eisen das, und
ihnen ging zur Seite der
Schatten des Lieben. Drum
sandt er ihnen den Geist
und freilich bebte das
Haus und die Wetter
Gottes rollten
ferndonnernd...7. Uber
die Berge zu gehn allein,
wo zwiefach erkannt, war
einstimmig und
gegenwartig der
Geist...8. Und hier ist
der Stab des Gesanges,
niederwinkend, denn
nichts ist gemein. Die
Toten wecket er auf...9.
Denn wiederkommen sollt
es, zu rechter Zeit.
Nicht war es gut gewesen,
spater, und schroff
abbrechend...(Hans
Zender)CD:Salome Kammer
(voice), Arditti String
QuartetCD Montaigne MO
782094Bibliography:Nyffel
er, Max: Fluchtpunkt
Patmos. Hans Zenders
Komposition ,,Denn
wiederkommen. Holderlin
lesen III, in: Neue
Zeitschrift fur Musik 180
(2019), Heft 1, S.
44-47.ders.: Lesen,
Schreiben, Horen. Zum
Verhaltnis von Musik und
Sprache bei Hans Zender,
dargestellt an der
Komposition ,,,denn
wiederkommen`. Holderlin
lesen III, in: ,,Ein
Zeichen sind wir,
deutungslos. Holderlin
lesen, Ikkyu Sojun horen,
Musik denken, hrsg. von
Violetta L. Waibel,
Gottingen: Wallstein
2020, S. 299-329Waibel,
Violetta L.: Holderlin
Lesen, Ikkyu Sojun Horen,
Musik Denken, in:
Festivalkatalog Wien
Modern 29 (2016), Essays,
pp. 196-198.Zenck,
Martin: Holderlin lesen -
seiner ,,Stimme zuhoren.
Holderlin-Lekturen von
Klaus Michael Gruber,
Hans Zender und Bruno
Ganz, in: Neue
Zeitschrift fur Musik 172
(2011), Heft 6, pp.
25-29.Zender, Hans: Zu
meinem Zyklus ,,Holderlin
lesen, in: Mnemosyne.
Zeit und Gedachtnis in
der europaischen Musik
des ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
pp. 26-40.
World
premiere: Museum Island
Hombroich, May 31,
1992.
Composed by Sean Osborn. Score and part(s). With Standard notation. 32 pages. Du...(+)
Composed by Sean Osborn.
Score and part(s). With
Standard notation. 32
pages. Duration 17
minutes. Theodore Presser
Company #114-41866.
Published by Theodore
Presser Company
(PR.114418660).
Piano SKU: BR.EB-6711 Piano Lessons by Wolfgang Amadeus Mozart from th...(+)
Piano
SKU:
BR.EB-6711
Piano
Lessons by Wolfgang
Amadeus Mozart from the
London Sketchbook.
Composed by Wolfgang
Amadeus Mozart. Edited by
Heinz Walter. Solo
instruments; Softcover.
Edition Breitkopf.
Classical period. Score.
12 pages. Breitkopf and
Haertel #EB 6711.
Published by Breitkopf
and Haertel (BR.EB-6711).
ISBN 9790004169148. 9
x 12 inches.
The
present series of easy
piano music for teaching
provides pupils in the
lower and lower-middle
grades with a careful
selection of well-known
and little-known
compositions by important
masters. Each book has
intentionally been kept
small in extent, since it
is more stimulating for
children to change the
teaching material
frequently. Mozart was in
London with his parents
and his sister from April
1764 to July 1765. As
well as performing in
concerts as a child
prodigy, he composed
works for various
instruments and
combinations. A
sketch-book dating from
this period (EB 3276,
published in full by
Georg Schunemann)
contains more than 40
compositions, chiefly for
piano (KV 15 a - 15 ss).
The works published here
have been chosen with
regard to their musical
and technical suitability
for pupils in the lower
grades. Obvious
notational errors have
been corrected; tempo
indications and marks of
expression have been
supplied where necessary
by the editor. In certain
pieces, Mozart himself
specified the performance
indications (as, for
example, in the case of
the varying articulations
in no. 9). Heinz Walter,
Salzburg, Fall 1974.
Urtext. Composed
by George Gershwin.
Orchestra; Softbound.
Edition Breitkopf. Solo
concerto; Early modern;
Music post-1945. Piano
reduction. 88 pages.
Duration 36'. Breitkopf
and Haertel #EB 10859.
Published by Breitkopf
and Haertel
(BR.EB-10859).
ISBN
9790201808598. 9.5 x 12
inches.
After
achieving sensational
success with the musical
Lady, be good! , with
evergreens such as
Fascinating Rhythm and
The Man I love, as well
as with his Rhapsody in
Blue , Gershwin premiered
his Concerto in F for
piano and orchestra as a
soloist at Carnegie Hall
in 1925. Now, the new
superstar of Broadway had
also arrived at the
center of New York's
classical music scene. In
its eventful history, the
work went through
numerous changes,
cuttings, arrangements,
many of which doubtful
and unauthorized. Even
the first and so far only
printed orchestral score,
edited by Frank
Campbell-Watson,
published in 1942 five
years after Gershwin's
death, contains many
unauthorized
interventions. Through
years of research, editor
Norbert Gertsch has
succeeded in ridding the
work of all unauthorized
additions and alterations
and thus reconstructing
an Urtext in its original
literal sense from the
complex source material -
from autograph sketches
to early recordings. The
first text-critical
edition of the work is a
joint production of
Breitkopf
(score/orchestral parts)
and G. Henle Verlag
(piano reduction).
Poem for Music in 2
Preludes, an Intermezzo
and 3 Principal
Scenes. Composed by
Ferruccio Busoni. Choir;
Softbound. Edition
Breitkopf. Opera; Music
theatre; Early modern;
Late-romantic.
Piano/Vocal Score.
Breitkopf and Haertel #EB
9434. Published by
Breitkopf and Haertel
(BR.EB-9434).
ISBN
9790004189115. 9 x 12
inches.
Ferruccio
Busoni died in 1924,
leaving his last opera
Doktor Faust incomplete
in two places: in the
Helena scene in the
second scene and in the
final scene with the
protagonist's death. The
premiere took place
posthumously with the
addenda by Busoni's
student Philipp Jarnach.
In 1984, the conductor
and Busoni biographer
Antony Beaumont presented
his addendum based on
autograph sketches of
which Jarnach had also
been quite aware (!). The
edition of the piano
vocal score released in
advance of the Busoni
anniversary (100th
anniversary of his death)
combines for the first
time the solutions
previously published
separately and offers, in
addition, a music text
with many improved
passages that is well
aligned with the full
score.
Violin, piano (solo: vl -
2.2.cor
ang.2.B-clar.A-sax.2.dbl
bsn - 4.2.2.1 -
timp.perc(2) - hp - str)
SKU: BR.EB-10821
In Memory of an Angel
- Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Arranged by
Jan Philip Schulze. Solo
instruments; Softbound.
Edition Breitkopf.
In
Cooperation with G. Henle
Verlag
Solo concerto;
Early modern. Piano
reduction. 120 pages.
Duration 25'. Breitkopf
and Haertel #EB 10821.
Published by Breitkopf
and Haertel
(BR.EB-10821).
ISBN
9790201808215. 9.5 x 12
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue musikzeitung).
Keyboard (KEYB+MIDI) - very easy to easy SKU: HL.49032314 Read the mus...(+)
Keyboard (KEYB+MIDI) -
very easy to easy
SKU:
HL.49032314
Read
the music and play it
straight away. For
tuition purposes and
individual study -
revised, extended and
with a new look.
Composed by Axel
Benthien. This edition:
Saddle stitching. Sheet
music with MIDI-floppy
disk. Edition Schott.
Vorbereitung auf
mehrstimmiges Spiel
(linke Hand) -
Improvisation -
Rhythmisch-melodische
Lebendigkeit. Edition
with MIDI-Diskette. 64
pages. Schott Music #ED
7282-01. Published by
Schott Music
(HL.49032314).
ISBN
9783795757021.
German.
This method
is aimed at everybody who
wants to learn to play
the keyboard, in lessons
or self-study, in
methodological teaching
units with the help of
popular songs and useful
information: at beginners
of every age, but also at
wind players, singers or
guitarists who wish to
become musical 'insiders'
and look for a method to
approach improvisation,
composition, harmony,
etc. through keyboard
playing. It is especially
on the keyboard with its
clear, regular layout
that scales, chords and
harmonic progressions can
be shown in a clearer and
more systematic way than
on any other instrument.
Musicians with previous
knowledge can start with
volume 2 or 3. Volume 3:
Seven new chords which
can easily and certainly
be learnt due to the
previous slow increase in
difficulty and the
increased use of the left
hand for independent
accompaniments help to
prepare for polyphonic
playing with both hands.
Playing with two hands
and with a number of new
rhythmic structures which
have all been taken from
well-known melodies make
music-making and learning
in this volume a great
experience. The knowledge
of intervals, exercises
for the quick recognition
of the intervals, and
transposing form the
basis of the introduction
to harmony provided for
in volume 4.
Piano - intermediate SKU: HL.49008161 Grundlagen der naturlichen Beweg...(+)
Piano - intermediate
SKU: HL.49008161
Grundlagen der
naturlichen Bewegung am
Klavier in 20
Lektionen. Composed
by Seymour Bernstein.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. 148
pages. Schott Music #ED
8786. Published by Schott
Music (HL.49008161).
ISBN 9783795753573.
8.25x11.75x0.405 inches.
German.
Bei dem
Begriff Choreographie
denkt man sofort an Tanz.
Daruber hinaus bezieht er
sich auf die Darstellung
des Tanzes in Begriffen
fur Korperbewegung und
Schrittfolgen auf der
Buhne. Technisch gesehen
ist Choreographie
indessen eine Kunst, die
darin besteht,
tanzerische Bewegungen
mit Hilfe einer
bestimmten Art der
Aufzeichnung
festzuhalten. Was hat
dies alles mit
Klavierspielen zu tun?
Wenn wir die Hande in
unterschiedlichen
Bewegungen uber die
Klaviatur fuhren,
schaffen wir tatsachlich
eine eigenstandige
Choreographie. Mit
anderen Worten: Wenn wir
Bogen, Staccato- und
Pausenzeichen etc. im
Spiel umsetzen, brauchen
wir hierzu
unterschiedliche
Kombinationen von
senkrechten, waagrechten
und rotierenden
Bewegungen - Bewegungen,
die uns ebenso mit dem
Instrument wie mit der
Musik in Verbindung
bringen. Die Summe all
dieser Bewegungen, die
wir beim Spiel eines
einzelnen Stucks
ausfuhren, bewirken einen
wahren Tanz von Fingern,
Handgelenk, Armen und
Korper - einen Tanz auf
den Tasten.
Soprano voice, tenor voice and piano or piano alone (SGST/KL) SKU: HL.4903039...(+)
Soprano voice, tenor
voice and piano or piano
alone (SGST/KL)
SKU:
HL.49030396
Version for two voices
and piano or piano
alone. Composed by
Percy Aldridge Grainger.
This edition: Saddle
stitching. Sheet music.
Edition Schott. Score.
Composed 1905/1911. 12
pages. Duration 6'.
Schott Music #ED 12525.
Published by Schott Music
(HL.49030396).
ISBN
9790220122743.
9.0x12.0x0.067 inches.
Vocalise.
No
traditional tunes of any
kind are made use of in
this piece, in which I
have wished to express my
personal feelings about
my own country
(Australia) and people,
and also to voice a
certain kind of emotion
that seems to me not
untypical of native-born
Colonials in
general.Perhaps it is not
unnatural that people
living more or less
lonelily in vast virgin
countries and struggling
against natural and
climatic hardships
(rather than against the
more actively and
dramaticly exciting
counter wills of their
fellow men, as in more
thickly populated lands)
should run largely to
that patiently yearning,
inactive sentimental
wistfulness that we find
so touchingly expressed
in much American art; for
instance in Mark Twains
Huckleberry Finn, and
Stephen C. Foster's
adorable songs, My Old
Kentucky Home, Old Folks
at Home, etc. I have also
noticed curious, almost
Italian-like, musical
tendencies in brass band
performances and ways of
singing in Australia
(such as a preference for
richness and intensity of
tone and soulful breadth
of phrasing over more
subtly and sensitively
varied delicacies of
expression) which are
also reflected here.Percy
Aldridge Grainger.
Composed by Hugo Pfister.
Edited by Räto
Tschupp. DIN-A5.
Paperback. Miniature
score. 96 pages. Edition
Kunzelmann #GM-110p.
Published by Edition
Kunzelmann (KU.GM-110P).
Piano SKU: AY.PN3058PM Composed by Gloria Rodriguez. Keyboards - Piano. S...(+)
Piano
SKU:
AY.PN3058PM
Composed
by Gloria Rodriguez.
Keyboards - Piano. Sheet
music. Duration 4'.
Periferia Publishing
#PN3058PM. Published by
Periferia Publishing
(AY.PN3058PM).
ISBN
9790543573789.
Acco
rding to the
distinguished
musicologist Juan
Bautista Varela, the
Galician Treboada is a
musical term out of the
songbook, as its sense is
merely musical. From a
lexicographical point of
view it means
thunderstorm, storm,
squall, etc. It is almost
an onomatopoeic sense,
due to the great noise
that the bass drums,
fundamental elements of
the Treboada, make. The
Treboada is played always
on the eves of
celebrations or feasts
and it is played by three
or five bass drums, one
or two Galician bagpipes
and a drum. The
dispersion area of the
Treboada is much reduced,
according to the poet and
essayist Eliseo Alonso
Rodriguez, it comprises
the parishes of Forcadela
and Estas, both of them
belong to the town of
Tomino. Xose Hernique
Rodriguez Portela, from
Tomino, says that they
also play it on the feast
of the Virgin of St. Mary
of Tomino eve (Virgen del
Alivio de Santa Maria de
Tomino). I owe him the
idea of this piece,
because Xose Henrique
described to me how the
bass drums sound in the
distance, early in the
morning, like great roars
along with blank bullets
that are shot every time
a particular house
donates money for the
feast and they gradually
approach the house until
it trembles. He sang the
melody I wrote and he
confessed he had heard it
not long ago in the
rehearsal of a popular
folk group where there
was only a percussionist
and a Galician bagpipe
player, as with the drums
it is difficult to
appreciate the bagpipe. I
also mix the Treboada
with an Alborada, because
in Galicia almost all the
churches have
loudspeakers that play
this melody at around
nine o'clock in the
morning, the same time
that the Treboada of
Tomino starts playing.
Gloria Rodriguez Gil.
Voice and Guitar SKU: HL.49004900 Ein Fahrtenliederbuch. Edited by...(+)
Voice and Guitar
SKU:
HL.49004900
Ein
Fahrtenliederbuch.
Edited by Alfred
Zschiesche. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. 64
pages. Schott Music #ED
4462. Published by Schott
Music (HL.49004900).
ISBN 9790001052184.
UPC: 884088098124.
5.5x7.5x0.212 inches.
German.
Organ SKU: HL.14031560 Composed by Pelle Gudmundsen-holmgreen. Music Sale...(+)
Organ
SKU:
HL.14031560
Composed
by Pelle
Gudmundsen-holmgreen.
Music Sales America.
Classical. Book
[Softcover]. Composed
2005. 36 pages. Edition
Wilhelm Hansen #WH30534.
Published by Edition
Wilhelm Hansen
(HL.14031560).
ISBN
9788759811009.
International (more than
one
language).
STILL.
LEBEN Organist Eva
Feldbc:ek had been asking
me for a long time to
write for the organ
without the use of iron
blocks, extra stopping
assistants etc ....
unusual difficulties that
belonged to my earlier
organ music. I
setmyselfthe task of
Miting a ''handier'' kind
of music for the organ.
Once I had finished
STILL. LEBEN, I didn't
think I had achieved what
I was looking for. True,
the two movements did not
involve odd things, but
handy isn't really the
word for them either. So
I wrote the three
movements in COUNTERMOVE
to tidy up even more. And
since I didn't think that
was enough either, I
wrote the really simple
pieces under the title IN
TRIPLUM. The three
series(eight pieces in
all, 2 + 3 + 3) sound
very different, but they
all take their point of
departure from the nature
and tonal resources ofthe
organ. Everywhere there
is polyrhythm or
hierarchical layering,
polychromaticism,
diatonics and melody (the
last of these only
sparingly and in some of
the movements). Pelle
Gudmundsen-Holmgreen.
Drum Kit SKU: HL.14047672 Composed by Salvador Niebla. CARISCH - MUSIC SA...(+)
Drum Kit
SKU:
HL.14047672
Composed
by Salvador Niebla.
CARISCH - MUSIC SALES.
Tuition. General
Merchandise. Real Musical
#ML3769. Published by
Real Musical
(HL.14047672).
ISBN
9788438712702.
Spanish.
The
Virtual Drummer is a
method that has been
designed for students of
all levels. Based on the
study of musical language
and how to apply rhythmic
Drums, Percussion or any
other instrument, this
method will help you
analyze metrics to
understand how to play
any musical style. It is
also very effective for
any instrumentalist who
wants to discover and
dominate the rhythmic
world. This tuition book
includes free access to
the Virtual Drummer
School, where you will
find videos of all of the
featured exercises. These
videos can be viewed on
any device - computer (PC
or Mac), tablet or
smartphone. Salvador
Niebla (b.1975) has
featured on more than 150
albums and
collaboratedwith many
artists of all genres:
Jazz , Pop, Rock,
Flamenco , Fusion , Latin
etc. He has also composed
and collaborated on music
for theatre, advertising,
film and television. In
2012, he composed the
play Fallen Angels for
the National Ballet of
Spain, and, in 2013, the
music of the opening
ceremony and closing
ceremony of the World
Swimming Championships
BCN2013. He founded the
Virtual Drummer School in
1999.
Saxophone SKU: HL.14047664 Composed by Paolo Veiga. CARISCH - MUSIC SALES...(+)
Saxophone
SKU:
HL.14047664
Composed
by Paolo Veiga. CARISCH -
MUSIC SALES. General
Merchandise. Play Music
Italy #ML3757. Published
by Play Music Italy
(HL.14047664).
ISBN
9788850728992.
Italian.
This
book enables Saxophone
players to practice some
of the greatest classical
works on the alto Eb
Saxophone. It has three
main objectives: to
enrich your musical
culture, to improve your
technique and to allow
you to have fun while
playing well known
tunes.
Pieces by
all the great composers
are included. You will
learn symphonies,
sonatas, lieder, arias,
Renaissance dances,
orchestral pieces, ballet
pieces and waltzes, as
well as instrumental
pieces such as preludes,
nocturnes, studies,
marches etc.
In
addition, to make
learning and playing fun,
each score is accompanied
by two audio recordings
(MP3) on the included CD
which features more than
six hours
ofmusic.
Horn and piano (solo: hn - 0.2.0.2 - 0.0.0.0 - str) SKU: BR.EB-10701 U...(+)
Horn and piano (solo: hn
- 0.2.0.2 - 0.0.0.0 -
str)
SKU:
BR.EB-10701
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Arranged by Jan
Philip Schulze. Solo
instruments; stapled.
Edition Breitkopf.
In
Cooperation with G. Henle
Verlag
Solo concerto;
Classical. Piano
reduction. 44 pages.
Duration 12'. Breitkopf
and Haertel #EB 10701.
Published by Breitkopf
and Haertel
(BR.EB-10701).
ISBN
9790201807010. 9.5 x 12
inches.
With the
publication of the score
and parts of the D-major
Horn Concerto K. 412/514,
the Mozart expert Henrik
Wiese adds another
milestone to his edition
of this important work
group which was begun in
2013. In the course of
time, the piece that was
first edited in the Old
Mozart Edition of 1881 as
Mozarts 1st Horn Concerto
turned out to be a
pasticcio: while the
opening movement is
indisputably by Mozart,
the elaboration of the
Rondo must now be
attributed to Sussmayr.
This movement is
transmitted solely as a
sketch in Mozarts hand.
The present edition
contains both the
Sussmayr Rondo (K. 514 =
smWV 502) and the
Mozartian Rondo fragment
(K. 412) which was
carefully completed by
Wiese. The performer will
thus have the choice
between the traditional
version (with Sussmayr)
and the version
presumably intended by
Mozart, all in one
practical
edition.
In
Cooperation with G. Henle
Verlag. EB 10701 contains
the parts for horn in F
and Eb.
Band Concert Band - Grade 2 SKU: CF.YPS161 Composed by Gabriel Musella. S...(+)
Band Concert Band - Grade
2
SKU: CF.YPS161
Composed by Gabriel
Musella. SWS FS. Set of
Score and Parts. With
Standard notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+1+2+12 pages.
Duration 2:30. Carl
Fischer Music #YPS161.
Published by Carl Fischer
Music (CF.YPS161).
ISBN 9781491140611.
UPC: 680160628674. 9 x 12
inches. Key: Eb
major.
This is a
stunningly beautiful
ballad for young band by
composer Gabriel Musella.
It is the perfect vehicle
to stretch the
musicianship of your
maturing ensemble. Mr.
Musella draws from his
years of experience
teaching bands in Texas
to provide us with a
heartfelt piece that is a
study in instrumental
color and textures.