No. 2 from the
Symphonic Poem My
Fatherland. Composed
by Bedrich Smetana.
Edited by Milan Pospisil.
Stapled. Eulenburg
Orchestral Series.
Today, it is hard to
believe that Bedrich
Smetana kept receiving
rejections when he tried
to get his enormously
popular Moldau
printed.
Symphonic
poem; Romantic. Part. 8
pages. Duration 13'.
Breitkopf and Haertel
#EOS 20472-23. Published
by Breitkopf and Haertel
(BR.EOS-20472-23).
ISBN 9790004184981. 10
x 12.5
inches.
What is
also amazing is that the
first text-critical
edition prepared by the
Czech Smetana expert
Milan Pospisil in 1999,
which had entailed an
exhaustive evaluation of
the sources and been
given a full
text-critical editorial
treatment as a Eulenburg
study score, had no
resonance of any kind
among performers since no
performance material had
been published. After 15
years, Pospisils edition
is finally being
completed in a manner
suitable for practice:
with a conducting score
and orchestral parts
which will ensure that
all future performances
are based on a musical
text that is as reliable
as can
be.
The
work depicts the course
of the river Vltava,
beginning with its first
two sources, the cold and
warm Vltava, and the
confluence of the two
streams that join to form
a single river; then the
course of the Vltava
through forests and
meadows, and through open
countryside where a
peasant wedding is being
celebrated; water-sprites
dance by the light of the
moon; on the nearby
cliffs castles, mansions
and ruins rise proudly
into the air; the Vltava
eddies in the St John's
Rapids, then flows in a
broad stream as it
continues its course
towards Prague, where the
Vysehrad appears, before
the river finally
disappears into the
distance as it flows
majestically into the
Elbe.
Vltava
(The Moldau),
Smetana's best-known and
most frequently performed
orchestral work, was
written between 19
November and 8 December
1874, at a time when
Smetana was already
completely deaf. The
world premiere took place
in Prague on 4 April
1875, but the score was
not published until
1880.
No. 2 from the
Symphonic Poem My
Fatherland. Composed
by Bedrich Smetana.
Edited by Milan Pospisil.
Stapled. Eulenburg
Orchestral Series.
Today, it is hard to
believe that Bedrich
Smetana kept receiving
rejections when he tried
to get his enormously
popular Moldau
printed.
Symphonic
poem; Romantic. Part. 4
pages. Duration 13'.
Breitkopf and Haertel
#EOS 20472-27. Published
by Breitkopf and Haertel
(BR.EOS-20472-27).
ISBN 9790004184998. 10
x 12.5
inches.
What is
also amazing is that the
first text-critical
edition prepared by the
Czech Smetana expert
Milan Pospisil in 1999,
which had entailed an
exhaustive evaluation of
the sources and been
given a full
text-critical editorial
treatment as a Eulenburg
study score, had no
resonance of any kind
among performers since no
performance material had
been published. After 15
years, Pospisils edition
is finally being
completed in a manner
suitable for practice:
with a conducting score
and orchestral parts
which will ensure that
all future performances
are based on a musical
text that is as reliable
as can
be.
The
work depicts the course
of the river Vltava,
beginning with its first
two sources, the cold and
warm Vltava, and the
confluence of the two
streams that join to form
a single river; then the
course of the Vltava
through forests and
meadows, and through open
countryside where a
peasant wedding is being
celebrated; water-sprites
dance by the light of the
moon; on the nearby
cliffs castles, mansions
and ruins rise proudly
into the air; the Vltava
eddies in the St John's
Rapids, then flows in a
broad stream as it
continues its course
towards Prague, where the
Vysehrad appears, before
the river finally
disappears into the
distance as it flows
majestically into the
Elbe.
Vltava
(The Moldau),
Smetana's best-known and
most frequently performed
orchestral work, was
written between 19
November and 8 December
1874, at a time when
Smetana was already
completely deaf. The
world premiere took place
in Prague on 4 April
1875, but the score was
not published until
1880.
No. 2 from the
Symphonic Poem My
Fatherland. Composed
by Bedrich Smetana.
Edited by Milan Pospisil.
Softbound. Eulenburg
Orchestral Series.
Today, it is hard to
believe that Bedrich
Smetana kept receiving
rejections when he tried
to get his enormously
popular Moldau
printed.
Symphonic
poem; Romantic. Full
score. 84 pages. Duration
13'. Breitkopf and
Haertel #EOS 20472-00.
Published by Breitkopf
and Haertel
(BR.EOS-20472-00).
ISBN 9790004780008. 10
x 12.5
inches.
What is
also amazing is that the
first text-critical
edition prepared by the
Czech Smetana expert
Milan Pospisil in 1999,
which had entailed an
exhaustive evaluation of
the sources and been
given a full
text-critical editorial
treatment as a Eulenburg
study score, had no
resonance of any kind
among performers since no
performance material had
been published. After 15
years, Pospisils edition
is finally being
completed in a manner
suitable for practice:
with a conducting score
and orchestral parts
which will ensure that
all future performances
are based on a musical
text that is as reliable
as can
be.
The
work depicts the course
of the river Vltava,
beginning with its first
two sources, the cold and
warm Vltava, and the
confluence of the two
streams that join to form
a single river; then the
course of the Vltava
through forests and
meadows, and through open
countryside where a
peasant wedding is being
celebrated; water-sprites
dance by the light of the
moon; on the nearby
cliffs castles, mansions
and ruins rise proudly
into the air; the Vltava
eddies in the St John's
Rapids, then flows in a
broad stream as it
continues its course
towards Prague, where the
Vysehrad appears, before
the river finally
disappears into the
distance as it flows
majestically into the
Elbe.
Vltava
(The Moldau),
Smetana's best-known and
most frequently performed
orchestral work, was
written between 19
November and 8 December
1874, at a time when
Smetana was already
completely deaf. The
world premiere took place
in Prague on 4 April
1875, but the score was
not published until
1880.
Composed by Richard Wagner (1813-1883). Edited by Egon Voss. For Voice, Piano Ac...(+)
Composed by Richard
Wagner (1813-1883).
Edited by Egon Voss. For
Voice, Piano
Accompaniment (Vocal
Score). This edition:
Urtext edition. Schott.
Vocal score. 416 pages.
Schott Music #ED20542.
Published by Schott Music
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231).
ISBN
9781491153314. UPC:
680160910816.
Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley.
Piano SKU: BT.MUSAM39645 The Complete Piano Player. Tuition. Book Only. C...(+)
Piano
SKU:
BT.MUSAM39645
The
Complete Piano Player.
Tuition. Book Only.
Composed 1992. 232 pages.
Music Sales #MUSAM39645.
Published by Music Sales
(BT.MUSAM39645).
ISBN
9780711906723.
English.
All five
books of The Complete
Piano Player series are
published in this single
volume at a substantial
savings over the price of
the five individual
books. Complete with
keyboard chart.
Urtext. Composed
by Joachim Raff. Edited
by Severin Kolb and
Stefan Konig. This
edition: Urtext. Chamber
music; Folder. Edition
Breitkopf.
Orchestrally-conceived,
full of energetic vigor,
and at times
uncompromisingly modern:
The two captivating
quartets are now
available as Urtext
editions. Romantic
period. Set of parts. 88
pages. Breitkopf and
Haertel #EB 8939.
Published by Breitkopf
and Haertel (BR.EB-8939).
ISBN
9790004186084.
With
his first String Quartet
in D minor, op. 77,
composed in 1855, the
native Swiss composer
Joachim Raff bid a
brilliant farewell to
Weimar. He had been there
as Franz Liszt's
assistant since 1850 and
had made a name for
himself in the city's art
scene - now he embarked
on new paths. He composed
his second Quartet in A
major, op. 90, already in
1857 in Wiesbaden, the
spa town that was to
become his home for 21
years. The two quartets
are unequivocal works:
orchestrally-conceived,
full of energetic vigor,
and at times
uncompromisingly modern.
They confidently continue
the Beethoven tradition
and attest at the same
time to Raff's intensive
confrontation with
Richard Wagner's music
during the Weimar years.
In his chamber music, the
composer wanted to
achieve progress in an
inherently historical way
and to ground the
individual substance in
existing forms, as he
told the Viennese
violinist Josef
Hellmesberger, who
launched opus 77. The
quartets, first published
in 1860/62, found
illustrious interpreters,
among them, the Muller
brothers' renowned
ensemble, to which opus
90 was also dedicated,
and Joseph Joachim.In
collaboration with the
Joachim-Raff-Archiv
Lachen (CH)
Some
eighteen years elapsed
between Raff's first
counted String Quartet
op. 77 and his Quartets
Nos. 6-8 op. 192,
combined as one work. As
such, Raff parted with
the weighty single opus
in quartet composition -
without, however,
sacrificing musical
quality.
By Larry McCabe. For Guitar (Flatpicking and Fingerpicking). Songbook. McCabe's ...(+)
By Larry McCabe. For
Guitar (Flatpicking and
Fingerpicking). Songbook.
McCabe's 101 Series. All
Styles. Level: Beginning.
Book. Size 8.75x11.75.
128 pages. Published by
Mel Bay Publications,
Inc.
String Quartet (2vl,va,vc) SKU: BR.PB-5622-07 Urtext. Composed by ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.PB-5622-07
Urtext. Composed
by Joachim Raff. Edited
by Severin Kolb and
Stefan Konig. Chamber
music; Softbound.
Partitur-Bibliothek
(Score Library).
With
his first String Quartet
in D minor, op. 77,
composed in 1855, the
native Swiss composer
Joachim Raff (1822-1882)
bid a brilliant farewell
to Weimar.
Romantic
period. Study Score. 176
pages. Breitkopf and
Haertel #PB 5622-07.
Published by Breitkopf
and Haertel
(BR.PB-5622-07).
ISBN
9790004215197. 6.5 x 9
inches.
With his
first String Quartet in D
minor, op. 77, composed
in 1855, the native Swiss
composer Joachim Raff bid
a brilliant farewell to
Weimar. He had been there
as Franz Liszt's
assistant since 1850 and
had made a name for
himself in the city's art
scene - now he embarked
on new paths. He composed
his second Quartet in A
major, op. 90, already in
1857 in Wiesbaden, the
spa town that was to
become his home for 21
years. The two quartets
are unequivocal works:
orchestrally-conceived,
full of energetic vigor,
and at times
uncompromisingly modern.
They confidently continue
the Beethoven tradition
and attest at the same
time to Raff's intensive
confrontation with
Richard Wagner's music
during the Weimar years.
In his chamber music, the
composer wanted to
achieve progress in an
inherently historical way
and to ground the
individual substance in
existing forms, as he
told the Viennese
violinist Josef
Hellmesberger, who
launched opus 77. The
quartets, first published
in 1860/62, found
illustrious interpreters,
among them, the Muller
brothers' renowned
ensemble, to which opus
90 was also dedicated,
and Joseph Joachim.In
collaboration with the
Joachim-Raff-Archiv
Lachen (CH)
Some
eighteen years elapsed
between Raff's first
counted String Quartet
op. 77 and his Quartets
Nos. 6-8 op. 192,
combined as one work. As
such, Raff parted with
the weighty single opus
in quartet composition -
without, however,
sacrificing musical
quality.
Piano, Vocal and Guitar SKU: BT.MUSAM1000450 By Jenni Wheeler. By Glee Ca...(+)
Piano, Vocal and Guitar
SKU:
BT.MUSAM1000450
By
Jenni Wheeler. By Glee
Cast.
TV-Film-Musical-Show.
Book Only. Wise
Publications
#MUSAM1000450. Published
by Wise Publications
(BT.MUSAM1000450).
ISBN
9781849385121.
This
great songbook features
17 songs from the hit TV
show
Glee in
Piano, Vocal and Guitar
arrangements.
In
cludes the hit single
Don't Stop
Believin',
originally
releasedbyJourney
. Both the
original and the
Glee
cast version made it into
the charts in January
2010, both in the top
ten, a rare occurrence in
UK chart history. Also
includes
otherGleesingles, such as
Take a Bow,
originally by
Rihanna,
Keep Holding On,
released in 2006 by
Avril
Lavigne and
featured as the theme
song for the
filmEragon,Bust A Move,
the 1989 hip-hop release
from Young
MC, Sweet
Caroline, the
extensively covered
Neil
Diamond hit and
Queen's
SomebodyToLove.<
br/>
GLEE, de
Amerikaanse High School
hit, wordt ook
uitgezonden op de
Nederlandse televisie en
is een enorm succes.
Vanaf 14 september 2010
is deze serie te zien bij
RTL 5 en de kijkcijfers
hebben zich na de eerste
paar uitzendingen
verdubbeld.Glee bevat
humor, spanning,
cheerleeders,
footballspelers en flink
wat tienerdrama, maar
onderscheidt zich sterk
van andere soortgelijke
programma's door de
bijzondere muziek in de
serie. Er worden namelijk
nummers vanbekende
artiesten gezongen, die
in een nieuw hip jasje
gestoken zijn. Glee is
hierdoor hard op weg om
de grootste hype van dit
seizoen te
worden!Leverbaar:G
lee Songbook:
Season 1,
Volume 1 Glee Songbook:
Season 1, Volume 2
GleeSongbook: Season 1,
Volume 3
