For
Euphonium and Concert
Band Solo Spectrum
Series. Composed by
Jan Van der Roost. De
Haske Concert Band.
Concert. Duration 720
seconds. De Haske
Publications #033383.
Published by De Haske
Publications
(HL.4008219).
UPC:
196288139102.
While
composing Serenata, Jan
Van der Roost didn't
focus too much on
virtuosity, acrobatics or
spectacle. Instead, he
wanted to let the solo
instrument shine as a
melodic and expressive
voice. And indeed: the
warm sound of the
euphonium touches the
heart of the audience
straight away in the
first section with a
melodious theme. Then
follows a rigaudon, a
noble and elegant dance
from the Renaissance era.
Despite the fact that
some of the variations on
the main theme require
some technique and
agility, the overall
character mostly remains
songful. The composition
as a whole builds further
on these two musical
ingredients, but thanks
to a clever alternation
of melodic and technical
passages, it offers a
nice stylistic diversity
to the listeners. The
band is definitely not
'just accompanying' but
fully participates and
begins a dialogue with
the soloist: both musical
partners have their say.
The end is more
spectacular and sonorous,
giving an extra boost of
energy to the soloist as
well as the band in a
grand finale!
For Euphonium and
Concert Band Solo
Spectrum Series.
Composed by Jan Van der
Roost. De Haske Concert
Band. Concert. Duration
720 seconds. De Haske
Publications #033383.
Published by De Haske
Publications
(HL.4008218).
UPC:
196288139096. 9.0x12.0
inches.
While
composing Serenata, Jan
Van der Roost didn't
focus too much on
virtuosity, acrobatics or
spectacle. Instead, he
wanted to let the solo
instrument shine as a
melodic and expressive
voice. And indeed: the
warm sound of the
euphonium touches the
heart of the audience
straight away in the
first section with a
melodious theme. Then
follows a rigaudon, a
noble and elegant dance
from the Renaissance era.
Despite the fact that
some of the variations on
the main theme require
some technique and
agility, the overall
character mostly remains
songful. The composition
as a whole builds further
on these two musical
ingredients, but thanks
to a clever alternation
of melodic and technical
passages, it offers a
nice stylistic diversity
to the listeners. The
band is definitely not
'just accompanying' but
fully participates and
begins a dialogue with
the soloist: both musical
partners have their say.
The end is more
spectacular and sonorous,
giving an extra boost of
energy to the soloist as
well as the band in a
grand finale!
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
The Definitive Paul Simon Songbook by Paul Simon. For Melody Line, Lyrics and Ch...(+)
The Definitive Paul Simon
Songbook by Paul Simon.
For Melody Line, Lyrics
and Chords. Music Sales
America. Folk Rock.
Softcover. 560 pages.
Paul Simon Music
#PS11594. Published by
Paul Simon Music
Piano SKU: BR.EB-8031 Piano Lessons by Frederic Chopin. Composed b...(+)
Piano
SKU:
BR.EB-8031
Piano
Lessons by Frederic
Chopin. Composed by
Frederic Chopin. Edited
by Heinz Walter. Solo
instruments; Softcover.
Edition Breitkopf.
Romantic period. Score.
24 pages. Breitkopf and
Haertel #EB 8031.
Published by Breitkopf
and Haertel (BR.EB-8031).
ISBN 9790004174340. 9
x 12 inches.
This
series of easy piano
music for teaching
purposes presents pupils
in the lower and lower
middle grades with a
carefully chosen
selection of well-known
and lesserknown
compositions by important
masters. The volumes are
deliberately kept small
in extent, since it is
more stimulating for
children to change the
teaching material
frequently. When the
aspiring pianist has
dealt successfully with
the works of Frederic
Chopin for the first
time, he will have left
the elementary level of
instruction behind. The
following selection of
easy pieces also requires
security of technique and
capability of musical
expression in order to
enable the florid sound
of Chopin's piano music
to unfold. As much as
works like the Prelude in
D flat major or the Walz
in A minor may tempt one
to premature endeavours,
a study of Chopin's music
should not be attempted
too early. In the
following five Preludes,
the two Valses and the
Nocturne in G minor (six
Mazurkas have been
published in a separate
folio), the editor has
made a selection of
pieces, which can be
mastered by the pupil
(with the exception of
opus 28/15 and opus
28/20), even if a limited
facility and finger
stretch is present.
Because of the finger
stretch required for some
chords, a different
distribution of the hands
has been indicated or
simplifications have been
suggested. An
introduction to the Tempo
rubato, taking style into
consideration, is a task
lying within teacher's
responsibility.
Indications for pedal use
were added by the editor.
Heinz Walter, Salzburg,
Fall 1979.
Composed by Andrew Lloyd Webber. For voice and piano. Format: piano/vocal/chords...(+)
Composed by Andrew Lloyd
Webber. For voice and
piano. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics and
chord names. Broadway.
238 pages. 9x12 inches.
Published by Hal Leonard.
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more.
SKU:
PR.16500100F
Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F).
ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches.
Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected.
Performed by Elvis Presley. For voice and c instrument. Format: fakebook. With v...(+)
Performed by Elvis
Presley. For voice and c
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Rock Ôn' roll and
rockabilly. Series: Hal
Leonard Paperback Songs.
255 pages. 4.1x6.7
inches. Published by Hal
Leonard.
(100 Songs Excerpted for Successful Auditions). Edited by Michale Dansicker. For...(+)
(100 Songs Excerpted for
Successful Auditions).
Edited by Michale
Dansicker. For tenor
voice solo and piano
accompaniment. Vocal
Collection. Broadway,
Movies and Pop.
Difficulty: medium.
Songbook. Vocal melody,
lyrics, piano
accompaniment, chord
names and introductory
text. 174 pages.
Published by Hal Leonard
Concert Band/Harmonie - Grade 5 SKU: HL.44002021 Die Entfuhrung aus de...(+)
Concert Band/Harmonie -
Grade 5
SKU:
HL.44002021
Die
Entfuhrung aus dem
Serail. Composed by
Wolfgang Amadeus Mozart.
De Haske Concert Band.
Set (Score & Parts).
Composed 2003. De Haske
Publications
#1033503-010. Published
by De Haske Publications
(HL.44002021).
UPC:
073999726251.
Wonde
rful! But, aren't there
too many notes? asked the
emperor Joseph II. No,
all notes are necessary.
This is new music,
replied Mozart. This is a
famous anecdote about the
premiere of the opera Die
Entfuhrung aus dem Serail
(The Abduction from the
Seraglio), which took
place on July 16, 1782 at
the Burgtheater Wien
(Vienna). It illustrates
Mozart's ambition and
self-confidence.
Throughout Mozart's
lifetime, Die Entfuhrung
aus dem Serail was his
most successful work
outside of Vienna. It is
still a much-performed
opera.Tohru Takahashi has
made a lively arrangement
of the overture in its
original key, C major. It
will sound even better if
your band has Turkish
percussioninstruments at
its disposal.
Tijdens het leven
van Mozart was Die
Entfuhrung aus dem
Serail (The
Abduction from the
Seraglio) zijn
succesvolste werk buiten
Wenen. Deze dynamische
opera wordt nog altijd
veel uitgevoerd. Tohru
Takahashi maakte
eenlevendig arrangement
van de ouverture in de
oorspronkelijke
toonsoort, C
majeur.
Zu Mozarts
Lebzeiten war Die
Entfuhrung aus dem
Serail die
erfolgreichste Oper
ausserhalb Wiens und noch
heute wird sie oft
gespielt. Tohru Takahashi
schuf ein lebendiges
Arrangement der Ouverture
in der ursprunglichen
Tonart C-Dur. Wenn Ihr
Blasorchester uber
Schlaginstrumente aus der
turkischen Musik verfugt,
konnen Sie damit den
Klang noch ausschmucken.
Ein grosses klassisches
Meisterwerk, das nun auf
die Interpretation Ihres
Blasorchesters
wartet.
Composed by Rhian Samuel.
Chamber music. For High
Voice, String Quartet and
Piano. Score (2 copies
supplied) and parts.
Score and parts. Stainer
& Bell Ltd. #Y296.
Published by Stainer &
Bell Ltd. (ST.Y296).
ISBN
9790220223525.
Natu
re and landscape have
been the dominant themes
of much of Rhian Samuel's
vocal music of the last
ten years, projected
chiefly through the
poetry of Anne Stevenson,
and in her most recent
song-settings, the
writings of the
Pakistan-born Texas-based
poet Zulfikar Ghose. His
poem 'Conspiracy of the
Clouds' describes how,
the clouds having chosen
to become invisible,
'Even the astronauts on
the space shuttle /
looked down on a
cloudless America' as
hurricanes ravage
Louisiana and storms
engulf Nebraska. An
intriguing conceit in the
tradition of magic
realism, the text is
presented as a scena
lasting around 16
minutes, with
interpolations from
'Haze' by the
nineteenth-century New
England transcendentalist
Henry David Thoreau. Thus
modern fable and romantic
nature-description are
juxtaposed, and their
interaction becomes the
source of musical
contrasts too. Thoreau's
words are assigned
predominantly to the
vocalist's highest
register, those of Ghose
to her lower tessitura;
and the suggestive and
dramatic accompaniment
builds tension steadily
to the final ironic
response of an
incredulous American
public: not one of awe
and wonder, but the
question 'Why weren't we
told about it?
String Quartet SKU: HL.14008374 Composed by Sir Peter Maxwell Davies. Mus...(+)
String Quartet
SKU:
HL.14008374
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical.
Score. Composed 2006. 24
pages. Chester Music
#CH68629. Published by
Chester Music
(HL.14008374).
ISBN
9781846096150. UPC:
884088435202.
8.25x11.75x0.105
inches.
The Full
Score for Peter Maxwell
Davies' fourth in a
series of ten string
quartets commissioned by
the Naxos Recording
company, first performed
by the Maggini Quartet on
20th August 2004 at the
Chapel of the Royal
Palace, Oslo, Norway, as
part of the Olso Chamber
Music Festival. Composer
Note: The fourth Naxos
quartet was written in
January and February of
2004, with the intention
of producing something
lighter and much less
fierce than its
predecessor, an
unpremeditated and
spontaneous reaction to
the illegal invasion of
Iraq. I returned to the
well-known Brueghel
picture of children's
games (1560, now in
Vienna), which had been
the inspiration for my
sixth Strathclyde
Concerto, for flute and
orchestra. These
illustrations liberated
my musical imagination,
but I feel it would limit
the listener's perception
to be too specific about
which game relates to
exactly which section of
the work. Suffice it to
say that there is
vigorous play -
leap-frog, bind the devil
with a cord, truss,
wrestling - alongside
quieter pastimes - masks,
guess whom I shall
choose, courting, odds
and evens. The single
movement juxtaposes these
activities as abruptly
and intimately as they
occur in Brueghel. Rather
as the eye is taken into
different perspectives
and proportions of scale
within the picture,
taking liberties which
would never be present
in, for instance,
Brunelleschi
architectural drawings,
so here, with a constant
sequence of
transformation processes,
I have distorted the
neat, precise
implications of modal
progression, expressed in
the unison opening phrase
(from F to B through A
sharp/B flat), so that
the ear is led, en route,
into the sound
equivalents of strange
passageways and closed
rooms: sicut exposition
ludus. As work on the
quartet progressed I
became aware that I was
reading into, and behind
the games, adult motives
and implications,
concerning aggression and
war, with their
consequences. It was
impossible to escape into
innocent childhood
fantasy. The nature of
the F to B progression
underlying the whole
construction derives from
a passage in the
development of the first
movement of Mahler's
Third Symphony, and the
opening of Schoenberg's
Second String Quartet.
However, unlike in these
models, here a real - if
temporary - sense of
resolution occurs at the
close of the quartet: as
when the curtain falls on
the reconciled Count and
Countess in 'Figaro' one
wonders how long the F/B
truce will hold, and
games break out again.
The quartet is dedicated
to Giuseppe Rebecchini,
Roman architect, and
friend since the
nineteen-fifties.
Vibraphone - late intermediate SKU: BT.DHP-0970889-401 By Gert Bomhof. By...(+)
Vibraphone - late
intermediate
SKU:
BT.DHP-0970889-401
By
Gert Bomhof. By Hein de
Jong. De Haske Percussion
Series. Educational Tool.
Book Only. Composed 1997.
36 pages. De Haske
Publications #DHP
0970889-401. Published by
De Haske Publications
(BT.DHP-0970889-401).
ISBN 9789073252660.
International.
This
volume presents twently
interesting and full-size
studies for vibraphone
players to practice
technique and
rhythm.During the last
decade there have been
enormous developments in
the technical
possibilities and playing
methods of the
vibraphone. Alongside
this, much new and
interesting music has
been available to the
advanced vibraphone
player, making use of a
variety of techniques.
However, not much has
been done for the
beginner on the
vibraphone, and it is for
this group that the
studies in this book are
intended.This book deals
with the following
techniques:a. Stick of
the pedalb. Stick
mutingc. Independence of
the left and right
handsd. Changing from
playing chords to
melodywith two stickse.
Independent use of the
sticks in one
handVibraphone
enthousiasts will love
it!
In den
vergangenen Jahrzehnten
haben sich die
technischen
Möglichkeiten und
Spielweisen des
Vibraphonsentscheidend
verändert. Au�erdem
wurde, gerade für
fortgeschrittene
Vibraphonisten,
interessante Musik
geschrieben, in der
unterschiedliche
Techniken verarbeitet
wurde. Für
Anfänger, die nur
über Grundfertigkeiten
verfügen, ist bisher
aber wenig geeignetes
Studienmaterial
vorhanden. Die 20
Etüden in diesem Buch
sind für diese
Zielgruppe geschrieben
und schlieÃ?en somit die
vorhandene Lücke. In
die 20 Etüden wurden
wichtige Techniken, wie
z.B. der Pedalgebrauch,
Schlägeldämpfen,
unabhängiges Spiel von
rechter und linker Hand
und Wechsel von Akkord-
und
Melodiespieleingearbeitet
. Endlich ein Buch mit
richtigen Spielstücken
für flei�ige
Vibraphonschüler.