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Depuis le 1er juillet 2021, Sheet Music Plus n'expédie plus d'articles physiques en zone Européenne!
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Musical Cups [Partition + Accès audio] Hal Leonard
Book with Online Audio and Video Choral (Book with Audio Access Code) SKU: HL...(+)
Book with Online Audio
and Video Choral (Book
with Audio Access Code)
SKU: HL.294336
Song and Activities
for the Music
Classroom . Composed
by John Jacobson.
Collections. Children,
Children'S Choir,
Classroom Resources,
Elementary, Young Choir.
Softcover Media Online.
56 pages. Published by
Hal Leonard (HL.294336).
ISBN 9781540059178.
UPC: 888680941406.
9.0x12.0x0.127 inches.
Rhythm Cup Activities by
John
Jacobson.
Change up
your rhythm teaching with
MUSICAL CUPS! With simple
plastic cups and great
rhythmic songs, you can
teach rhythm reading,
accurate performance,
physical coordination,
music literacy, and
teamwork. The printed
song collection features
singer lead sheets with
musical cup patterns in
standard notation. Our
easy-to-read iconic cup
notation for the patterns
in each song is also
included on a separate
page. The musical cup
language (such as tap
table, pat cup, pass cup)
is explained with
pictures and a detailed
description. Each book
comes with a unique code
for online access to
audio recordings and
demonstration videos of
each cup pattern. From
simple to more
challenging patterns,
these 10 songs and
activities will add a
flexible way to engage
music students in grades
3-6 in rhythm reading and
performance.
$27.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Rise Up Singing Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1) $39.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Drummer's Fake Book Batterie [Fake Book] Hal Leonard
Easy-to-Use Drum Charts with Kit Legends and Lyric Cues. Composed by Various. ...(+)
Easy-to-Use Drum Charts
with
Kit Legends and Lyric
Cues.
Composed by Various. Drum
Book. Pop. Softcover. 336
pages. Published by Hal
Leonard
$39.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Real Little Ultimate Broadway Fake Book - 4th Edition Fake Book [Fake Book] - Intermédiaire Hal Leonard
Fake Book (Includes melody line and chords). Size 6.7x10.5 inches. 640 pages. Pu...(+)
Fake Book (Includes
melody line and chords).
Size 6.7x10.5 inches. 640
pages. Published by Hal
Leonard.
(1) $39.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Ultimate Broadway Fake Book - 4th Edition Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 640 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 640
pages. Published by Hal
Leonard.
(5) $49.99 - Voir plus => Acheter Délais: 24 hours - In Stock
VH1's 100 Greatest Songs of Rock and Roll Cor Hal Leonard
Horn SKU: HL.119098 For Horn . By Various. Instrumental Solo. Rock....(+)
Horn
SKU:
HL.119098
For
Horn . By Various.
Instrumental Solo. Rock.
Softcover. 114 pages.
Published by Hal Leonard
(HL.119098).
ISBN
9781480341364. UPC:
884088905262. 9x12
inches.
An amazing
selection of songs from
VH-1's special arranged
for instrumentalists.
Includes: All Along the
Watchtower • All
Shook Up • American
Pie • Beat It •
Blowin' in the Wind
• Blue Suede Shoes
• Bohemian Rhapsody
• Born to Be Wild
• Born to Run •
Bridge over Troubled
Water • California
Dreamin' • Dream On
• Every Breath You
Take • Fire and Rain
• Free Bird •
Gloria • Good
Vibrations • Great
Balls of Fire • A
Hard Day's Night •
Hey Jude • Hotel
California • (I
Can't Get No)
Satisfaction • I
Heard It Through the
Grapevine • Imagine
• Jump • Layla
• Let It Be •
London Calling •
Louie, Louie •
Maggie May • My
Generation • Piano
Man • Proud Mary
• Respect •
Rock Around the Clock
• Roxanne •
Smells like Teen Spirit
• Stairway to Heaven
• Stand by Me •
Sunshine of Your Love
• Superstition
• We Are the
Champions • When
Doves Cry •
Yesterday • You
Shook Me All Night Long
• and more.
$14.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Hymns – Super Easy Songbook Piano Facile Hal Leonard
Piano; Piano/Keyboard SKU: HL.194659 Composed by Various. Super Easy Song...(+)
Piano; Piano/Keyboard
SKU: HL.194659
Composed by Various.
Super Easy Songbook.
Christian, General
Worship, Hymns.
Softcover. Published by
Hal Leonard (HL.194659).
ISBN 9781495073892.
UPC: 888680641757.
9.0x12.0x0.262
inches.
It's super
easy! This series
features accessible
arrangements for piano,
with simple right-hand
melody, letter names
inside each note, basic
left-hand chord diagrams,
and no page turns. This
edition includes 60
hymns: All Creatures of
Our God and King •
Amazing Grace • Be
Thou My Vision •
Beautiful Savior •
The Church's One
Foundation • Crown
Him with Many Crowns
• For the Beauty of
the Earth • I Love
to Tell the Story •
It Is Well with My Soul
• Just As I Am
• A Mighty Fortress
Is Our God •
Nearer, My God, to Thee
• O Worship the
King • Rock of Ages
• 'Tis So Sweet to
Trust in Jesus • We
Gather Together •
What a Friend We Have in
Jesus • When I
Survey the Wondrous Cross
• and many
more.
$15.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Three Chord Songs Guitare [Partition + Accès audio] Hal Leonard
Book/Online Audio Guitar SKU: HL.278488 Deluxe Guitar Play-Along Volum...(+)
Book/Online Audio Guitar
SKU: HL.278488
Deluxe Guitar
Play-Along Volume 12 .
By Various. Deluxe Guitar
Play-Along. Pop, Rock.
Softcover Audio Online.
With guitar tablature. 96
pages. Published by Hal
Leonard (HL.278488).
ISBN 9781540029997.
UPC: 888680753689.
9.0x12.0x0.264
inches.
The Deluxe
Guitar Play-Along series
will help you play songs
faster than ever before
with accurate,
easy-to-read guitar tab
and professional,
customizable play-along
audio for 15 songs. The
interactive, online audio
interface includes
tempo/pitch control,
looping, buttons to turn
instruments on or off,
and guitar tab with
follow-along marker. The
tracks can be streamed or
downloaded and played
offline. This volume
features 15 favorites:
Ain't No Sunshine * All
Along the Watchtower *
Bad Moon Rising * Beverly
Hills * Can't You See *
Evil Ways * I Still
Haven't Found What I'm
Looking For * The Joker *
Just the Way You Are *
Ring of Fire * Stir It Up
* Twist and Shout * What
I Got * What's Up *
Wicked Game.
About Hal
Leonard Guitar Play-Along
Series
The
Guitar Play-Along Series
will help you play your
favorite songs quickly
and easily. Just follow
the tab, listen to the CD
to hear how the guitar
should sound, and then
play along using the
seperate backing tracks.
The melody and lyrics are
also included in the book
in case you want to sing,
or to simply help you
follow along.
$19.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Best Rock Pop Fake Book Instruments en Do [Fake Book] Hal Leonard
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pa...(+)
(For C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 576 pages.
Published by Hal Leonard
$39.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Let's Eat! CD Chorale Hal Leonard
Choral (Preview CD) SKU: HL.144482 A Tasty Musical for Anyone Who Love...(+)
Choral (Preview CD)
SKU: HL.144482
A Tasty Musical for
Anyone Who Loves
Food! . Composed by
John Jacobson and Mac
Huff. ExpressiveArts.
Elementary, Musicals. CD
only. Published by Hal
Leonard (HL.144482).
ISBN 9781495017582.
UPC: 888680062279. 5x5
inches. John Jacobson/Mac
Huff.
Hey, what's
cookin'? Join Hungry
Hank, Famished Fanny,
Ravenous Randi, Picky
Pete and more wacky
characters in this upbeat
and tasty musical all
about their insatiable
appetites! We are
fortunate to live in a
land of plenty, and as we
celebrate food in
wonderfully wacky ways
with songs like
“The Fast Food
Tango,”
“Chicken Pot
Pie,” “My
Banana Split” and
“Pizza,” we
are also reminded to be
“Thankful”
for the bounty we
regularly enjoy. Designed
for performers in upper
elementary and middle
school, this 40-minute
musical features six
original songs with
connecting script and
speaking parts adaptable
to casts of 20 or more.
The Teacher Edition is
filled with quality
performance material
including piano/vocal
song arrangements and
choreography, script, and
helpful production guide.
For added value, the
ready-to-use student
books include songs and
script, and will enhance
the musical experience
for your young aspiring
actors/singers!
$14.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Selections from VH1's 1-Hit Wonders Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with g...(+)
By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. 536 pages.
Published by Hal Leonard.
(1) $29.95 - Voir plus => Acheter Délais: 24 hours - In Stock
The Actor's Songbook - Women's Edition Piano, Voix [Partition] Hal Leonard
Women's Edition. Composed by Various. Vocal Collection. Piece for the NFMC Vocal...(+)
Women's Edition. Composed
by Various. Vocal
Collection. Piece for the
NFMC Vocal event with the
National Federation of
Music Clubs (NFMC)
Festivals Bulletin
2008-2009-2010. Broadway.
Songbook (softcover).
With vocal melody, piano
accompaniment, lyrics and
chord names. 240 pages.
Published by Hal Leonard
$19.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Best Fake Book Ever - Bb 2nd Edition Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 864 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 864 pages.
Published by Hal Leonard.
(7) $49.95 - Voir plus => Acheter Délais: 24 hours - In Stock
The Best Fake Book Ever - 2nd Edition - Eb Edition Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb
instrument. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 864
pages. Published by Hal
Leonard.
(2) $49.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Four Chord Songs Ukulele Hal Leonard
Lyrics/Chord Symbols/Ukulele Chord Diagrams Ukulele SKU: HL.249573 Compos...(+)
Lyrics/Chord
Symbols/Ukulele Chord
Diagrams Ukulele
SKU:
HL.249573
Composed by
Various. Ukulele Chord
Songbook. Pop, Rock.
Softcover. 176 pages.
Published by Hal Leonard
(HL.249573).
ISBN
9781540005571. UPC:
888680711528.
6.0x9.0x0.396 inches.
Ukulele Chord
Songbook.
This
series features
convenient 6″ x
9″ books with
complete lyrics and chord
symbols above the lyrics
for dozens of great
songs. Each song also
includes chord grids at
the top of every page,
and the first notes of
the melody for easy
reference. These books
are perfect for people
who don't read music but
want to strum chords and
sing, and are equally
ideal for more advanced,
music-reading ukulele
players who don't feel
like wading through
note-for-note notation.
This easy collection
features 60 songs you can
play with just four
chords: Brave •
Careless Whisper •
Cecilia • Drift
Away • Every Rose
Has Its Thorn •
Fields of Gold •
Good Riddance (Time of
Your Life) • Hey,
Soul Sister • Ho
Hey • Last Kiss
• Let It Be •
Mean • Peaceful
Easy Feeling •
Renegades • Stand
by Me • Teach Your
Children • Toes
• Viva La Vida
• What's Up •
Zombie • and many
more.
$19.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Once Upon a Time Signature Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Richard Meyer. Orchestra. Part(s); Score; SmartMusic; String Orchestra. Highl...(+)
By Richard Meyer.
Orchestra. Part(s);
Score; SmartMusic; String
Orchestra.
HighlandåÊString
Explorer. Light Concert.
Grade 1.5. 70 pages.
Published by Alfred Music
Publishing
$42.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Country - Super Easy Songbook Piano Facile - Débutant Hal Leonard
By Various. Super Easy Songbook. Country. Softcover. 112 pages. Published by H...(+)
By Various. Super Easy
Songbook. Country.
Softcover.
112 pages. Published by
Hal
Leonard
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Teen Broadway Songs of the 2010s - Young Women's Edition Piano, Voix [Partition + Accès audio] Hal Leonard
Book/Online Audio Female Voice; Piano Accompaniment; Vocal SKU: HL.299347 ...(+)
Book/Online Audio Female
Voice; Piano
Accompaniment; Vocal
SKU: HL.299347
12 Songs from Teen
Musical Theatre
Roles . Composed by
Various. Vocal
Collection. Broadway,
Musicals, Teens.
Softcover Audio Online.
88 pages. Published by
Hal Leonard (HL.299347).
ISBN 9781540060228.
UPC: 888680956158.
9.0x12.0x0.222
inches.
12 songs
from teen musical theatre
roles from shows that
opened in 2010-2019
complete with access to
professionally-recorded
piano accompaniments!
Contents: Alyssa Greene
from The Prom * Home from
Beetlejuice * Home from
Wonderland * I Love Play
Rehearsal from Be More
Chill * In My Dreams from
Anastasia * Journey to
the Past from Anastasia *
Just Breathe from The
Prom * One Perfect Moment
from Bring It On: The
Musical * Sal Tlay Ka
Siti from The Book of
Mormon * Stupid With Love
from Mean Girls * What's
Wrong With Me? from Mean
Girls * World Burn from
Mean Girls. Audio is
accessed online using the
unique code inside the
book and can be streamed
or downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
$17.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Selections from MTV's 100 Greatest Pop Songs Guitare notes et tablatures [Partition] - Facile Hal Leonard
Selections from MTV's. Performed by Various. Easy Guitar (Simplified arrangement...(+)
Selections from MTV's.
Performed by Various.
Easy Guitar (Simplified
arrangements for guitar).
With notes and tablature.
Size 9x12 inches. 374
pages. Published by Hal
Leonard.
$34.99 - Voir plus => Acheter Délais: 24 hours - In Stock
T'ain't What 'Cha Do (It's the Way How 'Cha Do It) SAB Chorale 3 parties SAB Shawnee Press
T'ain't What 'Cha Do (It's the Way How 'Cha Do It) arranged by Kirby Shaw. For S...(+)
T'ain't What 'Cha Do
(It's the Way How 'Cha Do
It) arranged by Kirby
Shaw. For SAB Choir
(SAB). Shawnee Press.
Choral. 12 pages. Shawnee
Press #D0705. Published
by Shawnee Press
$2.50 - Voir plus => Acheter Délais: 24 hours - In Stock
Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1) $34.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Songs of the 1990s Piano Facile Hal Leonard
Easy Piano Piano/Keyboard SKU: HL.282481 The New Decade Series . Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282481
The New Decade
Series . Composed by
Various. Easy Piano
Songbook. Alternative,
Pop, Rock. Softcover. 410
pages. Published by Hal
Leonard (HL.282481).
ISBN 9781540034380.
UPC: 888680789251.
9.0x12.0x0.965
inches.
The 1990s
saw the rise of R&B,
boy bands and alternative
rock as the 20th century
came to a close. This
collection features 80
songs from the decade
arranged for easy piano
with lyrics: Always Be My
Baby * As Long As You
Love Me * ...Baby One
More Time * Black Velvet
* Can You Feel the Love
Tonight * Dreams * Fields
of Gold * Friends in Low
Places * Good Riddance
(Time of Your Life) * How
Am I Supposed to Live
Without You * I Need to
Know * I'm the Only One *
Ironic * Livin' La Vida
Loca * Losing My Religion
* More Than Words * Only
Wanna Be with You *
Smells like Teen Spirit *
Smooth * Tears in Heaven
* Under the Bridge * You
Must Love Me * You're
Still the One * and
more.
$24.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn . Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
ISBN
9781491153789. UPC:
680160911288.
Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ...
$16.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Alfred's Basic Piano Course - Fun Book Level 1a Piano Facile - Facile Alfred Publishing
A Collection of 31 Entertaining Solos. Edited by Willard A. Palmer, Morton Manus...(+)
A Collection of 31
Entertaining Solos.
Edited by Willard A.
Palmer, Morton Manus, and
Amanda Vick Lethco.
Method/Instruction; Piano
- Alfred's Basic Piano
Library. Alfred's Basic
Piano Library, Piano
Method. Instructional and
Method. Instructional
book. 32 pages. Alfred
Music #00-2397. Published
by Alfred Music
$9.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Three Chord Songs - Really Easy Guitar Guitare Hal Leonard
Guitar SKU: HL.1354656 By Various. Really Easy Guitar. Pop. Softcover. 48...(+)
Guitar
SKU:
HL.1354656
By
Various. Really Easy
Guitar. Pop. Softcover.
48 pages. Published by
Hal Leonard (HL.1354656).
ISBN 9798350116939.
UPC: 196288192114.
9.0x12.0x0.138
inches.
If you're
the type of person who
can't wait to learn their
favorite songs on guitar,
this series is what you
need! The Hal Leonard
Really Easy Guitar series
features easy-to-follow
charts with lyrics,
chords and basic
tabâeverything you
need to start playing
right away. This edition
features 22 songs that
only contain three chords
each! In no time, you'll
be able to play: Ain't No
Sunshine ⢠All Along
the Watchtower ⢠All
Apologies ⢠Bad Moon
Rising ⢠Blowin' in
the Wind ⢠Folsom
Prison Blues â¢
Jolene â¢
Margaritaville â¢
Ring of Fire â¢
Simple Man ⢠Twist
and Shout ⢠and
more!
$12.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Someone's Singing, Lord [Partition + CD]
Classroom SKU: BT.9780713663440 Gospel & Spiritual. Book with CD. 96 page...(+)
Classroom
SKU:
BT.9780713663440
Gospel & Spiritual. Book
with CD. 96 pages.
Collins Music Publishing
#9780713663440. Published
by Collins Music
Publishing
(BT.9780713663440).
ISBN 9780713663440.
English.
This
book contains 59 tried
and tested songs about
topics including the
world, the seasons, being
a friend and caring for
animals. There are
tuneful hymns and
thought-provoking
subjects, just what's
needed to fill the
musicslot in assembly or
at Sunday school.
Includes CD of backing
tracks.
$27.95 - Voir plus => Acheter Délais: 4 to 6 weeks
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