| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 1-2-3 Fingerstyle Guitar DVD Guitare notes et tablatures [DVD] EMedia
For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced fl...(+)
For Guitar. 1-2-3
Fingerstyle Guitar is
designed for intermediate
to advanced flat-pick
players who are ready to
throw down that pick for
a while to finally get a
handle on fingerstyle.
That's the secret
ingredient of this study
program -- its a
beginning fingerstyle.
DVD. Published by eMedia
Music
$24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Protocol: A Guide to the Collegiate Audition Process for Violin Violon Carl Fischer
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(Foreword and Additional
Editing by Doris Gazda).
By George Frideric Handel
Federigo Fiorillo. Edited
by Larry Clark, Leopold
Auer, Doris Gazda.
Arranged by William
Strasser. For Violin,
Violin and Piano. Book.
96 pages. Published by
Carl Fischer
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Drummer's Christmas Carol Orchestre d'harmonie [Conducteur] - Débutant Belwin
Concert Band - Grade 1 SKU: AP.BD9956C Percussion Section Feature....(+)
Concert Band - Grade 1
SKU: AP.BD9956C
Percussion Section
Feature. Composed by
Robert W. Smith. Concert
Band; Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Christmas; Winter. Score.
20 pages. Duration 2:01.
Belwin Music #00-BD9956C.
Published by Belwin Music
(AP.BD9956C). UPC:
029156998740.
English. Robert W.
Smith takes one of the
world's best-known and
best-loved melodies and
fashions a highly
effective new work that
features your percussion
section in the concert
spotlight. As we have all
come to expect from this
brilliant young
composer's work, the
energy level is extremely
high, and the writing is
most effective. It is one
of those special works
your players will enjoy
rehearsing and your
audiences will greet with
great enthusiasm.
Driving! (2:01). $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Stylistic Etudes for Trombone Carl Fischer
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. $18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Good Old Guys Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Grade 2 SKU: CL.015-2976-01 Composed by Loest. Young Concert Band. Elemen...(+)
Grade 2 SKU:
CL.015-2976-01
Composed by Loest. Young
Concert Band. Elementary
Series. Audio recording
available separately
(item CL.WFR192). Extra
full score. Composed
1999. Duration 2 minutes,
14 seconds. C.L.
Barnhouse #015-2976-01.
Published by C.L.
Barnhouse
(CL.015-2976-01).
This fun-filled
selection includes three
well-known songs: Old
MacDonald, Old Joe Clark,
and This Old Man,
delightfully interwoven
by Timothy Loest. It's a
superb novelty for your
band that also serves as
excellent teaching
material. Extremely
enjoyable for your
younger students and a
certain hit with your
audiences! $4.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Good Old Guys Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 2 SKU: CL.015-2976-00 Composed by Loest. Young Concert Band. Elemen...(+)
Grade 2 SKU:
CL.015-2976-00
Composed by Loest. Young
Concert Band. Elementary
Series. Audio recording
available separately
(item CL.WFR192).
Lighter. Score and set of
parts. Composed 1999.
Duration 2 minutes, 14
seconds. C.L. Barnhouse
#015-2976-00. Published
by C.L. Barnhouse
(CL.015-2976-00).
This fun-filled
selection includes three
well-known songs: Old
MacDonald, Old Joe Clark,
and This Old Man,
delightfully interwoven
by Timothy Loest. It's a
superb novelty for your
band that also serves as
excellent teaching
material. Extremely
enjoyable for your
younger students and a
certain hit with your
audiences! $38.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| (Do You Want) Salsa with That? Orchestre d'harmonie [Conducteur] - Débutant Alfred Publishing
Concert Band - Grade 1.5 SKU: AP.31700S Composed by Larry Henry. Concert ...(+)
Concert Band - Grade 1.5
SKU: AP.31700S
Composed by Larry Henry.
Concert Band; Performance
Music Ensemble; Single
Titles. Alfred Debut
Series. Latin; Light
Concert. Score. 16 pages.
Alfred Music #00-31700S.
Published by Alfred Music
(AP.31700S). UPC:
038081350912.
English. Imagine a
warm tropical island
resort, sailboats in the
distance and palm trees
swaying along the beach .
. .
(Do You Want)
Salsa with That? is a
lighthearted Latin tune
that features your star
player. The solo, written
for almost every
instrument, makes this a
flexible selection for
any group that gives
students a chance to get
in front of the band.
Your audience will love
the Latin percussion
instruments playing a
mambo rhythm that will
bring a smile to
everyone's face. You can
enhance the rhythm
section to include almost
any number of Latin
instruments.
Solid scoring and
little technical demand
make this piece reachable
for the youngest of
bands, but the rich
harmonies, beautiful
melody and syncopated
rhythms make it sound
sophisticated for the
more mature player. This
is a timeless selection
your audience will enjoy
for years to come. $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| With the Greatest of Ease Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
March. Composed by James Meredith. Score and part(s). 16 198 pages. Dur...(+)
March. Composed by
James Meredith. Score and
part(s). 16 198 pages.
Duration 2 minutes, 25
seconds. Carl Fischer
#SPS0069. Published by
Carl Fischer (CF.SPS69).
$125.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Elfie Stick Orchestre d'harmonie [Conducteur] - Débutant RWS Music Company
Grade 1 SKU: CL.RWS-2206-01 Arranged by Robert W. Smith. Young Concert Ba...(+)
Grade 1 SKU:
CL.RWS-2206-01
Arranged by Robert W.
Smith. Young Concert
Band. Extra full score.
Composed 2022. RWS Music
Company #RWS-2206-01.
Published by RWS Music
Company (CL.RWS-2206-01).
Santa has just
received a new phone for
the holidays! The elves
are fascinated with the
new technology and are
having a great time
taking elfies as they
prepare for
Santa’s big trip.
This fun arrangement of
holiday favorites
provides a great
opportunity for
interactive performance
with your audience. Your
favorite holiday
character can join the
band with ample
opportunity to engage and
photo your musicians and
audience throughout. The
performance concludes
with a large audience
selfie using our Elfie
Stick kicking off the
holiday season with
smiles and sharable
media. Your students and
audience will treasure
that final photo!
Enjoy! $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Elfie Stick Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant RWS Music Company
Grade 1 SKU: CL.RWS-2206-00 Arranged by Robert W. Smith. Young Concert Ba...(+)
Grade 1 SKU:
CL.RWS-2206-00
Arranged by Robert W.
Smith. Young Concert
Band. Score and set of
parts. Composed 2022. RWS
Music Company
#RWS-2206-00. Published
by RWS Music Company
(CL.RWS-2206-00).
Santa has just
received a new phone for
the holidays! The elves
are fascinated with the
new technology and are
having a great time
taking elfies as they
prepare for
Santa’s big trip.
This fun arrangement of
holiday favorites
provides a great
opportunity for
interactive performance
with your audience. Your
favorite holiday
character can join the
band with ample
opportunity to engage and
photo your musicians and
audience throughout. The
performance concludes
with a large audience
selfie using our Elfie
Stick kicking off the
holiday season with
smiles and sharable
media. Your students and
audience will treasure
that final photo!
Enjoy! $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bass Basics (2-DVD Set) Basse electrique [DVD] - Débutant EMedia
| | |
| (Do You Want) Salsa with That? Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Larry Henry. Concert Band. Concert Band. Alfred Debut Series. Latin; Light Co...(+)
By Larry Henry. Concert
Band. Concert Band.
Alfred Debut Series.
Latin; Light Concert.
Grade 1.5. Conductor
Score and Parts. 128
pages
$48.00 $45.6 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| With the Greatest of Ease Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Band Concert Band - Grade 4 SKU: CF.SPS69F March. Composed by Jame...(+)
Band Concert Band - Grade
4 SKU: CF.SPS69F
March. Composed by
James Meredith. Full
score. With Standard
notation. 16 pages.
Duration 2 minutes, 25
seconds. Carl Fischer
Music #SPS69F. Published
by Carl Fischer Music
(CF.SPS69F). ISBN
9781491143513. UPC:
680160901012. This
new march from composer
James Meredith is
traditional in style and
is based on the famous
circus tune The Man on
the Flying Trapeze. It is
a challenging march that
can stand with the
marches of Sousa and
Fillmore in its quality
and is fun for the band
and audience. The march
ends with the circus tah,
dah that the circus bands
use to signal the end of
the act and to encourage
the audience to applause.
We know your audiences
will enjoy this
piece. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Engaging the Concert Audience Livre - Pas de partitions [Partition + Accès audio] Berklee
A Musician's Guide to Interactive Performance. Berklee Guide. Performance, Mu...(+)
A Musician's Guide to
Interactive Performance.
Berklee Guide.
Performance,
Music Business. Softcover
Media Online. 176 pages.
Published by Berklee
Press
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acclamation Orchestre d'harmonie [Conducteur] - Intermédiaire Claude T. Smith Publications
Grade 5 SKU: CL.CTS-7701-01 Composed by Claude T. Smith. Concert Band. Ex...(+)
Grade 5 SKU:
CL.CTS-7701-01
Composed by Claude T.
Smith. Concert Band.
Extra full score.
Composed 1969. Claude T.
Smith Publications
#CTS-7701-01. Published
by Claude T. Smith
Publications
(CL.CTS-7701-01).
Here is a work
that was ahead of its
time. If you are looking
for a work filled with
excitement and adventure,
then Acclamation is your
piece! Smith gets right
into it with an energetic
ostinato and a fragment
of his original theme.
The snare drumâ??s ruff
is highlighted as a
transition into a slow
section in 6/4, with one
of Smithâ??s most
luscious melodies.
English Horn is featured
with flute in the slow
section as well, but with
optional cues for alto
saxophone. Acclamation
makes its way back to
Allegro with the usual
percussion section
getting us to the
original material.
Several solos are
highlighted. Well
constructed and a piece
to be used for contest;
also one which will be
enjoyed by audiences
alike. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acclamation Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Claude T. Smith Publications
Grade 5 SKU: CL.CTS-7701-00 Composed by Claude T. Smith. Concert Band. Sc...(+)
Grade 5 SKU:
CL.CTS-7701-00
Composed by Claude T.
Smith. Concert Band.
Score and set of parts.
Composed 1969. Claude T.
Smith Publications
#CTS-7701-00. Published
by Claude T. Smith
Publications
(CL.CTS-7701-00).
Here is a work
that was ahead of its
time. If you are looking
for a work filled with
excitement and adventure,
then Acclamation is your
piece! Smith gets right
into it with an energetic
ostinato and a fragment
of his original theme.
The snare drum’s
ruff is highlighted as a
transition into a slow
section in 6/4, with one
of Smith’s most
luscious melodies.
English Horn is featured
with flute in the slow
section as well, but with
optional cues for alto
saxophone. Acclamation
makes its way back to
Allegro with the usual
percussion section
getting us to the
original material.
Several solos are
highlighted. Well
constructed and a piece
to be used for contest;
also one which will be
enjoyed by audiences
alike. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tasty Tunes Saxophone Alto Fentone Music
Alto Saxophone - easy-intermediate SKU: HL.44005964 Short Repertoire o...(+)
Alto Saxophone -
easy-intermediate SKU:
HL.44005964 Short
Repertoire or Concert
Pieces for Alto Saxophone
and Piano. Composed
by Colin Cowles. Fentone
Instrumental Books. Book
and CD. Composed 2005.
Fentone Music #F879.
Published by Fentone
Music (HL.44005964).
ISBN 9780230008793.
UPC: 884088044343. 9x12
inches.
English-German-French-Dut
ch. Tasty Tunes is
a collection of short
repertoire or concert
pieces forthe developing
instrumentalist. The
descriptive titles, such
as JellyCopters, Dough
Raises Me, A Cream Tease
and Cornish Pastichehelp
conjure the mood of the
music and act as a
stimulus for
theperformer. With a
mixture of styles and
tempi these
piecesrepresent a
worthwhile challenge for
players of grades three
tofive standard. Pieces
may be performed
individually or
combinedin any number to
create a suite - or
perhaps a sweet? Although
themusic is approachable
and light in character,
it provides importantand
technical musical
experience. Enjoy playing
and wet youraudience's
appetite! A separate
pianoaccompaniment part
isincluded with this
book.
'Leckere
Melodien' - ist voll von
kurzen Repertoire oder
Konzertstucken fur den
etwas fortgeschrittenen
Instrumentalisten.
Aussagekraftige Titel
beschworen verschiedene
musikalische Stimmungen
herauf und machen dem
Spieler die Musik
schmackhaft. Die Stucke
konnen einzeln oder in
beliebiger Anzahl
kombiniert zu einer Suite
gespielt werden. Der
Charakter der Musik ist
zwar eingangig und
leicht, mit Tasty
Tunes werden aber
auch wichtige technische
und musikalische
Erfahrung gesammelt. Die
CD enthalt Demo- und
Mitspielversionen aller
Stucke.
Tasty
Tunes (Melodie
saporite) si sviluppa
attraverso un percorso
musicale gustoso
punteggiato di brani
corti e variati. Le
musiche possono essere
interpretate
singolarmente oppure
unite in una suite.
Nonostante le musiche
siano accessibili e
leggere di carattere,
offrono un materiale
tecnico motivante per
un'esperienza musicale
interessante. $22.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tasty Tunes Clarinette et Piano Fentone Music
Clarinet and Piano - easy-intermediate SKU: HL.44005963 Short Repertoi...(+)
Clarinet and Piano -
easy-intermediate SKU:
HL.44005963 Short
Repertoire or Concert
Pieces for Clarinet and
Piano. Composed by
Colin Cowles. Fentone
Instrumental Books. Book
and CD. Composed 2005.
Fentone Music #F878.
Published by Fentone
Music (HL.44005963).
ISBN 9789043149501.
UPC: 884088044336. 9x12
inches.
English-German-French-Dut
ch. Tasty Tunes is
a collection of short
repertoire or concert
pieces forthe developing
instrumentalist. The
descriptive titles, such
as JellyCopters, Dough
Raises Me, A Cream Tease
and Cornish Pastichehelp
conjure the mood of the
music and act as a
stimulus for
theperformer. With a
mixture of styles and
tempi these
piecesrepresent a
worthwhile challenge for
players of grades three
tofive standard. Pieces
may be performed
individually or
combinedin any number to
create a suite - or
perhaps a sweet? Although
themusic is approachable
and light in character,
it provides importantand
technical musical
experience. Enjoy playing
and wet youraudience's
appetite! A separate
pianoaccompaniment part
isincluded with this
book.
'Leckere
Melodien' - ist voll von
kurzen Repertoire oder
Konzertstucken fur den
etwas fortgeschrittenen
Instrumentalisten.
Aussagekraftige Titel
beschworen verschiedene
musikalische Stimmungen
herauf und machen dem
Spieler die Musik
schmackhaft. Die Stucke
konnen einzeln oder in
beliebiger Anzahl
kombiniert zu einer Suite
gespielt werden. Der
Charakter der Musik ist
zwar eingangig und
leicht, mit Tasty
Tunes werden aber
auch wichtige technische
und musikalische
Erfahrung gesammelt. Die
CD enthalt Demo- und
Mitspielversionen aller
Stucke.
Tasty
Tunes (Melodies
savoureuses) se developpe
au gre d'un parcours
musical gouteux ponctue
d'oeuvres courtes et
variees. La version
papier des
accompagnements de piano
est jointe au recueil.
Tasty
Tunes (Melodie
saporite) si sviluppa
attraverso un percorso
musicale gustoso
punteggiato di brani
corti e variati. Le
musiche possono essere
interpretate
singolarmente oppure
unite in una suite.
Nonostante le musiche
siano accessibili e
leggere di carattere,
offrono un materiale
tecnico motivante per
un'esperienza musicale
interessante. $22.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tasty Tunes Flûte traversière et Piano Fentone Music
Flute and Piano - easy-intermediate SKU: HL.44005962 Short Repertoire ...(+)
Flute and Piano -
easy-intermediate SKU:
HL.44005962 Short
Repertoire or Concert
Pieces for Flute and
Piano. Composed by
Colin Cowles. Fentone
Instrumental Books. Book
and CD. Composed 2005.
Fentone Music #F877.
Published by Fentone
Music (HL.44005962).
ISBN 9789043149495.
UPC: 884088044329. 9x12
inches.
English-German-French-Dut
ch. Tasty Tunes is
a collection of short
repertoire or concert
pieces forthe developing
instrumentalist. The
descriptive titles, such
as JellyCopters, Dough
Raises Me, A Cream Tease
and Cornish Pastichehelp
conjure the mood of the
music and act as a
stimulus for
theperformer. With a
mixture of styles and
tempi these
piecesrepresent a
worthwhile challenge for
players of grades three
tofive standard. Pieces
may be performed
individually or
combinedin any number to
create a suite - or
perhaps a sweet? Although
themusic is approachable
and light in character,
it provides importantand
technical musical
experience. Enjoy playing
and wet youraudience's
appetite! A separate
pianoaccompaniment part
isincluded with this
book.
'Leckere
Melodien' - ist voll von
kurzen Repertoire oder
Konzertstucken fur den
etwas fortgeschrittenen
Instrumentalisten.
Aussagekraftige Titel
beschworen verschiedene
musikalische Stimmungen
herauf und machen dem
Spieler die Musik
schmackhaft. Die Stucke
konnen einzeln oder in
beliebiger Anzahl
kombiniert zu einer Suite
gespielt werden. Der
Charakter der Musik ist
zwar eingangig und
leicht, mit Tasty
Tunes werden aber
auch wichtige technische
und musikalische
Erfahrung gesammelt. Die
CD enthalt Demo- und
Mitspielversionen aller
Stucke.
Tasty
Tunes (Melodie
saporite) si sviluppa
attraverso un percorso
musicale gustoso
punteggiato di brani
corti e variati. Le
musiche possono essere
interpretate
singolarmente oppure
unite in una suite.
Nonostante le musiche
siano accessibili e
leggere di carattere,
offrono un materiale
tecnico motivante per
un'esperienza musicale
interessante. $22.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Le Printemps [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS178F
Composed by Ruth Elaine
Schram. Young String
Orchestra (YAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #YAS178F.
Published by Carl Fischer
Music (CF.YAS178F).
ISBN 9781491151808.
UPC: 680160909308. 9 x 12
inches. The title
of this piece,?Le
Printemps,?is French for
the springtime. This
piece brings images of
springtime to the
listener's mind. ?The
rhythmic pattern that
begins in the bass and
works its way up to the
violins illustrates the
patter of raindrops or of
flowers bursting into
bloom. The beautiful
melodies in the piece
engage players and
audiences. The title
Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listeners mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 2528,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le
PrintempsA is French
for athe springtime.a
This piece is meant to
bring images of
springtime to the
listeneras mind. A The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25a28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. A Enjoy Le
Printemps!. The
title Le
Printemps is French
for the springtime. This
piece is meant to bring
images of springtime to
the listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer (mp)
and more legato, and
could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the mf. In
m. 34, make the most of
the poco rall. as you
prepare to reiterate the
staccato portion that
begins again in m. 35.
Again, the moving parts
here with the slurs have
the melody and should not
be overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The title
Le Printemps is French
for “the
springtime.†This
piece is meant to bring
images of springtime to
the listener’s
mind. Â The rhythmic
pattern that begins in
the bass and works its
way up through the
sections to the violins
could be the patter of
raindrops, or indicative
of flowers pushing their
way up through the ground
and bursting into bloom.
All the instruments that
have the staccato notes
are the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit.The middle section is
a little softer (mp) and
more legato, and could
bring to mind a lovely,
warm breeze that is
gently moving across the
new, green grass and the
budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm.
25–28, building up
to the mf. In m. 34, make
the most of the poco
rall. as you prepare to
reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments.At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Â Enjoy Le
Printemps! $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Santa Loves To Cha-Cha! Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 3 SKU: CL.026-4229-01 Composed by Huckeby. Concert B...(+)
Concert band - Grade 3
SKU:
CL.026-4229-01
Composed by Huckeby.
Concert Band.
Build-A-Band. Extra full
score. Composed 2013.
Duration 2 minutes, 21
seconds. C.L. Barnhouse
#026-4229-01. Published
by C.L. Barnhouse
(CL.026-4229-01).
If you have a
group with severe
instrumentation issues or
just a very small band,
this entertaining Ed
Huckeby arrangement will
provide an impressive
sound for your holiday or
Christmas program.
Playable with any
instrumentation as long
as you have the four main
parts covered by the
instruments of your
choosing. Includes
optional piano and
percussion parts. It's
lots of fun and sure to
be a hit with your
students and audiences
alike!
About
Build-A-Band
Series The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.) $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sing Me a Story - Classic Stories Throughout Time Come to Life in Song and Rhyme Chorale 2 parties 2 parties [Partition + CD] Shawnee Press
(Rise and Shine Series). By Jill Gallina and Michael Gallina. 2-Part Book and CD...(+)
(Rise and Shine Series).
By Jill Gallina and
Michael Gallina. 2-Part
Book and CD. Collections.
Book with CD. 76 pages.
Published by Shawnee
Press
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Joy Awakening Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Peter Terry. For concert band (flute, oboe (opt. flute 2), clarinet ...(+)
Composed by Peter Terry.
For concert band (flute,
oboe (opt. flute 2),
clarinet in Bb, bass
clarinet in Bb, alto
saxophone in Eb, tenor
saxophone in Bb, baritone
saxophone in Eb, trumpet
in Bb, alternate horn in
F, horn in F, alternate
trombone, trombone,
euphonium B.C., bassoon,
euphonium T.C. in). Grade
0.5. Score and Parts.
Duration 2 minutes, 18
seconds. Published by
Carl Fischer
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas is Here! Chorale 2 parties [Octavo] Choristers Guild
Composed by Mark Burrows. For 2-part choir with optional jingle bells. Sing!. Ch...(+)
Composed by Mark Burrows.
For 2-part choir with
optional jingle bells.
Sing!. Christmas. Octavo.
Published by Chorister's
Guild
$2.10 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| When The Saints Go Marching In Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0991829-010 Composed by Tradi...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-0991829-010
Composed by Traditional.
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Original Light
Music. Set (Score &
Parts). Composed 1999. De
Haske Publications #DHP
0991829-010. Published by
De Haske Publications
(BT.DHP-0991829-010).
A classic song
that has become a firm
favourite with many
generations of
‘Trad Jazz’
performers When the
Saints is as popular as
the Jazz scene itself.
Here you have a
phenomenal arrangement in
the ‘New Sounds for
Concert Band’
series that gives your
musicians a chance to
play
‘dixie-styleâ€
. An ever-popular
arrangement that your
band will enjoy
performing and your
audiences will enjoy
hearing for many years to
come.
When the
Saints Go Marchin' in
ist ein altes Spiritual,
dessen Wurzeln in der
Musik der
schwarzamerikanischen
Sklaven liegen. Im Laufe
des 20. Jahrhunderts
wurde es in vielen
Besetzungen und von
diversen Stars wie z.B.
Louis Armstrong oder
Elvis Presley
interpretiert. Heute
kennt fast jedes Kind das
Lied und jeder - ob Jung
oder Alt - lässt sich
von der schwungvollen
Nummer immer wieder gerne
mitreißen. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Traffic Jam Orchestre d'harmonie [Conducteur] - Débutant FJH
Concert Band Concert Band - Grade 1 SKU: FJ.B1380S Score Only. Com...(+)
Concert Band Concert Band
- Grade 1 SKU:
FJ.B1380S Score
Only. Composed by
Timothy Loest. Concert
Band. FJH Beginning Band.
Light Concert; Novelty;
Rock. Score. Duration
1:10. The FJH Music
Company Inc #98-B1380S.
Published by The FJH
Music Company Inc
(FJ.B1380S).
English. Experie
nce 'rush-hour rock' like
you've never experienced
before! This
easy-grooving,
well-crafted original
derives its automotive
charm from the various
car horn effects played
throughout. Various
novelty percussion
instruments such as the
police whistle and bulb
horn will car pool your
audience from the concert
hall to the expressway. A
charming piece that will
put a smile on everyone's
face, even if they get
stuck in traffic on the
way home from the
concert!
Traffic
Jam represents my idea of
rush hour rock. This work
derives its automotive
charm from the various
car horn effects played
throughout. The most
important articulation in
the work is the marcato
accent. Whenever this
articulation appears, a
car horn is being honked.
Each honk should be
percussive and short.
Although the honks are
dissonant, their
composite notes should be
balanced. It is
recommended that the
various honks be isolated
during rehearsal, so that
just the right sound and
feel is achieved. Other
important sounds include
the police whistle and
bulb horn. These novelty
instruments should be
held high for the
audience to see and hear.
With over 4 million miles
of roads in the United
States, one is destined
to experience automotive
gridlock. So before
giving into road rage,
roll down the windows,
turn on the radio, and
enjoy a traffic
jam! Score only. Full
set (score and parts)
also available:
B1380.
About FJH
Beginning
Band Appro
priate within the first
year of instruction and
beginning of the second
year. Clarinets do not go
above the break, and
there is limited use of
accidentals. Plenty of
doublings in the lower
voices. Grade 1. $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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