Cutting The Changes: Jazz Improvisation Via Key Centers - C Bass Clef Edition ed...(+)
Cutting The Changes: Jazz
Improvisation Via Key
Centers - C Bass Clef
Edition edited by Antonio
Garcia. Band. For all C
bass clef instruments.
Band method. Cutting the
Changes. Play Along,
Instructional,
Improvisation and Jazz.
Multi Level.
Instructional book
(leadsheet notation),
CD-ROM (Windows and Mac)
and accompaniment CD.
Melody, key-center
analysis and leadsheet
notation. Published by
Neil A. Kjos Music
Company
by Eric Kriss. Book and CD. Published by Music Sales. An important instruction ...(+)
by Eric Kriss. Book and
CD. Published by Music
Sales. An important
instruction guide to the
blues-style piano by the
author of Six Blues Roots
Pianists. Complete with
music transcriptions and
excerpts from the
original recordings of 22
piano greats.
Organ SKU: BR.EB-9304 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9304
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
108 pages. Breitkopf and
Haertel #EB 9304.
Published by Breitkopf
and Haertel (BR.EB-9304).
ISBN 9790004187685. 12
x 9 inches.
This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions);
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only)); good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility); contains
facsimiles. The
corresponding Critical
Commentary is contained
in Volume I/2 (EB
9305).
Organ SKU: BR.EB-9306 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9306
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
84 pages. Breitkopf and
Haertel #EB 9306.
Published by Breitkopf
and Haertel (BR.EB-9306).
ISBN 9790004187708. 12
x 9 inches.
This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions)
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only))good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility)contains
facsimiles.
Organ SKU: BR.EB-9415 Urtext - Critical Source Edition of the Free Org...(+)
Organ
SKU:
BR.EB-9415
Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
192 pages. Breitkopf and
Haertel #EB 9415.
Published by Breitkopf
and Haertel (BR.EB-9415).
ISBN 9790004188897. 12
x 9 inches.
This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions)
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only))good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility)contains
facsimiles.
Composed
by Wolfgang Amadeus
Mozart. Edited by Albert
Dunning. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Score. KV 287 (271b, 271
H). Baerenreiter Verlag
#BA08809_00. Published by
Baerenreiter Verlag
(BA.BA08809).
ISBN
9790006568970. 31 x 24.3
cm inches. Key: B-flat
major. Preface: Gudula
Schutz.
Mozart
composed his two
â??Lodron Serenadesâ?
for open-air performances
on the name day of
Countess Antonia Lodron
in June 1776 and 1777.
Their bright â??al
frescoâ? character is
immediately recognisable.
Alfred Einstein
considered these two
divertimentos to be
â??among the purest,
gayest, most satisfying,
and most perfect that
ever assumed musical
formâ?.
For
both works Mozart chose
an ensemble of two horns,
two violins, viola and
bass instruments.
However, the second
Lodron Serenade, the
Divertimento in B-flat
major K. 287, stands out
from this sextet format
by assigning a remarkably
virtuosic solo role to
the first violin, from
the richly diverse
opening movement to the
finale with its almost
ironic recitative and an
exhilarating passage on
the folk song
â??Dâ??Bäurin hat
dâ??Katz verlornâ?.
Mozart himself played
first violin in the 1777
performance. Later he
wrote, â??They all
opened their eyes! I
played as though I were
the finest fiddler in all
Europeâ?.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
By Corey Christian and Kim Bock. For Guitar (All). Improvisation. Essential Jazz...(+)
By Corey Christian and
Kim Bock. For Guitar
(All). Improvisation.
Essential Jazz Lines.
Jazz. Level:
Intermediate. Book/CD
Set. Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.
Classic Jazz Solos As Played by: Buddy Collette, Herbie Mann, Sam Most, Eric Dol...(+)
Classic Jazz Solos As
Played by: Buddy
Collette, Herbie Mann,
Sam Most, Eric Dolphy,
James Moody, Paul Horn,
Hubert Laws, Joe Farrell,
Jeremy Steig, James
Newton, Dave Valentin. By
Buddy Collette; Chick
Corea; Egbert Anson Van
Alstyne; Eric Dolphy;
Haven Gillespie; James
Moody; James Newton;
Jeremy Steig; Joan Baez;
Sam Most; Victor Young;
Wayne King; Wayne
Shorter. Edited by Ronny
S. Schiff, Sonny Rollins.
Arranged by Ronnie
Schiff. For Flute. All
That Jazz. Jazz. Soft
Cover. 59 pages.
Published by Carl
Fischer. (ATJ307)
By Corey Christian and Kim Bock. For B Flat Instruments. Improvisation. Essentia...(+)
By Corey Christian and
Kim Bock. For B Flat
Instruments.
Improvisation. Essential
Jazz Lines. Jazz. Level:
Intermediate. Book/CD
Set. Size 8.75x11.75. 48
pages. Published by Mel
Bay Publications, Inc.
(HC) SKU: HL.49020850 Ein Portrat. Composed by Rishoi. This editio...(+)
(HC)
SKU:
HL.49020850
Ein
Portrat. Composed by
Rishoi. This edition:
Hardback/Hard Cover. Book
with CD. Edition Schott.
Edition with CD. 245
pages. Schott Music #ATL
6192. Published by Schott
Music (HL.49020850).
ISBN 9783254001924.
6.75x10.0x1.06 inches.
German.
Opernpublik
um wie Fachwelt horchten
auf, als Edita Gruberova
1976 an der Wiener
Staatsoper die Zerbinetta
in Richard Strauss'
Ariadne auf Naxos sang,
damit einen
sensationellen Erfolg
erzielte und ihren
Durchbruch zur Weltspitze
schaffte. Seitdem ist die
in Bratislava geburtige
Sangerin mit allen
wichtigen Partien des
Belcanto und des
Koloraturfaches im
wahrsten Sinne des Wortes
hervorgetreten. Sie hat
ihre Gesangskultur
weitergefuhrt, ja
perfektioniert, und es
dennoch immer verstanden,
zu einer beseelten
Darstellung zu finden.In
diesem Buch schildert
Niel Rishoi nicht nur den
Weg der Gruberova aus der
slowakischen Provinz an
die grossen Opernhauser
der Welt, sondern vermag
es auch, das Spezifische
an ihrer Stimme und die
Charakteristika ihrer
Interpretationen, auch
auf der Buhne,
herauszustellen.Auf der
CD sind Ausschnitte aus
Arien und Liedern mit
dieser aussergewohnlichen
Sangerin zu horen.
Piano SKU: AY.PN3058PM Composed by Gloria Rodriguez. Keyboards - Piano. S...(+)
Piano
SKU:
AY.PN3058PM
Composed
by Gloria Rodriguez.
Keyboards - Piano. Sheet
music. Duration 4'.
Periferia Publishing
#PN3058PM. Published by
Periferia Publishing
(AY.PN3058PM).
ISBN
9790543573789.
Acco
rding to the
distinguished
musicologist Juan
Bautista Varela, the
Galician Treboada is a
musical term out of the
songbook, as its sense is
merely musical. From a
lexicographical point of
view it means
thunderstorm, storm,
squall, etc. It is almost
an onomatopoeic sense,
due to the great noise
that the bass drums,
fundamental elements of
the Treboada, make. The
Treboada is played always
on the eves of
celebrations or feasts
and it is played by three
or five bass drums, one
or two Galician bagpipes
and a drum. The
dispersion area of the
Treboada is much reduced,
according to the poet and
essayist Eliseo Alonso
Rodriguez, it comprises
the parishes of Forcadela
and Estas, both of them
belong to the town of
Tomino. Xose Hernique
Rodriguez Portela, from
Tomino, says that they
also play it on the feast
of the Virgin of St. Mary
of Tomino eve (Virgen del
Alivio de Santa Maria de
Tomino). I owe him the
idea of this piece,
because Xose Henrique
described to me how the
bass drums sound in the
distance, early in the
morning, like great roars
along with blank bullets
that are shot every time
a particular house
donates money for the
feast and they gradually
approach the house until
it trembles. He sang the
melody I wrote and he
confessed he had heard it
not long ago in the
rehearsal of a popular
folk group where there
was only a percussionist
and a Galician bagpipe
player, as with the drums
it is difficult to
appreciate the bagpipe. I
also mix the Treboada
with an Alborada, because
in Galicia almost all the
churches have
loudspeakers that play
this melody at around
nine o'clock in the
morning, the same time
that the Treboada of
Tomino starts playing.
Gloria Rodriguez Gil.
Odd Meter Bass Basse electrique [Partition + CD] Alfred Publishing
Complex Time Signatures Made Easy. By Tim Emmons. For Bass Guitar. Bass Guitar M...(+)
Complex Time Signatures
Made Easy. By Tim Emmons.
For Bass Guitar. Bass
Guitar Method or
Supplement. Book and CD.
88 pages. Published by
Alfred Publishing.
Passions-Cantate, nach
der Poesie des Herrn
Buschmann. Composed
by Gottfried August
Homilius. Edited by Uwe
Wolf. This edition:
Paperbound, Complete
edition. Gottfried August
Homilius - Selected
Works. Passionskantate I
Ein Lammlein Ga 4. Sacred
vocal music, Cantatas,
Lent and Passiontide.
Single Part, Organ. HoWV
I.2. 60 pages. Duration
95 minutes. Carus Verlag
#CV 37.104/49. Published
by Carus Verlag
(CA.3710449).
ISBN
9790007091347. Language:
German.
He was
without argument our
greatest church composer,
wrote the lexicographer
E. L. Gerber a few years
after Homilius's death in
1785. As a result of the
destruction of the
Kreuzkirche during the
Seven Years War, the
longtime Kreuzkantor, a
pupil of Bach, performed
his professional musical
duties primarily at the
Frauenkirche in Dresden.
The Passionskantate was
well received and widely
disseminated during the
18th and 19th centuries:
Thanks to its popularity
it was published in 1775
by Breitkopf as a full
score - a rare honor,
accorded to only one
other Passion in the 18th
century (Graun's Tod
Jesu). The text describes
the events of the Passion
from a very personal
point of view: The story
focuses less on the
actual events, then upon
the feelings of the
observers of these
events. The subjective
nature of the narrative
is reflected in a very
dramatically marked style
of recitative, which
presents a charming
contrast to the
expressive choral writing
and the melodically
accented arias. With the
release of a new music
editions and a SACD/CD
the Passionskantate can
now be rediscovered..
Score and part available
separately - see item
CA.3710400.
Violine 1 SKU: CA.3710411 Passions-Cantate, nach der Poesie des Herrn ...(+)
Violine 1
SKU:
CA.3710411
Passions-Cantate, nach
der Poesie des Herrn
Buschmann. Composed
by Gottfried August
Homilius. Edited by Uwe
Wolf. This edition:
Complete edition.
Gottfried August Homilius
- Selected Works.
Passionskantate I Ein
Lammlein Ga 4. Sacred
vocal music, Cantatas,
Lent and Passiontide.
Individual part. HoWV
I.2. 44 pages. Duration
95 minutes. Carus Verlag
#CV 37.104/11. Published
by Carus Verlag
(CA.3710411).
ISBN
9790007214296. Language:
German.
He was
without argument our
greatest church composer,
wrote the lexicographer
E. L. Gerber a few years
after Homilius's death in
1785. As a result of the
destruction of the
Kreuzkirche during the
Seven Years War, the
longtime Kreuzkantor, a
pupil of Bach, performed
his professional musical
duties primarily at the
Frauenkirche in Dresden.
The Passionskantate was
well received and widely
disseminated during the
18th and 19th centuries:
Thanks to its popularity
it was published in 1775
by Breitkopf as a full
score - a rare honor,
accorded to only one
other Passion in the 18th
century (Graun's Tod
Jesu). The text describes
the events of the Passion
from a very personal
point of view: The story
focuses less on the
actual events, then upon
the feelings of the
observers of these
events. The subjective
nature of the narrative
is reflected in a very
dramatically marked style
of recitative, which
presents a charming
contrast to the
expressive choral writing
and the melodically
accented arias. With the
release of a new music
editions and a SACD/CD
the Passionskantate can
now be rediscovered..
Score and part available
separately - see item
CA.3710400.
Jazz Piano Cocktails * Volume 4 with CD composed by Various. Arranged by Craig S...(+)
Jazz Piano Cocktails *
Volume 4 with CD composed
by Various. Arranged by
Craig Stevens. For jazz
piano. This edition:
Paperback. Collection.
Jazz Standards. Book and
CD. Text Language:
English. 48 pages.
Published by Santorella
Publications