(B-Flat Instruments). Composed by Various. Arranged by Robert Rawlins. For B...(+)
(B-Flat Instruments).
Composed
by Various. Arranged by
Robert
Rawlins. For B-flat
Instruments. Fake Book.
Softcover. 380 pages.
Published by Hal Leonard
Ligne De Mélodie, Paroles et Accords [Partition] - Facile Hal Leonard
Easy guitar/vocal songbook for guitar and voice. With leadsheet notation (includ...(+)
Easy guitar/vocal
songbook for guitar and
voice. With leadsheet
notation (includes melody
line and chords), chord
names, guitar chord
diagrams, strum and pick
patterns and lyrics.
Series: Easy Guitar. 176
pages. Published by Hal
Leonard.
(It's the Gospel Truth! A Children's Christmas Musical). By Celeste Clydesdale. ...(+)
(It's the Gospel Truth! A
Children's Christmas
Musical). By Celeste
Clydesdale. Arranged by
David Clydesdale. For
2-part/Unison. Musical.
Christmas. Choral Book.
Duration 37'00 .
Published by Word Music
(10 Short Christmas Duets with Piano). By Vince Gassi. For 2 Alto Saxophones and...(+)
(10 Short Christmas Duets
with Piano). By Vince
Gassi. For 2 Alto
Saxophones and Keyboard.
Duet or Duo; Mixed
Instruments - Flexible
Instrumentation; Part(s).
Eighth Note Publications.
Christmas; Winter. 12
pages. Published by
Eighth Note Publications
Performed by Carole King. For voice, piano and guitar chords. Format: piano/voca...(+)
Performed by Carole King.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Adult
contemporary and pop
rock. 256 pages. 9x12
inches. Published by Hal
Leonard.
Guitar SKU: HL.381135 A Step-by-Step and Song-by-Song Guide for Absolu...(+)
Guitar
SKU:
HL.381135
A
Step-by-Step and
Song-by-Song Guide for
Absolute Beginners.
Guitar Educational.
Instruction, Method.
Softcover. 112 pages.
Published by Hal Leonard
(HL.381135).
ISBN
9781705152447. UPC:
196288019466.
9.0x12.0x0.277
inches.
Learn how
to play guitar with this
effective guitar method
successfully used by
thousands of busy New
Yorkers in their classes
at New York City Guitar
School. You'll learn the
fundamentals of guitar
with this motivating
step-by-step
comprehensive course for
beginners which covers
all the basics of guitar
playing, and includes
detailed practice session
plans, motivating stories
and great song examples.
Topics covered include:
The fundamental habits of
great guitar players; The
rest stroke; How to read
chord diagrams; The D and
G chords; How to tune
your guitar; How to
practice; The A7 Chord;
How to play with a pick;
The secret to memorizing
songs; How to read tab
and play cool licks;
Pivot changes; G Major; E
Minor; D 7th; The concept
of chord progressions;
The small barre--gateway
to future guitar
greatness; and much more.
You'll get to play great
songs while learning,
too! Songs include: Chain
of Fools • DJ Got
Us Fallin' in Love
• The First Cut Is
the Deepest • I
Fought the Law •
Mirrorball •
Mustang Sally • Old
Town Road (I Got the
Horses in the Back)
• Pumped up Kicks
• Rebel, Rebel
• Sons &
Daughters • Truth
Hurts • Up on the
Roof • and more.
This book is ideal for
use with a teacher or in
a class, and has also
been used successfully
around the world as a
self-study course.
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann.
The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
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
(65 Soul, Blues, and Funk Classics). Composed by various artists and composer...(+)
(65 Soul, Blues, and Funk
Classics). Composed by
various artists and
composers. For Guitar.
This
edition: Guitar TAB
Edition.
Artist/Personality; Book;
Guitar Mixed Folio;
Guitar
TAB. The Guitar
Collection.
Blues; Funk. 256 pages.
Published by Alfred Music
Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate
SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
By John Cage (1912-1992). For for any instrument or combination of instruments. ...(+)
By John Cage (1912-1992).
For for any instrument or
combination of
instruments. Modern.
Sheet Music. Composed
1952. Duration 4 minutes
33 seconds. Published by
Edition Peters
(Vocal Selections). Composed by Carole King. For Piano/Vocal/Guitar. Vocal Selec...(+)
(Vocal Selections).
Composed by Carole King.
For Piano/Vocal/Guitar.
Vocal Selections.
Broadway Musical.
Softcover. 114 pages.
Published by Hal Leonard
Concert
Band, Grade 2.5 6:50
Score. Composed by
Otto M. Schwarz. Concert.
Softcover. Duration 410
seconds. Hal Leonard
#SDP0672101. Published by
Hal Leonard (HL.4007970).
With its height
of 4,808 meters,
Mont-Blanc is called
“the roof of
Europe.†The
highest mountains on our
planet have been
insurmountable for a long
time. Only in the past
250 years have those
giants been mounted.
Crystal-hunter Jacques
Balmat and Michel-Gabriel
Paccard, a doctor, were
the first to climb
Mont-Blanc, in 1786. Many
paths lead to
Mont-Blanc's peak: the
regular ascent goes
through the magnificent
“voie royale of
Saint-Gervais-les-
Bains,†which was
opened in August 1855 by
the Englishmen Hudson,
Kennedy, and Smythe.
Today's most common route
to climb up, starting
from Saint-Gervais via
Aiguille du Gou ter
(3,863m), Do me du Gou
ter (4,304m), and Are te
des Bosses (4,547m), was
first used in 1861. Otto
M. Schwarz composed this
work inspired by
“the roof of
Europe†with its
luminous and huge
glaciers. Early in the
morning, mountain
climbers set off to the
peak; they witness the
sunrise, and experience
the hazards that the
journey up to the summit
brings along. A snowstorm
and falling rocks at Are
te des Bosses aggravate
their journey. A sudden
change of weather,
however, enables them to
reach the top after a
strenuous ascent. This
piece invites you to an
imaginary journey from
Saint-Gervais-les-Bains
via the “voie
royale†to the top
of Mont-Blanc.
Performed by Various. Guitar Recorded Versions (Authentic note-for-note transcri...(+)
Performed by Various.
Guitar Recorded Versions
(Authentic note-for-note
transcriptions).
Softcover. With notes and
tablature. Published by
Hal Leonard. Performed by
Various. Guitar Recorded
Versions (Authentic
note-for-note
transcriptions).
Softcover. With notes and
tablature. Published by
Hal Leonard.
For guitar and voice. Format: guitar tablature songbook. With guitar tablature, ...(+)
For guitar and voice.
Format: guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names and
guitar chord diagrams.
Contemporary folk and
folk. Series: Hal Leonard
Guitar Recorded Versions.
216 pages. 9x12 inches.
Published by Hal Leonard.