Composed by Johann Sebastian Bach (1685-1750). Arranged by Virgil Fox. Masterwor...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Arranged by
Virgil Fox. Masterworks;
Organ Solo. H. W. Gray
Saint Cecilia Series.
Baroque; Masterwork
Arrangement; Sacred.
Sheet. 8 pages. Jubilate
Music Group
#00-GSTC00868. Published
by Jubilate Music Group
By Frederic Chopin. Edited by Willard A. Palmer. For Piano. Piano Solo. Alfred M...(+)
By Frederic Chopin.
Edited by Willard A.
Palmer. For Piano. Piano
Solo. Alfred Masterwork
Edition. Masterwork.
Sheet. 8 pages. Published
by Alfred Publishing.
Level: Early Advanced
(grade 6 ).
Piano SKU: BO.B.3655 Composed by I. Albeniz/A. Nieto. Published by Editor...(+)
Piano
SKU:
BO.B.3655
Composed by
I. Albeniz/A. Nieto.
Published by Editorial de
Musica Boileau
(BO.B.3655).
The first two
volumes of this edition
contain the scores of the
twelve pieces of Iberia,
analyzed and with
indications for fingering
and pedaling. With the
goal of facilitating
memorization and
performance of Iberia,
the third volume contains
a series of descriptive
comments of a technical
nature which are useful
for a better
understanding of the work
and which serve to
clarify my
suggestions.
(Beginning Rock Guitar). By Paul Howard. For Guitar. This edition: 2nd Edition; ...(+)
(Beginning Rock Guitar).
By Paul Howard. For
Guitar. This edition: 2nd
Edition; 2nd. Book; DVD;
Guitar Method or
Supplement;
Method/Instruction.
Complete Method. Rock.
Beginner. 96 pages.
Published by Alfred Music
Publishing
Piano SKU: BR.EB-8031 Piano Lessons by Frederic Chopin. Composed b...(+)
Piano
SKU:
BR.EB-8031
Piano
Lessons by Frederic
Chopin. Composed by
Frederic Chopin. Edited
by Heinz Walter. Solo
instruments; Softcover.
Edition Breitkopf.
Romantic period. Score.
24 pages. Breitkopf and
Haertel #EB 8031.
Published by Breitkopf
and Haertel (BR.EB-8031).
ISBN 9790004174340. 9
x 12 inches.
This
series of easy piano
music for teaching
purposes presents pupils
in the lower and lower
middle grades with a
carefully chosen
selection of well-known
and lesserknown
compositions by important
masters. The volumes are
deliberately kept small
in extent, since it is
more stimulating for
children to change the
teaching material
frequently. When the
aspiring pianist has
dealt successfully with
the works of Frederic
Chopin for the first
time, he will have left
the elementary level of
instruction behind. The
following selection of
easy pieces also requires
security of technique and
capability of musical
expression in order to
enable the florid sound
of Chopin's piano music
to unfold. As much as
works like the Prelude in
D flat major or the Walz
in A minor may tempt one
to premature endeavours,
a study of Chopin's music
should not be attempted
too early. In the
following five Preludes,
the two Valses and the
Nocturne in G minor (six
Mazurkas have been
published in a separate
folio), the editor has
made a selection of
pieces, which can be
mastered by the pupil
(with the exception of
opus 28/15 and opus
28/20), even if a limited
facility and finger
stretch is present.
Because of the finger
stretch required for some
chords, a different
distribution of the hands
has been indicated or
simplifications have been
suggested. An
introduction to the Tempo
rubato, taking style into
consideration, is a task
lying within teacher's
responsibility.
Indications for pedal use
were added by the editor.
Heinz Walter, Salzburg,
Fall 1979.
Off the Page Orgue [Partition + CD] MorningStar Music Publishers
(Tips and Techniques for Creating Hymn-Based Organ Settings) Written by Donald R...(+)
(Tips and Techniques for
Creating Hymn-Based Organ
Settings) Written by
Donald Rotermund.
Instructional book and
accompaniment CD for
organ. 278 pages.
Published by MorningStar
Music Publishers.
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more.
SKU:
PR.16500100F
Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F).
ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches.
Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected.
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
Piano - Grade 5 SKU: BT.WMP2214 Selected Piano Repertory and Studies(+)
Piano - Grade 5
SKU:
BT.WMP2214
Selected Piano
Repertory and
Studies. By Josephine
Koh. Teachers' Choice.
Exam Material. Book Only.
67 pages. Wells Music
Publishers #WMP2214.
Published by Wells Music
Publishers (BT.WMP2214).
ISBN 9789810751203.
English.
Teachers' Choice,
Selected Piano Repertory
& Studies for Grade
8 is compiled to
provide teachers and
students with good
options for the 2013-2014
ABRSM piano
examinations.
This collection
ofinteresting and
appealing piano pieces
contains editorial
suggestions for
pedagogical purposes.
Most piano teachers will
find the performance
points helpful in
developing stylistic
awareness in the
students.
Examinationrequiremen
ts aside, teaching
details with regards to
articulation, dynamics,
fingering, pedal marks
and tempo indications
encourage students to
practise diligently and
thus strive towards
musical excellence
andperfection.
Ef
fective technical
studies, suited to the
levels have been
carefully selected,
forming in themselves,
supplementary material to
enhance the learning
process.
Most
important of all, enjoy
the highstandards of
music typography - such
clear, professionally
laid scores, supported by
modern publishing
technology and musical
semiotics. The digital
print on quality
cream-coloured paper
ensures comfort in the
reading of
musicscores.
By Frederic Chopin. Edited by Maurice Hinson. For Piano. Piano Solo. Alfred Mast...(+)
By Frederic Chopin.
Edited by Maurice Hinson.
For Piano. Piano Solo.
Alfred Masterwork
Edition. Masterwork.
Level: Early Advanced /
Advanced (grade 6 ). 24
pages. Published by
Alfred Publishing.
Piano - Grade 4 SKU: BT.WMP2213 Selected Piano Repertory and Studies(+)
Piano - Grade 4
SKU:
BT.WMP2213
Selected Piano
Repertory and
Studies. By Josephine
Koh. Teachers' Choice.
Exam Material. Book Only.
41 pages. Wells Music
Publishers #WMP2213.
Published by Wells Music
Publishers (BT.WMP2213).
ISBN 9789810751197.
English.
Teachers' Choice,
Selected Piano Repertory
& Studies for Grade 6
& 7 is
compiled to provide
teachers and students
with good options for the
2013-2014 ABRSM piano
examinations.
Thiscollection of
interesting and appealing
piano pieces contains
editorial suggestions for
pedagogical purposes.
Most piano teachers will
find the performance
points helpful in
developing stylistic
awareness in the
students.
Examina
tion requirements aside,
teaching details with
regards to articulation,
dynamics, fingering,
pedal marks and tempo
indications encourage
students to practise
diligently and thus
strive towards musical
excellenceandperfection.<
/li>
Effective
technical studies, suited
to the levels have been
carefully selected,
forming in themselves,
supplementary material to
enhance the learning
process.
Most
important of all, enjoy
the highstandards of
music typography - such
clear, professionally
laid scores, supported by
modern publishing
technology and musical
semiotics. The digital
print on quality
cream-coloured paper
ensures comfort in the
reading of
musicscores.
By Felix Mendelssohn. Edited by Maurice Hinson. For Piano. Piano Collection. Alf...(+)
By Felix Mendelssohn.
Edited by Maurice Hinson.
For Piano. Piano
Collection. Alfred
Masterwork Edition.
Masterwork. Book. 28
pages. Published by
Alfred Publishing.
(Chopin National Edition 28B, Volume IV). Composed by Frederic Chopin (1810-1849...(+)
(Chopin National Edition
28B, Volume IV). Composed
by Frederic Chopin
(1810-1849). Edited by
Jan Ekier. For Piano.
PWM. Softcover. 72 pages.
Polskie Wydawnictwo
Muzyczne #51600030.
Published by Polskie
Wydawnictwo Muzyczne
(Chopin National Edition). Composed by Frederic Chopin (1810-1849). Edited by Ja...(+)
(Chopin National
Edition). Composed by
Frederic Chopin
(1810-1849). Edited by
Jan Ekier and Pawel
Kaminski. For Orchestra,
Piano (Full Score). PWM.
Polskie Wydawnictwo
Muzyczne #51600026.
Published by Polskie
Wydawnictwo Muzyczne
Chopin National Edition 26B, Vol. II. Composed by Frederic Chopin (1810-1...(+)
Chopin National
Edition 26B, Vol. II.
Composed by Frederic
Chopin (1810-1849).
Edited by Jan Ekier. PWM.
Softcover. Polskie
Wydawnictwo Muzyczne
#51600018. Published by
Polskie Wydawnictwo
Muzyczne (HL.132302).
Piano - Grade 4-5 SKU: BT.WMP2416 Composed by Josephine Koh. Tuition. Boo...(+)
Piano - Grade 4-5
SKU:
BT.WMP2416
Composed
by Josephine Koh.
Tuition. Book Only.
Composed 2019. Wells
Music Publishers
#WMP2416. Published by
Wells Music Publishers
(BT.WMP2416).
ISBN
9789811177583.
T
eachers’ Choice,
Selected Piano Repertory
& Studies for Grades 4 &
5 is compiled to provide
teachers and students
with good options for the
2019 & 2020 ABRSM piano
examinations.
This
series of interesting and
appealingpiano pieces
contains editorial
suggestions for
pedagogical purposes.
Most teachers will find
helpful teaching points
to develop stylistic
awareness in their
students. Details on
articulation, dynamics,
fingering, pedal marks
andtempo serve to provide
a directed approach for
students to strive
towards achieving musical
excellence and
perfection. Most
important of all, enjoy
the high standards of
music typography. The
digital print on
qualitycream-colouredpape
r ensures comfort in the
reading of these music
scores.
(Chopin National Edition Vol. VIIIA). Composed by Frederic Chopin (1810-1849). E...(+)
(Chopin National Edition
Vol. VIIIA). Composed by
Frederic Chopin
(1810-1849). Edited by
Jan Ekier and Pawel
Kaminski. For Piano. PWM.
Polskie Wydawnictwo
Muzyczne #51600014.
Published by Polskie
Wydawnictwo Muzyczne
Piano - Grade 4 SKU: BT.WMP2216 2015-2016 Grades 4-5. Composed by ...(+)
Piano - Grade 4
SKU:
BT.WMP2216
2015-2016 Grades
4-5. Composed by
Josephine Koh. Teachers'
Choice. Method. Book
Only. 40 pages. Wells
Music Publishers
#WMP2216. Published by
Wells Music Publishers
(BT.WMP2216).
ISBN
9789810924096.
English.
Teachers’ Choice,
Selected Piano Repertory
& Studies for
grades 4-5 is compiled to
provide teachers and
students with good
options for the 2015 &
2016 ABRSM Piano
examinations.
-
This collection
ofinteresting and
appealing Piano pieces
contains editorial
suggestions for
pedagogical purposes.
Most teachers will find
the performance points
helpful in developing
stylistic awareness in
the
students.
-Examinat
ionrequirements aside,
details on articulation,
dynamics, fingering,
pedal marks and tempo
serve to provide a
directed approach for
students to strive
towards achieving musical
excellence and
perfection.
-Effect
ivetechnicalstudies
suited to each level have
been carefully selected,
forming in themselves,
supplementary materials
to enhance technical
competence.
-Most
important of all, enjoy
the high standards of
music typography
suchclear, professionally
laid scores supported by
modern publishing
technology and musical
semiotics. The digital
print on quality
cream-coloured paper
ensures comfort in the
reading of musical
scores.