Par VELILLA NATALIA. MUSIC and MÚSICA es una metodología que abarca los 6 cursos de Educación Musical de la etapa de Educación Primaria. Esta metodología nos presenta dos novedades fundamentales: 1. El tratamiento bilingüe de todo el material, lo que hace que la metodología pueda ser utilizada tanto por un profesor que quiera impartir el área de música en inglés, como por otro que la quiera impartir en español. Los libros de los alumnos también están disponibles sólo en versión inglesa. 2. La audición activa y lúdica de piezas del repertorio clásico como eje alrededor del cual van a girar todas las actividades de cada Unidad Didáctica. De esta forma se da sentido musical y una visión global a los conceptos musicales que se trabajan. Music and Música consta de 3 materiales fundamentales: - GUÍA DIDÁCTICA DEL PROFESOR y 2 CDs Paso a paso, con ilustraciones y fotografías se explica toda la didáctica de esta metodología. El material se secuencia en Unidades Didácticas que abarcan un curso completo. En los CDs se han grabado las audiciones, los cuentos en inglés, las canciones en inglés y español, las danzas y nueve presentaciones para pizarra digital. - MATERIAL SIN ENCUADERNAR DE LA GUÍA DIDÁCTICA DEL PROFESOR Este conjunto se incluye dentro de la guía didáctica. Aquí se recoge todo el material extra necesario para desarrollar las actividades: Ilustraciones a color de los cuentos, partituras de grafía convencional, láminas de instrumentos... - LIBRO DEL ALUMNO Y DVD Es un compendio de fichas evaluativas de los diferentes conceptos que se trabajan, así como algunas explicaciones teóricas sobre el lenguaje musical. Cada unidad didáctica comprende entre 2 y 3 fichas a través de las cuales el profesor comprobará si el alumno ha asimilado o no los conceptos planteados y por otro lado, el niño plasmará gráficamente lo que previamente ha experimentado de forma activa. En el DVD se han grabado las canciones en inglés y en español, y un montaje de vídeo con las ilustraciones de los cuentos y la narración tanto en inglés como en español. - FLASHCARDS SONORAS Las Flashcards sonoras se publican separadamente, pero son un material fundamental para trabajar a diario en las sesiones de música. Las Flashcards sonoras comprenden una serie de tarjetas divididas en series y acompañadas de un CD donde se presenta de una forma sencilla y amena los conceptos básicos del lenguaje musical./ Méthode / Piano

Contemporary Musical Theatre For Teens is a four-volume series providing a giant resource of songs from the musicals that appeal to the young singer.This first volume for men contains 26 songs from 21 musicals, including Dancing Through Life (Wicked), If You Were Gay (Avenue Q), Your Eyes (Rent), What I've Been Looking For (High School Musical), Left Behind (Spring Awakening) and more. / Voix Et Piano

Cet ouvrage rassemble plus de 20 des meilleures chansons de comédies musicales des plus populaires : les hits de Cabaret au Roi Lion de High School Musical. Chaque titre est arrangé pour Piano, voix et guitare et il existe des photos pour chaque musical et les notes d'information supplémentaire. Un véritable trésor pour tous les fans de musique ! Paroles de la chanson en anglais (à l'exception d'Out Of The Dark), tous les autre texte en allemand. / Piano/Vocal/Guitare (PVG)

Over The Rainbow. Sing Musical Theatre: Over The Rainbow features fifteen musical theatre songs in a range of styles, both classic and contemporary with useful background and performance notes, handy singing tips and exercises, and backing track CD. Suitable for Singing and Musical Theatre candidates Grades 4-5 or for anyone looking for a new, practical compilation of the repertoire, carefully selected to be appropriate for the grade./ Méthode / Piano, Chant et Guitare

Partitions arrangées pour piano facile de la comédie musicale de Disney High School Musical 3. Inclus des photos en couleur des personnages de la série. / Variétés Internationale / Partition /

25 Piano pieces. Par HELLER BARBARA. Each piece of 'Klangblumen' has its own special focus, such as a certain interval, a specific playing technique, a uniform rhythm, or a general tone colour. The instructions on playing technique and aesthetics at the beginning of the movement provide information on the interpretation of the individual pieces. Despite much interpretive and dynamic information of the composer and the editor, the pieces still provide enough possibilities to freely handle the musical text to one's personal musical mind. You are even free to experiment! A collection for lessons and concerts./ Répertoire / Piano

Retrouvez une compilation de musiques tirées des comédies musicales les plus célèbres, spécialement arrangées pour piano, voix et guitare (symboles d'accords). / Rép International / Recueil / Piano, Chant et Guitare

Piano Duet Play-Along Volume 35. Partitions pour duo de piano de la bande originale du film High School Musical 3. Inclus un CD où vous pouvez jouer l'une ou l'autre partie indépendamment. Vous pourrez aussi ajuster le tempo, sur PC ou MAC, sans en changer la tonalité. / Rép International / Recueil / Piano 4 Mains

Le più belle canzoni tratte da High School Musical 3 da suonare o cantare. Il volume include gli spartiti per piano, voce e chitarra, i testi con accordi e un CD con le basi musicali per cantare. Le basi sono disponibili in doppia versione: facilitat melodia guida) e karaoke (senza linea guida del canto). / Chant Et Piano / 68 pages / Partition + Cd

Bartók taught piano at the Music Academy in Budapest from 1907 to 1934. In his first years as a professor the Budapest music publishers Rozsnyai and Rózsavölgyi commissioned him to prepare so-called instructive editions (including suggestions, commentaries and fingerings for the performer) of several classics of the piano repertoire, altogether more than two thousand pages of music. Following Bach and Beethoven, Mozart was the third classical titan of whom Bartók ventured to undertake a performing edition necessary for music education and the sheet music trade in Hungary. Károly Rozsnyai entrusted the work to him. Bartók worked on revisions of the sonatas between 1910 and 1912, and in 1912 or 1913 the pieces were published in a single-volume version. The two-volume form was published later, perhaps during the years of inflation following the First World War, on poorer quality paper and with gray cover. Bartók's editing reflects contemporary ideas about performance, but is for the most part more detailed and elaborate than in other similar instructive editions at the turn of the century.
For the present edition we have corrected known printing errors by retouching the score, and we have deleted abbreviation letters referring to analysis of the form of the sonatas, which Bartók agreed to only at the explicit request of the publisher. We have added an English translation to the footnotes in Hungarian and German. The reader's attention is drawn to significant problems of authenticity and text in new editorial footnotes.
To the new edition we have added an afterword by László Somfai which details the circumstances of the first publication, Bartók's sources and his working methods. Bartók's Mozart concept is outlined in detail, and the author reveals the problems surrounding the composer's edition and the significant distortions in the musical text, and puts into a historical context the performance indications used by Bartók. / Partitions classique / Piano - instruments à clavier / Piano / EMB (Editio Musica Budapest)

Par GIBBONS ORLANDO. A surperb selection of eight pieces from Musica Britannica by Orlando Gibbons. Set for the ABRSM Harpsichord examination grade 6. Alman (Tone 1); French Air; Galliard (Tone 1) (No. 21 in Musica Britannica); Galliard: Lord Salisbury; Ground; Pavan (Tone 3); Pavan: Lord Salisbury; Peascod Time: or, The Hunt's Up/ Répertoire / Piano

Par CASABLANCAS BENET. Epigramas Cervantinos was commissioned by pianist Marta Espinós and the Centro Nacional de Difusión Musica (CNDM) in Madrid. With an approximate duration of 12:30 minutes, the work responds to the author's admiration for the work of Miguel de Cervantes and to the artistic complicities established with Marta Espinós, to whom the work is dedicated. The pieces that make up this triptych are intended to evoke some of the expressive types and characters that we recognise in Cervantes' prodigious legacy - from Don Quixote to the delightful Exemplary Novels - covering a wide range of emotions that range from burlesque to pages of a melancholic and contemplative nature, passing through more impulsive passages and others of conspicuous rhythmic vivacity. The profound charge of humanity that these texts exude is translated into a highly contrasted and colourful piano treatment, at times brilliant and not without virtuosity. The premiere of the work, by the aforementioned performer, took place during the inaugural concert of the Commemorative Events of the 4th Centenary of the death of the illustrious writer, held on 22 April 2016 in the Reading Room of the National Library of Spain (Madrid). / Date parution : 2022-04-01/ Répertoire / Piano

dité par Szelényi István, Gárdonyi ZoltánInstrument: PianoSérie: New Liszt Edition I. 'B'Genre: RomanticLangue: English, GermanPages: 136 ppDate du parution: Novembre 1972Stock: En stockEditeur: Editio Musica Budapest1.I. Rhapsodie hongroise R. 106 G. 2442.II. Rhapsodie hongroise R. 106 G. 2443.III. Rhapsodie hongroise R. 106 G. 2444.IV. Rhapsodie hongroise R. 106 G. 2445.V. Rhapsodie hongroise Héroide-Élégiaque R. 106 G. 2446.VI. Rhapsodie hongroise R. 106 G. 2447.VII. Rhapsodie hongroise R. 106 G. 2448.VIII. Rhapsodie hongroise R. 106 G. 2449.IX. Rhapsodie hongroise Pesther Carneval - Le Carnaval de Pesth R. 106 G. 244

Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. / Piano