Instrumental Play-Along. Par PASEK BENJ / PAUL JUSTIN. 9 morceaux de cette comédie musicale à succès sont inclus dans cette collection pour instrumentistes. Chaque recueil comprend un accès en ligne aux pistes demo et play-along, disponibles en téléchargement ou en streaming. Sommaire : Come Alive - From Now On - The Greatest Show - A Million Dreams - Never Enough - The Other Side - Rewrite the Stars - This Is Me - Tightrope. Recueil avec support en ligne/ Recueil / Violon

2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechli?ska Footnotes 1. See The Critical Commentary, p. ' and onward. 2. See V. Grigoriev, Henryk Wieniawski. ?ycie i twórczo??. [Life and Work] Warszawa - Pozna? 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes.Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w PoznaniuSeries: Henryk Wieniawski - Complete WorksCover: softbackNr ISMN: 979-0-2740-0753-9Number of pages: 34 8Format: N4 stoj. 235x305Language version of text: pol., Eng.

This collection of Great Violin Solos contains sixty well known film themes, classical pieces, jazz and blues standards, showtunes and popular hits arranged for beginner to intermediate violinists. / Violon

22 fiddle tunes from the golden age of sail, featuring dance tunes, shanties (work songs), recreational 'forebitters' and composed melodies which give the landlubber's take on the romance of the sea. Edward Huws Jones explains that 'during the heyday of sail, the busiest sea-routes of all were the North Atlantic crossings, especially between Liverpool and the American cotton ports- it was the heady mixture of African-American and Irish music which gave birth to the mid-century flowering of the sea shanty. Meanwhile English-speaking vessels were sailing to the Cape, India, Australia and many other far-flung destinations, carrying a two-way traffic of song and dance.? The tunes in this collection can all be played as unaccompanied fiddle tunes, which is how they would have been played in the days of sail. But as in other books in the Fiddler series, the flexible format allows a wide variety of different combinations and ensembles. Suitable for intermediate and elementary standard performers. / Violon

for String Quartet Full Score. Par HARTKE STEPHEN. THE FIFTH BOOK of the title refers to what Stephen Hartke considers his fifth book of madrigals, only two of which books are actually for voices, with the others being for string instruments. Hartke writes madrigals for string instruments due to their inherent singing quality, but also due to the fluid structural character of the madrigal as a genre that often responds in quite mercurial ways to the emotional unfolding of its text. These five movements are thus abstract madrigals whose larger outlines, shifts in mood, and various internal reminiscences are intended to convey a private, unspoken drama. Commissioned for the Brentano String Quartet by the Frankfurt Burgerstiftung im Holzhausenschlosschen sponsored by the Ernst Max von Grunelius-Stiftung. / Date parution : 2020-04-11/ Répertoire / Quatuor à Cordes

The New Real Book is the best-selling legal fake book of all time, with over 100,000 musicians depending on it for accurate, easy-to-read charts for hundreds of the most important tunes in the jazz canon. Don't go to the gig without it!All living composers have approved these charts - many of them are from the composer's own lead sheets.Charts for the standards were derived from a consensus of the best recorded jazz versions.Created by musicians, for musicians. The new standard in fake books! / Instruments En Do

Par ASCH GLENN / REINER DAVID. For more than a century, violinists have played jazz, swing, blues and similar improvisational styles. With its rich tone, considerable range, and bowed rhythms and phrasing, the violin offers a unique opportunity for a creative and personal statement as a musician. This book presents a broad sampling of the styles of major jazz violinists, from blues to bebop, from jug band to jazzgrass, from big-band swing to Texas swing. Tunes represent the styles of Stéphane Grappelli, Joe Venuti, Stuff Smith, Eddie South, Mark O'Connor, Benny Thomasson, Jean-Luc Ponty, and Darol Anger. Helpful jazz theory sections with exercises alternate with tunes that show how the theory works inpractice. This book has two objectives: first, to present a broad, roughly chronological sampling of major jazz violinists and the styles associated with them, and secondly, to introduce the basics of jazz theory as applied to the violin. Whether consciously or intuitively, through critical listening or by practicing jazz patterns and exercises, the more knowledge of jazz you acquire, the better you will be able to think about the content of your playing without being bound by technical and theoretical aspects. This anthology was written to help provide that foundation. Interspersed with pragmatic jazz theory lessons, you'll find 28 original tunes in the style of various jazz violin luminaries. The book ends with an extensive discography of recommended jazz recordings with a violin focus. Mandolinists as well as other instrumentalists will find a wealth of useful information in this outstanding collection. Delightful broadcast-quality recordings of the repertoire are available online. Includes access to online audio. Written for intermediate to advanced violinists. / Niveau : Intermédiaire à Avancé / Jazz / Recueil / Violon

Practising scales and arpeggios can seem like to be a compulsory exercise, if this is the case, then Groove Connection, is the answer for you.This tried and tested concept features exciting musical workouts for players of all levels. Start your lessons and practice by brushing aside monotony and getting into the Groove! This approach is rooted in the principles of music education. Composer Klaus Dickbauer uses the pleasure of playing the instrument as the basis for learning.The series introduces elements of music-making such as major scales and arpeggios while putting them in context with performance pieces and improvisations. Technical development becomes a means of personal expression.Students and teachers can use the recordings to practise in pairs, groups, ensembles, individual lessons and, of course, at home, where the play-along CD replaces the other players. / Violon

Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes

21 pieces for violin players. Par COLLEDGE HUGH / COLLEDGE KATHERINE. The Boosey & Hawkes Easy String Music series by Katherine & Hugh Colledge contains four volumes of repertoire for new and developing string players. Popular with teachers and students alike, each title steadily introduces and consolidates new techniques, fingerings, notes and rhythms to build firm foundations for future learning. Each title is available in two editions – one with a CD of demonstration and accompaniment audio tracks, and another with a piano accompaniment booklet plus access to downloadable audio resources./ Recueil / Violon

Homunculus is a short (circa 12 minutes) work for string quartet which the composer wrote during the Autumn months of 2007 for the Johannes Quartet.He wanted to compose a piece that would be very compact in form andduration but still contain many different characters and textures. In other words a little piece that behaves like a big piece.He has long been fascinated (and amused) by the arcane spermists’ theory who held the beliefthat the sperm was in fact a 'little man' (homunculus) that was placed inside a woman for growth into a child. This seemed to them to neatly explain many of the mysteries of conception. It was later pointed out that if the spermwas a homunculus identical in all but size to an adult then the homunculus may have sperm of its own. This led to a reductio ad absurdum with an endless chain of homunculi. This was not necessarily considered by spermists afatal objection however as it neatly explained how it was that 'in Adam' all had sinned: the whole of humanity was already contained in his loins.He decided to call my piece Homunculus despite the obvious weaknesses of thespermists’ thinking as he found the idea of a perfect little man strangely moving.

Work for Clarinet Violin Cello and Piano. The composer writes: VOIX INTERIEURES (1990-92). The title has a double reference: to the ’inner voices’ of the mind expressing our (hardly conscious) impulses feelings dreams and to the ’inner voices’ of the music in the sense of internal parts and relations. Thus the title points to the obscure reflections of the ones in the others. During the piece there is a gradual transformation of the internal parts such as interval patterns sonorities and dynamics - running alongside the easily perceptible expansion of register. The music is so to say ’turned inside out’.

Includes scales for soloing, piano voicings, guitar voicings, sample bass parts for each tune. When needed, there are separate rhythm section charts and /or horn harmony charts to help your band play authentic-sounding versions of the tunes. The rhythm section appendix gives the student a complete overview of all the major Afro-Cuban and Brazilian rhythmic styles, and sample parts for each player. / Instruments En Do