Bassoon and Piano - easy SKU: BT.DHP-1115157-400 Ausgewählte Werke ...(+)
Bassoon and Piano - easy
SKU:
BT.DHP-1115157-400
Ausgewählte Werke
für den Junior- und
D1-Bereich. Composed
by Adrien Barthe, Camille
Saint-Saens, Christopher
Norton, Edvard Grieg,
Gordon Jacob, Graham
Sheene, Henry Purcell,
Jacques-Martin
Hotteterre, Joseph Bodin
de Boismortier, Julius
Weissenborn, and Robert
Schumann. Arranged by
Graham Sheene. Book with
CD. Composed 2011. 28
pages. De Haske
Publications #DHP
1115157-400. Published by
De Haske Publications
(BT.DHP-1115157-400).
9x12 inches.
German.
Starke
Töne ist eine
Sammlung, die in
Zusammenarbeit mit der
Bläserjugend des
Bundes Deutscher
Blasmusikverbände
(BDB) entstanden ist. Die
Sammlung enthält eine
Auswahl der beliebtesten
Titel aus den
Literaturlisten zum
Jungmusiker-Leistungsabze
ichen Bronze (D1) bzw.
Junior. Die Vorteile
liegen dabei klar auf der
Hand: Die
Instrumentalisten sparen
mit diesem Buch nicht nur
wertvolle
Vorbereitungszeit,
sondern auch bares Geld,
denn wer früher
mehrere Hefte anschaffen
musste, hat mit Starke
Töne bereits das
Beste in einem Band
versammelt. Somit
befriedigt diese Ausgabe
eine lang bestehende
Nachfrage. In jeder
Ausgabe ist jedes
Stück mit
einerKlavierbegleitung
notiert; ursprüngliche
Solostücke wurden
eigens mit einer neu
komponierten Begleitung
versehen. Der Klavierpart
ist in der Regel einfach
bis mittelschwer, sodass
die Begleitung auch von
fortgeschrittenen
Klavierschülern
übernommen werden
kann.Ein groÃ?er Vorteil
für die Vorbereitung
auf die praktischen
Leistungsprüfungen ist
die jedem Heft
beiliegende CD, welche
die auf einem echten
Konzertflügel
aufgenommenen
Klavierbegleitungen
enthält. Neben
Einspielungen im
Originaltempo sind die
meisten Stücke zum
leichteren Einstudieren
auch in einer weiteren
Version im langsameren
Tempo zu hören.Mit
Starke Töne ist
in Zusammenarbeit mit dem
BDB eine wertvolle
Sammlung für alle
Blasinstrumente und
Klavier sowie für
Schlagzeug entstanden,
die selbstverständlich
auch unabhängig von
den Leistungsabzeichen
das Unterrichts- und
Vortragsrepertoire für
jede dieser Besetzungen
bereichert.
Bassoon and Piano SKU: ST.C130 Composed by Mark Tanner. Wind & brass musi...(+)
Bassoon and Piano
SKU:
ST.C130
Composed by
Mark Tanner. Wind & brass
music. Clifton Edition
#C130. Published by
Clifton Edition
(ST.C130).
ISBN
9790570811304.
As I
sit myself down to write
this brief foreword, I
ask myself can there be
music more stirring than
these old Cornish folk
melodies? Though not
Cornish myself (I confess
to being born a little
further up the road, in
Bristol), I feel I have
spent sufficient time in
these 'ere parts to
resonate with the sturdy
brass band tradition that
continues to permeate
this incomparably
beautiful, rugged county.
One can almost detect a
French 'accent' when
listening to the piano
music of Debussy, and
likewise, speaking as a
lapsed brass player,
there is undoubtedly
something of the Cornish
twang about Trelawny when
played on a cornet or
euphonium. Then again,
one gets a different, yet
entirely convincing
effect upon hearing these
melodies rendered on
woodwind instruments;
hence, with a little
gamesmanship on my part,
I am pleased to see my
collection of these
fifteen delectable
ditties come to fruition
in the form of
arrangements for treble
clef brass instruments
(in B flat and E flat),
trombone and tuba (bass
clef), horn in F, flute,
clarinet and bassoon.
While many will find
themselves humming the
likes of Going up
Camborne Hill, Lamorna or
The Helston Furry Dance
even before they have
turned to the first page
- for these are indelibly
intertwined with Cornish
culture – I wonder if I
might draw your attention
to The Cornish Squire,
The Pool of Pilate and
Cold Blows the Wind Today
Sweetheart, which are
quite simply sublime
melodies, perhaps needing
that extra bit of help in
bringing them to mind
nowadays. In the best
tradition of musical
hand-me-downs, Cornish
folk music works equally
ideally sung and played,
and only by doing so on a
regular basis can such
traditions hope to
continue forward with
vigour and authority. A
legitimate way of
achieving this is to
revitalise the harmonic
scheme of these ancient
tunes and bring them up
to date for a modern
audience; after all, it
was such an approach that
fuelled the imagination
of Benjamin Britten and
Ralph Vaughan Williams in
decades past, while
skilfully paying homage
to the underlying charm
and, for want of a better
word, simplicity, of the
original music. But this
is only a start – for
without an energetic
response from younger
generations, Cornish folk
music is destined to
wither on the vine in
much the same way as is
happening with the
Cornish dialect. So, put
your instrument to your
lips and proceed, not
with caution, but with
enthusiasm and a smile,
for your great
grandparents (and perhaps
even their grandparents)
would surely raise a
glass if they could hear
you doing your bit to
ensure the survival of
this splendid
heritage. Timeless
Cornish melodies, cooked
up for hungry clarinet
players Grades
1–4 Former Spartan
Press Cat. No.:
SP1219.
Bassoon and Piano SKU: ST.C184 Composed by Graham Sheen. Wind & brass mus...(+)
Bassoon and Piano
SKU:
ST.C184
Composed by
Graham Sheen. Wind &
brass music. Clifton
Edition #C184. Published
by Clifton Edition
(ST.C184).
ISBN
9790570811847.
March of the
Day The
subtitle says it all, I
think. The piece has
three main ideas each in
the contrasting keys of
Bb, Eb and F majors. Can
you find a different
character for each one?
The danger for
bassoonists in this sort
of piece is that
everything can sound
accented, so be careful
to follow the
articulation marks as
closely as you
can.
Rondo
lettinetto Th
is is all about building
phrases through
repetition. It relies
largely, therefore, on
control of the sound. Try
to achieve a really
obvious contrast of
character between the
opening phrases and the
less refined con spirito
episode. This might be
played just a touch
faster than the opening
and closing sections, if
you wish. There is a hint
of gentle parody in this
piece if you can find a
way of expressing that
too.
Sand-
dance
Kid This
piece stretches the
compass and range of
expression even further.
There are very obvious
contrasts of staccato and
legato and the phrase
lengths of the middle
section are far from
regular. Try to scale
down the dynamics at the
end so that you end as
softly as you can
play. Three Pieces for
Bassoon and
Piano