| Bring A Torch Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - medium easy SKU: CF.CAS36 Composed by Tradit...(+)
Orchestra String
Orchestra - medium easy
SKU: CF.CAS36
Composed by Traditional.
Arranged by Roy
Phillippe. Carl Fischer
Concert String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 12 pages. Carl
Fischer Music #CAS36.
Published by Carl Fischer
Music (CF.CAS36). ISBN
9780825863646. UPC:
798408063641. 8.5 X 11
inches. Key: F
major. A warm and
richly scored setting of
the popular Christmas
carol Bring a Torch
Jeanette, Isabella, this
full sounding arrangement
will greatly enrich
seasonal programming. Roy
Phillippe has employed a
broad palette of harmonic
and instrumental colors
to craft a memorable
holiday
selection. Bring a
Torch is a lovely
Christmas carol. Using
techniques such as
suspensions,
re-harmonization and
modulations, my goal is
to provide an interesting
showcase for this
familiar melody. the
introduction in F major
features sustained
violins with a pattern of
moving eighth notes in
the violas and cellos.
This pattern recurs
throughout the piece. The
first statement of the
melody is in the first
violins. The second
violins supply harmonic
support along with the
viola/cello pattern.
Measures 13-29 feature a
section of tutti chordal
playing. Measure 30
crescendos into the
modulation to D major at
m. 32. Here, the dynamic
is forte, and the
viola/cello pattern
returns. At m. 40, the
violas and cellos have
the melody with violin
accompaniment. A
crescendo begins at m. 44
and builds
to fortissimo at m.
48, featuring a
modulation to G major. At
this point the melody
should soar. A
descrescendo at m. 60 is
followed by a ritard
at m. 64. The final four
measures are in the
original tempo ending on
a tutti chord.Careful
attention to dynamics,
especially in the
accompanying parts, will
result in a fine
performance.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Walking on Air 2 Pianos, 4 mains - Débutant Alfred Publishing
By Robert D. Vandall. For Piano. This edition: 2 copies included. Piano Duo (Two...(+)
By Robert D. Vandall. For
Piano. This edition: 2
copies included. Piano
Duo (Two Pianos, Four
Hands). Level: Late
Elementary. 8 pages.
Published by Alfred
Publishing.
$5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Let Music Fill The Air Chorale SATB SATB, Piano [Octavo] - Facile Schirmer
By Gwyneth W. Walker (1947-). For SATB Choir and piano [or full orchestra] (Mixe...(+)
By Gwyneth W. Walker
(1947-). For SATB Choir
and piano [or full
orchestra] (Mixed
Voices). Secular,
General. Choral.
Moderately easy. Octavo.
12 pages
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Dream Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Perform...(+)
Chamber Music Flute(s)
SKU: PR.144407290
Composed by Ali Ryerson.
Performance Score. 4
pages. Duration 4
minutes. Theodore Presser
Company #144-40729.
Published by Theodore
Presser Company
(PR.144407290). ISBN
9781491135150. UPC:
680160687008. Jazz
luminary Ali Ryerson
traces a unique and
personal artistic path in
this solo work. With an
engaging form reminiscent
of jazz charts (a dreamy
introduction, a catchy,
swinging head, and
improvisatory-feeling
12-bar choruses),
Ryerson’s music
pays deeply-felt homage
to Charlie Parker and
other jazz greats, while
maintaining an organic
connection to the lineage
of unaccompanied woodwind
music in the classical
tradition. Classical
players will gain insight
into jazz harmony,
rhythm, and expression as
they learn this knockout
recital piece, while
Ryerson fans in the jazz
world gain an image of
her musical mind in this
fully-notated
composition. Jazz
Dream, a jazz-inspired
solo flute piece, was
commissioned by Claudia
Anderson for her Glass
Ceilings project. Claudia
once told me that playing
jazz flute has been one
of her musical ambitions.
I daresay her performance
of JD could very well
break a glass ceiling of
her own!Moved by the
events of 2020, composing
Jazz Dream became my way
of honoring my musical
heroes from the Black
community, namely the
jazz musicians who
created this music and
truly broke glass
ceilings. As jazz shares
its origins with the
blues, both genres having
originated in the
African-American
community, I decided on a
12-bar blues form as the
framework for the
piece.The opening theme
gently draws us into a
dream-like state, with a
melody in slow motion and
lines that linger. When
the REM cycle kicks into
gear, there’s an
abrupt rhythmic shift
that leads straight into
a swingin’ blues.
Idiomatic jazz rhythms
abound, with blue notes
galore – the
tension notes that
virtually define the
sound of both the blues
and jazz (i.e. the
flatted third, fifth, and
seventh notes of a scale
in place of the expected
major intervals).After
several groovin’
choruses of a 12-bar
blues in B(, often played
as if the soloist is
improvising, the blues
modulates to the key of
E(, and as a tribute to
the great Charlie Parker
(AKA Bird), I
harmonically suggest the
more complex set of bebop
changes that Parker
introduced in his
composition, Blues for
Alice. Often referred to
as Bird Changes or Bird
Blues, instead of the
basic I - IV – V
chord progression
commonly used in the
blues, Parker used a
series of sequential ii-V
progressions (and
secondary ii-V
progressions). With the
addition of some tritone
substitutions, a
chromatically descending
bass line deftly replaces
the original I-IV-V root
movement. This is the
harmonic background I was
hearing as I wrote this
particular chorus.After
my 12-bar nod to
Bird’s changes,
the introductory dream
theme returns, now in
tempo and with a
straight-ahead swing
feel. Variations on this
theme follow, again to be
played as if improvising,
with the soloist once
again bringing their own
personality into the
performance. This section
builds to a climax, the
music pauses, then
modulates to C, with a
return to the original
blues theme. The energy
and groove increase
through the final
flourish, where a blues
line ends on the
idiomatic flatted
fifth. $9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Frost on the Plow - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Guitar, Viola, Violin 1, Violin 2 - Grade 3.5 SK...(+)
Orchestra Cello,
Contrabass, Guitar,
Viola, Violin 1, Violin 2
- Grade 3.5 SKU:
CF.CAS130F Composed
by Sam Gelfer. Sws. Cas.
Full score. 16 pages.
Carl Fischer Music
#CAS130F. Published by
Carl Fischer Music
(CF.CAS130F). ISBN
9781491157480. UPC:
680160916061. 9 x 12
inches. This
energetic composition,
written in the style of
traditional fiddle-tunes,
gradually modulates from
B minor to D Major.
Players will encounter
authentic fiddle
techniques such as
shuffle-bowing, chops,
and double-stops at a
brisk tempo. The chop is
accomplished by dropping
the bow firmly on the D
and A strings at the
frog, sinking and
stopping with slight
motion toward the scroll.
Players should straighten
their fingers on the frog
and the bow hair should
be tilted toward the
bridge when performing
this technique. A
syncopated bass
accompaniment and
relentless pace depict a
stormy winter season,
melting into spring. Each
section is given
interesting melodic and
accompaniment lines, with
exciting accented rhythms
that require all players
to match bow placement,
internalize a common
tempo, and listen across
the ensemble for a
precise, focused
sound.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Frost on the Plow - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Guitar, Viola, Violin 1, Violin 2 - Grade 3.5 SK...(+)
Orchestra Cello,
Contrabass, Guitar,
Viola, Violin 1, Violin 2
- Grade 3.5 SKU:
CF.CAS130 Composed by
Sam Gelfer. Folio. Cas.
Set of Score and Parts.
16+16+2+10+10+10+16
pages. Duration 2
minutes, 37 seconds. Carl
Fischer Music #CAS130.
Published by Carl Fischer
Music (CF.CAS130).
ISBN 9781491157664.
UPC: 680160916245. 9 x 12
inches. This
energetic composition,
written in the style of
traditional fiddle-tunes,
gradually modulates from
B minor to D Major.
Players will encounter
authentic fiddle
techniques such as
shuffle-bowing, chops,
and double-stops at a
brisk tempo. The chop is
accomplished by dropping
the bow firmly on the D
and A strings at the
frog, sinking and
stopping with slight
motion toward the scroll.
Players should straighten
their fingers on the frog
and the bow hair should
be tilted toward the
bridge when performing
this technique. A
syncopated bass
accompaniment and
relentless pace depict a
stormy winter season,
melting into spring. Each
section is given
interesting melodic and
accompaniment lines, with
exciting accented rhythms
that require all players
to match bow placement,
internalize a common
tempo, and listen across
the ensemble for a
precise, focused
sound.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Soloing: Jazz Guitar Guitare notes et tablatures [CD] - Facile Alfred Publishing
By Tom Dempsey. For Guitar. Guitar Method or Supplement. National Guitar Worksho...(+)
By Tom Dempsey. For
Guitar. Guitar Method or
Supplement. National
Guitar Workshop. Jazz.
Book
$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Deluxe Pedal Steel Guitar Method Guitare Pedal Steel [Partition + CD] Mel Bay
by Dewitt Scott. Level: Multiple Levels. Book/CD Set. Size 8.75x11.75. 200 pages...(+)
by Dewitt Scott. Level:
Multiple Levels. Book/CD
Set. Size 8.75x11.75. 200
pages. Published by Mel
Bay Pub., Inc.
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chanson Joyeuse (Song of Joy) Cloches Choristers Guild
By Julie C. Stitt. For handbells (3-5 octaves) (with optional 2 octave handchime...(+)
By Julie C. Stitt. For
handbells (3-5 octaves)
(with optional 2 octave
handchimes). Level 3 .
Handbell score. Published
by Chorister's Guild
$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Quiet Moment 2 Pianos, 4 mains - Intermédiaire Alfred Publishing
By Beatrice Miller. For Piano. Piano Duo (Two Pianos, Four Hands). 8 pages. Publ...(+)
By Beatrice Miller. For
Piano. Piano Duo (Two
Pianos, Four Hands). 8
pages. Published by
Alfred Publishing.
Level: Early
Intermediate.
$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 2 Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.
$95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rondo in C Major, Op. 51, No. 1 Piano seul G. Henle
For Piano. Composed by Ludwig van Beethoven (1770- 1827). Edited by Joanna Co...(+)
For Piano. Composed by
Ludwig van Beethoven
(1770-
1827). Edited by Joanna
Cobb
Biermann. Henle Music
Folios. Softcover. G.
Henle
#HN1456. Published by G.
Henle
$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gabriel Grovlez - Sarabande Et Allegro Pour Clarinette Et Piano (arr. Ulysse Delecluse) Clarinette et Piano Leduc, Alphonse
(clarinet/piano) SKU: HL.48181570 Composed by Gabriel Grovlez. Leduc. Cla...(+)
(clarinet/piano) SKU:
HL.48181570 Composed
by Gabriel Grovlez.
Leduc. Classical.
Softcover. 5 pages.
Alphonse Leduc #AL21268.
Published by Alphonse
Leduc (HL.48181570).
UPC: 888680843960.
9x12
inches. “Gabr
iel Grovlez (1879-1944)
studied under Gabriel
Fauré at the Paris
Conservatoire. His
compositions proved to be
extremely versatile, from
Operas and Ballets to
solo works. Grovlez's
Sarabande and Allegro is
a sublime addition to the
Clarinet repertoire. Much
of the composer's works
show neo-classical
features, which is also
the case in Sarabande and
Allegro. Where the
texture is predominantly
melody dominated
homophony, perfect
cadences are frequently
heard and modulations to
related keys occur.
Grovlez's C minor
Sarabande is in a steady,
triple meter, superbly
contrasted by the fast
Allegro, composed in the
relative major. All these
features make for an
enjoyable and delightful
performance!&rdquo. $20.55 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Methods & Treatises Continuo Bass - 6 Volumes - France 1600-1800 Anne Fuzeau Productions
Continuo SKU: FZ.6222 Serie I - France 1600-1800. Edited by Jean S...(+)
Continuo SKU:
FZ.6222 Serie I -
France 1600-1800.
Edited by Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.6222). ISBN
9790230662222. 24.00 x
33.00 cm
inches. These early
music methods are in
facsimile in six books.
Volume 1: Anonyme -
BARTOLOTTI A. M. - BOYVIN
J. - BUTERNE J-B. - CARRE
A. Sieur de La Grange -
CHARPENTIER M-A. -
CHAUMONT L. - D'ANGLEBERT
J-H. - DE LA BARRE M. -
DELAIR D. - FLEURY N. -
MARAIS M. - NIVERS G. G.
- PERRINE - SAINT-LAMBERT
M. de. Volume 2: CAMPION
F. - CAMPION T. - CHERON
A. - CLERAMBAULT N. -
COUPERIN F. - DANDRIEU
J-F. - DELAIR D. -
LECLAIR J. -M. - RAMEAU
J. -P. Volume 3: Anonyme
- CAMPION F. - DORNEL A.
- FORQUERAY A. - GERVAIS
L. - GOUDAT - GUILLEMAIN
L. -G. - MONNIER Le Cadet
- MONTECLAIR M. P. de -
PINGRE A-G. - RAMEAU J.
-P. - SERRE DE RIEUX J. -
TELEMANN G. P. - TRAVENOL
L. A. Volume 4: ALEMBERT
J. Le Rond d' -
BLAINVILLE C. H. de -
CORRETTE M. - DUBUGRARRE
- GEMINIANI F S. -
LAPORTE C. de. Volume 5:
BETHISY J-L. de - BIFERI
F. (fils) - CLEMENT C-F.
- DUBREUIL J-J. - GARNIER
H. - GIANOTTI P. -
GOUGELET Madame - LABBET
A. J. - LE BOEUF - RAMEAU
J. -P. - ROUSSIER P-J. -
SIMON S. - TAPRAY J.
Volume 6: Anonyme -
BEMETZRIEDER A. -
CORRETTE M. - FROESTLER
B. - GOURNAY B. C. -
LANGLE H-F-M. - RODOLPHE
J-J. - ROUSSIER P-J.
Table of contents: Volume
1: Fleury Nicolas:
Methode pour apprendre
facilement - 1660.
Bartolotti Angelo
Michele: Table pour
apprendre facilement -
1669. Carre Antoine:
Livre de Guitarre
Contenant Plusieurs
pieces - 1671. Perrine:
Livre de Musique pour le
Lut - 1680. Anonyme:
Petites Reigles
Generalles qui peuvent
servir de methode - 1680.
Nivers Guillaume Gabriel:
Motets a voix seule -
1689. D'Anglebert Jean
Henry: Pieces de clavecin
- 1689. Marais Marin:
Basse-continues des
pieces a une et a deux
Violes - 1689. Anonyme:
(traite abrege
d'accompagnement) - c.
1690. Anonyme: Regles
pour l'Accompagnement -
1690. Delair Denis:
Traite d'accompagnement
pour le theorbe - 1690.
Charpentier Marc Antoine:
Abrege des regles de
l'accompagnement - c.
1692. Chaumont Lambert:
Pieces D'orgue sur les 8
tons - 1695. Buterne
Jean-Baptiste: Petites
Reigles pour
l'accompagnement - 1700.
Boyvin Jacques: Second
livre d'orgue - 1700.
Anonyme: Traite
d'accompagnement du
Clavecin - c. 1700. De La
Barre Michel: Premier
livre de pieces pour la
flute - 1702.
Saint-Lambert Michel de:
Nouveau Traite de
l'accompagnement - 1707.
Volume 2: Couperin
Francois: Regles pour
l'accompagnement - s. d.
Campion Thomas: Traite
d'accompagnement et de
composition - 1716.
Clerambault Nicolas:
Regles d'accompagnement -
1716. Clerambault
Nicolas: Principes
d'accompagnement - 1716.
Dandrieu Jean Francois:
Principes de
l'accompagnement - 1719.
Rameau Jean-Philippe:
Traite de l'harmonie -
1722. Delair Denis:
Nouveau traite
d'accompagnement - 1724.
Leclair Jean-Marie:
Premier livre de sonates
- 1723. Rameau
Jean-Philippe: Nouveau
systeme de musique
theorique - 1726. Cheron
Andre: Sonates en trio -
1727. Campion Francois:
Lettre du sieur Campion a
un philosophe - 1729.
Campion Thomas: Addition
au traite
d'accompagnement - 1730.
Volume 3: Pingre
Alexandre Gui: Traite de
l'harmonie - s. d. Rameau
Jean-Philippe:
Observations sur la
Methode d'Accompagnement
- 1730. Rameau
Jean-Philippe: Plan
abrege d'une Methode
nouvelle - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier - 1729. Rameau
Jean-Philippe: Replique
du premier Musicien a la
reponse du second - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier Musicien - 1730.
Rameau Jean-Philippe:
Replique du premier
Musicien a l'ecrit du
second - 1730. Rameau
Jean-Philippe:
Dissertation sur les
differentes metodes -
1732. Gervais Laurent:
Methode pour
l'accompagnement - 1733.
Campion Francois: Second
recueil d'airs - 1734.
Serre de Rieux Jean: Les
dons des Enfans de Latone
- 1734. Telemann Georg
Philipp: Nouveaux
Quatuors en six Suites -
1738. Goudat: Principes
de Laccompagnement -
1738. Travenol Louis
Antoine: Premier livre de
Sonates a violon seul -
1739. Guillemain Louis
Gabriel: Six sonates en
quatuors - 1743. Monnier
le Cadet: L'art de
Toucher le Clavecin dans
son propre caractere - c.
1745. Dornel Antoine: le
Tour du Clavier - 1745.
Forqueray Antoine: Pieces
de Viole avec la Basse
Continue - 1747. Anonyme:
(Methode
d'accompagnement) - s. d.
Volume 4: Alembert Jean
Le Rond d': Elemens de
musique - 1752.
Blainville Charles Henri
de: Essay sur un
troisieme mode - 1751.
Corrette Michel: Le
maitre de Clavecin -
1753. Laporte Claude de:
Traite theorique et
pratique - 1753.
Geminiani Francesco
Saverio: L'art de bien
accompagner - 1754.
Dubugrarre: Methode plus
courte et plus facile -
1754. Volume 5: Tapray
Jean: Abrege de
l'accompagnement - 1755.
Labbet Antoine Joseph et
Leris Antoine de:
Sentiment d'un
Harmoniphile - 1756.
Clement Charles Francois:
Essai sur
l'accompagnement - 1758.
Gianotti Pietro: Le guide
du compositeur - 1759.
Rameau Jean-Philippe:
Code de musique pratique
- 1760. Bethisy
Jean-Laurent de:
Exposition de la theorie
et de la pratique - 1764.
Roussier Pierre-Joseph:
Traite des accords et de
leur succession - 1764.
Le Boeuf: Traite
d'harmonie et regles
d'accompagnement - 1766.
Garnier Honore: Nouvelle
methode pour
l'accompagnement - 1767.
Dubreuil Jean-Jacques:
Manuel harmonique - 1767.
Biferi Francesco Fils:
Traite de musique abrege,
divise en trois parties -
1770. Simon Simon:
Theorie pratique
d'accompagnement - s. d.
Gougelet Madame: Methode
ou abrege des regles -
1771. Volume 6: Roussier
Pierre-Joseph: L'harmonie
pratique - 1775. Corrette
Michel: Prototipes
contenant des lecons
d'accompagnement - 1775.
Anonyme: Abrege des
regles de composition -
1777. Bemetzrieder
Antoine: Nouvelles lecons
de clavecin ou
instructions generales -
1782. Rodolphe
Jean-Joseph: Theorie
d'accompagnement - c.
1785. Gournay B. C. :
Lettre a M. l'abbe
Roussier - 1785. Langle
Honore-Francois-Marie:
Traite de la basse sous
le chant - 1797.
Froestler B. : Traite
d'harmonie et de
modulation - 1800.
Anonyme: Principes de
l'accompagnement - s. d.
Anonyme: Regles
d'accompagnement - s. d.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimiles of
copies from: -
Conservatory Library of
Geneva (Switzerland). -
Conservatory Library of
Dijon (France). - Royal
Conservatory of Liege
(Belgique). - Municipal
Library of Bordeaux
(France). - Municipal
Library of Grenoble
(France). - Municipal
Library of Lyon (France).
- National Library of
Paris (France). - Royal
Library of Brussels
(Belgium). -
Sainte-Genevieve Library
of Paris (France). -
British Library of London
(England). - Nederlands
Muziek Instituut of The
Hague (Netherlands). -
Yale University, Music
Library of New Haven
(USA). -
Zentralbibliothek of
Zurich (Switzerland).
Anne Fuzeau Classique
propose the complete
theoretic documentation,
methods, classical music
scores on the
continuo. $459.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Frere Jacques Rocka, Op. 70, No. 1 (NFMC) 2 Pianos, 4 mains [Feuillet] - Intermédiaire/avancé FJH
By Myra Brooks-Turner. For Piano. The FJH Piano Ensemble Series. Sheet Music. Le...(+)
By Myra Brooks-Turner.
For Piano. The FJH Piano
Ensemble Series. Sheet
Music. Level: Early
Advanced. Duet Sheet.
Published by The FJH
Music Company Inc.
$4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Path to the Pacific Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS27 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS27
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 12 pages. Carl
Fischer Music #YAS27.
Published by Carl Fischer
Music (CF.YAS27). ISBN
9780825858345. UPC:
798408058340. 8.5 X 11
inches. Key: G
major. From the
Rocky Mountains to the
Pacific Ocean, Path to
the Pacific reflects the
open, airy and
picturesque qualities of
the American West. These
textures are painted
through the use of light
syncopation, key
modulations and triplets
that will certainly
ch. From the opening
driving cello melody to
the final ensemble
flourish, Path to the
Pacific is an exciting
and rewarding piece for
young players to play.The
accents in the cello
during the lively
introduction at m. 1 are
integral to the feel of
the melodic line and
provide an engaging
technical challenge. The
AAB form begins as the
piece decrescendos to the
quiet ‘A’
section at m. 9,
featuring violin 1 with a
singing, lyrical
melody.The robust, joyous
‘B’ section
is played with intensity,
but still legato. The
return to the
‘A’ material
at m. 37 features the
Cello. The 2nd statement
of the ‘B’
material at m. 45 is
highlighted by a
refreshing tonal shift to
the key of E then back to
the key of
‘G’ before
the crescendo to the
fermata in m. 58.The
active cello theme from
the introduction returns
in the A Tempo section at
m. 59 at a piano dynamic.
This begins the build to
the maestoso section at
m. 71. Measures 63-70 are
the most aggressive bars
of the composition.
Strive for rhythmic
precision when
approaching the quintal
harmony in m. 63-64, the
accented figures in m.
65-67, and the triplet
figures in m. 68-69. A
rich, resonant tone from
the full ensemble will
make the maestoso section
in m. 71 move powerfully
to the final bar.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Puzzler Formation musicale - Solfège [Partition + CD] Alfred Publishing
(80 Reproducible Music Puzzles). By Sue Albrecht Johnson. Book; CD; Classroom/Pr...(+)
(80 Reproducible Music
Puzzles). By Sue Albrecht
Johnson. Book; CD;
Classroom/Pre-School;
General Music and
Classroom Publications;
Reproducible. 92 pages.
Published by Alfred Music
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| America's Cup Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS37 For Stri...(+)
Orchestra String
Orchestra - Medium
Easy/Medium SKU:
CF.CAS37 For
String Orchestra.
Composed by Alan Lee
Silva. This edition:
complete set. FS-SWS.
Carl Fischer Concert
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
24+24+6+15+21+15+15+20
pages. Carl Fischer Music
#CAS37. Published by Carl
Fischer Music (CF.CAS37).
ISBN 9780825863660.
UPC: 798408063665. 8.5 X
11 inches. Key: C
major. A salute to
the famous sailboat race,
this rollicking piece in
A minor introduces
compound time with an
opening (and closing)
section in 12/8. The fast
flowing music of the
opening, vividly
suggestive of a ship
slicing through the
waves, returns in a
higher key (B minor)
after a warmly scored,
sweepingly melodic middle
section. This is a piece
whose sophistication is
an excellent showcase for
a more advanced
performing
group. Written in 12/8
in A minor,
America’s Cup
evokes the intensity and
momentum of a wild sea
with driving triplets,
sweeping melodies, and
accented downbeats. The
A-material from the
opening measure is played
aggressively but lightly
enough to keep the
feeling of forward
motion. Strong accents
and rhythmically precise
playing in the cello and
bass provide solid
support for the fast
moving violin and viola
passages. Measure 67
begins the slow, pastoral
setting of the
B-material. A gentle,
lyrical violin motive in
A major grows into a
high, sweeping melody
over sustained harmonies.
This provides a brief
repose before returning
to the fastoriginal tempo
and minor key as the
recapitulation begins at
m. 90. A modulation to B
minor (m. 94) lifts the
energy of the piece and
gives young players the
challenge of playing the
running lines in another
key. Measure 118 builds
to the end, keeping the
intensity a soft dynamic
and growing into the
final syncopated tutti
unison figure in mm.
122–123.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ross Roy Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0971085-010 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-0971085-010
Composed by Jacob De
Haan. Inspiration Series.
Festive and Solemn Music.
Set (Score & Parts).
Composed 1997. De Haske
Publications #DHP
0971085-010. Published by
De Haske Publications
(BT.DHP-0971085-010).
Jacob de Haan
was commissioned to
compose this concert
piece by the St. Peters
Wind Symphony from
Brisbane, Australia. Ross
Roy is the monumental
late 19th century villa
where St. Peters Lutheran
College was founded in
1945. The villa has
always remained the
school symbol. In this
composition, Jacob de
Haan sees the Ross Roy as
a metaphor for the years
spent at school (a
monument in time), where
one's personality is
formed. So, the opening
theme the artist calls
the Ross Roy theme
initially has monumental
characteristics.The
rhythmic motion, which
strides along in the
lower register and
percussion at the
beginning of the next
section is typical of
Tempo di Marcia.
Thismovement, accompanied
by repetitions of sound,
is a metaphor for the
structure and discipline
in school. This is the
introduction to a march
theme, symbolic of
passing through the
classes up to the final
examinations.Then, the
Ross Roy theme is dealt
with again, now in a
playful, humorous
variation. As if the
composer is saying there
should also be time for a
smile in school. The same
theme can be heard in
major key and a slower
tempo in the following
section, expressing pride
and self-confidence. This
is also the introduction
to the expressive middle
section that represents
love, friendship and
understanding.We then
return to the march theme
in a slightly altered
construction. The
oriental sounds,
constituting the
modulation to the final
theme, are symbols of the
diversity of cultures in
the school. The
characteristic final
theme first sounds
solemn, but turns into a
festive apotheosis. It is
no coincidence that the
final cadence is
reminiscent of the close
to a traditional
overture, for the school
years can be considered
the overture to the rest
of one's life. The
premiere of Ross Roy was
conducted by Jacob de
Haan in Brisbane, on
August 22, 1997.
Ross Roy is de
naam van de monumentale
villa in Brisbane
(Australië) waar in
1945 het St. Peters
Lutheran College is
gesticht. In opdracht van
het collegeorkest
componeerde Jacob de Haan
dit gevarieerde
concertwerk vol
metaforen.De structuur en
discipline van de school
horen we in de met
toonherhaling gepaard
gaande ritmische beweging
in basregister en
slagwerk. Het volgende,
martiale thema staat
symbool voor het
doorlopen van de klassen.
Een
schertsende,humoristische
versie van het hoofdthema
ontbreekt niet: op school
moet immers ook tijd zijn
voor vrolijkheid. Het
karakteristieke slotthema
mondt uit in een
feestelijke
apotheose.
Ross
Roy ist der Name
einer monumentalen Villa
in Brisbane, Australien,
in der 1945 das St. Peter
Lutheran College
gegründet wurde. Im
Auftrag dieses
Schulorchesters
komponierte Jacob de Haan
dieses Konzertwerk, das
voll von Metaphern ist.
Die Struktur und
Disziplin dieser Schule
hören wir in der mit
Tonwiederholungen
gepaarten rhythmischen
Bewegung des
Bassregisters und des
Schlagwerks. Das folgende
martialische Thema steht
als Symbol für das
Durchlaufen der Klassen
bis zum Ende der
Schulzeit. Eine
scherzhafte,
humoristische Version des
Hauptthemas darf nicht
fehlen, denn in der
Schule muss auch Zeit
für kleine Späße
und Lachen sein! Das
charakteristische
Schlussthemamündet in
einem festlichen
Höhepunkt.
Ross Roy
est le symbole grandiose
de l’excellence du
compositeur.
L’œuvre tient
son nom de
l’imposante villa
éponyme située
Brisbane en Australie et
qui abrite en ses murs le
Collège Saint Pierre,
une institution
luthérienne fondée
en 1945. C’est
pour l’Orchestre
d’Harmonie de cet
établissement que
Jacob de Haan composa
cette œuvre riche en
métaphores. «
J’ai tenté de
décrire les valeurs de
cette école. Ainsi, le
thème initial se
développe-t-il sur un
motif rythmique imposant
qui alterne entre les
instruments graves et la
batterie. Ce motif
symbolise
l’autorité et
le cadre structuré de
l’école. On
retrouve ce thème
plusieurs reprises et
notamment sousune forme
humoristique et
espiègle : nous
découvrons les bons
côtés de
l’école, la
joie des élèves,
les sentiments de
fierté, d’amour
et d’amitié.
Autre élément
thématique, une marche
qui symbolise la
progression des
élèves dans leur
cursus pour arriver leurs
examens de fin
d'étude. » En guise
de conclusion, Jacob de
Haan nous offre un
thème grandiose qui
s’élargit en
apothéose.
Commissionato
dalla St. Peter’s
Wind Symphony Orchestra
di Brisbane, è
dedicato alla monumentale
villa tardo-ottocentesca
dove il collegio
dell’orchestra ha
avuto la sua storica
sede. Metafora degli anni
della formazione, è
caratterizzato da un
finale in stile
ouverture, come se gli
anni della scuola
rappresentassero una
sorta di ouverture al
resto della vita. $191.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sicilienne Et Allegro Giocoso Pour Basson Et Piano Leduc, Alphonse
(Bassoon/Piano) SKU: HL.48181527 Composed by Gabriel Grovlez. Leduc. Clas...(+)
(Bassoon/Piano) SKU:
HL.48181527 Composed
by Gabriel Grovlez.
Leduc. Classical. CD.
Alphonse Leduc #AL21163.
Published by Alphonse
Leduc (HL.48181527).
UPC: 888680905842.
9.0x12.0x0.087
inches. “Gabr
iel Grovlez (1879-1944)
studied under Gabriel
Fauré at the Paris
Conservatoire. His
compositions proved to be
extremely versatile, from
Operas and Ballets to
solo works. Grovlez's
Sicilienne and Allegro
Giocoso is a sublime
addition to the Bassoon
repertoire. Much of the
composer's works show
neo-classical features,
which is also the case in
Sicilienne and Allegro
Giocoso, where the
texture is predominantly
melody dominated
homophony, cadences are
frequently heard and
modulations to related
keys occur, despite
tonality being
interestingly exploited.
Grovlez's C minor
Sicilienne is unusual in
style as it is composed
in common time, yet the
triplets and sextuplets
in the Bassoon part
provide the 'tarantella
feel' required of the
musical genre. This is
superbly contrasted by
the quirky Allegro
Giocoso, (fast and
cheerful) composed in the
relative major. All these
features make for an
enjoyable and delightful
performance!â€. $22.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ross Roy Fanfare - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0971085-020
Composed by Jacob De
Haan. Inspiration Series.
Festive and Solemn Music.
Set (Score & Parts).
Composed 1997. De Haske
Publications #DHP
0971085-020. Published by
De Haske Publications
(BT.DHP-0971085-020).
Jacob de Haan
was commissioned to
compose this concert
piece by the St. Peters
Wind Symphony from
Brisbane, Australia. Ross
Roy is the monumental
late 19th century villa
where St. Peters Lutheran
College was founded in
1945. The villa has
always remained the
school symbol. In this
composition, Jacob de
Haan sees the Ross Roy as
a metaphor for the years
spent at school (a
monument in time), where
one's personality is
formed. So, the opening
theme the artist calls
the Ross Roy theme
initially has monumental
characteristics.The
rhythmic motion, which
strides along in the
lower register and
percussion at the
beginning of the next
section is typical of
Tempo di Marcia.
Thismovement, accompanied
by repetitions of sound,
is a metaphor for the
structure and discipline
in school. This is the
introduction to a march
theme, symbolic of
passing through the
classes up to the final
examinations.Then, the
Ross Roy theme is dealt
with again, now in a
playful, humorous
variation. As if the
composer is saying there
should also be time for a
smile in school. The same
theme can be heard in
major key and a slower
tempo in the following
section, expressing pride
and self-confidence. This
is also the introduction
to the expressive middle
section that represents
love, friendship and
understanding.We then
return to the march theme
in a slightly altered
construction. The
oriental sounds,
constituting the
modulation to the final
theme, are symbols of the
diversity of cultures in
the school. The
characteristic final
theme first sounds
solemn, but turns into a
festive apotheosis. It is
no coincidence that the
final cadence is
reminiscent of the close
to a traditional
overture, for the school
years can be considered
the overture to the rest
of one's life. The
premiere of Ross Roy was
conducted by Jacob de
Haan in Brisbane, on
August 22, 1997.
Ross Roy
is de naam van de
monumentale villa in
Brisbane (Australië)
waar in 1945 het St.
Peters Lutheran College
is gesticht. In opdracht
van het collegeorkest
componeerde Jacob de Haan
dit gevarieerde
concertwerk vol
metaforen. De structuur
en discipline van de
school horen we in de met
toonherhaling gepaard
gaande ritmische beweging
in basregister en
slagwerk. Het volgende,
martiale thema staat
symbool voor het
doorlopen van de klassen.
Een schertsende,
humoristische versie van
het hoofdthema ontbreekt
niet: op school moet
immers ook tijd zijn voor
vrolijkheid. Het
karakteristieke slotthema
mondt uit in een
feestelijke apotheose.
Ross Roy
ist der Name einer
monumentalen Villa in
Brisbane, Australien, in
der 1945 das St. Peter
Lutheran College
gegründet wurde. Im
Auftrag dieses
Schulorchesters
komponierte Jacob de Haan
dieses Konzertwerk, das
voll von Metaphern ist.
Die Struktur und
Disziplin dieser Schule
hören wir in der mit
Tonwiederholungen
gepaarten rhythmischen
Bewegung des
Bassregisters und des
Schlagwerks. Das folgende
martialische Thema steht
als Symbol für das
Durchlaufen der Klassen
bis zum Ende der
Schulzeit. Eine
scherzhafte,
humoristische Version des
Hauptthemas darf nicht
fehlen, denn in der
Schule muss auch Zeit
für kleine Späße
und Lachen sein! Das
charakteristische
Schlussthemamündet in
einem festlichen
Höhepunkt.
Ross Roy
est le symbole grandiose
de l’excellence du
compositeur.
L’œuvre tient
son nom de
l’imposante villa
éponyme située
Brisbane en Australie et
qui abrite en ses murs le
Collège Saint Pierre,
une institution
luthérienne fondée
en 1945. C’est
pour l’Orchestre
d’Harmonie de cet
établissement que
Jacob de Haan composa
cette Å“uvre riche en
métaphores. «
J’ai tenté de
décrire les valeurs de
cette école. Ainsi, le
thème initial se
développe-t-il sur un
motif rythmique imposant
qui alterne entre les
instruments graves et la
batterie. Ce motif
symbolise
l’autorité et
le cadre structuré de
l’école. On
retrouve ce thème
plusieurs reprises et
notamment sousune forme
humoristique et
espiègle : nous
découvrons les bons
côtés de
l’école, la
joie des élèves,
les sentiments de
fierté, d’amour
et d’amitié.
Autre élément
thématique, une marche
qui symbolise la
progression des
élèves dans leur
cursus pour arriver leurs
examens de fin
d'étude. » En guise
de conclusion, Jacob de
Haan nous offre un
thème grandiose qui
s’élargit en
apothéose. $191.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ross Roy Fanfare - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0971085-120
Composed by Jacob De
Haan. Inspiration Series.
Concert Piece. Score
Only. Composed 1997. De
Haske Publications #DHP
0971085-120. Published by
De Haske Publications
(BT.DHP-0971085-120).
Jacob de Haan
was commissioned to
compose this concert
piece by the St. Peters
Wind Symphony from
Brisbane, Australia. Ross
Roy is the monumental
late 19th century villa
where St. Peters Lutheran
College was founded in
1945. The villa has
always remained the
school symbol. In this
composition, Jacob de
Haan sees the Ross Roy as
a metaphor for the years
spent at school (a
monument in time), where
one's personality is
formed. So, the opening
theme the artist calls
the Ross Roy theme
initially has monumental
characteristics.The
rhythmic motion, which
strides along in the
lower register and
percussion at the
beginning of the next
section is typical of
Tempo di Marcia.
Thismovement, accompanied
by repetitions of sound,
is a metaphor for the
structure and discipline
in school. This is the
introduction to a march
theme, symbolic of
passing through the
classes up to the final
examinations.Then, the
Ross Roy theme is dealt
with again, now in a
playful, humorous
variation. As if the
composer is saying there
should also be time for a
smile in school. The same
theme can be heard in
major key and a slower
tempo in the following
section, expressing pride
and self-confidence. This
is also the introduction
to the expressive middle
section that represents
love, friendship and
understanding.We then
return to the march theme
in a slightly altered
construction. The
oriental sounds,
constituting the
modulation to the final
theme, are symbols of the
diversity of cultures in
the school. The
characteristic final
theme first sounds
solemn, but turns into a
festive apotheosis. It is
no coincidence that the
final cadence is
reminiscent of the close
to a traditional
overture, for the school
years can be considered
the overture to the rest
of one's life. The
premiere of Ross Roy was
conducted by Jacob de
Haan in Brisbane, on
August 22, 1997.
Ross Roy
is de naam van de
monumentale villa in
Brisbane (Australië)
waar in 1945 het St.
Peters Lutheran College
is gesticht. In opdracht
van het collegeorkest
componeerde Jacob de Haan
dit gevarieerde
concertwerk vol
metaforen. De structuur
en discipline van de
school horen we in de met
toonherhaling gepaard
gaande ritmische beweging
in basregister en
slagwerk. Het volgende,
martiale thema staat
symbool voor het
doorlopen van de klassen.
Een schertsende,
humoristische versie van
het hoofdthema ontbreekt
niet: op school moet
immers ook tijd zijn voor
vrolijkheid. Het
karakteristieke slotthema
mondt uit in een
feestelijke apotheose.
Ross Roy
ist der Name einer
monumentalen Villa in
Brisbane, Australien, in
der 1945 das St. Peter
Lutheran College
gegründet wurde. Im
Auftrag dieses
Schulorchesters
komponierte Jacob de Haan
dieses Konzertwerk, das
voll von Metaphern ist.
Die Struktur und
Disziplin dieser Schule
hören wir in der mit
Tonwiederholungen
gepaarten rhythmischen
Bewegung des
Bassregisters und des
Schlagwerks. Das folgende
martialische Thema steht
als Symbol für das
Durchlaufen der Klassen
bis zum Ende der
Schulzeit. Eine
scherzhafte,
humoristische Version des
Hauptthemas darf nicht
fehlen, denn in der
Schule muss auch Zeit
für kleine Späße
und Lachen sein! Das
charakteristische
Schlussthemamündet in
einem festlichen
Höhepunkt.
Ross Roy
est le symbole grandiose
de l’excellence du
compositeur.
L’œuvre tient
son nom de
l’imposante villa
éponyme située
Brisbane en Australie et
qui abrite en ses murs le
Collège Saint Pierre,
une institution
luthérienne fondée
en 1945. C’est
pour l’Orchestre
d’Harmonie de cet
établissement que
Jacob de Haan composa
cette Å“uvre riche en
métaphores. «
J’ai tenté de
décrire les valeurs de
cette école. Ainsi, le
thème initial se
développe-t-il sur un
motif rythmique imposant
qui alterne entre les
instruments graves et la
batterie. Ce motif
symbolise
l’autorité et
le cadre structuré de
l’école. On
retrouve ce thème
plusieurs reprises et
notamment sousune forme
humoristique et
espiègle : nous
découvrons les bons
côtés de
l’école, la
joie des élèves,
les sentiments de
fierté, d’amour
et d’amitié.
Autre élément
thématique, une marche
qui symbolise la
progression des
élèves dans leur
cursus pour arriver leurs
examens de fin
d'étude. » En guise
de conclusion, Jacob de
Haan nous offre un
thème grandiose qui
s’élargit en
apothéose. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Grand Recueil pour la Guitare Op. 114 - Vol. 2: Third and Fourth Part Guitare Guitare classique Ut Orpheus
Guitar SKU: UT.CH-387 Composed by Ferdinando Carulli. Edited by Romolo Ca...(+)
Guitar SKU:
UT.CH-387 Composed by
Ferdinando Carulli.
Edited by Romolo
Calandruccio. Classical.
Score. Ut Orpheus #CH
387. Published by Ut
Orpheus (UT.CH-387).
ISBN 9790215328235. 9
x 12 inches. Opus
114 is certainly one of
Carulliâ??s most
important didactic works,
so much so that the
author himself made a
point of writing in the
second edition of his
famous Method op. 27
(1819): The student, when
moving on to the second
part, must continue to
practise on the easy
pieces which are to be
found in opus nos. 50,
15, 35, 36, 93, 7 and
above all in opus 114. He
maintained this
indication also in later
editions of the Method
itself, unlike what he
did with other
collections of studies
which were no longer
recommended. The
purpose of op. 114, in
particular of the
preludes, is clearly
explained by the author
himself in the preface of
op. 265: I have already
offered preludes in my
opus nos. 71 and 114 to
people, but they serve to
study and learn to play
all sorts of difficult
passages, to practise
modulating, and learn to
improvise on the guitar.
Carulli seems to want to
provide his students with
a large handbook of
formulas typical of his
musical writing and he
does so by making use of
the keys which, in his
opinion, are most
congenial to the guitar.
In his Method he points
out: Each instrument has
its favourite keys: the
guitar can be played in
all keys, but the best
ones are: A major and
minor, D major and minor,
E major and minor, C, G,
F. The others are
difficult; [â?¦].
However, some of the
difficult ones are
included but only in the
fourth part. Of course,
the easiness of a key
essentially depends on
the possibility of
extensive use of the open
strings, especially in
the low notes, ensuring
the accompaniment on the
main degrees. This
edition has some unique
features. First of all,
it is the first complete
modern edition of
Carulliâ??s op. 114; it
presents an important
critical apparatus in
which the Carullian
technique is presented
and analysed; finally,
Carulli's original
fingering is indicated in
the score (including that
of the thumb of the left
hand) and the missing one
was obtained from the
comparison of his other
fingerings present in
other works. All this
allows an easy and
complete reading both for
those who perform the
pieces following the
nineteenth-century
performance practice with
a historical instrument,
and for those who play a
modern instrument. $43.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Complete Improvisation, Fills and Chord Progressions Book Piano seul [Partition] - Intermédiaire Mel Bay
By Gail Smith. For Piano. Theory and harmony. Complete. All Styles. Level: Inter...(+)
By Gail Smith. For Piano.
Theory and harmony.
Complete. All Styles.
Level: Intermediate.
Book. Size 8.75x11.75.
228 pages. Published by
Mel Bay Publications,
Inc.
(1)$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Oeuvres Completes Pour Clavier Volume 4 Sonates K156 A K205 (lp34) Clavecin Heugel
Harpsichord (harpsichord) SKU: HL.48188386 Volume 4, K.156-205. Co...(+)
Harpsichord (harpsichord)
SKU: HL.48188386
Volume 4,
K.156-205. Composed
by Domenico Scarlatti.
Edited by Kenneth
Gilbert. Leduc. Baroque.
Softcover. 212 pages.
Heugel & Cie #HE32486.
Published by Heugel & Cie
(HL.48188386). UPC:
888680866136.
9.0x12.0x0.565
inches. Italian
composer, Domenico
Scarlatti (1685-1757) is
well-known for his
Keyboard compositions.
His 555 Keyboard Sonatas
remain ever popular to
this day, and it is for
this reason that this
fourth volume is
indispensable to
performers of the genre.
Originally composed for
the Harpsichord, Organ or
early Pianoforte, the
Sonatas display the
riveting use of discords
and unconventional
modulations to remote
keys. It is also thought
that much of Scarlatti's
Keyboard music contains
influences of Iberian
music, considering that
he spent much of his
working life in the
service of the Spanish
and Portuguese royal
families. The fourth
volume, comprising
Sonatas 156-205, includes
the popular and
recognisable Sonata in C
major (K. 159). Bearing
in mind that Domenico
Scarlatti was a highly
competent and popular
Keyboard player in his
day, so much so that he
was employed in the
service of two royal
families, his Sonatas are
composed with much
experience, understanding
and expertise, creating
an essential addition to
the repertoire of all
Keyboard players of the
Baroque genre. . $25.80 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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