| The rose and the carnation Carus Verlag
Coro SMsA, 2 Fl, Git, Perc SKU: CA.336560 Arranged by Jesus Albert Hernan...(+)
Coro SMsA, 2 Fl, Git,
Perc SKU:
CA.336560 Arranged by
Jesus Albert Hernandez.
Separate edition with
choral collection.
Secular choral music.
Full score. 5 pages.
Carus Verlag #CV
03.365/60. Published by
Carus Verlag (CA.336560).
ISBN 9790007244033.
Language:
Spanish. This song
is a popular 'Cueca
brava,' also known as
'Cueca Chilenera.' The
'Cueca' was designated a
na tional dance in Chile
since 1979 and it has
been danced throughout
this country since the
early 19th century, both
in the countryside and in
the cities. The styles of
the 'Cuecas' are
different according to
the nature of the texts
and to traditions of each
region. The origin of the
'Cueca' is unclear, but
certainly it developed in
the Viceroyalty of Peru,
fi rst as a dance called
the 'zamacueca,' which in
turn originated from the
'jota' and the
'fandango.' It is danced
in couples who dance
apart from each other
while waving red scarves
and moving in circles.
The musicologist Carlos
Vega writes: it is
possible to consider the
'Cueca' as a parody of
courtship between a cock
and a hen: the scarves
could symbolize feathers
or ridges within a
choreography that is
characterized by loose
interdependent partners.
In describing the 'Cueva'
another musicologist,
Samuel Claro, explains
that the choreography
recalls the ancient or
medieval tournaments and
derives from the
pantomime of love ... It
is a festive and cheerful
dance, accompanied by
guitars, harp, accordion
and percussion
instruments, although it
is written mostly in
minor keys. The rhythm
combines measures of 6/8
and 3/4. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Landscapes Clarinette, Basson, Piano (trio) - Intermédiaire/avancé Imagine Music
By Daniel Baldwin. For clarinet, bassoon, horn, piano. Level 5. Duration 16 minu...(+)
By Daniel Baldwin. For
clarinet, bassoon, horn,
piano. Level 5. Duration
16 minutes. Published by
Imagine Music
$30.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Bounce 2 Bassons (duo) Peermusic Classical
(for Two Bassoons). By Michael Daugherty (1954-). For Bassoon Duet. Peermusic Cl...(+)
(for Two Bassoons). By
Michael Daugherty
(1954-). For Bassoon
Duet. Peermusic
Classical. 24 pages.
Peermusic #61782-701.
Published by Peermusic
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Colonnade Theodore Presser Co.
Orchestra Bassoon, Cello, Clarinet, Contrabass, Flute, Harp, Horn, Marimba, Oboe...(+)
Orchestra Bassoon, Cello,
Clarinet, Contrabass,
Flute, Harp, Horn,
Marimba, Oboe,
Vibraphone, Viola, Violin
1, Violin 2 SKU:
PR.416414230 For
Chamber Orchestra.
Composed by James
Matheson. This edition:
Version 6/10/10. Sws.
Contemporary. Full score.
With Standard notation.
Composed February 13
2003. 84 pages. Duration
18 minutes. Theodore
Presser Company
#416-41423. Published by
Theodore Presser Company
(PR.416414230). ISBN
9781598066630. UPC:
680160602087. 9x12
inches. Colonnade
is James
Matheson’s
intriguing response to
the Albany
Symphony’s
commission to create a
work inspired by the NY
State Board of Education
Building, designed by the
renowned architect Rafael
Guastavino. Matheson
explains that “A
colonnade acts as a
metaphor for the tension
between knowledge and
perception. The columns
are the same height and
equidistant from each
other; while the mind
understands this fully,
there exists no place
from which one can
perceive this –
the columns always appear
to be of uneven height
and spacing. If one then
adds motion to
perspective, identical
columns acquire
elasticity, and begin to
change kaleidoscopically
– they shrink,
grow, become closer, and
then further
apart.†This
structural paradox is
given musical life in the
outer sections of
Colonnade, while the
long, arching middle
section is inspired by
the vaulted ceiling of
one of the
building’s largest
rooms, enhancing the
structure’s
spacious openness and
lightness. Colonnade
is inspired by
Albany’s majestic
New York State Board of
Education Building, and
written on a commission
from the Albany Symphony
Orchestra. It was an
intriguing task, in part
because in order to
accept the commission I
had to agree to write a
work “inspired
by†a building I
had not yet seen.
Thisproblem was
compounded by the fact
that, for me, the very
notion of extra-musical
inspiration is a complex
one, particularly with
respect to literary or
visual sources. I
generally find ideas and
abstracted notions more
generative of musical
ideas than specific ones
(a poem, an experience, a
painting). So when I went
to seeand tour the
building, I sought to
identify fundamental
formal aspects of the
building which I could
process into musical
ideas, and would then be
linked to the building
through a sense of formal
relationship. In theend,
two characteristics of
the building stood out as
noteworthy and
undiminished by time
(compared with, for
instance, the
building’s
rotunda, which contains a
series of quaintly
outdated allegorical
paintings): theexterior
colonnade and a beautiful
interior vaulted ceiling,
designed by Rafael
Guastavino.For me, a
colonnade acts as a
metaphor for the tension
between knowledge and
perception. We all know,
for instance, that the
columns are of the same
height and are
equidistant from each
other. Nevertheless,
while the mind
understands this fully,
it is also the case that
there exists no place
– no standpoint or
viewpoint –
anywhere in the universe
– from which one
can perceive this; the
columns always appear to
be of uneven height and
spacing. If one then adds
motion to perspective
– a walk along the
colonnade, for instance
– the fixed, even,
rigidly identical columns
acquire elasticity, and
begin to change
kaleidoscopically
– they shrink,
grow, become closer, and
then further apart.
Further, the detail of
the building’s
façade behind the
colonnadeshifts into and
out of visibility, with
different portions
obscured by the columns
from each vantage point.
These considerations
underlie the outer
sections of Colonnade, in
which a continuously
repeated, continuously
varied rising figure
– suggestive of a
column –
dominates. The iterations
of this elastic,
evolvingfigure are
interspersed with other
music – suggestive
of the building’s
façade. The second
feature of the building
that caught my attention
was the vaulted ceiling,
designed by Guastavino,of
one of the
building’s largest
rooms. The ceiling
enhances the spaciousness
of the room, giving it an
openness and lightness
that is quite
captivating. The middle
section of Colonnade has
this openness at its
core, and is dominated by
long, arching lines that,
to me, suggest the
refined beauty of this
ceiling.World premiere
March 8, 2003; Albany
Symphony Orchestra
conducted by David Alan
Miller. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The European Real Book Instruments en Do [Fake Book] Sher Music Company
(The best in contemporary jazz from Europe). By Various. Edited by Chuck Sher. F...(+)
(The best in contemporary
jazz from Europe). By
Various. Edited by Chuck
Sher. For C instruments.
This edition:
spiral-bound. Fake book.
423 pages. Published by
Sher Music Company
$40.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The European Real Book (Bb edition) [Fake Book] Sher Music Company
(The best in contemporary jazz from Europe). Composed by Various. Edited by Chuc...(+)
(The best in contemporary
jazz from Europe).
Composed by Various.
Edited by Chuck Sher. For
Bb instruments. This
edition: spiral-bound.
Fake book. 423 pages.
Published by Sher Music
Company
$40.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The European Real Book (Eb edition) Instruments en Mib [Fake Book] Sher Music Company
(The best in contemporary jazz from Europe). Composed by Various. Edited by Chuc...(+)
(The best in contemporary
jazz from Europe).
Composed by Various.
Edited by Chuck Sher. For
Eb instruments. This
edition: spiral-bound.
Fake book. 423 pages.
Published by Sher Music
Company
$40.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Saxophone Duets 2 Saxophones (duo) [Livre + CD] Greg Fishman Jazz Studios
By Greg Fishman. For saxophone duet. Play Along, Jazz. Book and 3 CDs. Published...(+)
By Greg Fishman. For
saxophone duet. Play
Along, Jazz. Book and 3
CDs. Published by Greg
Fishman Jazz Studios.
(1)$24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Five-Star Solos 1-3 (Value Pack) Piano seul - Facile Alfred Publishing
Composed by Dennis Alexander. For Piano. Other; Piano Supplemental; Promotional ...(+)
Composed by Dennis
Alexander. For Piano.
Other; Piano
Supplemental; Promotional
Packet. Five-Star. Early
Elementary; Elementary;
Late Elementary.
Published by Alfred Music
$17.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Colonnade Theodore Presser Co.
Orchestra Bassoon, Clarinet, Contrabass, Flute, Harp, Horn, Marimba, Oboe, Vibra...(+)
Orchestra Bassoon,
Clarinet, Contrabass,
Flute, Harp, Horn,
Marimba, Oboe,
Vibraphone, Viola, Violin
1, Violin 2, Violoncello
SKU: PR.41641423L
For Chamber
Orchestra. Composed
by James Matheson. This
edition: Version 6/10/10.
Contemporary. Large
Score. With Standard
notation. Composed
February 13 2003. 84
pages. Duration 18
minutes. Theodore Presser
Company #416-41423L.
Published by Theodore
Presser Company
(PR.41641423L). UPC:
680160602094. 11 x 14
inches. Colonnade
is inspired by Albanys
majestic New York State
Board of Education
Building, and written on
a commission from the
Albany Symphony
Orchestra. It was an
intriguing task, in part
because in order to
accept the commission I
had to agree to write a
work inspired by a
building I had not yet
seen. This problem was
compounded by the fact
that, for me, the very
notion of extra-musical
inspiration is a complex
one, particularly with
respect to literary or
visual sources. I
generally find ideas and
abstracted notions more
generative of musical
ideas than specific ones
(a poem, an experience, a
painting). So when I went
to see and tour the
building, I sought to
identify fundamental
formal aspects of the
building which I could
process into musical
ideas, and would then be
linked to the building
through a sense of formal
relationship. In the end,
two characteristics of
the building stood out as
noteworthy and
undiminished by time
(compared with, for
instance, the buildings
rotunda, which contains a
series of quaintly
outdated allegorical
paintings): the exterior
colonnade and a beautiful
interior vaulted ceiling,
designed by Rafael
Guastavino. For me, a
colonnade acts as a
metaphor for the tension
between knowledge and
perception. We all know,
for instance, that the
columns are of the same
height and are
equidistant from each
other. Nevertheless,
while the mind
understands this fully,
it is also the case that
there exists no place no
standpoint or viewpoint
anywhere in the universe
from which one can
perceive this; the
columns always appear to
be of uneven height and
spacing. If one then adds
motion to perspective a
walk along the colonnade,
for instance the fixed,
even, rigidly identical
columns acquire
elasticity, and begin to
change kaleidoscopically
they shrink, grow, become
closer, and then further
apart. Further, the
detail of the buildings
facade behind the
colonnade shifts into and
out of visibility, with
different portions
obscured by the columns
from each vantage point.
These considerations
underlie the outer
sections of Colonnade, in
which a continuously
repeated, continuously
varied rising figure
suggestive of a column
dominates. The iterations
of this elastic, evolving
figure are interspersed
with other music
suggestive of the
buildings facade. The
second feature of the
building that caught my
attention was the vaulted
ceiling, designed by
Guastavino, of one of the
buildings largest rooms.
The ceiling enhances the
spaciousness of the room,
giving it an openness and
lightness that is quite
captivating. The middle
section of Colonnade has
this openness at its
core, and is dominated by
long, arching lines that,
to me, suggest the
refined beauty of this
ceiling. World premiere
March 8, 2003; Albany
Symphony Orchestra
conducted by David Alan
Miller. $110.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 568
pages. Published by Hal
Leonard.
(8)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(14)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| John Joubert: Lines From 'the Youth Of Man' for SATB Chorus Chorale SATB Music Sales
SATB Choir SKU: HL.14019150 Composed by Jean Joubert. Music Sales America...(+)
SATB Choir SKU:
HL.14019150 Composed
by Jean Joubert. Music
Sales America. Classical.
Choral Score. Music Sales
#NOV160179. Published by
Music Sales
(HL.14019150).
The Lines from
'The Youth of Man' is
dedicated to the
University of Birmingham
Motet Choir. Crafted with
the composer's usual
skill in choral writing,
it uses the technique
whereby two voice parts
often double each other
an octave apart. In three
continuous sections, it
rises to three climaxes,
the third of them, which
is the biggest, has much
subdivision at the words
'Depths of thyself'.
These are then repeated
as the quietening
peroration. $3.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Wir floten QUER! Breitkopf & Härtel
SKU: BR.BV-401 Die Flotenschule fur den fruhen Anfang in der Gruppe(+)
SKU: BR.BV-401
Die Flotenschule fur
den fruhen Anfang in der
Gruppe. Composed by
Sandra Engelhardt.
Softbound. Buchverlag
Breitkopf & Hartel (Music
Books).
Discover -
Play - Learn. Together -
From One Another - With
One
Another Su
ch buzzwords can be used
to summarize the
fundamental concept of
the new flute method.
More information on the
ISBN 9783765104015.
8.5 x 11.5 inches.
German. Next to
imparting a well-founded
playing technique, it is
the joint discovery of
music that is at the
center of this book, the
secrets of the flutes
sound, and the personal
resources of
expressiveness. The many
trios, duos and solo
pieces, new tunes and
well-known melodies (all
with an accompanying part
for teacher and piano)
encourage joint
music-making, and do it
yourself suggestions
stimulate the conscious
experience of music. Wir
floten QUER! boasts the
perfect concept for
flexible use in classroom
teaching or private
lessons, and is ideal for
everyday use: In their
design and appeal, the
two student books retrace
childrens learning and
development arcs
corresponding to their
age The detailed and
in-depth suggestions
provided in the lavishly
prepared book for the
teachers comments give
the teacher maximum
freedom in the planning
of the teaching mode and
the choice of methods,
apart from offering a
general introduction into
aspects of group work
with young children.
There are duo versions of
the trios for individual
lessons The supplementary
volume, Learning Games
and General Suggestions,
is a genuine treasure
chest of material with a
wealth of additional
ideas. The enclosed CD
contains all kinds of
do-it-yourself modules
and print models. This
book can also be used
independently of the
method, and for other
instruments as well. More
information you will find
on the author's website
www.wirfloetenquer.de
Discover - Play -
Learn. Together - From
One Another - With One
AnotherSuch buzzwords can
be used to summarize the
fundamental concept of
the new flute method.
More information on
www.wirfloetenquer.de and
on the author's
website. $32.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Wir floten QUER! Flûte traversière Breitkopf & Härtel
Flute solo SKU: BR.EB-8829 Die Flotenschule fur den fruhen Anfang in d...(+)
Flute solo SKU:
BR.EB-8829 Die
Flotenschule fur den
fruhen Anfang in der
Gruppe. Composed by
Sandra Engelhardt. Solo
instruments; Softbound.
Edition Breitkopf.
Discover -
Play - Learn. Together -
From One Another - With
One
Another Su
ch buzzwords can be used
to summarize the
fundamental concept of
the new flute method.
More information on the
ISBN
9790004183939. 9 x 12
inches.
German. Next to
imparting a well-founded
playing technique, it is
the joint discovery of
music that is at the
center of this book, the
secrets of the flutes
sound, and the personal
resources of
expressiveness. The many
trios, duos and solo
pieces, new tunes and
well-known melodies (all
with an accompanying part
for teacher and piano)
encourage joint
music-making, and do it
yourself suggestions
stimulate the conscious
experience of music. Wir
floten QUER! boasts the
perfect concept for
flexible use in classroom
teaching or private
lessons, and is ideal for
everyday use: In their
design and appeal, the
two student books retrace
childrens learning and
development arcs
corresponding to their
age The detailed and
in-depth suggestions
provided in the lavishly
prepared book for the
teachers comments give
the teacher maximum
freedom in the planning
of the teaching mode and
the choice of methods,
apart from offering a
general introduction into
aspects of group work
with young children.
There are duo versions of
the trios for individual
lessons The supplementary
volume, Learning Games
and General Suggestions,
is a genuine treasure
chest of material with a
wealth of additional
ideas. The enclosed CD
contains all kinds of
do-it-yourself modules
and print models. This
book can also be used
independently of the
method, and for other
instruments as well. More
information you will find
on the author's website
www.wirfloetenquer.de
Discover - Play -
Learn. Together - From
One Another - With One
AnotherSuch buzzwords can
be used to summarize the
fundamental concept of
the new flute method.
More information on
www.wirfloetenquer.de and
on the author's
website. $26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Wir floten QUER! Flûte traversière Breitkopf & Härtel
Flute solo SKU: BR.EB-8828 Die Flotenschule fur den fruhen Anfang in d...(+)
Flute solo SKU:
BR.EB-8828 Die
Flotenschule fur den
fruhen Anfang in der
Gruppe. Composed by
Sandra Engelhardt. Solo
instruments; Softbound.
Edition Breitkopf.
Discover -
Play - Learn. Together -
From One Another - With
One
Another Su
ch buzzwords can be used
to summarize the
fundamental concept of
the new flute method.
More information on the
ISBN
9790004183922. 9 x 12
inches.
German. Next to
imparting a well-founded
playing technique, it is
the joint discovery of
music that is at the
center of this book, the
secrets of the flutes
sound, and the personal
resources of
expressiveness. The many
trios, duos and solo
pieces, new tunes and
well-known melodies (all
with an accompanying part
for teacher and piano)
encourage joint
music-making, and do it
yourself suggestions
stimulate the conscious
experience of music. Wir
floten QUER! boasts the
perfect concept for
flexible use in classroom
teaching or private
lessons, and is ideal for
everyday use: In their
design and appeal, the
two student books retrace
childrens learning and
development arcs
corresponding to their
age The detailed and
in-depth suggestions
provided in the lavishly
prepared book for the
teachers comments give
the teacher maximum
freedom in the planning
of the teaching mode and
the choice of methods,
apart from offering a
general introduction into
aspects of group work
with young children.
There are duo versions of
the trios for individual
lessons The supplementary
volume, Learning Games
and General Suggestions,
is a genuine treasure
chest of material with a
wealth of additional
ideas. The enclosed CD
contains all kinds of
do-it-yourself modules
and print models. This
book can also be used
independently of the
method, and for other
instruments as well. More
information you will find
on the author's website
www.wirfloetenquer.de
Discover - Play -
Learn. Together - From
One Another - With One
AnotherSuch buzzwords can
be used to summarize the
fundamental concept of
the new flute method.
More information on
www.wirfloetenquer.de and
on the author's
website. $26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Wir floten QUER! Breitkopf & Härtel
SKU: BR.BV-395 Die Flotenschule fur den fruhen Anfang in der Gruppe(+)
SKU: BR.BV-395
Die Flotenschule fur
den fruhen Anfang in der
Gruppe. Composed by
Sandra Engelhardt.
Softbound. Buchverlag
Breitkopf & Hartel (Music
Books). Bei den
Satzarbeiten zum PDF Nr.
70, das die
einzuklebenden Texte fur
das Lexikon enthalt, ist
uns ein bedauerlicher
Fehler unterlaufen. Die
Flachen passen nicht in
die dafur vorgesehenen
Felder im Schulerheft (EB
8829). Wir bitten,
das Versehen. Music
pedagogy. Book. 112
pages. Breitkopf and
Haertel #BV 395.
Published by Breitkopf
and Haertel (BR.BV-395).
ISBN 9783765103957.
8.5 x 11.5 inches.
German. Next to
imparting a well-founded
playing technique, it is
the joint discovery of
music that is at the
center of this book, the
secrets of the flutes
sound, and the personal
resources of
expressiveness. The many
trios, duos and solo
pieces, new tunes and
well-known melodies (all
with an accompanying part
for teacher and piano)
encourage joint
music-making, and do it
yourself suggestions
stimulate the conscious
experience of music. Wir
floten QUER! boasts the
perfect concept for
flexible use in classroom
teaching or private
lessons, and is ideal for
everyday use: In their
design and appeal, the
two student books retrace
childrens learning and
development arcs
corresponding to their
age The detailed and
in-depth suggestions
provided in the lavishly
prepared book for the
teachers comments give
the teacher maximum
freedom in the planning
of the teaching mode and
the choice of methods,
apart from offering a
general introduction into
aspects of group work
with young children.
There are duo versions of
the trios for individual
lessons The supplementary
volume, Learning Games
and General Suggestions,
is a genuine treasure
chest of material with a
wealth of additional
ideas. The enclosed CD
contains all kinds of
do-it-yourself modules
and print models. This
book can also be used
independently of the
method, and for other
instruments as well. More
information you will find
on the author's website
www.wirfloetenquer.de
Discover - Play -
Learn. Together - From
One Another - With One
AnotherSuch buzzwords can
be used to summarize the
fundamental concept of
the new flute method.
More information on
www.wirfloetenquer.de and
on the author's
website. $47.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Sonatina Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
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 $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Granger's Fiddle Tunes for Guitarß Guitare notes et tablatures [Partition + Accès audio] - Débutant Mel Bay
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M). ISBN
9781513468792. 8.75x11.75
inches. Adam Granger
self-published the first
edition of
Grangerâ??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book. This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles. There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book. In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read. The tunes in
Grangerâ??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes. The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other. Also included in
Grangerâ??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
<
div> $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Poul Ruders: Sonata No.1 For Piano- Dante Sonata Piano seul Wilhelm Hansen
Piano SKU: HL.14028008 Composed by Poul Ruders. Music Sales America. Clas...(+)
Piano SKU:
HL.14028008 Composed
by Poul Ruders. Music
Sales America. Classical.
Book [Softcover]. 36
pages. Edition Wilhelm
Hansen #WH29703.
Published by Edition
Wilhelm Hansen
(HL.14028008). ISBN
9788759852521.
English. The
Dante-Sonata was composed
in 1970, inspired by two
quotations from Dante's
La Divina Comedia,
Inferno, each in its turn
forming the program of
the two movements.
Movement 1: Wandering
through Inferno Dante
sees all those who during
their life on earth were
ill-tempered and
discontented, and who are
now doomed for all
eternity to stand in mud
up to their necks,
fighting each other,
tearing and scratching
each other's flesh.
Movement 2: Here the
doomed wretches recollect
life on earth - the
blessed sun and the green
meadows; but it is too
late to repent. Apart
from having this
connection with La Divina
Comedia the title:
Dante-Sonata has a
dialectical and
music-historical
reference, a reference to
Franz Liszt's Dante
Sonata, without quoting
from it in any way. An
elusive air of the music
of bygone days can be
percieved in the second
movement, which with its
many types of graces is
reminiscent of a slow
movement of a Baroque
dance. Dante-Sonata is
dedicated to Elisabeth
Klein. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Radiant Music St Rose Music Publishing
Electronics; Flute (Flute) SKU: HL.14043500 For Flute and Electronics<...(+)
Electronics; Flute
(Flute) SKU:
HL.14043500 For
Flute and
Electronics. Composed
by Nico Muhly. Music
Sales America. Classical,
Contemporary. Softcover.
18 pages. St. Rose Music
#SRO100020. Published by
St. Rose Music
(HL.14043500). UPC:
840126947366.
9.0x12.0x0.042 inches.
English. Click here
to download the
pre-recorded element
(first link below the
separator). Please email
Wise Music if you
encounter problems
downloading the audio
file. On the page, the
violin part for Honest
Music looks something
like Terry Riley's In C,
insofar as it's a
collection of discrete,
modular phrases to be
recombined in
“performance,â€
or in this case, by the
electronic manipulation
of the recording. But
these aren't Riley's
musical Lego blocks; most
of these are long,
expressive, idiomatic
gestures, combining
Nico's soaring
English-choirboy
diatonicism with
Romantic, violinistic
leaps and slides up and
down the fingerboard. As
these figures pile on top
of each other, the
close-miked, aberrant
fiddle timbre comes to
seem, as per the title of
the piece, brutally
candid. The other
fragments, imitated in
character by the
sputtering harp and
percussion of the
accompaniment, sound more
like scraps swept from a
cutting-room floor
somewhere - all false
starts, warm-ups and
afterbeats - and the
glitchy, staticky noises
in the background
contribute to the sense
of something rough,
half-finished. The result
is to suggest that all of
Honest Music is an
out-take, a rehearsal for
another, wholly imaginary
piece. But the gravity
and authority of the
harmonies (and the low
drones) lend the
makeshift nature of the
piece an authentic drama
in its own right: the sad
beauty of things coming
together and things
falling apart. $15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Juchem Play Sax-my Hobby1 Alto - Débutant Schott
Alto saxophone (SCHULE+CD) - very easy to easy SKU: HL.49033322 Die mo...(+)
Alto saxophone
(SCHULE+CD) - very easy
to easy SKU:
HL.49033322 Die
moderne Schule fur
Jugendliche und
Erwachsene. Composed
by Juchem. This edition:
Ring/Spiral binding.
Sheet music with CD.
Edition Schott. This
saxophone method is
suitable for lessons and
self-study and is aimed
at young people and
adults who want to learn
to play the saxophone
with fun and success.
This is why this
established method
focuses on well-known
songs - long-winded
explanations a. Edition
with CD. 120 pages.
Schott Music #ED 9831.
Published by Schott Music
(HL.49033322). ISBN
9783795757304.
9.25x12.0x0.606 inches.
German. This
saxophone method is
suitable for lessons and
self-study and is aimed
at young people and
adults who want to learn
to play the saxophone
with fun and success.
This is why this
established method
focuses on well-known
songs - long-winded
explanations and dry
exercises are avoided.
All subject matters have
been wrapped up in
attractive songs and
pieces which sound like
real music right from the
beginning thanks to the
live recorded playback
tracks. Thus, exercising
is fun. Another
successful instrumental
method in the well-known
'Hobby' series. Dirko
Juchem has made a name
for himself as a
saxophonist, saxophone
teacher and specialist
author on both a national
and international level
for many years.His
saxophone sound and wide
range of styles are well
in demand: He has played
with well-known German
and international artists
such as Rolf Zuckowski,
Barbara Dennerlein,
Thomas Anders, Anne
Haigis, Harald Juhnke, Pe
Werner, Sara K. as well
as with musicians of
Jethro Tull, Jazz-Kantine
or the Mike Oldfield
Band. Apart from numerous
concerts and productions
with other artists and
bands, he performs again
and again with his own
programmes - solo, as a
duo or with an entire
band. Up to now, he has
performed in more than
100 CD and LP
productions, and his
tours have taken him as
far as Los Angeles and
Taiwan.Having taught at
various music schools as
a saxophone teacher and
held lectures at the
Bundesakademie Remscheid
as a guest lecturer, he
knows the problems of
saxophonists from
first-hand experience.In
addition, Dirko Juchem is
the author of numerous
textbooks and tune books
for the saxophone as well
as a specialist author of
articles for musicians'
journals ('Sonic', 'Sound
Check', 'Fachblatt
Musikmagazin'). $34.00 - Voir plus => Acheter | | |
| Juchem Play Sax-my Hobby Alto - Débutant Schott
Alto saxophone (SCHULE+CD) - very easy to easy SKU: HL.49033323 Die mo...(+)
Alto saxophone
(SCHULE+CD) - very easy
to easy SKU:
HL.49033323 Die
moderne Schule fur
Jugendliche und
Erwachsene. Composed
by Juchem. This edition:
Ring/Spiral binding.
Sheet music with CD.
Edition Schott. Edition
with CD. 130 pages.
Schott Music #ED 9832.
Published by Schott Music
(HL.49033323). ISBN
9783795757311.
9.0x12.0x0.675 inches.
German. This
saxophone method is
suitable for lessons and
self-study and is aimed
at young people and
adults who want to learn
to play the saxophone
with fun and success.
This is why this
established method
focuses on well-known
songs - long-winded
explanations and dry
exercises are avoided.
All subject matters have
been wrapped up in
attractive songs and
pieces which sound like
real music right from the
beginning thanks to the
live recorded playback
tracks. Thus, exercising
is fun. Another
successful instrumental
method in the well-known
'Hobby' series. Dirko
Juchem has made a name
for himself as a
saxophonist, saxophone
teacher and specialist
author on both a national
and international level
for many years.His
saxophone sound and wide
range of styles are well
in demand: He has played
with well-known German
and international artists
such as Rolf Zuckowski,
Barbara Dennerlein,
Thomas Anders, Anne
Haigis, Harald Juhnke, Pe
Werner, Sara K. as well
as with musicians of
Jethro Tull, Jazz-Kantine
or the Mike Oldfield
Band. Apart from numerous
concerts and productions
with other artists and
bands, he performs again
and again with his own
programmes - solo, as a
duo or with an entire
band. Up to now, he has
performed in more than
100 CD and LP
productions, and his
tours have taken him as
far as Los Angeles and
Taiwan.Having taught at
various music schools as
a saxophone teacher and
held lectures at the
Bundesakademie Remscheid
as a guest lecturer, he
knows the problems of
saxophonists from
first-hand experience.In
addition, Dirko Juchem is
the author of numerous
textbooks and tune books
for the saxophone as well
as a specialist author of
articles for musicians'
journals ('Sonic', 'Sound
Check', 'Fachblatt
Musikmagazin'). $34.00 - Voir plus => Acheter | | |
| Violinschule - Violin Tutor -Méthode de Violon IVb Violon - Intermédiaire EMB (Editio Musica Budapest)
Violin - intermediate SKU: BT.EMBZ8068 Composed by Endre Szervansky, Endr...(+)
Violin - intermediate
SKU: BT.EMBZ8068
Composed by Endre
Szervansky, Endre
Szervánszky, Frigyes
Sandor, Jardanyi, and
Sandor. Method. Book
Only. Composed 1977. 64
pages. Editio Musica
Budapest #EMBZ8068.
Published by Editio
Musica Budapest
(BT.EMBZ8068).
Hungarian-English-Germ
an-French. Frigyes
Sándor (1905-1979),
violinist, teacher and
conductor. His six-volume
Violin tutor was
published between 1949
and 1959, and has
remained popular ever
since. One reason for its
popularity - in addition
to its methodological
concept may be the fact
that from the very
beginning learners are
given high quality
musical material on which
to master the basic
elements of violin
playing. The musical
material in the volumes
was written specifically
for this tutor by Pál
Járdányi and Endre
Szervánszky apart from
pieces designed for
pedagogical purposes it
includes a wealth of folk
tunes (Hungarian and
other European folk
melodies) graded to suit
each level of difficulty,
andexcerpts representing
different periods in the
history of music.
Die Beliebtheit
der von Frigyes Sándor
(1905-1979), Violinist,
Lehrer und Dirigent
zwischen 1949 und 1959
veröffentlichten
Violinschule in sechs
Bänden ist
ungebrochen. Das
bewährte methodische
Konzept und das von
Anfang an hochwertige
musikalische
Ãœbungsmaterial (von
Pál Járdányi und
Endre Szervánszky)
überzeugen noch heute.
Neben den reinen
Übungsstücken
enthalten die Bände
eine Fülle an
volkstümlichen
Melodien aus ganz Europa
und Stücke aus
verschiedenen Epochen,
jeweils dem
Schwierigkeitsgrad
angepasst. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Violinschule - Violin Tutor - Méthode de Violon II Violon - Facile EMB (Editio Musica Budapest)
Violin - easy SKU: BT.EMBZ8065 Composed by Endre Szervansky, Endre Szerv...(+)
Violin - easy SKU:
BT.EMBZ8065 Composed
by Endre Szervansky,
Endre Szervánszky,
Frigyes Sandor, Jardanyi,
and Sandor. Method. Book
Only. Composed 1977. 100
pages. Editio Musica
Budapest #EMBZ8065.
Published by Editio
Musica Budapest
(BT.EMBZ8065).
Hungarian-English-Germ
an-French. Frigyes
Sándor (1905-1979),
violinist, teacher and
conductor. His six-volume
Violin tutor was
published between 1949
and 1959, and has
remained popular ever
since. One reason for its
popularity - in addition
to its methodological
concept may be the fact
that from the very
beginning learners are
given high quality
musical material on which
to master the basic
elements of violin
playing. The musical
material in the volumes
was written specifically
for this tutor by Pál
Járdányi and Endre
Szervánszky apart from
pieces designed for
pedagogical purposes it
includes a wealth of folk
tunes (Hungarian and
other European folk
melodies) graded to suit
each level of difficulty,
andexcerpts representing
different periods in the
history of music.
Die Beliebtheit
der von Frigyes Sándor
(1905-1979), Violinist,
Lehrer und Dirigent
zwischen 1949 und 1959
veröffentlichten
Violinschule in sechs
Bänden ist
ungebrochen. Das
bewährte methodische
Konzept und das von
Anfang an hochwertige
musikalische
Ãœbungsmaterial (von
Pál Járdányi und
Endre Szervánszky)
überzeugen noch heute.
Neben den reinen
Übungsstücken
enthalten die Bände
eine Fülle an
volkstümlichen
Melodien aus ganz Europa
und Stücke aus
verschiedenen Epochen,
jeweils dem
Schwierigkeitsgrad
angepasst. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Violinschule - Violin Tutor - Méthode de Violon V Violon - Avancé EMB (Editio Musica Budapest)
Violin - advanced SKU: BT.EMBZ8069 Composed by Endre Szervansky, Endre Sz...(+)
Violin - advanced SKU:
BT.EMBZ8069 Composed
by Endre Szervansky,
Endre Szervánszky,
Frigyes Sandor, Jardanyi,
and Sandor. Method. Book
Only. Composed 1977. 96
pages. Editio Musica
Budapest #EMBZ8069.
Published by Editio
Musica Budapest
(BT.EMBZ8069).
Hungarian-English-Germ
an-French. Frigyes
Sándor (1905-1979),
violinist, teacher and
conductor. His six-volume
Violin tutor was
published between 1949
and 1959, and has
remained popular ever
since. One reason for its
popularity - in addition
to its methodological
concept may be the fact
that from the very
beginning learners are
given high quality
musical material on which
to master the basic
elements of violin
playing. The musical
material in the volumes
was written specifically
for this tutor by Pál
Járdányi and Endre
Szervánszky apart from
pieces designed for
pedagogical purposes it
includes a wealth of folk
tunes (Hungarian and
other European folk
melodies) graded to suit
each level of difficulty,
andexcerpts representing
different periods in the
history of music.
Die Beliebtheit
der von Frigyes Sándor
(1905-1979), Violinist,
Lehrer und Dirigent
zwischen 1949 und 1959
veröffentlichten
Violinschule in sechs
Bänden ist
ungebrochen. Das
bewährte methodische
Konzept und das von
Anfang an hochwertige
musikalische
Ãœbungsmaterial (von
Pál Járdányi und
Endre Szervánszky)
überzeugen noch heute.
Neben den reinen
Übungsstücken
enthalten die Bände
eine Fülle an
volkstümlichen
Melodien aus ganz Europa
und Stücke aus
verschiedenen Epochen,
jeweils dem
Schwierigkeitsgrad
angepasst. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Violinschule - Violin Tutor -Méthode de Violon III Violon - Intermédiaire EMB (Editio Musica Budapest)
Violin - intermediate SKU: BT.EMBZ8066 Composed by Endre Szervansky, Endr...(+)
Violin - intermediate
SKU: BT.EMBZ8066
Composed by Endre
Szervansky, Endre
Szervánszky, Frigyes
Sandor, Jardanyi, and
Sandor. Method. Book
Only. Composed 1977. 112
pages. Editio Musica
Budapest #EMBZ8066.
Published by Editio
Musica Budapest
(BT.EMBZ8066).
Hungarian-English-Germ
an-French. Frigyes
Sándor (1905-1979),
violinist, teacher and
conductor. His six-volume
Violin tutor was
published between 1949
and 1959, and has
remained popular ever
since. One reason for its
popularity - in addition
to its methodological
concept may be the fact
that from the very
beginning learners are
given high quality
musical material on which
to master the basic
elements of violin
playing. The musical
material in the volumes
was written specifically
for this tutor by Pál
Járdányi and Endre
Szervánszky apart from
pieces designed for
pedagogical purposes it
includes a wealth of folk
tunes (Hungarian and
other European folk
melodies) graded to suit
each level of difficulty,
andexcerpts representing
different periods in the
history of music.
Die Beliebtheit
der von Frigyes Sándor
(1905-1979), Violinist,
Lehrer und Dirigent
zwischen 1949 und 1959
veröffentlichten
Violinschule in sechs
Bänden ist
ungebrochen. Das
bewährte methodische
Konzept und das von
Anfang an hochwertige
musikalische
Ãœbungsmaterial (von
Pál Járdányi und
Endre Szervánszky)
überzeugen noch heute.
Neben den reinen
Übungsstücken
enthalten die Bände
eine Fülle an
volkstümlichen
Melodien aus ganz Europa
und Stücke aus
verschiedenen Epochen,
jeweils dem
Schwierigkeitsgrad
angepasst. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
Page suivante 1 31 |