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| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Un siecle de chansons francaises 1929-1939 Piano, Voix et Guitare [Conducteur] Lemoine, Henry
For voice, guitar or piano. Album. Pop / Jazz. Score. Published by Editions Henr...(+)
For voice, guitar or
piano. Album. Pop / Jazz.
Score. Published by
Editions Henry Lemoine
$54.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Un siecle de chansons francaises 1979-1989 Piano, Voix et Guitare [Conducteur] Lemoine, Henry
For voice, guitar or piano. Album. Pop / Jazz. Score. Published by Editions Henr...(+)
For voice, guitar or
piano. Album. Pop / Jazz.
Score. Published by
Editions Henry Lemoine
$54.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Un siecle de chansons francaises 1959-1969 Piano, Voix et Guitare [Conducteur] Beuscher
| | |
| Un siecle de chansons francaises 1969-1979 Piano, Voix et Guitare [Conducteur] Beuscher
| | |
| Chilly Gonzales: Re-Introduction Etudes Piano seul [Partition + CD] EBR Editions Bourges
Twenty-four easy-to-master, fun-to-play piano pieces. Composed by Chilly Gonza...(+)
Twenty-four
easy-to-master,
fun-to-play piano pieces.
Composed by Chilly
Gonzales.
Book with CD. Composed
2014.
Editions Bourges #EBR525.
Published by Editions
Bourges
$24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Un siecle de chansons francaises 1939-1949 Piano, Voix et Guitare [Conducteur] Beuscher
| | |
| Comme Un Air De Piano-Bar Trombone et Piano - Intermédiaire/avancé FLEX Editions
Chamber Music & Piano Accompaniment 1 Trombone 1 Piano - Grade 4 SKU: FL.FX07...(+)
Chamber Music & Piano
Accompaniment 1 Trombone
1 Piano - Grade 4 SKU:
FL.FX073011 Composed
by Arnaud Meier. Original
Composition. Classical,
Educational. Score and
Set of Parts. Duration 2
minutes, 35 seconds. FLEX
Editions #FX073011.
Published by FLEX
Editions (FL.FX073011).
A nice piece in
a jazz / piano bar style
for trombone and piano,
from 6-7 years of
instrument practice. -
Arnaud MEIER ;
Instruments: 1 Trombone 1
Piano; Difficuly Level:
Grade 4. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
INSSTR inches.
French. A
previously unreleased
piece by Francis Poulenc,
published with permission
from the Bibliothèque
Historique de la Ville de
Paris and Benoît
Seringe, secretary of the
Association des amis
de Francis Poulenc
[Association of the
Friends ofFrancis
Poulenc]. Le Voyageur
sans bagage [The
Traveller Without
Luggage], which had been
premiered in 1937 with
music by Darius Milhaud,
was reprised on 1 April
1944 at the Thé tre de
la Michodière; Francis
Poulenc was asked to
compose new stage music.
Theentire unpublished
score lay undiscovered
until Bérengère de
l’Épine, a
librarian at the
Bibliothèque
Historique de la Ville de
Paris, announced the
existence of a manuscript
in the Association de la
Régie Thé trale
collection.Poulenc
finalised the score
between 19 and 21 March
1944. It contains nine
songs, all written for a
small instrumental
ensemble including oboe,
clarinet, cello and
piano. However, at the
end of the manuscript,
the composer echoes the
second song Lent
[Slow] and creates
another version for cello
and piano; curiously, the
original version of the
song has not been erased
in the manuscript.
Poulenc seems to suggest
that we consider the
piece for cello and
piano, that we have
publishedhere, as a
different piece of music.
It was premiered on
Wednesday 23 January 2013
by Marc Coppey,
accompanied by
Jean-François Heisser,
in the organ auditorium
of the Conservatoire
National Supérieur de
Musique et Danse de Paris
(CNSMDP), during
thesymposium for the
fiftieth anniversary of
Poulenc’s
death.Given in a dramatic
context, some elements
allow us to get an idea
of the character of the
piece, which Benoît
Seringe, Poulenc’s
beneficiary, judiciously
chose to name
Souvenirs.The main
character of
Anouilh’s play,
Gaston, is suffering from
amnesia at the end of
World War One. Several
families try to claim
him; they want him to be
their missing relative.
The Renaud family prove
to be particularly
stubborn, but Gaston
doesnot recognize himself
in the child and young
man they depict: a
ruthless and violent
person. In Act 1 Scene 3,
left alone for a moment,
overwhelmed by the story
of the “old
Gaston†that is
gradually coming to
light, and outraged by
the desire ofthose around
him to appropriate him
(to the detriment of the
person he would like to
be from now on), he
whispers these words:
“You all have
proof, photographs that
look like me, memories as
clear as day…
I’ve listened to
you all and it’s
slowlycausing a hybrid
person to rise up in me;
a person in which there
is a piece of each of
your sons and nothing of
me.†Poulenc chose
to place the second piece
from his stage music
score as these words are
spoken.He borrowed part
of the material, as he
often did, from an
earlier composition. In
this particular case, the
beginning is a recycled
version of the
“slow and
melancholicâ€
section from
L’Histoire de
Babar , composed
between 1940 and 1945,
andpremiered in 1946
(unless it is Babar
that reuses the
musical idea from
Voyageur ).The
eponymous elephant
decides to leave in
search of the great
forest. He embraces the
old lady, promises her he
will return and reassures
her that he will never
forget her. Left alone,
the old lady, feeling sad
and pensive, wonders when
she’ll seeher
friend Babar again. The
situation is similar to
that in Voyageur sans
bagage: solitude,
sadness, a distressing
and introspective time,
fear of oblivion, the
presence of
memories…
Pi
èce inédite de
Francis Poulenc,
publiée avec
l’autorisation de
la Bibliothèque
historique de la ville de
Paris et de Benoît
Seringe, secrétaire de
l’Association des
Amis de Francis
Poulenc.Le 1er avril
1944, Le Voyageur sans
bagage d’Anouilh,
qui avait été
créé en 1937 avec
de la musique de Darius
Milhaud, est repris au
Thé tre de la
Michodière. Francis
Poulenc a été
sollicité afin
d’écrire une
nouvelle musique de
scène. On ignoraittout
de cette partition
inédite,
jusqu’au jour
où Bérengère de
l’Épine,
conservateur la
Bibliothèque
historique de la ville de
Paris, nous signala
l’existence
d’un manuscrit
dans le fonds de
l’Association de
la Régie thé
trale.Poulenc mit au
point sa partition entre
le 19 et le 21 mars 1944.
Elle comprend neuf
numéros, tous
écrits pour un petit
effectif instrumental
réunissant un
hautbois, une clarinette,
un violoncelle et un
piano.Cependant, la fin
de son manuscrit, le
compositeur reprend le no
2 Lent et en donne une
seconde version, pour
violoncelle et piano.
Curieusement, la version
originale de ce numéro
n’est pas
biffée dans le
manuscrit.Poulenc semble
nous inviter
considérer comme un
morceau distinct cette
pièce pour violoncelle
et piano dont nous
proposons ici
l’édition. Elle
a été créée
par Marc Coppey,
accompagné de
Jean-François Heisser,
lors du concert donné
durant lecolloque
organisé pour le
cinquantenaire du
décès de Poulenc,
le mercredi 23 janvier
2013, salle
d’orgue du
Conservatoire National
Supérieur de Musique
et de Danse de Paris
(CNSMDP).Quelques
éléments sur le
contexte dramatique
permettront de se faire
une idée du
caractère du morceau,
que Benoît Seringe,
ayant droit Poulenc, a
judicieusement choisi
d’intituler
Souvenirs.Le personnage
principal de la pièce
d’Anouilh, Gaston,
a été retrouvé
amnésique la fin de la
Première Guerre
Mondiale. Plusieurs
familles le réclament.
On veut voir en lui un
parent disparu. Les
Renaud se montrent
particulièrement
tenaces ; maisGaston ne
parvient se
reconnaître dans
l’enfant et le
jeune homme dont on lui
trace le portrait : un
être violent et sans
scrupule. Au tableau 3 de
l’acte I, resté
seul un moment,
écrasé par
l’histoire de cet
autre lui-même
qu’il découvre
peu peu, indigné par
le désir des personnes
qui l’entourent de
le ramener elles au
détriment de celui
qu’il voudrait
être désormais, il
se murmure ces paroles :
« Vous avez tous des
preuves, des
photographies
ressemblantes, des
souvenirs précis
commedes crimes… je
vous écoute tous et je
sens surgir peu peu
derrière moi un
être hybride où il
y a un peu de chacun de
vos fils et rien de moi
»…C’est
sur ces mots que Poulenc
a choisi de placer le no
2 de sa partition de
musique de scène.Comme
il le fait souvent, il
emprunte une composition
antérieure une part de
son matériau. Dans ce
cas précis, il
réutilise pour le
début du morceau la
section « Lent et
mélancolique » de
l’Histoire de
Babar, composée entre
1940 et 1945, créée
en1946 ( moins que ce ne
soit Babar qui
réutilise
l’idée musicale
du Voyageur). Le
héros-éléphant
s’est décidé
partir pour retrouver la
grande forêt. Il a
embrassé la vieille
dame, lui a promis de
revenir, l’a
rassurée : jamais il
ne
l’oubliera.RestÃ
e seule, la vieille
dame, triste et pensive,
se demande quand elle
reverra son ami Babar. La
situation est similaire
celle du Voyageur sans
bagage : solitude,
tristesse, instantde
trouble et de retour sur
soi, crainte de
l’oubli,
présence des
souvenirs…. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Claire de Lune and Reverie with CD (Late Beginner - Early Intermediate) Piano seul [Partition + CD] - Facile Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For easy piano. Lat...(+)
By Claude Debussy
(1862-1918). Arranged by
Jonathan Robbins. For
easy piano. Late Beginner
- Early Intermediate.
Book and accompaniment CD
(1)$10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Claire de Lune (Clarinet and Piano) Clarinette et Piano [Set de Parties séparées] - Intermédiaire Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Clarient solo a...(+)
By Claude Debussy
(1862-1918). Arranged by
Jonathan Robbins. For
Clarient solo and piano
accompaniment. Set of
parts
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Claire de Lune (Trumpet and Piano) Trompette, Piano [Set de Parties séparées] - Intermédiaire Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Trumpet solo an...(+)
By Claude Debussy
(1862-1918). Arranged by
Jonathan Robbins. For
Trumpet solo and piano
accompaniment. Set of
parts
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Claire de Lune (Alto Saxophone and piano) Saxophone Alto et Piano [Set de Parties séparées] - Intermédiaire Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Alto Saxophone ...(+)
By Claude Debussy
(1862-1918). Arranged by
Jonathan Robbins. For
Alto Saxophone solo and
piano accompaniment. Set
of parts
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Claire de Lune (Flute or Violin and Piano) Flûte traversière et Piano [Set de Parties séparées] - Intermédiaire Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Flute solo or V...(+)
By Claude Debussy
(1862-1918). Arranged by
Jonathan Robbins. For
Flute solo or Violin solo
and piano accompaniment.
Set of parts
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Claire de Lune (Trombone and Piano) Trombone et Piano [Set de Parties séparées] - Intermédiaire Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For Trombone solo a...(+)
By Claude Debussy
(1862-1918). Arranged by
Jonathan Robbins. For
Trombone solo and piano
accompaniment. Set of
parts
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Écouter, lire and jouer - Les Airs d'Opéra Trompette, Piano [Partition + Accès audio] - Débutant De Haske Publications
Trumpet or Flugelhorn and Piano - very easy, easy SKU: BT.DHP-1185961-404 ...(+)
Trumpet or Flugelhorn and
Piano - very easy, easy
SKU:
BT.DHP-1185961-404
Trompette / Bugle /
Baryton / Euphonium /
Saxhorn (TC).
Arranged by Markus
Schenk. Ãâ°couter,
Lire et Jouer. Opera or
Operetta. Book with Part
and Audio-Online.
Composed 2018. 28 pages.
De Haske Publications
#DHP 1185961-404.
Published by De Haske
Publications
(BT.DHP-1185961-404).
ISBN 9789043154918.
French. La
collection
Ãâ°couter, lire
et jouer est
aujourdââ¬â¢hu
i une
référence
pour
lââ¬â¢enseigne
ment des cuivres et des
bois. Tous
accompagnés
dââ¬â¢un CD,
ces ouvrages passionnants
destinés aux
débutants
contiennent des chansons,
des casse-tête
musicaux et des jeux pour
mieux comprendre la
musique, des informations
sur
lââ¬â¢instrume
nt concerné, et de
nombreuses pièces
agréables jouer.
Les trois volumes de la
méthode qui
forment la base de cette
collection sont
complétés
par plusieurs volumes de
matériel
complémentaire
correspondant aux
diverses étapes de
cette méthode.
Dans Les Airs
dââ¬â¢OpÃÂ
©ra, des arias, des
chÃ
âurs et des
ouvertures
célèbres
sont
présentés
en ordre croissant
dedifficulté et
peuvent être
travaillés
conjointement avec les
trois volumes de la
méthode
Ãâ°couter, lire
et jouer. Certaines
des plus belles
mélodies de tous
les temps ont
été
rassemblées avec
des commentaires
historiques. Les
élèves
peuvent les
interpréter avec
des accompagnements au
piano disponibles sous
forme de fichiers en
ligne écouter en
streaming ou
télécharger
. La présente
édition comprend
aussi des partitions pour
ces accompagnements,
soigneusement
arrangées dans un
niveau de
difficulté
modéré. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Watermelon Sugar Ensemble De Flûte à bec - Intermédiaire De Haske Publications
Recorder Ensemble, Piano Acc., Guitar, Percussion - intermediate SKU: BT.DHP-...(+)
Recorder Ensemble, Piano
Acc., Guitar, Percussion
- intermediate SKU:
BT.DHP-1216339-070
Arranged by Ralf
Bienioschek. De Haske
Recorder Series. Pop and
Rock. Set (Score and
Parts). Composed 2021. De
Haske Publications #DHP
1216339-070. Published by
De Haske Publications
(BT.DHP-1216339-070).
ISBN 9789043161039.
English-German-French-Dut
ch. Harry Styles'
Watermelon Sugar
was a summer hit in 2020
and proved to be a fun
song to groove to! This
arrangement was made by
the renowned German
recorder soloist and
teacher Ralf Bienioschek
for his special Ralf
Bienioschek Signature
Editionâ?? series. The
arrangement is for a
standard quartet of
Soprano, Alto, Tenor and
Great Bass Recorder, with
additional parts provided
Bass Recorder and Sub
Bass (Contrabass)
Recorder. Optional parts
for (Electric) Piano,
(Electric) Guitar,
Western Guitar, Electric
Bass Guitar, (Electric)
Drum Set, Cajon/Shaker,
Cowbell and a playback
(available on our website
www.bandmusicshop.com)
are also included. You
can also find a Score
Play demo and a How to
play video on our YouTube
channel Hal Leonard
Europe Ensemble. There
are several ways to play
the song. In principle,
many options are
conceivable, e.g. - with
a band: (E)-Piano,
(E)-Guitar, Western
Guitar, E-Bass Guitar,
(E)-Drum Set, Cowbell -
with an acoustic band:
Western Guitar, E-Bass
Guitar, Cajon/Shaker,
Cowbell - or just with
the Recorders, a Western
Guitar and with (or
without) the playback.
Have fun with it!
Watermelon
Sugar van Harry
Styles, een groovy song
waar het plezier van
afstraalt, was in 2020
een grote zomerhit. Dit
arrangement werd
geschreven door de
gerenommeerde Duitse
blokfluitsolist en
-docent Ralf Bienioschek,
speciaal voor zijn serie
Ralf Bienioschek
Signature Edition. Het
arrangement is geschreven
voor een standaardkwartet
van sopraan-, alt-,
tenor- en
grootbasblokfluit, met
aanvullende partijen voor
basblokfluit en
contrabasblokfluit. Er
worden ook optionele
partijen voor
(elektrische) piano,
(elektrische) gitaar,
westerngitaar,
elektrische basgitaar,
(elektrische) drumset,
cajon/shaker, cowbell en
een playbackversie
(beschikbaar op onze
website
www.bandmusicshop.com)
meegeleverd. Op ons
YouTube-kanaal Hal
Leonard Europe Ensemble
zijn een demo met
partituur en een How to
play-video te vinden. Er
zijn verschillende
opzetten mogelijk om de
song te spelen,
bijvoorbeeld - met een
band: (e)-piano,
(e)-gitaar,
westerngitaar,
e-basgitaar, (e)-drumset,
cowbell - met een
akoestische band:
westerngitaar,
e-basgitaar,
cajon/shaker, cowbell -
of met alleen de
blokfluiten, een
westerngitaar en met (of
zonder) de
playbackversie. Heel veel
plezier!
Harry
Styles' Song
Watermelon Sugar
war 2020 ein Sommerhit
und es macht einfach
SpaÃ?, den Song zu
spielen. Der renommierte
deutsche Blockflötist
und Lehrer Ralf
Bienioschek hat dieses
Arrangement für seine
Serie Ralf Bienioschek
Signature Editionâ??
erstellt. Das Arrangement
ist für ein
Standardquartett mit
Sopran-, Alt-, Tenor- und
Gro�bassblockflöte
gedacht, mit
zusätzlichen Stimmen
für Bassblockflöte
und Subbassblockflöte.
Optionale Stimmen für
(elektronisches) Klavier,
(elektrische) Gitarre,
Westerngitarre, E-Bass,
(elektronisches) Drumset,
Cajón/Shaker, Cowbell
und ein Play-back
(verfügbar auf unserer
Website
www.bandmusicshop.com)
sind ebenfalls enthalten.
Auf unserem YouTube-Kanal
Hal Leonard Europe
Ensemble finden Sie auch
ein Score Play Demoâ??
(Partitur mit
Probeaufnahme) und ein
How to playâ??-Video
(Erklärvideo zu dem
Arrangement). Es gibt
unterschiedliche
Besetzungsmöglichkeite
n, um den Song zu
spielen, z. B.: - mit
einer Band: (E-)Piano,
(E-)Gitarre,
Westerngitarre, E-Bass,
(E-)Drumset, Cowbell -
mit einer Akustikband:
Westerngitarre, E-Bass,
Cajón/Shaker, Cowbell
- oder einfach nur mit
Blockflöten, einer
Westerngitarre und mit
(oder ohne) Play-back
Viel SpaÃ? beim
Musizieren!
Watermelon
Sugar, la chanson de
Harry Styles, est un tube
de lâ??été 2020 et
son rythme funky est
irrésistible. Cet
arrangement a été
réalisé par Ralf
Bienioschek, un
célèbre soliste et
professeur de fl te bec
allemand, pour sa
série « Ralf
Bienioschek Signature
Edition ».
Lâ??arrangement est
destiné un quatuor
standard comprenant
soprano, alto, ténor
et grande-basse, avec des
parties
supplémentaires
fournies pour basse et
soubasse (contrebasse).
Le présent ouvrage
comprend des parties
optionnelles pour piano
(électrique), guitare
(électrique), guitare
western, basse
électrique, batterie
(électronique),
cajon/shaker, cloche et
un play-back (tous
disponibles sur notre
site web
www.bandmusicshop.com).
Vous trouverez aussi une
démo Score Play et une
vidéo « Comment
jouer » sur notre
chaîne YouTube Hal
Leonard Europe Ensemble.
Cette pièce peut
être interprétée
de différentes
manières. En principe,
de nombreuses options
sâ??offrent vous, par
exemple : - avec un
groupe amplifié:
clavier, guitare et basse
électriques, guitare
western, batterie
électronique, cloche -
avec un groupe
acoustique: guitare
western, basse
électrique,
cajon/shaker, cloche - ou
simplement fl tes bec et
guitare western avec ou
sans le play-back.
Jâ??espère que vous
prendrez plaisir jouer
cet arrangement ! $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Begin the Band #1 - Facile Music Sales
Combo - early intermediate SKU: BT.1237-06-070-MS Music for starting P...(+)
Combo - early
intermediate SKU:
BT.1237-06-070-MS
Music for starting Pop
Bands. Begin the
Band. Set (Score &
Parts). Composed 2005. 36
pages. Music Sales
#1237-06-070 MS.
Published by Music Sales
(BT.1237-06-070-MS).
ISBN 9789043123259.
9x12 inches.
English-German-French-Dut
ch. Starting a band
is always an adventure.
Once like-minded,
music-loving people have
gathered to form a group,
it can start. But, wait -
there’s still
something missing: the
music!New music groups
whose members do not have
much experience on their
instruments have special
demands. They need
not-too-difficult pieces
which focus on playing
together, and lead
quickly to that most
motivating of
achievements: the
band’s first
performance.Begin the
Band is perfectly
designed with these
demands in mind. Each
book in the series
contains four
entertaining,
great-sounding
arrangements and original
compositions in pop and
jazz styles, with added
scope to improvise. Each
piece consists ofa vocal
part, three accompaniment
parts and an easy part
for wind players, all in
four different keys: C, B
flat, E flat and C bass.
In addition, there are
parts for
piano/keyboard/bass and
guitar (with chords) as
well as drum kit and
percussion. All the parts
can be combined in any
way you like, to form a
pop band, jazz combo and
so on. The minimal
ensemble consists of a
vocal part (sung or
played by a wind
instrument) and one
accompanying instrument.
Let the adventure
begin!Includes songs by:
Joss Stone, Christina
Aguilera and many more
Een ideale
uitgave voor
gelijkgezinde
muziekliefhebbers die pas
een band hebben opgericht
- of van plan zijn een
band te beginnen. Nieuwe
muziekgroepen waarvan de
leden nog niet veel
ervaring met hun
instrument hebben,
stellen specialeeisen. Ze
hebben eenvoudige stukken
nodig die zijn gericht op
samenspel en leiden tot
de zo motiverende
beleving van het eerste
optreden. Begin the
Band is toegesneden
op deze eisen. Elk boek
van deze serie bevat
vieronderhoudende, goed
klinkende arrangementen
en originele composities
in de muziekstijlen pop
en jazz, met de
mogelijkheid tot
improvisatie. Elk stuk
bestaat uit een
zangpartij, drie
begeleidingspartijen en
een ‘easy
part’, steedsin C,
Bes, Es en C-bassleutel.
Er zijn aanvullende
partijen voor
piano/keyboard/basgitaar
en gitaar (met
akkoorden), evenals voor
slagwerk en percussie.
Alle partijen zijn te
combineren voor elke
denkbare bezetting, van
popgroeptot jazzcombo,
enz. De minimale
bezetting omvat de
zangpartij (gezongen of
gespeeld door een
blaasinstrument) en een
begeleidingsinstrument.
Laat het avontuur maar
beginnen!
Die
Gründung einer Band
ist immer ein Abenteuer.
Haben sich erst
genügend
musizierfreudige
Gleichgesinnte zusammen
gefunden, kann es
losgehen. Aber halt -
etwas fehlt noch: die
Musik! Neue Bands, deren
Mitglieder nicht allzu
viel Erfahrung auf ihren
Instrumenten mitbringen,
haben besondere
Bedürfnisse. Leichte
Stücke sind gefragt,
die den Schwerpunkt auf
das Zusammenspiel legen
und schnell zum
motivierenden
Erfolgserlebnis der
Gruppe führen: dem
ersten gemeinsamen
Auftritt! Begin the
Band ist genau
auf diese Bedürfnisse
zugeschnitten. Jedes Buch
dieser Reihe enthält
vier unterhaltsame, gut
klingende Bearbeitungen
und Originalkompositionen
in den Stilen Pop
undJazz, die auch
Gelegenheit zur
Improvisation bieten. Zu
jedem Stück gibt es
eine Gesangsstimme, drei
Begleitstimmen und einen
Easy Part, das Ganze
jeweils im C-, B-, Es-
und im
C-Bassschlüssel. Dazu
kommen Stimmen für
Gitarre und Bassgitarre
(mit Akkorden), sowie
für Schlagzeug und
Percussion. Alle Stimmen
sind beliebig für
zahlreiche verschiedene
Besetzungen ergänzbar
- von einer
Minimalbesetzung aus
Gesangsstimme (auch von
einem Blasinstrument
spielbar) mit einer
Begleitung, über eine
Popband bis hin zur
Jazzcombo und vielem
mehr. Mit Liedern und
Stücken von Christina
Aguilera, Joss Stone,
Gary Barone und Hans
Kerkhoff kann das
Abenteuer beginnen!
Monter un groupe
est toujours un défi
captivant relever. Il
suffit de trouver et
réunir quelques
musiciens passionnés
ayant les mêmes go ts
et l’aventure peut
commencer.
D’accord, mais
qu’allez-vous
jouer ? Les groupes
fraîchement
constitués dont les
membres ont une
expérience
instrumentale limitée
ont besoin d’un
répertoire adapté ;
des pièces simples
axées sur le jeu en
ensemble et qui
permettent
d’atteindre
rapidement le but
suprême: monter sur
scène. Begin the
Band a été
conçu spécialement
pour satisfaire ces
exigences. Chaque recueil
de cette collection
contient quatre superbes
arrangements et
compositions originales
dans les styles pop et
jazz qui offrentun espace
de liberté propice
l’improvisation.
Chaque pièce comporte
une partie vocale, trois
parties
d’accompagnement
et une version
instrumentale de la ligne
mélodique (version
simplifiée de la
partie vocale), le tout
dans les tonalités Ut,
Si b, Mib et Ut BC. Sont
également jointes les
parties pour
keyboard/guitare basse,
guitare (avec accords),
batterie et percussion.
En combinant les
différentes parties
selon votre choix, vous
obtiendrez un groupe de
rock, un combo de jazz ou
tout autre formation.
L’instrumentation
minimale se constitue de
la partie vocale (ou
version instrumentale de
la ligne mélodique) et
d’une partie
d’accompagnement.
Que l’aventure
commence !
Formare un gruppo
è sempre una sfida
accattivante. E’
sufficiente trovare e
riunire alcuni musicisti
appassionati e con gli
stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitataesperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
questeesigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della
lineamelodica (versione
semplificata della parte
vocale), il tutto nelle
tonalit Do, Sib, Mib e Do
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta,otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! VFormare un
gruppo è sempreuna
sfida accattivante.
E’ sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hannobisogno
di un repertorio adatto:
brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta diquesta
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificatadella parte
vocale), il tutto nelle
tonalit Do, Sib, Mib e Do
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combojazz
o altre formazioni. La
strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! Formare un
gruppo è sempre una
sfida accattivante.
E’sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto:brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattrosuperbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificata della parte
vocale), il tutto
nelletonalit Do, Sib, Mib
e Do �. Sono
incluse anche le parti
per tastiera/chitarra
basso, chitarra (con
accordi), batteria e
percussioni. Combinando
le varie parti a scelta,
otterrete un gruppo rock,
un combo jazz o altre
formazioni.
Lastrumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! VFormare un
gruppo è sempre una
sfida accattivante.
E’ sufficiente
trovare e riunirealcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentratisull’es
ecuzione in gruppo e che
permettano di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti
ecomposizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificata della parte
vocale), il tutto nelle
tonalit Do, Sib, Mib eDo
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
ècostituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! $47.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Collection Mini Series: Pop Hits - Piano Piano, Guitare (duo) [Partition + CD] Editions Musicales Francaises
Guitar and Piano SKU: HL.14021534 Music Sales America. Pop. Book with CD....(+)
Guitar and Piano SKU:
HL.14021534 Music
Sales America. Pop. Book
with CD. Editions
Musicales Francaises
#EMF100072. Published by
Editions Musicales
Francaises (HL.14021534).
English-French.
Les titres de ce recueil
sont issus des grands
succes de la variete
francaise et
internationale. Tous les
themes sont arranges de
maniere a faire de chaque
piece un oeuvre
pianistique complete,
doigtes et chiffrage
harmonique a l'appui. Les
professeurs trouveront
aussi dans ce volume un
repertoire plaisant et
motivant a donner a leurs
eleves. Afin de'apporter
un cote ludique a
recueil, les midi-files
contenus dans le CD mixte
(CD audio CD rom)
offrent la possibilite
d'ecouter les titres en
MIDI au moyen de la carte
son d'un ordinateur. De
plus, avec un materiel
approprie (sequenceur,
editeur de partitions et
autres), il est possible
de changer les sons et
les tempi, de jouer
facilement des passages
en boucles ainsi que
toute autre possibilite
offerte par les
differents logiciels
actuels. Nous vous
souhaitons donc un
excellent voyage au pays
de Pops Hits et esperons
vous apporter un reel
plaisir pianistique. The
titles in this collection
are abstracts from the
greatest French and
International hits. All
of the titles are
arranged in a way to make
each piece a complete
pianistic work, fingered
with support of chord
symbol. Piano teachers
will also find in this
volume a pleasant and
attractive repertory to
make their students play
with. The playful aspect
is added to this
anthology by way of the
midi-files which
accompany the mixte CD
(CD audio and CD rom)
offering the possibility
to listen to the pieces
in midi by using the
sound card of a computer.
In addition, it is
possible to change the
sounds and the tempi with
appropriate equipment
(e.g. sequencer, score
editors and others). You
acn also easily play in
loop passages. Other
options are offered by
today's different
software. We wish you an
excellent journey into
the Piano Pop Hits world
and hope it will bring
you true pianist
pleasure. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Little Swingies Violon et Piano De Haske Publications
Violin and Piano - easy SKU: BT.DHP-1196083-404 16 easy 'swinging' pie...(+)
Violin and Piano - easy
SKU:
BT.DHP-1196083-404
16 easy 'swinging'
pieces for violin and
piano accompaniment.
Composed by Joachim
Johow. Contemporary
Music. Book with Part and
Audio-Online. Composed
2019. 57 pages. De Haske
Publications #DHP
1196083-404. Published by
De Haske Publications
(BT.DHP-1196083-404).
ISBN 9789043156837.
English-German-French-Dut
ch. Swing-style
music for violin lessons?
A delightful idea in
itself, but suitable
literature is somewhat
thin on the ground. This
is where the Little
Swingies collection
comes in: sixteen new
pieces by Joachim
Johow—some
full-spirited and
passionate, others
gentler in
character—introduc
e the student step by
step to playing in the
swing style. In addition
to the violin part, this
edition includes an
easy-to-play piano
accompaniment: and on top
of this, MP3 recordings
of both demo performances
and backing tracks are
available online.
Little Swingies
will add new momentum to
violin lessons and
performances
alike.
Swingmuziek
voor de vioolles? Een
prachtig idee, maar het
materiaal daarvoor is dun
gezaaid. Little
Swingies biedt de
oplossing: zestien nieuwe
stukken van de hand van
Joachim Johow sommige
temperamentvol, andere
rustiger van karakter
laten de leerling stap
voor stap kennismaken met
het spelen in swingstijl.
Naast de vioolpartijen
bevat deze uitgave ook
eenvoudige
pianobegeleidingen:
bovendien zijn de
mp3-opnamen van zowel de
meespeel- als
begeleidingstracks online
te downloaden. Little
Swingies geeft
vioollessen en
toonmomenten een
verfrissende nieuwe
impuls.
Musik im
Swing-Stil für den
Geigenunterricht? An und
für sich eine
reizvolle Vorstellung,
jedoch ist
Spielliteratur, die
dafür geeignet
wäre, dünn
gesät. Hier setzt die
Sammlung Little
Swingies an: Sechzehn
neue Stücke von
Joachim Johow mal
temperamentvoll, mal eher
sanft im Charakter
führen die Schüler
Schritt für Schritt in
das Spiel im Swing-Stil
heran. Die Ausgabe
umfasst neben der
Violinstimme auch eine
gut spielbare
Klavierbegleitung:
zusätzlich stehen
sowohl Demo- als auch
Mitspielaufnahmen aller
Stücke im MP3-Format
online zur Verfügung.
Little Swingies
kann dem Geigenunterricht
wie auch dem Vorspiel
neue Impulse
geben.
Du swing
pour les cours de violon
? Cette idée est en
elle-même
séduisante, mais il
existe peu de partitions
adaptées. C’est
pourquoi la collection
Little Swingies
vient combler un vide :
seize nouvelles pièces
par Joachim Johow
certaines pleines de feu
et d’entrain,
d’autres plus
sereines initient
l’élève, pas
pas, aux rythmes
ternaires. Outre la
partie violon, cette
édition comprend un
accompagnement piano
facile : et, pour
compléter le tout, des
exemples
d’interprétatio
n et des pistes
d’accompagnement
sont disponibles en ligne
sous forme de fichiers
MP3. Little
Swingies apportera un
nouvel élan aux cours
de violon tout comme aux
auditions. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Piano Duets: The Ultimate Collection (Version 2.0)
1 Piano, 4 mains [CD Sheet Music] Subito Music
Piano Duets. For Piano. (Piano Duets). CD Sheet Music (Version 2.0). PDF file on...(+)
Piano Duets. For Piano.
(Piano Duets). CD Sheet
Music (Version 2.0). PDF
file on CD. 1000 pages.
Published by Subito
Music.
(3)$19.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Sonata Clarinette Basse, Piano Alea Publishing
Composed by Arthur Gottschalk. For bass clarinet and piano. Classical; 21st cent...(+)
Composed by Arthur
Gottschalk. For bass
clarinet and piano.
Classical; 21st century.
Piano score and part.
Composed 2009. 30 pages
(score); 12 pages (part).
Published by Alea
Publishing
$20.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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