Une collection passionnante de 23 favoris de films organisé pour les débutants. Les chansons incluent: Against All Odds (Take a Look at Me Now) - Alfie - Beyond the Sea - Can You Feel the Love Tonight - Hopelessly Devoted to You - Mrs. Robinson - Moon River - My Heart Will Go On (Love Theme from Titanic) - Speak Softly, Love (Love Theme) - Take My Breath Away (Love Theme) - Unchained Melody - Up Where We Belong / Piano

The Training Programme for Young Guitarists. Good technique doesn’t appear overnight. Technical exercises are necessary but have a reputation for being boring and frustrating - perhaps this is down to perspective and attitude. Fabian Payr has developed an approach in Finger Fitness totrain dexterity—among other things—in a way that is anything but tedious. The focus of this collection of exercises are efficiency, accuracy and variety. With minimum time devoted to practice, a maximum benefit can be achieved, and monotony isavoided altogether through the built-in variations. The author, Fabian Payr, has adapted his successful Finger Fitness concept into a book of technical exercises for children or beginners. This attractive, fully illustrated book uses guitartablature throughout, so it’s also ideally suited for those guitar students who haven’t yet mastered traditional music notation. Good technique doesn't appear overnight. Technical exercises are necessary but have a reputation for being boring and frustrating - perhaps this is down to perspective and attitude. Fabian Payr has developed an approach in Finger Fitness to train dexterity— among other things— in a way that is anything but tedious. The focus of this collection of exercises are efficiency, accuracy and variety. With minimum time devoted to practice, a maximum benefit can be achieved, and monotony is avoided altogether through the built-in variations. The author, Fabian Payr, has adapted his successful Finger Fitness concept into a book of technical exercises for children orbeginners. This attractive, fully illustrated book uses guitar tablature throughout, so it's also ideally suited for those guitar students who haven't yet mastered traditional music notation. / Date parution : 1905-07-08/ Recueil / Guitare

Par BLEZZARD JUDITH. Judith Blezzard This book looks at English church music from a new standpoint. It examines the relationship between English church music and the various types of other music that have influenced its development, revealing a vigorous tradition of interplay with extraneous musical material that is seldom apparent from the ways in which music is presented for church use. The borrowing of music from churches outside England is explored, and a large section is devoted to the often surprisingly ingenious ways in which secular music has, since the beginnings of the English church, been appropriated as music for worship - often with controversial results. From madrigal tomusic-hall, from plainsong to popular styles: these and many other kinds of music have lent both styles and material to sacred music with English texts. By examining these musical transformations, this book demonstrates that English church music is far from being an exclusively insular and retrospective repertory, as is often presumed to be the case. Although the book, with its use of musical examples, is designed primarily for the general musical reader - both amateur and professional, its broadly historical approach will appeal to those interested in English cultural heritage, the church, and its worship. ISBN 0 85249 784 9 Judith Blezzard This book looks at English church music from a new standpoint. It examines the relationship between English church music and the various types of other music that have influenced its development, revealing a vigorous tradition of interplay with extraneous musical material that is seldom apparent from the ways in which music is presented for church use. The borrowing of music from churches outside England is explored, and a large section is devoted to the often surprisingly ingenious ways in which secular music has, since the beginnings of the English church, been appropriated as music for worship - often with controversial results. From madrigal tomusic-hall, from plainsong to popular styles: these and many other kinds of music have lent both styles and material to sacred music with English texts. By examining these musical transformations, this book demonstrates that English church music is far from being an exclusively insular and retrospective repertory, as is often presumed to be the case. Although the book, with its use of musical examples, is designed primarily for the general musical reader - both amateur and professional, its broadly historical approach will appeal to those interested in English cultural heritage, the church, and its worship. ISBN 0 85249 784 9/ Livre / Livre

Par BACH JOHANN SEBASTIAN. Practical performing Urtext edition based on the latest state of Bach research. Every era hears and interprets Bach anew, and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition, Klaus Hofmann, Director of the Johann Sebastian Bach Institute Göttingen for many years and a contributing editor to the New Bach Edition, presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach’s intentions. Bach scholars are well aware that Bach’s original score and performance parts, running to almost 500 pages of music, are full of ambiguities and contradictions, particularly regarding articulation, which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report, frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus, for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research. J. S. Bach's St Matthew Passion BWV 244 for SATB and Piano. Every era hears and interprets Bach anew, and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition, Klaus Hofmann, Director of the Johann Sebastian Bach Institute Göttingen for many years and a contributing editor to the New Bach Edition, presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach's intentions. Bach scholars are well aware that Bach's original score and performance parts, running to almost500 pages of music, are full of ambiguities and contradictions, particularly regarding articulation, which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report, frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus, for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research./ Répertoire / Choeur Mixte et Instrument Divers

Par SKORNICKA JOSEPH E. / ERDMAN R.. One of the most widely used series of methods for individual or like-instrument class instruction. Using a very well-rounded approach including scales, arpeggios, technical studies, studies for musicianship, articulation studies, solos, duets, and studies devoted to the special needs of each instrument, this series provides a fantastic wealth of material for all student musicians./ Méthode / Cor

Par PROBST TATIANA. Commissioned by Claude Desmarets, this string quartet was written at Fontevraud Abbey in 2016 as part of a composer's residence organized by the association 'Foyer Joy-eux' which is devoted to perpetuating the memory of pianist Geneviève Joy and composer Henri Dutilleux. 'Ainsi un nouveau jour' is an imaginary continuation of Dutilleux's legendary quartet 'Ainsi la nuit' created around short texts evoking different mythological figures. The work is dedicated to the Rosamonde Quartet. / Date parution : 2022-02-03/ Répertoire / Quatuor à Cordes

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

Par BARTOK BELA. Bartók?s Second String Quartet was composed ? with several long interruptions ? between 1915 and 1918, after he had spent several years almost solely devoted to collecting folk music. The melody and rhythms of the riotous middle movement ?Allegro, molto capriccioso? provide impressive testimony of how his research trips had taken him as far as North Africa. The first edition of this quartet, published in Vienna in 1920, contains a conspicuous number of errors that were only partially corrected in a later revision undertaken by Bartók. As late as the 1940s he noted changes in his personal copy of the score that have never previously appeared in print. These late changes by Bartók are taken into account in this definitive edition of the string quartets supervised by Bartók scholar László Somfai, with problematic passages in the sources carefully documented. It is the first-ever Urtext edition of this work. Sensible page turns and cue notes in the parts mean that this edition is ideal for exploring Bartók?s sound world in performance. / Date parution : 2023-05-06/ Répertoire / Quatuor à Cordes

Description The John Thompson's Easiest Piano Course is designed to present the easiest possible approach to piano playing, complete with an amusing family of characters and illustrations to help emphasise the information being taught. Part one is devoted to developing fluency in reading by note, the biggest hurdle for most young children. The range is purposely limited. Only five notes up and five notes down from middle C are presented and time values do not go beyond crotchets. Each book of the course contains its own writing exercises, sight-reading drills, review work and later, technical studies. Accompaniments for teacher or parent are supplied with most of the examples.

33 pieces on the innocent sideInstrument : pianoNombre de Pages : 48Gradations is music of variety, of change, of progression, of growing up, even. Mozart?s first keyboard minuets are here, as is a pair of Marcello sonatas. A sonatina by Clementi sits alongside 'Kaleidoscope' by Benjamin Lees. Bartók and Bach knew all about children?s keyboard development and are each represented by absolute gems. César Franck?s Doll?s Lament and Kabalevsky?s My stubborn little brother represent more negative childhood emotions, but in the main this is music of happiness and fun. Piano Moods is an exciting new piano series from Boosey and Hawkes. Each volume is devoted to a particular mood. The pieces chosen draw on Boosey and Hawkes' extensive collection of wonderful music as well as lesser-known gems from the past - some of them from surprising sources - and newly composed works.Content : Windsperger: Song without words - Mozart: Minuet(s) K 1 (1e) - Grieg: Ranveig op. 66 no. 12 - Blacher: Prelude no. 15 - Marcello: Minuet (from Sonate IV) - Heller: Allegretto op. 47 no. 1 - Bernstein: For Susanna Kyle (from Five Anniversaries) - Zilcher: A song of happiness (from Studium und Vergnügen op. 121 no. 3) - J. Haydn: Minuet and Trio (from Divertimento Hob XVI/10) - Godard: The hammock op. 149 - Bartók: Variations (from Mikrokosmos III) - Cui: Expansion maive - J. Haydn: Andante (from Divertimento Hob XVI/8) - Davies: Piano Piece No. 31- Beethoven: Country Dance (from 7 Ländler WoO 11) - Kabalevsky: My stubborn little brother op. 87 no. 27 - Franck: Doll's complaint - Clementi: Allegretto (from op. 36 no. 2) - Bartók: Barlando (from Gyermekeknek (For Children)) - Telemann: Presto (from TWV 30:21) - Lees: Andante (from Kaleidoscopes) - J. S. Bach: Minuet BWV Anh 121 - Bartók: Andante sostenuto (from Gyermekeknek (For Children)) - Couperin: Dulcimer dance (from Ordre XX) - Prokofieff: Promenade (from Musiques d'enfants op. 65 no. 2) - Burgmüller: La Styrienne - Zilcher: Waltz op. 93 no. 4 - Mozart: Rondo K 15 - Davies: Piano Piece No. 29 - Blacher: Prelude No. 6 - Bertinti: Minuet - Fine: Lullaby for a baby panda - Kabalevsky: Chastushka op. 89 no. 25

Each piece of Op. 337 consists of various sections of one to several measures, each concluded by a coda. Czerny's own instructions above the studies read: 'Each repetition should be played 20 times without interruption,' or other numbers of repetitions. 'Daily Exercises' does not mean that all 40 studies are to be played every day, but the composer recommends that about one hour be devoted to studying part of them every day, requiring about three or four days to get through all 40 of them.

Cantolopera is a publishing project devoted to students, professionals and enthusiasts who wish to approch the great vocal repertoire for practicing, performing or simply singing opera arias, sacred pieces, songs, standards. The editions include a vocal score and one or more CD containing orchestral accompaniment performed by Compagnia d'Opera Italiana, with its orchestra of over 130 instrumentalists. Each volume also contains the texts to be sung, in both Italian and English, accompanied by a note on their context. / Tenor Et Piano

Latin texts with Italian and English translations and CD with instrumental and vocal versions. Cantolopera is made up of various series: the Favourite Opera Collection, dedicated to operatic works, organized by voice category- the Composers Collection, devoted to individual composers- and the Songs Collection, consisting of lyric songs, romanzas and traditional songs. / Voix Et Piano