Clavier Essentials est destiné à tous les qui veulent apprendre à jouer avec succès les claviers en unités d'enseignement méthodiquement calculés à l'aide de chansons populaires et des conseils utiles, bien que tutorat ou l'étude privée. Il est destiné aux débutants de tout âge, mais, par exemple, les joueurs de vent, de chanteurs ou de guitaristes qui veulent devenir musicales ' initiés ' et qui bien que joue du clavier voir aussi une introduction à la composition, harmonie, improvidation, etc.. Sur le clavier en particulier, avec sa structure clairement arrangé, régulière des touches, échelles, cordes et les relations harmoniques sont présentées plus clairement et systématiquement que sur tout autre instrument. Musiciens avec connaissances antérieures peuvent participer au volume 2 ou 3. / Clavier

Par SCHRADIECK HENRY. Henry Schradieck chose the modest designation 'studies' for his exercises. Their musical substance, however, goes far beyond that of a study. They are character pieces which get their captivating musical expression particularly from the harmonic progression and expressive melodic lines while the rhythm remains relatively consistent to maximize the effect of practising. The pieces are basically caprices (capriccios) which disregard formal rules in an imaginative and playful manner. 24 Études Caprices by Jean Delphin Alard, the studies cover all major and minor scales of the circle of fifths. In addition to the original fingerings, this edition also contains alternative fingering variants which include both playing in the second position and modern change-of-position techniques like creeping and pivoting. Each study is preceded by short explanations of the editor Benjamin Bergmann concerning the contents and objectives of each study as well as by practical technical information on the performance. This edition is published in the Essential Exercises study series which contains proven practical study works for instrumental lessons / Niveau : Intermédiaire à Avancé / Etude / Violon

Flute Quintet in E minor, op. 41/1 E minor - Partitur und Stimmen - P/ST - flute, violin, 2 violas and cello editor: Caesar, Jennifer These delightful, elegant quintets by a contemporary and acquaintance of Haydn and Beethoven are central to the Classical flute repertoire. The music is skilfully constructed, the flute and violin sharing the melodic interest while the other parts provide the harmonic background. By no means lightweight in character, these works are fine examples of serious, Classical chamber music expressly written for the technically competent amateur.

Description Now clearly at the intermediate level, Grade 4 begins by introducing the E major scale in three octaves plus the principal chords in E major. The C# harmonic and melodic minor scales are introduced followed by a wealth of carefully arranged solo and duet study material in various keys in the fourth, fifth, seventh, and ninth position. Three basic shapes for major and minor chords are reviewed through chord studies in various keys through the seventh position. Theory lessons address identification of intervals, the dominant seventh chord, and modulation. Written in standard notation only.

Par LIEBMAN DAVID. Each volume of this unique jazz improvisation method includes: State of the art recordings (multi-track digital), recorded in the excellent Bauer Studios, where many of the productions for the record label ECM have been done, and in the Skyline Studios in New York City. Each set contains six complete performances, including opening and closing theme statements, improvised solos and six play-along tracks which feature the rhythm section without soloist. Many performances use the original arrangements from classic jazz recordings (So What, Equinox, A Night In Tunisia, 'Round Midnight, Con Alma, Webb City, Joshua etc.). Because the complete performances were approached as in a professional recording session the play-along versions sound fresh and spontaneous, with much interaction between the rhythm section instruments and the soloists. Piano and bass are clearly separated. Book with helpful commentary and analysis of each recorded performance in English, français and deutsch. Transcribed solos: Each book contains at least one complete solo transcription, many excerpts from other solos (piano and bass solos as well as horn and guitar solos are included) plus appropriate chord/scale information, including modes of the major, harmonic minor, melodic minor and symmetrical scales. Individual instrumental parts in C, B flat, E flat and bass clef: The detachable instrumental parts are extremely practical for both classroom and professional use. Completely notated piano and bass parts: Volume 1, 2, 5, 6, 7 and 8 contain detachable piano (or guitar) and bass parts for all six compositions, volume 3 on 3 tunes (A Night In Tunisia, 'Round Midnight and Embraceable You). Transcribed excerpts from piano and bass accompaniments: Excerpts from piano and bass accompaniments have been selected in order to illustrate the most important techniques for developing accompaniments on these instruments. This includes piano chord voicings, harmonic substitution and embellishment, developing bass lines, interaction with other instruments, etc./ Recueil / Tout Instrument

Par HOFFMANN ERNST THEODOR AMADEUS. Many people know E.T.A Hoffmann (1776-1822) only as an author of fantastic stories and are often not aware of the fact that he was a reasonably good composer too. This practical edition of his five fully extant piano sonatas is based on the scientific editions, also published by Schott, of his 'Selected Musical Works'. Hoffmann himself recommends these pieces as compositions which are 'set in the older style, combined with the more cheerful melodic drive of the new' which 'many piano players who are indignant at the empty tirades of the new piano composers' long for./ Répertoire / Piano

One of several popular dances from time of the French Renaissance, 'jouissance' refers to a dance in which the feet stay on the floor, as opposed to one with leaps or lifts. This setting by Deborah Baker Monday has a driving pulse with attractive modal harmonies in the friendly key of E natural minor. All instruments have melodic lines. This arrangement also provides a great opportunity for teaching double up-bows and two-note slurs followed by two separate notes. The added percussion part will make this piece a great selection for festival or your next concert! (1:45) / Orchestre A Cordes

Avec cette méthode, vous allez enfin apprendre et surtout comprendre comment utiliser la gamme mineure (naturelle) à la basse, mais aussi découvrir tout son potentiel mélodique pour l'exploiter au mieux. Après quelques pages indispensables dédiées à la théorie, vous aborderez ces 12 gammes mineures - que tout bassiste se doit de maîtriser -, de la façon la plus cohérente et efficace qui soit. Ainsi, pour chacune d'elles, vous découvrirez en page de gauche le nom et l'emplacement des notes sur le manche de la basse (22 cases), ainsi que les accords sur lesquels la gamme en question peut être jouée en toute sécurité. Sur la page de droite, vous découvrirez une longue ligne de basse illustrée qui utilise cette seule et unique gamme, accompagnée de deux enregistrements (à télécharger), le premier pour la démonstration et le second pour la mise en pratique (support playback). Vous pourrez alors jouer à votre tour sur cette bande-son non seulement l'exemple proposé, mais aussi tout autre groove ou ligne de basse de votre création... issu de la gamme mineure en question bien sûr ! Tous les enregistrements de cette méthode (lignes de basse et playbacks) peuvent être téléchargés gratuitement et très facilement en suivant les indications fournies dans le livre.

Umberto Fiorentino prende in esame le diverse tecniche per l'improvvisazione che consentono di integrare gli aspetti geometrici e schematici, che spesso finiscono per imbrigliare la fantasia e la musicalità, con elementi più importanti quali la logiccontinuità melodica e la creatività. Troverete in questo video: Uso creativo degli intervalli - Continuità e sviluppo melodico - Patterns numerici - Note guida degli accordi - Sostituzioni modali - Turnarounds II V I - Blues e blues minore. / Guitare

Schirmer'S Library Of Musical Classics, Vol. 2132. A collection of waltzes by 16 favorite composers including Brahms, Chopin, Grieg, Lizst, Ravel, Schubert, and Schumann. Highlights include Chopins Valse brillante in E-flat Major, Op. 18, and Tchaikovskys 'Waltz of the Flowers.” Intermediate to Upper Intermediate Level./ Recueil / Piano

Sound Innovations: développement sain for Advanced String Orchestra poursuit l'accent sur ??la lecture avec une caractéristique, belle sonorité, mais aussi met l'accent sur ??des échelles 3 d'octave, en particulier les échelles que les étudiants auront besoin pour les auditions régionales et tous-Etats. Compétences techniques avancées sont présentées en quatre niveaux, conformément à la structure des innovations de son révolutionnaire: (1) Tone Sound, (2) Son archet, (3) Son décalage et (4) Balances sonores et arpèges. Les niveaux peuvent être utilisés dans l'ordre qui est le mieux pour vos élèves, comme chaque warm-up, ou sous forme d'unités structurées. Le livre idéal pour suivre un développement judicieux pour Intermediate String Orchestra, ou pour tout un ensemble de cordes avancé ou apprenant individuel, vos élèves perfectionnera la bonne utilisation de l'arc, coups d'archet, déplacement, et les échelles 3 d'octave. / Orchestre A Cordes

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda