| Symphonic Rock Orchestre d'harmonie - Intermédiaire/avancé Music Sales
Concert Band/Harmonie - Grade 4 SKU: BT.1534-08-010-MS The Music of Qu...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.1534-08-010-MS
The Music of Queen and
Genesis. Composed by
Brian May, Freddie
Mercury, John Deacon,
Mike Mike, Phil Collins,
Roger Taylor, and Tony
Banks. Arranged by
Gilbert Tinner. Ovation
Series. Pop & Rock. Set
(Score & Parts). Composed
2008. Music Sales
#1534-08-010 MS.
Published by Music Sales
(BT.1534-08-010-MS).
9x12 inches.
English-German-French-Dut
ch. Gilbert Tinner
combined a number of hits
by the well-known British
rock group Queen - and a
song by Genesis, also a
rock formation from
England - to form an
exciting arrangement with
the telling title
Symphonic Rock. The
instrumentation can
indeed be called
symphonic, but important
instruments from pop
music are also present.
For instance, an
important role is played
by the electric guitar,
and a synthesizer is used
as well. The medley
respectively features:
Innuendo, A Kind of
Magic, Another One Bites
the Dust, Radio Gaga,
That’s All and We
Are the
Champions.
Gilbert
Tinner bundelde enkele
hits van de bekende
Britse rockgroep Queen -
en een nummer van
Genesis, eveneens een
rockformatie uit Engeland
- tot een spetterend
arrangement met de
veelzeggende titel
Symphonic Rock. De
instrumentatiekan
inderdaad symfonisch
worden genoemd, maar ook
belangrijke instrumenten
uit de popmuziek zijn
vertegenwoordigd. Zo is
er een grote rol
weggelegd voor de
elektrische gitaar en
ontbreekt ook een
synthesizer niet. In
demedley zijn
achtereenvolgens te
horen: Innuendo, A
Kind of Magic, Another
One Bites the Dust, Radio
Gaga, That’s
All en We Are the
Champions.
Gil
bert Tinner kombinierte
eine Reihe von Hits der
berühmten britischen
Rockgruppen Queen und
Genesis und schuf daraus
diese spannende
Bearbeitung mit dem Titel
Symphonic Rock.
Die Instrumentierung kann
tatsächlich als
symphonisch bezeichnet
werden, es sind aber auch
in der Popmusik wichtige
Instrumente, wie
E-Gitarre und Synthesizer
vertreten.
Pour
réaliser ce medley
intitulé Symphonic
Rock, Gilbert Tinner
a rassemblé
quelques-uns des plus
grands succès des
légendaires groupes
britanniques Queen et
Genesis.
L’instrumentation
est élargie des
instruments typiques du
rock : la guitare basse
et le synthé. Ce
medley contient les
titres suivants :
Innuendo, A Kind of
Magic, Another One Bites
the Dust, Radio Gaga,
That’s All et
We Are the
Champions. $161.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphonic Rock Orchestre d'harmonie - Intermédiaire/avancé Music Sales
Concert Band/Harmonie - Grade 4 SKU: BT.1534-08-140-MS The Music of Qu...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.1534-08-140-MS
The Music of Queen and
Genesis. Composed by
Brian May, Freddie
Mercury, John Deacon,
Mike Mike, Phil Collins,
Roger Taylor, and Tony
Banks. Arranged by
Gilbert Tinner. Ovation
Series. Pop & Rock. Score
Only. Composed 2008. 40
pages. Music Sales
#1534-08-140 MS.
Published by Music Sales
(BT.1534-08-140-MS).
9x12 inches.
English-German-French-Dut
ch. Gilbert Tinner
bundelde enkele hits van
de bekende Britse
rockgroep Queen - en een
nummer van Genesis,
eveneens een rockformatie
uit Engeland - tot een
spetterend arrangement
met de veelzeggende titel
Symphonic Rock. De
instrumentatiekan
inderdaad symfonisch
worden genoemd, maar ook
belangrijke instrumenten
uit de popmuziek zijn
vertegenwoordigd. Zo is
er een grote rol
weggelegd voor de
elektrische gitaar en
ontbreekt ook een
synthesizer niet. In
demedley zijn
achtereenvolgens te
horen: Innuendo, A
Kind of Magic, Another
One Bites the Dust, Radio
Gaga, That’s
All en We Are the
Champions.
Gil
bert Tinner kombinierte
eine Reihe von Hits der
berühmten britischen
Rockgruppen Queen und
Genesis und schuf daraus
diese spannende
Bearbeitung mit dem Titel
Symphonic Rock.
Die Instrumentierung kann
tatsächlich als
symphonisch bezeichnet
werden, es sind aber auch
in der Popmusik wichtige
Instrumente, wie
E-Gitarre und Synthesizer
vertreten.
Pour
réaliser ce medley
intitulé Symphonic
Rock, Gilbert Tinner
a rassemblé
quelques-uns des plus
grands succès des
légendaires groupes
britanniques Queen et
Genesis.
L’instrumentation
est élargie des
instruments typiques du
rock : la guitare basse
et le synthé. Ce
medley contient les
titres suivants :
Innuendo, A Kind of
Magic, Another One Bites
the Dust, Radio Gaga,
That’s All et
We Are the
Champions. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| L'innominata Violoncelle, Piano Chester
Cello and Piano SKU: HL.50602301 For Cello and Piano Reduction. Co...(+)
Cello and Piano SKU:
HL.50602301 For
Cello and Piano
Reduction. Composed
by Brian Elias.
Instrumental. Softcover.
Chester Music #CH87769.
Published by Chester
Music (HL.50602301).
UPC: 840126900217.
8.5x11.0x0.097
inches. A work for
cello and piano,
L'innominata means 'the
unnamed' or 'the
nameless'. This work was
commissioned by the
Purbeck International
Chamber Music Festival.
It was first performed on
31st August 2018 by
Natalie Clein (cello) and
Vadym Kholodenko (piano),
at the Priory Church of
Lady St. Mary, Wareham,
Dorset. The world
premiere can be watched
here:
https://www.youtube.com/w
atch?v=9fFNlpJZmbE. $15.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Innuendo Ensemble de cuivres [Conducteur et Parties séparées] Editions Marc Reift (Swiss import)
By Franks. Arranged by Thomas. Brass Band. Swiss import. Level: 4. Score and par...(+)
By Franks. Arranged by
Thomas. Brass Band. Swiss
import. Level: 4. Score
and parts. Published by
Editions Marc Reift. (EMR
2864)
$137.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Queen [Partition] Backbeat Books
(The Complete Illustrated Lyrics). Book. Softcover. 390 pages. Published by Back...(+)
(The Complete Illustrated
Lyrics). Book. Softcover.
390 pages. Published by
Backbeat Books
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Queen - The Platinum Collection Partitions De Groupes Hal Leonard
Transcribed Scores Bass; Drums; Guitar; Piano/Keyboard; Vocal Complete Scores ...(+)
Transcribed Scores Bass;
Drums; Guitar;
Piano/Keyboard;
Vocal
Complete Scores
Collectors
Edition. By Queen.
Transcribed
Score. Pop, Rock.
Hardcover.
Published by Hal Leonard
$99.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Innuendo Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Scomegna Edizioni Musicali
By Freddie Mercury. Arranged by Marco Somadossi. Concert band. As performed by t...(+)
By Freddie Mercury.
Arranged by Marco
Somadossi. Concert band.
As performed by the
Queen. Pop Music. Grade
4.5. Score and set of
parts. Duration 9:20
$210.38 $199.861 (- 5%) Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Innuendo (Sung by Queen) Orchestre d'harmonie [Conducteur et Parties séparées] Editions Marc Reift (Swiss import)
By Franks. Arranged by Thomas. Concert Band. Swiss import. Level: 4. Score and p...(+)
By Franks. Arranged by
Thomas. Concert Band.
Swiss import. Level: 4.
Score and parts.
Published by Editions
Marc Reift. (EMR 1828)
$147.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Queen Paroles et Accords [Partie seule] Hal Leonard
By Queen. Guitar Chord Songbook. Softcover. 136 pages. Published by Hal Le...(+)
By Queen. Guitar Chord
Songbook. Softcover. 136
pages. Published by Hal
Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Nuptial Scene Carl Fischer
Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, P...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Flute, Mezzo-soprano
voice, Oboe, Percussion,
Viola, Violin SKU:
CF.FE189S Composed by
Samuel Adler. Large
Score. With Standard
notation. 41 pages.
Duration 10 minutes. Carl
Fischer Music #FE189S.
Published by Carl Fischer
Music (CF.FE189S).
ISBN 9780825877520.
UPC: 798408077525. 9.5 x
13 inches. Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler . $58.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nuptial Scene Carl Fischer
Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, P...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Flute, Mezzo-soprano
voice, Oboe, Percussion,
Viola, Violin SKU:
CF.FE189 Composed by
Samuel Adler. Set of
Score and Parts. With
Standard notation.
41+4+4+4+2+3+3+3+3 pages.
Duration 10 minutes. Carl
Fischer Music #FE189.
Published by Carl Fischer
Music (CF.FE189). ISBN
9780825877513. UPC:
798408077518. 9.5 x 13
inches. Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler . $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Memory jolts. Flashes of pink in the brain. Orchestre Peters
Orchestra String Orchestra SKU: PE.EP14581 For String Orchestra. C...(+)
Orchestra String
Orchestra SKU:
PE.EP14581 For
String Orchestra.
Composed by Clara
Iannotta. String
Orchestra. Peters
Contemporary Library.
Classical; Contemporary.
Book. 36 pages. Edition
Peters #98-EP14581.
Published by Edition
Peters (PE.EP14581).
ISBN
9790014137175. <
em>Memory jolts. Flashes
of pink in the
brain. by Clara
Iannotta is a 17-minute
work for string
orchestra. Written for
the non bthvn project of
the Cologne Philharmonic,
the work reflects
Beethoven's hearing loss
and the unbearable
condition when his ears
began to buzz and roar.
The title describes the
memory jolts that take
place in the inner
ear. Memory
jolts. Flashes of pink in
the brain. was
premiered by Ensemble
Resonanz on 31 October
2021 at the Philharmonic
Hall Cologne. The
full score (EP 14581) is
available for sale as
part of the Peters
Contemporary Library. The
performance material can
be hired.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite
retailer. $86.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Solfeggini per piccoli chitarristi (Livello 1). Esercizi di intonazione, lettura e scrittura musicale, cenni di teoria e tanti disegni da colorare Guitare - Débutant Ut Orpheus
Guitar; Methods and Music for Children SKU: UT.DM-53 Composed by Adriana ...(+)
Guitar; Methods and Music
for Children SKU:
UT.DM-53 Composed by
Adriana Tessier. Saddle
stitching. Ciao
Chitarra!!! Classical.
Octavo. Ut Orpheus #DM
53. Published by Ut
Orpheus (UT.DM-53).
ISBN 9790215318168. 9
x 12
inches. Avvicinare
con semplicità ai
primi elementi teorici
della musica è
lâ??obiettivo principale
di questo volume di
â??solfegginiâ??,
pensato per piccoli
allievi di chitarra ma
adatto anche ad altri
giovani
strumentisti. Il
contenuto del volume è
presentato attraverso
pagine illustrate che
favoriscono la
comprensione intuitiva e
la memorizzazione dei
diversi argomenti, ben
adattandosi a tutte le
â??trasformazioniâ??,
le semplificazioni o gli
approfondimenti,
soprattutto di carattere
pratico, che le
attitudini e lâ??etÃ
di ogni allievo
suggeriranno di volta in
volta allâ??insegnante.
Gli esercizi,
finalizzati
allâ??acquisizione
progressiva della
capacità di lettura
della pagina musicale, si
prestano
allâ??elaborazione da
parte dellâ??allievo e a
semplici giochi di
riconoscimento e di
imitazione
(lâ??insegnante suona -
o canta - piccole cellule
melodiche o ritmiche che
lâ??allievo dovrÃ
riconoscere, riprodurre
con la voce o scrivere)
che si suggerisce di
proporre frequentemente
per â??attivareâ??
attenzione e memoria e
per favorire un immediato
collegamento tra i suoni
e i relativi simboli
grafici che
rischierebbero altrimenti
di restare puramente
astratti. Ogni lezione
si conclude con una serie
di domande che, sebbene
poste in modo semplice e
scherzoso, svolgono
lâ??importante funzione
di accrescere
nellâ??allievo la
consapevolezza di quanto
sta imparando, aiutandolo
a interiorizzare tutte
quelle informazioni che
troveranno immediata
applicazione nello studio
di uno strumento
musicale.
Sito
Web: www.ciao
chitarra.it $16.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Limun Violon, Alto (duo) Peters
Violin and viola SKU: PE.EP14266 For violin, viola and two page-turner...(+)
Violin and viola SKU:
PE.EP14266 For
violin, viola and two
page-turners.
Composed by Clara
Iannotta. String Duets.
Edition Peters. Score and
Part(s). 24 pages.
Duration 00:10:00.
Edition Peters
#98-EP14266. Published by
Edition Peters
(PE.EP14266). ISBN
9790014126414. 232 x
303mm
inches. Written
as part of the ?Voix
nouvelles? programme at
Fondation
Royaumont, Limun is dedicated to Barbara
Maurer and Melise
Mellinger of ensemble
recherche who gave
the first performance and
have since performed it
around
Europe. "Limun<
/em> (lemon in Arabic) is
a plant that has the
ability to bloom
continuously, so you can
see blossoms, green
fruits and ripe
fruits on the same
tree at the same time.
The title is
symbolic. It does not
describe the piece, but
rather reflects the
period of my life of
which the piece was
written." - Clara
Iannotta
$86.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Why I Pity the Woman Who Never Spills Chorale SSAA SSAA A Cappella - Avancé Seafarer Press
By Elizabeth Alexander. Text: Joan Wolf Prefontaine. For Women's Choir (SSAA) a ...(+)
By Elizabeth Alexander.
Text: Joan Wolf
Prefontaine. For Women's
Choir (SSAA) a cappella.
(SSAA). Level:
medium-difficult.
Duration 5 minutes.
Published by Seafarer
Press.
$4.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Twelve Poems Op 35 High and Medium Voice Voix moyenne, Piano G. Henle
Classical Vocal, Piano (High Voice) SKU: HU.HN552 Original Keys for High and Me...(+)
Classical Vocal, Piano
(High Voice)
SKU: HU.HN552
Original Keys for High
and Medium Voice.
Composed by Robert
Schumann. Edited by
Kazuko Ozawa. Vocal,
Repertoire. Twelve Poems
Op. 35. Softcover Book.
G. Henle #HN552.
Published by G. Henle
(HU.HN552).
11.7 x 8.3 x 0.2 inches.
German.
$36.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 12 Poems Op. 35, Set of Songs on Texts by Kerner Voix moyenne, Piano [Partition] G. Henle
Original Keys for High and Medium Voice and Piano. Composed by Robert Sch...(+)
Original Keys for High
and Medium Voice and
Piano. Composed by
Robert Schumann. Edited
by Kazuko Ozawa. Henle
Music Folios. Softcover.
38 pages. G. Henle
#HN552. Published by G.
Henle (HL.51480552).
$28.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Denn wiederkommen Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl - va - vc - Sp) SKU: BR.KM-2432 Holderlin lesen II...(+)
String Quartet (2vl - va
- vc - Sp) SKU:
BR.KM-2432
Holderlin lesen
III. Composed by Hans
Zender. Chamber music;
stapled.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere: Museum
Island Hombroich, May 31,
1992. Music post-1945;
New music (post-2000).
Performance score.
Composed 1991. 36 pages.
Duration 24'. Breitkopf
and Haertel #KM 2432.
Published by Breitkopf
and Haertel (BR.KM-2432).
ISBN 9790004502020. 10
x 15 inches. In den
alten Kulturen war das,
was wir heute ,,Musik und
,,Dichtung nennen, eine
Einheit. Denken wir nur
an die lotrijgn<'
[musike] der Griechen,
oder an Beschreibungen,
die wir in den
klassischen chinesischen
Schriften finden. Aber
naturlich:
Kulturgeschichte ist ein
Differenzierungsprozess,
und so finden wir zur
Zeit unserer europaischen
Klassiker den Vorstoss
der Musik zu ihrer
,,Autonomie - ihrer
offiziellen Scheidung von
dem Metier der Dichter.
(Noch 1739 hatte
Mattheson in seinem
Vollkommenen
Capellmeister von jedem
Musiker ,,Gewandtheit in
der Dicht-Kunst und
genaueste Kenntnis der
Verslehre verlangt.)Seit
dieser Scheidung sind nun
die Musiker sehr eifrig
damit beschaftigt, eine
autonome Grammatik und
Syntax der ,,Tonkunst,
wie die Musik jetzt
genannt wird, zu
entwickeln, wahrend in
der Dichtung - besonders
naturlich in der
experimentellen, von Jean
Paul und Mallarme bis zu
Joyce und Celan - gerade
das ,,Musikalische in der
Poesie gesucht wird.
Hierunter ist oft der
Wunsch verborgen, die
Verhartung, welche die
Wortsprache durch ihre
begriffliche Fixierung -
extrem in der
Wissenschaft! - erfahrt,
wieder aufzuheben und sie
in einen ,,musikalischen
Zustand von
Unbestimmtheit, von
Offenheit zuruck zu
versetzen.Oberflachlich
betrachtet entwickeln
sich die beiden Kunste in
der Moderne also
auseinander; eine
Beruhrung zwischen ihnen
wird immer schwieriger.
Zu gross die Gefahr, dass
die muhsam errungene
Autonomie der einen
wieder der Ubermacht der
andern geopfert wird!
Entweder wird die Musik,
wenn sie schwach ist, zu
blosser Illustration und
Stimmungskulisse; oder
sie verschlingt in ihrer
klanglichen und
zeitlichen Ausformung den
eigenen Klang und
Rhythmus der
Dichtung.Manche Musiker
haben in den letzten
Jahrzehnten dieses
Problem noch
verinnerlicht und eine
Art Bilderverbot auch
innerhalb der Musik
aufgestellt: Gestik,
Expressivitat,
Assoziationsfahigkeit der
musikalischen Strukturen
wurden unterdruckt. Ich
halte das fur ein
neurotisches Verhalten
und ausserdem fur
irrefuhrend. Es gibt
schon seit jeher auch
eine musikalische
Semantik - das vergessen
manche vor lauter Syntax
und Grammatik; und es ist
kein Grund einzusehen,
warum in der Situation
der Autonomie nicht
musikalische und
sprachliche Semantik in
eine neue Art von
Verhaltnis treten
konnten. In der
Bach-Kantate, im
Schubert-Lied, in der
Wagnerischen Leitmotivik
waren das 1:1-Losungen;
aber schon Wagner hat
gezeigt, dass man diese
Identitat auch
dialektisch aufsprengen
kann.Und wie erst in der
Vielsprachigkeit der
heutigen Moderne! In
meiner Oper Stephen
Climax habe ich den
Hauptpersonen des Ulysses
von James Joyce bestimmte
- historisch ortbare -
Musiksprachen zugeteilt
(welche jeweils wieder
bestimmte intervallische
und rhythmische
Struktureigenschaften
zeigen, welche ihrerseits
wieder seriell oder
statistisch geordnet sind
- es geht bis ins
kleinste Detail ganz
,,autonom zu!!); der
Kosmos unserer
europaischen
Musikgeschichte wird
sowohl dem Kosmos der
Joyceschen Figuren
(ihrerseits
,,geschichtstrachtig!)
wie auch dem aktuellen
musikalischen Bewusstsein
zugeordnet, aber eben oft
auch uber Kreuz, paradox,
mehrschichtig, mehrdeutig
... Die Tatsache, dass
diese spezifische
Moglichkeit einer
neuartigen Einheit von
Sprache und Musik von den
berufenen Musikologen
noch kaum bemerkt worden
ist, zeigt nicht nur
deren Langsamkeit,
sondern auch die Dominanz
des ,,bildlosen Denkens
in der - jetzt
abgelaufenen - Phase der
Neuen Musik.In meinen
Holderlin lesen-Stucken
ging es mir darum, Wege
zu finden, die gewaltigen
Sprachstrukturen
Holderlins so in die
zeitliche Form der Musik
zu integrieren, dass sie
Funktionen der
musikalischen Form
ubernehmen, ohne in ihrer
Eigenkraft (sowohl
akustisch wie auch im
Sinne expressiver
,,Deutung) im geringsten
geschmalert zu werden.
Das hiess zunachst:
Sprechen, nicht singen! -
Aber das wurde nur
bedeuten, dass es nicht
um die Musikalisierung
von Text geht; ebenso
wichtig ist es, dass es
auch nicht um
melodramatisch
,,erzahlende Musik geht.
Sondern: Zwei autonome
Kunste durchdringen sich
auf diaphane Weise, ohne
sich zu uberformen oder
auszuloschen; es handelt
sich um einen Dialog,
nicht um eine
Vereinnahmung durch
Hierarchisierung.Ein
weiteres Thema, das in
der musikalischen
Diskussion der letzten
Jahrzehnte zu kurz
gekommen ist und deswegen
jetzt neu am Horizont
erscheint, ist die
Rhetorik. Inwieweit kann
musikalische Form nicht
nur logisch bzw.
syntaktisch, sondern auch
rhetorisch verstanden
werden? Rhetorik und
Satztechnik z.B. hangen
zusammen. Ich kann diese
Problematik (die ich in
meinem vierteiligen,
abendfullenden Shir
Hashirim ,,auskomponiert
habe) hier nur
andeuten.Musik steht
zwischen Zahl und Wort;
sie hat an beidem teil.
So konnte sie das Zentrum
der ,,Sieben Freien
Kunste in alten Zeiten
bilden ... (Heinrich
Schutz sagte, dass sie zu
diesen - also zu den
mathematisch-astronomisch
en und den literarischen
Kunsten - wie die ,,Sonne
zu den Planeten sich
verhalte.) Mir scheint,
dass wir die Komposition
seit 50 Jahren zu
einseitig nur von der
Zahl her definieren; sie
hat geschichtlich ebenso
viel mit Sprachstruktur
zu tun. Wir konnen
Neuland gewinnen, wenn
wir als heutige Musiker
dies neu durchdenken.Es
handelt sich hier um
meinen dritten Versuch
einer Annaherung an das
Problem einer
,,Verzeitlichung der
Holderlinschen Texte d.h.
einer Moglichkeit, diese
Texte in einer
Performance darzustellen:
da die Musik das
eigentliche Element der
zeitlichen Darstellung
ist, werden die
Holderlinschen Worte mit
Tonen konfrontiert.Im
Fall von denn
wiederkommen geht es um
neun Zeilen aus
Holderlins Patmos-Hymne.
Je eine solche Zeile wird
einem Formabschnitt der
Musik zugeordnet (das
Stuck ist also, wie meine
Lo-Shu-Stucke,
neunteilig). Die
betreffende Zeile
erklingt nicht nur
einmal, sondern wird, in
der gleichen Weise wie
auch das musikalische
Material, nach einem
chaotischen
Repetitionsprinzip
mehrfach
wiederholt.Auffallig ist
ferner, dass fur jeden
der neun Teile ein von
einem der vier
Quartettspieler
festgehaltener ,,Grundton
gewahlt wurde; durch
diese orgelpunktartige
Wirkung wird jeder der
neun Teile
zusammengehalten, und der
Horer kann die langsame
Bewegung der Grossform im
unmittelbaren Horprozess
mitvollziehen.Die neun
Satze von Holderlin
lauten:1. Furchtlos gehen
die Sohne der Alpen uber
den Abgrund weg auf
leicht gebaueten
Brucken...2. Sie horen
ihn und liebend tont es
wieder von den Klagen des
Manns...3. Im goldenen
Rauche bluhte schnell
aufgewachsen mit
Schritten der Sonne, mit
tausend Gipfeln duftend,
mir Asia auf, und
geblendet...4. Gegangen
mit dem Sohne des
Hochsten, unzertrennlich,
denn es liebte der
Gewittertragende die
Einfalt des Jungers...5.
Wenn aber stirbt alsdenn,
an dem am meisten die
Schonheit hing...6.
Eingetrieben war wie
Feuer in Eisen das, und
ihnen ging zur Seite der
Schatten des Lieben. Drum
sandt er ihnen den Geist
und freilich bebte das
Haus und die Wetter
Gottes rollten
ferndonnernd...7. Uber
die Berge zu gehn allein,
wo zwiefach erkannt, war
einstimmig und
gegenwartig der
Geist...8. Und hier ist
der Stab des Gesanges,
niederwinkend, denn
nichts ist gemein. Die
Toten wecket er auf...9.
Denn wiederkommen sollt
es, zu rechter Zeit.
Nicht war es gut gewesen,
spater, und schroff
abbrechend...(Hans
Zender)CD:Salome Kammer
(voice), Arditti String
QuartetCD Montaigne MO
782094Bibliography:Nyffel
er, Max: Fluchtpunkt
Patmos. Hans Zenders
Komposition ,,Denn
wiederkommen. Holderlin
lesen III, in: Neue
Zeitschrift fur Musik 180
(2019), Heft 1, S.
44-47.ders.: Lesen,
Schreiben, Horen. Zum
Verhaltnis von Musik und
Sprache bei Hans Zender,
dargestellt an der
Komposition ,,,denn
wiederkommen`. Holderlin
lesen III, in: ,,Ein
Zeichen sind wir,
deutungslos. Holderlin
lesen, Ikkyu Sojun horen,
Musik denken, hrsg. von
Violetta L. Waibel,
Gottingen: Wallstein
2020, S. 299-329Waibel,
Violetta L.: Holderlin
Lesen, Ikkyu Sojun Horen,
Musik Denken, in:
Festivalkatalog Wien
Modern 29 (2016), Essays,
pp. 196-198.Zenck,
Martin: Holderlin lesen -
seiner ,,Stimme zuhoren.
Holderlin-Lekturen von
Klaus Michael Gruber,
Hans Zender und Bruno
Ganz, in: Neue
Zeitschrift fur Musik 172
(2011), Heft 6, pp.
25-29.Zender, Hans: Zu
meinem Zyklus ,,Holderlin
lesen, in: Mnemosyne.
Zeit und Gedachtnis in
der europaischen Musik
des ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
pp. 26-40.
World
premiere: Museum Island
Hombroich, May 31,
1992. $70.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Moonlight Serenade Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1094484-010 Composed by Glenn...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1094484-010
Composed by Glenn Miller.
Arranged by Lorenzo
Bocci. DHP Pop, Film and
Show.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2009. De Haske
Publications #DHP
1094484-010. Published by
De Haske Publications
(BT.DHP-1094484-010).
9x12 inches.
English-German-French-Dut
ch. Moonlight
Serenade is often
said to be the Glenn
Miller Orchestra’s
signature tune, capturing
the very best of what it
had to offer. It was
recorded for the first
time in 1939 and only
made the B-side of the
disc with Sunrise
Serenade featuring on
the A-side. Moonlight
Serenade gained very
rapid and unexpected
success and this
arrangement will give
your concert band that
famous big band sound!
Moonlight
Serenade geldt als
dé herkenningsmelodie
van het Glenn Miller
Orchestra. Het
romantische werk werd
voor het eerst opgenomen
in 1939. Het was de
B-zijde van een ander
werk, genaamd Sunrise
Serenade. Al snel
streefdehet
oorspronkelijke B-nummer
de A-kant in populariteit
voorbij. Een populariteit
waarop het tot op de dag
van vandaag nog steeds
niet heeft ingeboet.
bigbandsound op zijn
best!
Moonlight
Serenade gilt als die
signature tune“ -
die Erkennungsmelodie -
für den Sound des
Glenn Miller Orchestra.
Das im Jahre 1939
erstmals aufgenommene
romantische Stück war
tatsächlich
zunächst nur die
B-Seite von einem
Stück namens
Sunrise Serenade,
erreichte aber sehr
schnell eine wohl
unerwartete, ungeheuer
große Popularität,
die heute noch anhält.
Bigband-Sound vom
Feinsten!
Glenn
Miller (1904-1944) fut
l’un des plus
grands chefs
d’orchestre de
swing américains de
son temps. Le son
mythique du prestigieux
Glenn Miller Orchestra
mêlant swing, jazz et
improvisation est,
aujourd’hui
encore, célèbre
dans le monde entier.
Glenn Miller reste pour
le public une
véritable légende
et ses airs les plus
célèbres sont dans
toutes les mémoires.
En 1939, Glenn Miller
composa Moonlight
Serenade, une
pièce dont
l’idiome sonore
est typique du style Big
Band américain. Il
présenta sa
création pour la
première fois sur la
face B du disque
Sunrise Serenade.
Le succès fut
immédiat. La
mélodie fit
l’objet de
nombreuses reprises
notamment au cinéma et
latélévision.
Nel 1939, Glenn
Miller (1904-1944)
compone Moonlight
Serenade, un brano
nello stile tipico della
big band americana.
Presenta la sua creazione
per la prima volta sulla
facciata B del disco
Sunrise Serenade.
Il successo è
immediato e Moonlight
Serenade diventa il
pezzo più famoso di
Glenn Miller. La melodia
è stata ripresa
innumerevoli volte al
cinema e alla
televisione. $110.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| EMSA – Eine (Musik) Schule Für Alle Schott
Book in German (Book) SKU: HL.49047153 Musikalische Bildungswege gemei...(+)
Book in German (Book)
SKU: HL.49047153
Musikalische
Bildungswege gemeinsam
gehen Book in German.
Edited by Christine
Stoeger, Natalia
Ardila-Mantilla, and
Ursula Schmidt-Laukamp.
Edition Schott.
Classical, German
Edition. Softcover.
Schott Music #UM5027.
Published by Schott Music
(HL.49047153). UPC:
196288136637. Wie
wäre es, wenn
Musikschule und
weiterführende Schule
musikalische Bildungswege
gemeinsam entwickeln und
Instrumentalpädagog:in
nenund Schulmusiker:innen
auf Augenhöhe
zusammenarbeiten? Solche
und ähnliche Fragen
führten zur
Entwicklung des
Kooperationsprojekts
“EMSA – Eine
(Musik) Schule für
alle†in
Nordrhein-Westfalen.
Dieses Buch beleuchtet
den Entwicklungsprozess
aus verschiedenen
Perspektiven. So
können Lesende aus
Praxis und Theorie
Anregungen für eigene
Kooperationen finden.
German edition. $25.99 - Voir plus => Acheter | | |
| Selected works Piano seul - Intermédiaire Schott
Schott Piano Collection. Composed by Johann Sebastian Bach (1685-1750). T...(+)
Schott Piano
Collection. Composed
by Johann Sebastian Bach
(1685-1750). This
edition: Paperback/Soft
Cover. Sheet music.
Schott. Softcover. 64
pages. Schott Music #ED
5180. Published by Schott
Music (HL.49005499).
$17.99 - Voir plus => Acheter | | |
| Independencia & coordinación en el piano Piano seul Play Music Publishing
Piano SKU: BT.MS0389 Volumen 3. Composed by Fabian Domingo. Studie...(+)
Piano SKU:
BT.MS0389 Volumen
3. Composed by Fabian
Domingo. Studies &
Exercises. Book and DVD.
Composed 2020. Play Music
Spain #MS0389. Published
by Play Music Spain
(BT.MS0389).
Spanish. En el
teclado del piano, la dos
manos desempeñan un
papel diferente
(bajo/acordes,
acordes/melod a...) y
resulta imprescindible
poder tocar cada mano
independientemente de la
otra, procurando
conservar una perfecta
coordinación de las
dos. Nuestro método
enfoca de manera muy
progresiva el problema
desde el punto de vista
técnico y musical. As
cada dificultad
señalada con un
ejercicio espec fico
tiene su aplicación
inmediata en un
pequeño toque... para
que la técnica quede
siempre al servicio de la
música y del placer de
tocar. Los ejercicios de
este tercer y último
volumen van a profundizar
las nociones abordadas en
los 2 volúmenes
anteriores... ¡pero no
sólo! Vd
encontrarátambién
un trabajo sobre los
ternarios, las
extensiones, los
intervalos sostenidos y
en espejo, los tresillos
compartidos, los arpegios
de 4 sonidos, los
desfases r tmicos, los 3
por 2 invertidos, las
figuras a base de
semicorcheas, la clave,
etc... elementos
imprescindibles para
reforzar la independencia
de las manos en el piano.
En el disco adjunto al
método, Vd
encontrará varios
archivos audios y v deos.
Los v deos (mp4)
presentan en imágenes
todos los ejercicios y
los toques tales como uno
debe tocarlos. Las
grabaciones audios (mp3),
por su parte, le brindan
los playbacks
correspondientes, en dos
aires distintos, en los
cuales podrá tocar los
toques propuestos al
estudio. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cyrano Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1053776-140 Composed by Piet ...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.DHP-1053776-140
Composed by Piet Swerts.
Sovereign Series. Concert
Piece. Score Only.
Composed 2005. 92 pages.
De Haske Publications
#DHP 1053776-140.
Published by De Haske
Publications
(BT.DHP-1053776-140).
English-German-French-
Dutch. This
delightful new
composition takes its
inspiration from the
classic French swash
buckling tale of Cyrano
de Bergerac and his fight
to win the love of the
beautiful maiden Roxane.
The subject was a perfect
departure point for
composing a symphonic
poem with a variety of
musical aspects
reflecting the story.
Lyricism (the theme of
Roxane), dramatic
episodes, as well as
Debussy-inspired
impressionist moments are
some of the elements that
give the band and its
conductor the chance to
expose themselves as a
versatile ensemble being
able to create colour, to
sing and to play like
virtuosi. This work is
sure to become a standard
item in the concert band
repertoire.
In
Cyrano verklankt
de componist Piet Swerts
het romantische en
tragische verhaal van de
briljante dichter en
zwaardkunstenaar Cyrano
de Bergerac en zijn
mooie, intellectuele
nicht Roxane, op wie hij
tot over zijn oren
verliefdis. Zijn
uiterlijk, met name zijn
buitengewoon grote neus,
belet hem om zijn
gevoelens tegenover haar
te uiten. De vele
verwikkelingen die uit
deze situatie voortkomen
zijn te herkennen in deze
programmatische
compositie.
Piet
Swerts erzählt hier
musikalisch die
tragisch-romantische
Geschichte von Cyrano de
Bergerac, der einem
verliebten Freund hilft,
seine Liebe zu erobern
und sich dann selbst
unglücklich in dessen
Angebetete verliebt.
Diese Komposition
spiegelt die Geschichte
mit einer Vielfalt an
musikalischen Aspekten
eindrucksvoll wider.
Lyrik, dramatische
Episoden sowie von
Debussy inspirierte,
impressionistische
Momente sind einige der
Elemente, die dem
Blasorchester und seinem
Dirigenten die Chance
bieten, sich als
vielseitiges Ensemble,
das zugleich Farben
entfalten, singen und
virtuos spielen kann, zu
präsentieren.
L
a comédie héro que
Cyrano de Bergerac
(1897) valut son auteur
une gloire immédiate.
Cyrano, héros tragique
et attachant, est
entré dans le
patrimoine universel,
sans doute parce
qu’il incarne
superbement un mythe bien
ancien : celui de
l’amour et du
bonheur impossibles. Ce
délicieux
chef-d’œuvre
thé tral
d’Edmond Rostand a
inspiré ce poème
symphonique de Piet
Swerts qui
s’articule autour
d’une grande
diversité musicale
exprimant différentes
scènes de la pièce.
Passages lyriques,
épisodes dramatiques
et moments
impressionnistes,
Cyrano comprend de
nombreux ingrédients
qui permettent au chef et
sa formation
d’exploiter leur
polyvalence travers
lacouleur, le chant et le
jeu virtuose.
La
commedia Cyrano de
Bergerac (1897) valse al
suo autore gloria
immediata. Cyrano, eroe
tragico e commovente,
è entrato nel
patrimonio universale
senza dubbio perché
incarna a meraviglia un
mito molto antico: quello
dell’amore e della
felicit impossibili.
Questo delizioso
capolavoro teatrale di
Edmond Rostand ha
ispirato il poema
sinfonico che si articola
attorno ad una grande
diversit musicale
esprimendo diverse scene
dell’opera
teatrale. Passaggi
lirici, episodi
drammatici e momenti
impressionanti, Cyrano
comprende numerosi
ingredienti che
permettono al maestro di
sfruttare la polivalenza
attraverso il colore, il
canto e il suono
virtuoso. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chitarra Acustica Blues - Livello Base Guitare [Partition + CD] Volonte and Co
Guitar SKU: BT.VOLMB217 Il metodo completo per la chitarra acustica bl...(+)
Guitar SKU:
BT.VOLMB217 Il
metodo completo per la
chitarra acustica
blues. Composed by
Lou Manzi. Book with CD.
Volonte e Co #VOLMB217.
Published by Volonte e Co
(BT.VOLMB217). ISBN
9788863882117.
Italian. Una
pratica, immediata e
accessibile introduzione
alla musica blues suonata
con lo strumento
acustico, come avveniva
agli esordi del
genere. Non è
richiesta alcuna
competenza gi acquisita;
anche il principiante
assoluto può
cimentarsi con successo
con questo manuale di Lou
Manzi, e imparare
divertendosi tutte le
nozioni tecniche e
teoriche che stanno alla
base del blues. $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Real Time Drums 2 (IT) Batterie [Partition + CD] De Haske Publications
Drum Kit SKU: BT.DHP-1125298-400 Metodo base per batteria. Compose...(+)
Drum Kit SKU:
BT.DHP-1125298-400
Metodo base per
batteria. Composed by
Arjen Oosterhout. Book
with CD. Composed 2012.
76 pages. De Haske
Publications #DHP
1125298-400. Published by
De Haske Publications
(BT.DHP-1125298-400).
9x12 inches.
Italian. Real
Time Drums - Metodo base
per batteria (Volume
2), ad opera di Arjen
Oosterhout a lungo
insegnante di
percussioni, è il
seguito del metodo di
successo Real Time
Drums - Metodo base per
batteria (Volume 1).
Concepito nello stesso
stile, con un approccio
particolarmente pratico,
il secondo volume
presenta nove capitoli
che introducono nuovi
schemi delle percussioni,
ritmi e stili come il
rock e il funk, i
paradiddle, ed esercizi
per la batteria. Oltre
agli esercizi e alle
spiegazioni, l'allievo
trover informazioni
relative
all'interpretazione,
indicazioni per le
variazioni e i fill, come
anche un importante
incoraggiamento
all'improvvisazione. I
due CDinclusi propongono
due incisioni per ogni
esercizio: una traccia
d'ascolto e una
play-along, per
facilitare la pratica
immediata di ciò che
si è appreso. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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