| The Ultimate Jazz Fake Book - Eb Edition Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument and voice. With vocal melody, lyrics and leadsheet no...(+)
Fakebook for Eb
instrument and voice.
With vocal melody, lyrics
and leadsheet notation.
Series: Hal Leonard Fake
Books. 448 pages.
Published by Hal Leonard.
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| The Phillips Collection of Traditional American Fiddle Tunes Vol 1 Violon [Partition] Mel Bay
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
(1)$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chilly Gonzales: NoteBook Solo Piano III Piano seul EBR Editions Bourges
Composed by Chilly Gonzales. Book Only. Composed 2018. Editions Bourges #EBR53...(+)
Composed by Chilly
Gonzales.
Book Only. Composed 2018.
Editions Bourges #EBR532.
Published by Editions
Bourges
$25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Complete Jazz Keyboard Method: Intermediate Jazz Keyboard Piano seul [Partition + CD] - Intermédiaire Alfred Publishing
Complete Jazz Keyboard Method: Intermediate Jazz Keyboard. (Intermediate Jazz Ke...(+)
Complete Jazz Keyboard
Method: Intermediate Jazz
Keyboard. (Intermediate
Jazz Keyboard). For
keyboard. Keyboard/Piano;
Method/Instruction.
National Keyboard
Workshop Book - Approved
Curriculum.
Instructional, Method,
Jazz and Play Along.
Intermediate.
Instructional book and
examples/accompaniment
CD. Leadsheet notation,
instructional text and
standard notation. 96
pages. Published by
Alfred Music Publishing
$25.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| America's All-Time Favorite Piano Pieces Piano seul [Partition] - Intermédiaire Music Sales
Edited by Amy Appleby. For Piano Solo. America's All-Time Favorite. Romantic. Le...(+)
Edited by Amy Appleby.
For Piano Solo. America's
All-Time Favorite.
Romantic. Level:
Intermediate. Sheet
Music. 320 pages.
Published by Music Sales
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| British Classics Arranged For Intermediate Piano Solo Piano seul - Intermédiaire Chester
By Stephen Duro (Arranger). For Piano. Classical. Sheet Music. 56 pages. Publish...(+)
By Stephen Duro
(Arranger). For Piano.
Classical. Sheet Music.
56 pages. Published by
Chester Music.
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Claude Debussy : Clair de Lune Piano seul - Intermédiaire Santorella Publications
Clair De Lune * Masterpiece Edition composed by Claude Debussy (1862-1918). For ...(+)
Clair De Lune *
Masterpiece Edition
composed by Claude
Debussy (1862-1918). For
piano solo. Solo.
Masterpiece Edition
series. Classical.
Intermediate. Sheet
Music. Text Language:
English. 4 pages.
Published by Santorella
Publications
$3.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Claude Debussy La Fille Aux Cheveux De Lin (the Girl with the Flaxen Hair) Piano seul [Feuillet] - Intermédiaire/avancé Alfred Publishing
By Claude Debussy. For Piano. Piano Solo. Belwin Classic Library. Masterwork. Le...(+)
By Claude Debussy. For
Piano. Piano Solo. Belwin
Classic Library.
Masterwork. Level: Early
Advanced. Sheet. 8 pages.
Published by Alfred
Publishing.
(1)$3.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rolling Stone! Easy Piano Sheet Music Classics, Volume 2
Piano seul [Partition] - Facile Alfred Publishing
34 Selections from the 500 Greatest Songs of All Time. Arranged by Dan Coates. F...(+)
34 Selections from the
500 Greatest Songs of All
Time. Arranged by Dan
Coates. For Piano. Piano
- Easy Piano Collection.
Rolling Stone! Easy Piano
Sheet Music Classics.
Pop/Rock. Level: Easy
Piano. Book. 148 pages.
Published by Alfred
Publishing.
(1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lieder im Jahreslauf Piano seul Holzschuh Musikverlag
Piano SKU: M7.VHR-3565 Für Klavier, leicht bis mittelschwer. Co...(+)
Piano SKU:
M7.VHR-3565 Für
Klavier, leicht bis
mittelschwer.
Composed by Anne
Terzibaschitsch. Sheet
music. 104 pages.
Holzschuh Musikverlag
#VHR 3565. Published by
Holzschuh Musikverlag
(M7.VHR-3565). ISBN
9783864340864. Der
vorliegende Band ist eine
Sammlung von über 100
Liedern durch das ganze
Jahr. Alle Lieder, ob zu
Tages- und Jahreszeiten,
zum Geburtstag oder zu
den großen Festen im
Jahreslauf wie Ostern,
Pfingsten und
Weihnachten, sind mit
Texten unterlegt.
Natürlich dürfen
auch Laternenlieder und
Tanzlieder nicht fehlen.
Für den Klaviersatz
wurden Tonarten
bevorzugt, die ein
Mitsingen ermöglichen.
Der Schwierigkeitsgrad
bewegt sich zwischen
leicht und mittelschwer.
Die Anordnung innerhalb
der Kapitel ist
progressiv. So findet
sowohl der Anfänger
als auch der etwas
fortgeschrittene Spieler
das passende
Stück. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Heumann Hg Klaviersp-mein Hobby / Oper Piano seul - Facile Schott
Piano (KL) - easy to intermediate SKU: HL.49032876 A piece of Mozart b...(+)
Piano (KL) - easy to
intermediate SKU:
HL.49032876 A
piece of Mozart by Cole
Porter. Composed by
G.D. Heumann. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott. 80 pages.
Schott Music #ED 8980.
Published by Schott Music
(HL.49032876). ISBN
9783795754464.
9.0x12.0x0.257
inches. Dieser Band
enthalt die beliebtesten
Stucke von Mozart bis
Lehar und Cole Porter in
interessanten, leicht
spielbaren Arrangements
und bereitet sowohl dem
Spieler als auch dem
Zuhorer entspannende und
genussvolle Stunden. Er
ist eine ideale Erganzung
zur Klavierschule
Klavierspielen - mein
schonstes Hobby (ED 8246
+ ED 9399) und empfiehlt
sich auch als Erganzung
zu jeder anderen
Klavierschule. Auch fur
Wiedereinsteiger am
Klavier bestens
geeignet. $24.99 - Voir plus => Acheter | | |
| Piano Pieces For Young Children Piano seul [Partition] - Débutant Amsco Wise Publications
By Amy Appleby. For Piano. Classical, Folk, Children's. Sheet Music. 146 pages. ...(+)
By Amy Appleby. For
Piano. Classical, Folk,
Children's. Sheet Music.
146 pages. Published by
Wise Publications.
$17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| L'envie d'aimer Piano seul - Intermédiaire/avancé EBR Editions Bourges
Performed by Les Dix Commandements. By Pascal Obispo / Lionel Florence Patrice G...(+)
Performed by Les Dix
Commandements. By Pascal
Obispo / Lionel Florence
Patrice Guirao. Arranged
by Patrice Bourges. For
piano with lyrics. This
edition: Editions Bourges
R. Crock Music. French
Chanson. Level: 9. Sheet
music. Size 8.19 x
11.583. 3 pages.
Published by Editions
Bourges (French import).
(1)$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Savoir aimer Piano seul - Intermédiaire EBR Editions Bourges
Performed by Florent Pagny. By Pascal Obispo / Lionel Florence. Arranged by Patr...(+)
Performed by Florent
Pagny. By Pascal Obispo /
Lionel Florence. Arranged
by Patrice Bourges. For
piano with lyrics. This
edition: Editions Bourges
R. Crock Music. French
Chanson. Level: 7. Sheet
music. Size 8.19 x
11.583. 3 pages.
Published by Editions
Bourges (French import).
$8.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Lucie (Pascal Obispo) Piano seul - Intermédiaire/avancé EBR Editions Bourges
Performed by Pascal Obispo. By Pascal Obispo / Lionel Florence. Arranged by Patr...(+)
Performed by Pascal
Obispo. By Pascal Obispo
/ Lionel Florence.
Arranged by Patrice
Bourges. For piano with
lyrics. This edition:
Editions Bourges R. Crock
Music. French Chanson.
Level: 9. Sheet music.
Size 8.19 x 11.583. 3
pages. Published by
Editions Bourges (French
import).
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Et un jour une femme Piano seul - Intermédiaire EBR Editions Bourges
Performed by Florent Pagny. By Pascal Obispo / Lionel Florence. Arranged by Patr...(+)
Performed by Florent
Pagny. By Pascal Obispo /
Lionel Florence. Arranged
by Patrice Bourges. For
piano with lyrics. This
edition: Editions Bourges
R. Crock Music. French
Chanson. Level: 7. Sheet
music. Size 8.19 x
11.583. 3 pages.
Published by Editions
Bourges (French import).
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Personne (Pascal Obispo) Piano seul - Intermédiaire/avancé EBR Editions Bourges
Performed by Pascal Obispo. By Pascal Obispo / Lionel Florence. Arranged by Patr...(+)
Performed by Pascal
Obispo. By Pascal Obispo
/ Lionel Florence.
Arranged by Patrice
Bourges. For piano with
lyrics. This edition:
Editions Bourges R. Crock
Music. French Chanson.
Level: 9. Sheet music.
Size 8.19 x 11.583. 4
pages. Published by
Editions Bourges (French
import).
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Chanter Piano seul - Intermédiaire/avancé EBR Editions Bourges
Performed by Florent Pagny. By Pascal Obispo / Lionel Florence. Arranged by Patr...(+)
Performed by Florent
Pagny. By Pascal Obispo /
Lionel Florence. Arranged
by Patrice Bourges. For
piano with lyrics. This
edition: Editions Bourges
R. Crock Music. French
Chanson. Level: 9. Sheet
music. Size 8.19 x
11.583. 4 pages.
Published by Editions
Bourges (French import).
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Solos for the Bassoon Player Basson [Partition + Accès audio] Music Minus One
Book/Online Audio Bassoon SKU: HL.400103 Music Minus One Bassoon. ...(+)
Book/Online Audio Bassoon
SKU: HL.400103
Music Minus One
Bassoon. Composed by
Various. Sheet music.
Music Minus One.
Classical, Contest.
Softcover Audio Online.
24 pages. Music Minus One
#MMO4601. Published by
Music Minus One
(HL.400103). ISBN
9781596156463. UPC:
884088161101.
9.0x12.0x0.098
inches. Performed
by Janet Grice, bassoon
Accompaniment: Harriet
Wingreen, piano This
collection of classic
pieces, scored for solo
bassoon with piano
accompaniment, covers a
huge span of time and
musical styles, from Bach
(Bourrée I and II) to
Dukas's Sorcerer's
Apprentice. Includes
selections from Carmen,
L'Elisir d'amore,
Pictures at an
Exhibition, and many,
many more! Includes the
printed solo part and
audio recordings of
complete performances
presented in
split-channel format,
with the piano
accompaniment on the left
channel and bassoon
soloist on the right
channel. This affords the
player the ability to
easily dial in or out the
reference solo part. The
audio is accessed online
using the unique code
inside each book and can
be streamed or
downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right. (3)$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jesus bleibet meine Freude / Werde munter, mein Gemut, BWV 147 Piano seul - Facile Schott
Piano - easy to intermediate SKU: HL.49009257 Zusatzvariationen zu: We...(+)
Piano - easy to
intermediate SKU:
HL.49009257
Zusatzvariationen zu:
Werde munter.
Composed by Johann
Pachelbel and Johann
Sebastian Bach. Edited by
Franzpeter Goebels.
Arranged by Franzpeter
Goebels. This edition:
Saddle stitching. Sheet
music. Einzelausgaben
(Single Sheets).
Classical. 14 pages.
Schott Music #ED09750.
Published by Schott Music
(HL.49009257). ISBN
9790001092586. UPC:
073999194173.
9.0x12.0x0.058
inches. J.S. Bach:
Jesus bleibet meine
Freude (aus der Kantate
Herz und Mund und Tat und
Leben (BWV 147)). J.
Pachelbel: Werde munter
mein Gemute. Choral mit
Variationen (aus:
Musikalische
Sterbensgedanken, Erfurt
1683). F. Goebels:
Zusatzvariationen zu
Pachelbel Werde munter,
mein Gemuthe.. $7.99 - Voir plus => Acheter | | |
| Letsch Play Mouth Organ +cd - Débutant Schott
French harp (NOTEN+CD) - very easy to easy SKU: HL.49033045 Die Schule...(+)
French harp (NOTEN+CD) -
very easy to easy SKU:
HL.49033045 Die
Schule fur diatonische
Mundharmonika (Blues
Harp) fur Jugendliche und
Erwachsene. Composed
by Glenn Letsch. This
edition: Paperback/Soft
Cover. Sheet music with
CD. Edition Schott.
'Mundharmonika spielen -
mein schonstes Hobby' is
a modern harmonica method
for young people and
adults which never makes
them lose the fun and joy
of learning. No matter
whether with or without
teacher, this method
provides the beginner
with a solid foun.
Edition with CD. 80
pages. Schott Music #ED
9367. Published by Schott
Music (HL.49033045).
ISBN 9783795755560.
German. The
harmonica is a small
fantastic instrument
which can be learnt to
play without any previous
knowledge. Unlike with
the keyboard or guitar,
however, with the
harmonica one cannot see
'how to do it'. This is
why the best tips and
tricks have been compiled
in this book,
guaranteeing a smooth
start. All playing
techniques are explained
in a clear and
comprehensible way.
Graphic illustrations and
easy exercises make it
easy to learn to play the
harmonica. In addition,
the book not only
contains a large
selection of great
musical pieces, but also
describes in a
comprehensive and
accurate way how to
generate all semitones of
the 'harp', thus
providing even advanced
players with new
material.'Mundharmonika
spielen - mein schonstes
Hobby' is a modern
harmonica method for
young people and adults
which never makes them
lose the fun and joy of
learning. No matter
whether with or without
teacher, this method
provides the beginner
with a solid foundation
for playing the
harmonica. The clear
layout with info boxes
and tests makes it easy
for the players to find
their way around and
learn to play this
instrument. In addition,
all pieces have been
recorded on the CD so
that it is possible to
listen to them
repeatedly, thus having a
perfect acoustic learning
aid. As regards the
instrument, it is
advisable to use a
Richter-tuned diatonic
harmonica in C with 10
holes (harp). $28.99 - Voir plus => Acheter | | |
| Alfred's Sheet Solos Value Pack Piano seul Alfred Publishing
Method/Instruction; Promotional Packet. Other. Alfred Music #00-105413. Publishe...(+)
Method/Instruction;
Promotional Packet.
Other. Alfred Music
#00-105413. Published by
Alfred Music
$15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Juchem Play Sax-my Hobby Alto - Débutant Schott
Alto saxophone (SCHULE+CD) - very easy to easy SKU: HL.49033323 Die mo...(+)
Alto saxophone
(SCHULE+CD) - very easy
to easy SKU:
HL.49033323 Die
moderne Schule fur
Jugendliche und
Erwachsene. Composed
by Juchem. This edition:
Ring/Spiral binding.
Sheet music with CD.
Edition Schott. Edition
with CD. 130 pages.
Schott Music #ED 9832.
Published by Schott Music
(HL.49033323). ISBN
9783795757311.
9.0x12.0x0.675 inches.
German. This
saxophone method is
suitable for lessons and
self-study and is aimed
at young people and
adults who want to learn
to play the saxophone
with fun and success.
This is why this
established method
focuses on well-known
songs - long-winded
explanations and dry
exercises are avoided.
All subject matters have
been wrapped up in
attractive songs and
pieces which sound like
real music right from the
beginning thanks to the
live recorded playback
tracks. Thus, exercising
is fun. Another
successful instrumental
method in the well-known
'Hobby' series. Dirko
Juchem has made a name
for himself as a
saxophonist, saxophone
teacher and specialist
author on both a national
and international level
for many years.His
saxophone sound and wide
range of styles are well
in demand: He has played
with well-known German
and international artists
such as Rolf Zuckowski,
Barbara Dennerlein,
Thomas Anders, Anne
Haigis, Harald Juhnke, Pe
Werner, Sara K. as well
as with musicians of
Jethro Tull, Jazz-Kantine
or the Mike Oldfield
Band. Apart from numerous
concerts and productions
with other artists and
bands, he performs again
and again with his own
programmes - solo, as a
duo or with an entire
band. Up to now, he has
performed in more than
100 CD and LP
productions, and his
tours have taken him as
far as Los Angeles and
Taiwan.Having taught at
various music schools as
a saxophone teacher and
held lectures at the
Bundesakademie Remscheid
as a guest lecturer, he
knows the problems of
saxophonists from
first-hand experience.In
addition, Dirko Juchem is
the author of numerous
textbooks and tune books
for the saxophone as well
as a specialist author of
articles for musicians'
journals ('Sonic', 'Sound
Check', 'Fachblatt
Musikmagazin'). $34.00 - Voir plus => Acheter | | |
| Prendre un enfant par la main Piano seul - Intermédiaire EBR Editions Bourges
Performed by Yves Duteil. By Yves Duteil. Arranged by Patrice Bourges. For piano...(+)
Performed by Yves Duteil.
By Yves Duteil. Arranged
by Patrice Bourges. For
piano with lyrics. This
edition: Editions Bourges
R. Crock Music. French
Chanson. Level: 7. Sheet
music. Size 8.19 x
11.583. 3 pages.
Published by Editions
Bourges (French import).
(ebr-106)
(1)$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Il me dit que je suis belle Piano seul - Intermédiaire EBR Editions Bourges
Performed by Patricia Kaas. By Sam Brewski. Arranged by Armelle Cocheril. For pi...(+)
Performed by Patricia
Kaas. By Sam Brewski.
Arranged by Armelle
Cocheril. For piano with
lyrics. This edition:
Editions Bourges R. Crock
Music. French Chanson.
Level: 8. Sheet music.
Size 8.19 x 11.583. 3
pages. Published by
Editions Bourges (French
import). (ebr-086)
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Et un jour une femme Piano seul - Intermédiaire EBR Editions Bourges
By Pascal Obispo / Lionel Florence. Arranged by Patrice Bourges. For Piano. This...(+)
By Pascal Obispo / Lionel
Florence. Arranged by
Patrice Bourges. For
Piano. This edition:
piano arrangement.
CrocK'MusiC. Level: 7.
Size 8.19 x 11.583. 2.5
pages. Published by
Editions Bourges.
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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