| Doble Concert de la Porta Ferrada Editorial de Musica Boileau
Violin, cello and set of chamber instruments SKU: BO.B.3338 Composed by X...(+)
Violin, cello and set of
chamber instruments
SKU: BO.B.3338
Composed by Xavier
Benguerel. Instrumental
Sets. Duration 15:00.
Published by Editorial de
Musica Boileau
(BO.B.3338).
English
comments: I finished
writing the Porta Ferrada
Double Concerto at the
beginning of 2004. I was
commissioned to write it
for the Porta Ferrada
International Music
Festival (in Sant Feliu
de Guixols).This double
concerto for violin,
cello and chamber
ensemble represents the
start of a period in
which the pieces that I
am working on are all for
small ensembles:
Davallament, for soprano
and piano; Quinteto de la
sala de Levante, for
clarinet and string
quartet; Palau d'hivern,
for soprano, clarinet and
string quartet; and
Concertino Geminis for
solo violin and 15 string
instruments.Having
written large-scale
works, I have now gone
back to writing chamber
music. We can see how,
throughout my career, the
sinfonia concertante form
is omnipresent in almost
all my earlier periods. I
still haven't found a
satisfactory answer to
why I choose a dialogue
between a soloist and an
instrumental group so
often. I would perhaps
say that with a solo
instrument it seems as if
my music has to flow more
effortlessly, allowing me
to work more easily.
Having a main character
in the piece's discourse
greatly helps me to
develop the idea I have
about the piece I want to
write. In this case
there are two string
soloists, the violin and
the cello, which of
course play a major part,
but without this becoming
a virtuosic. As for its
form, the piece is based
on three parts that meet
without interruption.It
was first performed on 10
August 2005 at the Teatre
Auditori Municipal in
Sant Feliu de Guixols as
part of the 43rd edition
of the Porta Ferrada
International Festival,
by the Porta Ferrada
Simfonietta orchestra and
the soloists Melodie Giot
and Manon Philippe,
conducted by Daniel
Tosi. Comentarios
del Espanol: Acabe de
escribir el Doble
Concierto de la Porta
Ferrada a principios del
ano 2004. Nace como un
encargo del Festival
Internacional de Musica
de la Porta Ferrada (Sant
Feliu de Guixols).Este
doble concierto, para
violin, violonchelo y un
conjunto de camara, abre
un periodo en el que las
obras que trabajo son
todas para pequenos
conjuntos: Davallament,
para soprano y piano;
Quinteto de la sala de
Levante, para clarinete y
cuarteto de cuerda; Palau
d'hivern, para soprano,
clarinete y cuarteto de
cuerda; Concertino
Geminis para violin
solista y 15 instrumentos
de cuerda.Despues de
haber escrito obras de
gran formato, ahora
vuelvo a la musica de
camara. Podemos ver
como la forma
concertante, a lo largo
de toda mi produccion, es
omnipresente en casi
todas las epocas
precedentes. No he
encontrado una respuesta
satisfactoria al porque
de elegir tan a menudo el
dialogo entre un solista
y un grupo instrumental.
Como aproximacion, diria
que con un instrumento
solista parece ser que mi
musica tenga que fluir
mas facilmente y que
pueda trabajar con mas
comodidad. El hecho de
tener un personaje
principal en el discurso
de la partitura me ayuda
mucho a desarrollar la
idea que tengo sobre la
obra que quiero
escribir. En este caso
se trata de dos solistas
de cuerda, el violin y el
violonchelo, que, como es
natural, toman un papel
primordial sin que, sin
embargo, lleguen a
alcanzar una parte
virtuosistica. La obra,
formalmente, se basa en
tres partes que se tocan
sin
interrupcion. El
estreno tuvo lugar el 10
de agosto de 2005 en el
Teatre Auditori Municipal
de Sant Feliu de Guixols,
en el marco del 43
Festival Internacional de
la Porta Ferrada, por la
orquesta Simfonietta
Porta Ferrada y las
solistas Melodie Giot y
Manon Philippe, bajo la
direccion de Daniel
Tosi. $42.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 6 Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hein Muck Aus Bremerhaven -fur Salonorchester- Hal Leonard
SKU: HL.50498327 Special Import. Hal Leonard #SIK6/4975. Published by Hal...(+)
SKU: HL.50498327
Special Import. Hal
Leonard #SIK6/4975.
Published by Hal Leonard
(HL.50498327).
$17.00 - Voir plus => Acheter | | |
| Well Done Chorale SATB PraiseSong
By The Afters. By Josh Havens, Matt Fuqua, and Jason Ingram. Arranged by Josep...(+)
By The Afters. By Josh
Havens, Matt Fuqua, and
Jason
Ingram. Arranged by
Joseph M.
Martin. PraiseSong
Choral.
General Worship,
Memorial,
Sacred. Octavo. 16 pages.
Published by PraiseSong
$2.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Starter Solos Violoncelle, Piano [Partition + CD] - Facile Anglo Music
Cello and Piano - easy SKU: BT.AMP-347-400 20 Progressive Pieces with ...(+)
Cello and Piano - easy
SKU:
BT.AMP-347-400 20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Starter Solos.
Tuition. Book with CD.
Composed 2013. 32 pages.
Anglo Music Press #AMP
347-400. Published by
Anglo Music Press
(BT.AMP-347-400). ISBN
9789043138659. 9x12
inches.
English-German-French-Dut
ch. Philip
Sparke’s
Starter Solos is
the first volume of a
progressive series of
books that takes the
young wind player from
beginner to accomplished
musician. Specifically
tailored for each
instrument, this
collection of 20 solos
starts with pieces based
on only a handful of
notes and carefully
introduces new musical
elements, such as
articulation, dynamics
and key signatures, in a
structured progression to
speed the learning
process. The books
provide invaluable
additional material to
complement any teaching
method.Starter
Solos comes with a
play-along CD. The
advantages of playing
either with piano or CD
accompaniment are that
the beginning player can
nowexperience the
important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always a factor when
playing alone.
Philip
Sparke’s
Starter Solos is
het eerste deel van een
serie boeken met muziek
voor jonge blazers. Deze
bundel van twintig
solo’s begint met
stukken die op een
handvol noten zijn
gebaseerd. Nieuwe
muzikale elementen
(articulatie,
dynamiek,enz.) worden op
een doordachte,
gestructureerde manier
toegevoegd. Dit
studiemateriaal vult elke
leermethode aan en is
steeds toegesneden op het
betreffende
instrument.Uitgave met
cd: De voordelen van het
spelen met begeleiding -
hetzij op de piano,hetzij
op de cd - zijn dat de
beginnende speler de
belangrijke aspecten van
het ensemblespel kan
ervaren vanaf de eerste
lessen en essentiële
vaardigheden kan
aanleren: het luisteren
tijdens het spelen en het
handhaven van een strak
tempo. Bij hetalleen
spelen komen deze
factoren minder aan de
orde.
Das frühe
Lernstadium ist, neben
einem guten Lehrer im
Unterricht, für jedes
Instrument zweifellos das
Wichtigste. Von großer
Bedeutung ist aber auch
motivierendes
Lehrmaterial. Für
diese zwei Solobücher
beriet sich Philip Sparke
mit vielen Lehrern, wie
man am besten neue Noten
einführt und zugleich
einen Rahmen schafft, in
den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesenSoli und Etüden
in drei verschiedenen
Schwierigkeitsstufen
können
Instrumentalschüler
schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse und
Anforderungen des
einzelnen Instrumentes
zugeschnitten.
STARTER SOLOS und
SKILFUL SOLOS können
dank der im Buch und auf
der CD enthaltenen
Begleitungen auch gut
alleine oder mit einem
Pianisten einstudiert und
aufgeführt werden. Der
Vorteil dabei ist, dass
Anfänger so nicht nur
die wichtigsten Aspekte
desEnsemblespiels
erfahren sondern auch von
Anfang an die
Fähigkeit entwickeln,
zu hören während
sie spielen und das Tempo
zu halten. Inhalt:
Follow me •Best
Foot Forward •Folk
Song •My Homeland
•Missing You
•Russian Winter
•On a Carousel
•Rush Hou •A
Dynamic Start
•Short but Sweet
•Ballad
•London Bridge
•Summer Breezes
•Modal Melody
•Toon Tune
•In a Balloon
•Yankee Doodle
•SadSong
•Count Me In
•Ragtime
March Start
er Solos est un
recueil motivant offrant
une présentation
structurée des
techniques de jeu et
d’apprentissage.
Les solos composés par
Philip Sparke constituent
les premiers pas
plaisants de votre
entrée dans le
formidable monde de la
musique ! Sur le compact
disc inclus, vous
trouverez une version
intégrale de chaque
pièce ainsi
qu’une version
où ne subsiste que
l’accompagnement ;
la version papier des
accompagnements de piano
est jointe au
recueil. Accanto
ad un buon insegnante, il
materiale da studio
valido è senza dubbio
la cosa più importante
al fine di un buon
apprendimento. E’
quindi importante mettere
a disposizione
dell’allievo
materiale motivante.
Nello scrivere questi
soli, PhilipSparke si
è consultato a più
riprese con insegnanti ed
allievi per mettere a
punto brani che
consentono anche ai
più inesperti di
suonare in modo
soddisfacente. Gli
accompagnamenti al piano
sono inclusi nel CD. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Starter Solos Violon et Piano [Partition + CD] - Facile Anglo Music
Violin and Piano - easy SKU: BT.AMP-345-400 20 Progressive Pieces with...(+)
Violin and Piano - easy
SKU:
BT.AMP-345-400 20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Starter Solos.
Tuition. Book with CD.
Composed 2013. 32 pages.
Anglo Music Press #AMP
345-400. Published by
Anglo Music Press
(BT.AMP-345-400). ISBN
9789043138635. 9x12
inches.
English-German-French-Dut
ch. Philip
Sparke’s
Starter Solos is
the first volume of a
progressive series of
books that takes the
young wind player from
beginner to accomplished
musician. Specifically
tailored for each
instrument, this
collection of 20 solos
starts with pieces based
on only a handful of
notes and carefully
introduces new musical
elements, such as
articulation, dynamics
and key signatures, in a
structured progression to
speed the learning
process. The books
provide invaluable
additional material to
complement any teaching
method.Starter
Solos comes with a
play-along CD. The
advantages of playing
either with piano or CD
accompaniment are that
the beginning player can
nowexperience the
important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always a factor when
playing alone.
Philip
Sparke’s
Starter Solos is
het eerste deel van een
serie boeken met muziek
voor jonge blazers. Deze
bundel van twintig
solo’s begint met
stukken die op een
handvol noten zijn
gebaseerd. Nieuwe
muzikale elementen
(articulatie,
dynamiek,enz.) worden op
een doordachte,
gestructureerde manier
toegevoegd. Dit
studiemateriaal vult elke
leermethode aan en is
steeds toegesneden op het
betreffende
instrument.Uitgave met
cd: De voordelen van het
spelen met begeleiding -
hetzij op de piano,hetzij
op de cd - zijn dat de
beginnende speler de
belangrijke aspecten van
het ensemblespel kan
ervaren vanaf de eerste
lessen en essentiële
vaardigheden kan
aanleren: het luisteren
tijdens het spelen en het
handhaven van een strak
tempo. Bij hetalleen
spelen komen deze
factoren minder aan de
orde.
Das frühe
Lernstadium ist, neben
einem guten Lehrer im
Unterricht, für jedes
Instrument zweifellos das
Wichtigste. Von großer
Bedeutung ist aber auch
motivierendes
Lehrmaterial. Für
diese zwei Solobücher
beriet sich Philip Sparke
mit vielen Lehrern, wie
man am besten neue Noten
einführt und zugleich
einen Rahmen schafft, in
den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesenSoli und Etüden
in drei verschiedenen
Schwierigkeitsstufen
können
Instrumentalschüler
schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse und
Anforderungen des
einzelnen Instrumentes
zugeschnitten.
STARTER SOLOS und
SKILFUL SOLOS können
dank der im Buch und auf
der CD enthaltenen
Begleitungen auch gut
alleine oder mit einem
Pianisten einstudiert und
aufgeführt werden. Der
Vorteil dabei ist, dass
Anfänger so nicht nur
die wichtigsten Aspekte
desEnsemblespiels
erfahren sondern auch von
Anfang an die
Fähigkeit entwickeln,
zu hören während
sie spielen und das Tempo
zu halten. Inhalt:
Follow me •Best
Foot Forward •Folk
Song •My Homeland
•Missing You
•Russian Winter
•On a Carousel
•Rush Hou •A
Dynamic Start
•Short but Sweet
•Ballad
•London Bridge
•Summer Breezes
•Modal Melody
•Toon Tune
•In a Balloon
•Yankee Doodle
•SadSong
•Count Me In
•Ragtime
March Start
er Solos est un
recueil motivant offrant
une présentation
structurée des
techniques de jeu et
d’apprentissage.
Les solos composés par
Philip Sparke constituent
les premiers pas
plaisants de votre
entrée dans le
formidable monde de la
musique ! Sur le compact
disc inclus, vous
trouverez une version
intégrale de chaque
pièce ainsi
qu’une version
où ne subsiste que
l’accompagnement ;
la version papier des
accompagnements de piano
est jointe au
recueil. Accanto
ad un buon insegnante, il
materiale da studio
valido è senza dubbio
la cosa più importante
al fine di un buon
apprendimento. E’
quindi importante mettere
a disposizione
dell’allievo
materiale motivante.
Nello scrivere questi
soli, PhilipSparke si
è consultato a più
riprese con insegnanti ed
allievi per mettere a
punto brani che
consentono anche ai
più inesperti di
suonare in modo
soddisfacente. Gli
accompagnamenti al piano
sono inclusi nel CD. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Starter Solos Alto, Piano [Partition + CD] - Facile Anglo Music
Viola and Piano - easy SKU: BT.AMP-346-400 20 Progressive Pieces with ...(+)
Viola and Piano - easy
SKU:
BT.AMP-346-400 20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Starter Solos.
Tuition. Book with CD.
Composed 2013. 32 pages.
Anglo Music Press #AMP
346-400. Published by
Anglo Music Press
(BT.AMP-346-400). ISBN
9789043138642. 9x12
inches.
English-German-French-Dut
ch. Philip
Sparke’s
Starter Solos is
the first volume of a
progressive series of
books that takes the
young wind player from
beginner to accomplished
musician. Specifically
tailored for each
instrument, this
collection of 20 solos
starts with pieces based
on only a handful of
notes and carefully
introduces new musical
elements, such as
articulation, dynamics
and key signatures, in a
structured progression to
speed the learning
process. The books
provide invaluable
additional material to
complement any teaching
method.Starter
Solos comes with a
play-along CD. The
advantages of playing
either with piano or CD
accompaniment are that
the beginning player can
nowexperience the
important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always a factor when
playing alone.
Philip
Sparke’s
Starter Solos is
het eerste deel van een
serie boeken met muziek
voor jonge blazers. Deze
bundel van twintig
solo’s begint met
stukken die op een
handvol noten zijn
gebaseerd. Nieuwe
muzikale elementen
(articulatie,
dynamiek,enz.) worden op
een doordachte,
gestructureerde manier
toegevoegd. Dit
studiemateriaal vult elke
leermethode aan en is
steeds toegesneden op het
betreffende
instrument.Uitgave met
cd: De voordelen van het
spelen met begeleiding -
hetzij op de piano,hetzij
op de cd - zijn dat de
beginnende speler de
belangrijke aspecten van
het ensemblespel kan
ervaren vanaf de eerste
lessen en essentiële
vaardigheden kan
aanleren: het luisteren
tijdens het spelen en het
handhaven van een strak
tempo. Bij hetalleen
spelen komen deze
factoren minder aan de
orde.
Das frühe
Lernstadium ist, neben
einem guten Lehrer im
Unterricht, für jedes
Instrument zweifellos das
Wichtigste. Von großer
Bedeutung ist aber auch
motivierendes
Lehrmaterial. Für
diese zwei Solobücher
beriet sich Philip Sparke
mit vielen Lehrern, wie
man am besten neue Noten
einführt und zugleich
einen Rahmen schafft, in
den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesenSoli und Etüden
in drei verschiedenen
Schwierigkeitsstufen
können
Instrumentalschüler
schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse und
Anforderungen des
einzelnen Instrumentes
zugeschnitten.
STARTER SOLOS und
SKILFUL SOLOS können
dank der im Buch und auf
der CD enthaltenen
Begleitungen auch gut
alleine oder mit einem
Pianisten einstudiert und
aufgeführt werden. Der
Vorteil dabei ist, dass
Anfänger so nicht nur
die wichtigsten Aspekte
desEnsemblespiels
erfahren sondern auch von
Anfang an die
Fähigkeit entwickeln,
zu hören während
sie spielen und das Tempo
zu halten. Inhalt:
Follow me •Best
Foot Forward •Folk
Song •My Homeland
•Missing You
•Russian Winter
•On a Carousel
•Rush Hou •A
Dynamic Start
•Short but Sweet
•Ballad
•London Bridge
•Summer Breezes
•Modal Melody
•Toon Tune
•In a Balloon
•Yankee Doodle
•SadSong
•Count Me In
•Ragtime
March Start
er Solos est un
recueil motivant offrant
une présentation
structurée des
techniques de jeu et
d’apprentissage.
Les solos composés par
Philip Sparke constituent
les premiers pas
plaisants de votre
entrée dans le
formidable monde de la
musique ! Sur le compact
disc inclus, vous
trouverez une version
intégrale de chaque
pièce ainsi
qu’une version
où ne subsiste que
l’accompagnement ;
la version papier des
accompagnements de piano
est jointe au
recueil. Accanto
ad un buon insegnante, il
materiale da studio
valido è senza dubbio
la cosa più importante
al fine di un buon
apprendimento. E’
quindi importante mettere
a disposizione
dell’allievo
materiale motivante.
Nello scrivere questi
soli, PhilipSparke si
è consultato a più
riprese con insegnanti ed
allievi per mettere a
punto brani che
consentono anche ai
più inesperti di
suonare in modo
soddisfacente. Gli
accompagnamenti al piano
sono inclusi nel CD. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Starter Solos Hautbois, Piano (duo) [Partition + Accès audio] - Facile Anglo Music
Oboe and Piano - easy SKU: BT.AMP-355-404 20 Progressive Pieces with P...(+)
Oboe and Piano - easy
SKU:
BT.AMP-355-404 20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Starter Solos.
Tuition. Book with Online
Audio. Composed 2021. 32
pages. Anglo Music Press
#AMP 355-404. Published
by Anglo Music Press
(BT.AMP-355-404). ISBN
9789043138789. 9x12
inches.
English-German-French-Dut
ch. Philip
Sparke’s
Starter Solos is
the first volume of a
progressive series of
books that takes the
young wind player from
beginner to accomplished
musician. Specifically
tailored for each
instrument, this
collection of 20solos
starts with pieces based
on only a handful of
notes and carefully
introduces new musical
elements, such as
articulation, dynamics
and key signatures, in a
structured progression to
speed the learning
process. The booksprovide
invaluable additional
material to complement
any teaching method.
Starter Solos
comes with an online
audio access. The
advantages of playing
either with piano or
audio accompaniment are
that the beginning
playercan now experience
the important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always a factor when
playingalone.
Philip
Sparke’s
Starter Solos is
het eerste deel van een
serie boeken met muziek
voor jonge blazers. Deze
bundel van twintig
solo’s
begint met stukken die op
een handvol noten zijn
gebaseerd. Nieuwe
muzikale
elementen(articulatie,
dynamiek, enz.) worden op
een doordachte,
gestructureerde manier
toegevoegd. Dit
studiemateriaal vult elke
leermethode aan en is
steeds toegesneden op het
betreffende instrument.
Uitgave met online
audio: Devoordelen van
het spelen met
begeleiding - hetzij met
een pianist, hetzij met
de opname - zijn dat de
beginnende speler de
belangrijke aspecten van
het ensemblespel kan
ervaren vanaf de eerste
lessen en
essentiële
vaardigheden kanaanleren:
het luisteren tijdens het
spelen en het handhaven
van een strak tempo. Bij
het alleen spelen komen
deze factoren minder aan
de orde.
Das
frühe Lernstadium
ist, neben einem guten
Lehrer im Unterricht,
für jedes
Instrument zweifellos das
Wichtigste. Von
großer Bedeutung
ist aber auch
motivierendes
Lehrmaterial. FÃÂÂ
¼r diese Ausgabe beriet
sich Philip Sparke
mitvielen Lehrern, wie
man am besten neue Noten
einführt und
zugleich einen Rahmen
schafft, in den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesen Soli und
Etüden in
dreiverschiedenen
Schwierigkeitsstufen
können
Instrumentalschüle
r schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse
und Anforderungen des
einzelnen Instrumentes
zugeschnitten. Die
Stücke in
dieserAusgabe
können dank der im
Buch in Notenform
enthaltenen und online
als Audiotracks
zugänglichen
Begleitungen auch gut
alleine oder mit einem
Pianisten einstudiert und
aufgeführt werden.
Der Vorteil dabei ist,
dass Anfänger
sonicht nur die
wichtigsten Aspekte des
Ensemblespiels erfahren,
sondern auch von Anfang
an die Fähigkeit
entwickeln,
während des
Spielens zugleich
zuzuhören und das
Tempo zu
halten.
Starter
Solos est un recueil
motivant offrant une
présentation
structurée des
techniques de jeu et
d’apprenti
ssage. Les solos
composés par
Philip Sparke constituent
les premiers pas
plaisants de votre
entrée dans
leformidable monde de la
musique ! Les
enregistrements sont
disponibles en ligne au
format MP3 : vous
trouverez une version
intégrale de
chaque pièce ainsi
qu’une
version où ne
subsiste que
l’accompag
nement. La versionpapier
des accompagnements de
piano est jointe au
recueil.
Accanto
ad un buon insegnante, il
materiale da studio
valido è senza
dubbio la cosa più
importante al fine di un
buon apprendimento.
E’ quindi
importante mettere a
disposizione
dell’allie
vo materiale motivante.
Nello scriverequesti
soli, Philip Sparke si
è consultato a
più riprese con
insegnanti ed allievi per
mettere a punto brani che
consentono anche ai
più inesperti di
suonare in modo
soddisfacente. Gli
accompagnamenti al piano
sono accessibilionline
come file MP3. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Starter Solos Saxophone Tenor et Piano [Partition + CD] - Facile Anglo Music
Tenor Saxophone and Piano - easy SKU: BT.AMP-367-400 20 Progressive Pi...(+)
Tenor Saxophone and Piano
- easy SKU:
BT.AMP-367-400 20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Starter Solos.
Tuition. Book with CD.
Composed 2013. 32 pages.
Anglo Music Press #AMP
367-400. Published by
Anglo Music Press
(BT.AMP-367-400). ISBN
9789043138864. 9x12
inches.
English-German-French-Dut
ch. Philip
Sparke’s
Starter Solos is
the first volume of a
progressive series of
books that takes the
young wind player from
beginner to accomplished
musician. Specifically
tailored for each
instrument, this
collection of 20 solos
starts with pieces based
on only a handful of
notes and carefully
introduces new musical
elements, such as
articulation, dynamics
and key signatures, in a
structured progression to
speed the learning
process. The books
provide invaluable
additional material to
complement any teaching
method.Starter
Solos comes with a
play-along CD. The
advantages of playing
either with piano or CD
accompaniment are that
the beginning player can
nowexperience the
important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always a factor when
playing alone.
Philip
Sparke’s
Starter Solos is
het eerste deel van een
serie boeken met muziek
voor jonge blazers. Deze
bundel van twintig
solo’s begint met
stukken die op een
handvol noten zijn
gebaseerd. Nieuwe
muzikale elementen
(articulatie,
dynamiek,enz.) worden op
een doordachte,
gestructureerde manier
toegevoegd. Dit
studiemateriaal vult elke
leermethode aan en is
steeds toegesneden op het
betreffende
instrument.Uitgave met
cd: De voordelen van het
spelen met begeleiding -
hetzij op de piano,hetzij
op de cd - zijn dat de
beginnende speler de
belangrijke aspecten van
het ensemblespel kan
ervaren vanaf de eerste
lessen en essentiële
vaardigheden kan
aanleren: het luisteren
tijdens het spelen en het
handhaven van een strak
tempo. Bij hetalleen
spelen komen deze
factoren minder aan de
orde.
Das frühe
Lernstadium ist, neben
einem guten Lehrer im
Unterricht, für jedes
Instrument zweifellos das
Wichtigste. Von großer
Bedeutung ist aber auch
motivierendes
Lehrmaterial. Für
diese zwei Solobücher
beriet sich Philip Sparke
mit vielen Lehrern, wie
man am besten neue Noten
einführt und zugleich
einen Rahmen schafft, in
den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesenSoli und Etüden
in drei verschiedenen
Schwierigkeitsstufen
können
Instrumentalschüler
schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse und
Anforderungen des
einzelnen Instrumentes
zugeschnitten.
STARTER SOLOS und
SKILFUL SOLOS können
dank der im Buch und auf
der CD enthaltenen
Begleitungen auch gut
alleine oder mit einem
Pianisten einstudiert und
aufgeführt werden. Der
Vorteil dabei ist, dass
Anfänger so nicht nur
die wichtigsten Aspekte
desEnsemblespiels
erfahren sondern auch von
Anfang an die
Fähigkeit entwickeln,
zu hören während
sie spielen und das Tempo
zu halten. Inhalt:
Follow me -Best Foot
Forward Folk Song -My
Homeland -Missing You
-Russian Winter On a
Carousel Rush Hour -A
Dynamic Start -Short but
Sweet Ballad -London
Bridge Summer Breezes
-Modal Melody -Toon Tune
-In a Balloon -Yankee
Doodle -SadSong - Count
Me In - Ragtime
March Start
er Solos est un
recueil motivant offrant
une présentation
structurée des
techniques de jeu et
d’apprentissage.
Les solos composés par
Philip Sparke constituent
les premiers pas
plaisants de votre
entrée dans le
formidable monde de la
musique ! Sur le compact
disc inclus, vous
trouverez une version
intégrale de chaque
pièce ainsi
qu’une version
où ne subsiste que
l’accompagnement ;
la version papier des
accompagnements de piano
est jointe au
recueil. Accanto
ad un buon insegnante, il
materiale da studio
valido è senza dubbio
la cosa più importante
al fine di un buon
apprendimento. E’
quindi importante mettere
a disposizione
dell’allievo
materiale motivante.
Nello scrivere questi
soli, PhilipSparke si
è consultato a più
riprese con insegnanti ed
allievi per mettere a
punto brani che
consentono anche ai
più inesperti di
suonare in modo
soddisfacente. Gli
accompagnamenti al piano
sono inclusi nel CD. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Starter Solos Cor et Piano [Partition + Accès audio] Anglo Music
Horn and Piano - easy SKU: BT.AMP-154-404 20 Progressive Pieces with P...(+)
Horn and Piano - easy
SKU:
BT.AMP-154-404 20
Progressive Pieces with
Piano Accompaniment for
Horn. Composed by
Philip Sparke. Starter
Solos. Tuition. Book with
Part and Audio-Online.
Composed 2022. 32 pages.
Anglo Music Press #AMP
154-404. Published by
Anglo Music Press
(BT.AMP-154-404). ISBN
9789043165198.
English-German-French-Dut
ch. Philip
Sparke’s
Starter Solos is
the first volume of a
progressive series of
books that takes the
young wind player from
beginner to accomplished
musician. Specifically
tailored for each
instrument, this
collection of 20solos
starts with pieces based
on only a handful of
notes and carefully
introduces new musical
elements, such as
articulation, dynamics
and key signatures, in a
structured progression to
speed the learning
process. The booksprovide
invaluable additional
material to complement
any teaching method.
Starter Solos
comes with an online
audio access. The
advantages of playing
either with piano or
audio accompaniment are
that the beginning
playercan now experience
the important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always a factor when
playingalone.
Philip
Sparke’s
Starter Solos is
het eerste deel van een
serie boeken met muziek
voor jonge blazers. Deze
bundel van twintig
solo’s
begint met stukken die op
een handvol noten zijn
gebaseerd. Nieuwe
muzikale
elementen(articulatie,
dynamiek, enz.) worden op
een doordachte,
gestructureerde manier
toegevoegd. Dit
studiemateriaal vult elke
leermethode aan en is
steeds toegesneden op het
betreffende instrument.
Uitgave met online
audio: Devoordelen van
het spelen met
begeleiding - hetzij met
een pianist, hetzij met
de opname - zijn dat de
beginnende speler de
belangrijke aspecten van
het ensemblespel kan
ervaren vanaf de eerste
lessen en
essentiële
vaardigheden kanaanleren:
het luisteren tijdens het
spelen en het handhaven
van een strak tempo. Bij
het alleen spelen komen
deze factoren minder aan
de orde.
Das
frühe Lernstadium
ist, neben einem guten
Lehrer im Unterricht,
für jedes
Instrument zweifellos das
Wichtigste. Von
großer Bedeutung
ist aber auch
motivierendes
Lehrmaterial. FÃÂÂ
¼r diese Ausgabe beriet
sich Philip Sparke
mitvielen Lehrern, wie
man am besten neue Noten
einführt und
zugleich einen Rahmen
schafft, in den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesen Soli und
Etüden in
dreiverschiedenen
Schwierigkeitsstufen
können
Instrumentalschüle
r schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse
und Anforderungen des
einzelnen Instrumentes
zugeschnitten. Die
Stücke in
dieserAusgabe
können dank der im
Buch in Notenform
enthaltenen und online
als Audiotracks
zugänglichen
Begleitungen auch gut
alleine oder mit einem
Pianisten einstudiert und
aufgeführt werden.
Der Vorteil dabei ist,
dass Anfänger
sonicht nur die
wichtigsten Aspekte des
Ensemblespiels erfahren,
sondern auch von Anfang
an die Fähigkeit
entwickeln,
während des
Spielens zugleich
zuzuhören und das
Tempo zu
halten.
Starter
Solos est un recueil
motivant offrant une
présentation
structurée des
techniques de jeu et
d’apprenti
ssage. Les solos
composés par
Philip Sparke constituent
les premiers pas
plaisants de votre
entrée dans
leformidable monde de la
musique ! Les
enregistrements sont
disponibles en ligne au
format MP3 : vous
trouverez une version
intégrale de
chaque pièce ainsi
qu’une
version où ne
subsiste que
l’accompag
nement. La versionpapier
des accompagnements de
piano est jointe au
recueil.
Accanto
ad un buon insegnante, il
materiale da studio
valido è senza
dubbio la cosa più
importante al fine di un
buon apprendimento.
E’ quindi
importante mettere a
disposizione
dell’allie
vo materiale motivante.
Nello scriverequesti
soli, Philip Sparke si
è consultato a
più riprese con
insegnanti ed allievi per
mettere a punto brani che
consentono anche ai
più inesperti di
suonare in modo
soddisfacente. Gli
accompagnamenti al piano
sono accessibilionline
come file MP3. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - Bb 2nd Edition
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 864 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 864 pages.
Published by Hal Leonard.
(7)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - 2nd Edition - Eb Edition
Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb
instrument. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 864
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Methods & Treatises Continuo Bass - 6 Volumes - France 1600-1800 Anne Fuzeau Productions
Continuo SKU: FZ.6222 Serie I - France 1600-1800. Edited by Jean S...(+)
Continuo SKU:
FZ.6222 Serie I -
France 1600-1800.
Edited by Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.6222). ISBN
9790230662222. 24.00 x
33.00 cm
inches. These early
music methods are in
facsimile in six books.
Volume 1: Anonyme -
BARTOLOTTI A. M. - BOYVIN
J. - BUTERNE J-B. - CARRE
A. Sieur de La Grange -
CHARPENTIER M-A. -
CHAUMONT L. - D'ANGLEBERT
J-H. - DE LA BARRE M. -
DELAIR D. - FLEURY N. -
MARAIS M. - NIVERS G. G.
- PERRINE - SAINT-LAMBERT
M. de. Volume 2: CAMPION
F. - CAMPION T. - CHERON
A. - CLERAMBAULT N. -
COUPERIN F. - DANDRIEU
J-F. - DELAIR D. -
LECLAIR J. -M. - RAMEAU
J. -P. Volume 3: Anonyme
- CAMPION F. - DORNEL A.
- FORQUERAY A. - GERVAIS
L. - GOUDAT - GUILLEMAIN
L. -G. - MONNIER Le Cadet
- MONTECLAIR M. P. de -
PINGRE A-G. - RAMEAU J.
-P. - SERRE DE RIEUX J. -
TELEMANN G. P. - TRAVENOL
L. A. Volume 4: ALEMBERT
J. Le Rond d' -
BLAINVILLE C. H. de -
CORRETTE M. - DUBUGRARRE
- GEMINIANI F S. -
LAPORTE C. de. Volume 5:
BETHISY J-L. de - BIFERI
F. (fils) - CLEMENT C-F.
- DUBREUIL J-J. - GARNIER
H. - GIANOTTI P. -
GOUGELET Madame - LABBET
A. J. - LE BOEUF - RAMEAU
J. -P. - ROUSSIER P-J. -
SIMON S. - TAPRAY J.
Volume 6: Anonyme -
BEMETZRIEDER A. -
CORRETTE M. - FROESTLER
B. - GOURNAY B. C. -
LANGLE H-F-M. - RODOLPHE
J-J. - ROUSSIER P-J.
Table of contents: Volume
1: Fleury Nicolas:
Methode pour apprendre
facilement - 1660.
Bartolotti Angelo
Michele: Table pour
apprendre facilement -
1669. Carre Antoine:
Livre de Guitarre
Contenant Plusieurs
pieces - 1671. Perrine:
Livre de Musique pour le
Lut - 1680. Anonyme:
Petites Reigles
Generalles qui peuvent
servir de methode - 1680.
Nivers Guillaume Gabriel:
Motets a voix seule -
1689. D'Anglebert Jean
Henry: Pieces de clavecin
- 1689. Marais Marin:
Basse-continues des
pieces a une et a deux
Violes - 1689. Anonyme:
(traite abrege
d'accompagnement) - c.
1690. Anonyme: Regles
pour l'Accompagnement -
1690. Delair Denis:
Traite d'accompagnement
pour le theorbe - 1690.
Charpentier Marc Antoine:
Abrege des regles de
l'accompagnement - c.
1692. Chaumont Lambert:
Pieces D'orgue sur les 8
tons - 1695. Buterne
Jean-Baptiste: Petites
Reigles pour
l'accompagnement - 1700.
Boyvin Jacques: Second
livre d'orgue - 1700.
Anonyme: Traite
d'accompagnement du
Clavecin - c. 1700. De La
Barre Michel: Premier
livre de pieces pour la
flute - 1702.
Saint-Lambert Michel de:
Nouveau Traite de
l'accompagnement - 1707.
Volume 2: Couperin
Francois: Regles pour
l'accompagnement - s. d.
Campion Thomas: Traite
d'accompagnement et de
composition - 1716.
Clerambault Nicolas:
Regles d'accompagnement -
1716. Clerambault
Nicolas: Principes
d'accompagnement - 1716.
Dandrieu Jean Francois:
Principes de
l'accompagnement - 1719.
Rameau Jean-Philippe:
Traite de l'harmonie -
1722. Delair Denis:
Nouveau traite
d'accompagnement - 1724.
Leclair Jean-Marie:
Premier livre de sonates
- 1723. Rameau
Jean-Philippe: Nouveau
systeme de musique
theorique - 1726. Cheron
Andre: Sonates en trio -
1727. Campion Francois:
Lettre du sieur Campion a
un philosophe - 1729.
Campion Thomas: Addition
au traite
d'accompagnement - 1730.
Volume 3: Pingre
Alexandre Gui: Traite de
l'harmonie - s. d. Rameau
Jean-Philippe:
Observations sur la
Methode d'Accompagnement
- 1730. Rameau
Jean-Philippe: Plan
abrege d'une Methode
nouvelle - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier - 1729. Rameau
Jean-Philippe: Replique
du premier Musicien a la
reponse du second - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier Musicien - 1730.
Rameau Jean-Philippe:
Replique du premier
Musicien a l'ecrit du
second - 1730. Rameau
Jean-Philippe:
Dissertation sur les
differentes metodes -
1732. Gervais Laurent:
Methode pour
l'accompagnement - 1733.
Campion Francois: Second
recueil d'airs - 1734.
Serre de Rieux Jean: Les
dons des Enfans de Latone
- 1734. Telemann Georg
Philipp: Nouveaux
Quatuors en six Suites -
1738. Goudat: Principes
de Laccompagnement -
1738. Travenol Louis
Antoine: Premier livre de
Sonates a violon seul -
1739. Guillemain Louis
Gabriel: Six sonates en
quatuors - 1743. Monnier
le Cadet: L'art de
Toucher le Clavecin dans
son propre caractere - c.
1745. Dornel Antoine: le
Tour du Clavier - 1745.
Forqueray Antoine: Pieces
de Viole avec la Basse
Continue - 1747. Anonyme:
(Methode
d'accompagnement) - s. d.
Volume 4: Alembert Jean
Le Rond d': Elemens de
musique - 1752.
Blainville Charles Henri
de: Essay sur un
troisieme mode - 1751.
Corrette Michel: Le
maitre de Clavecin -
1753. Laporte Claude de:
Traite theorique et
pratique - 1753.
Geminiani Francesco
Saverio: L'art de bien
accompagner - 1754.
Dubugrarre: Methode plus
courte et plus facile -
1754. Volume 5: Tapray
Jean: Abrege de
l'accompagnement - 1755.
Labbet Antoine Joseph et
Leris Antoine de:
Sentiment d'un
Harmoniphile - 1756.
Clement Charles Francois:
Essai sur
l'accompagnement - 1758.
Gianotti Pietro: Le guide
du compositeur - 1759.
Rameau Jean-Philippe:
Code de musique pratique
- 1760. Bethisy
Jean-Laurent de:
Exposition de la theorie
et de la pratique - 1764.
Roussier Pierre-Joseph:
Traite des accords et de
leur succession - 1764.
Le Boeuf: Traite
d'harmonie et regles
d'accompagnement - 1766.
Garnier Honore: Nouvelle
methode pour
l'accompagnement - 1767.
Dubreuil Jean-Jacques:
Manuel harmonique - 1767.
Biferi Francesco Fils:
Traite de musique abrege,
divise en trois parties -
1770. Simon Simon:
Theorie pratique
d'accompagnement - s. d.
Gougelet Madame: Methode
ou abrege des regles -
1771. Volume 6: Roussier
Pierre-Joseph: L'harmonie
pratique - 1775. Corrette
Michel: Prototipes
contenant des lecons
d'accompagnement - 1775.
Anonyme: Abrege des
regles de composition -
1777. Bemetzrieder
Antoine: Nouvelles lecons
de clavecin ou
instructions generales -
1782. Rodolphe
Jean-Joseph: Theorie
d'accompagnement - c.
1785. Gournay B. C. :
Lettre a M. l'abbe
Roussier - 1785. Langle
Honore-Francois-Marie:
Traite de la basse sous
le chant - 1797.
Froestler B. : Traite
d'harmonie et de
modulation - 1800.
Anonyme: Principes de
l'accompagnement - s. d.
Anonyme: Regles
d'accompagnement - s. d.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimiles of
copies from: -
Conservatory Library of
Geneva (Switzerland). -
Conservatory Library of
Dijon (France). - Royal
Conservatory of Liege
(Belgique). - Municipal
Library of Bordeaux
(France). - Municipal
Library of Grenoble
(France). - Municipal
Library of Lyon (France).
- National Library of
Paris (France). - Royal
Library of Brussels
(Belgium). -
Sainte-Genevieve Library
of Paris (France). -
British Library of London
(England). - Nederlands
Muziek Instituut of The
Hague (Netherlands). -
Yale University, Music
Library of New Haven
(USA). -
Zentralbibliothek of
Zurich (Switzerland).
Anne Fuzeau Classique
propose the complete
theoretic documentation,
methods, classical music
scores on the
continuo. $459.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Dismal Swamp Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet ...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Flute 3, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion,
Piano, Timpani, Trombone
1, Trombone 2 and more.
SKU: PR.11641853S
Composed by William Grant
Still. Full score. 32
pages. Duration 12
minutes. Theodore Presser
Company #116-41853S.
Published by Theodore
Presser Company
(PR.11641853S). ISBN
9781491135136. UPC:
680160684977. Atypi
cal among William Grant
Still’s works,
DISMAL SWAMP combines
eerie effects and
mysterious chromaticism
in dramatic mixture with
his more vernacular
American elements to
portray The Great Dismal
Swamp. This swampland
served as a temporary
safe haven for runaway
slaves en route to the
North, as bounty hunters
were unlikely to brave
the dangerous terrain and
wildlife in search of
runaways. Composed in
1937, DISMAL SWAMP is
scored for standard
orchestra with a
prominent piano part.
This fascinating
13-minute work is within
reach of all levels of
orchestras, and a
valuable addition to
symphonic
programming. $45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| ChordBuddy Ukulele Songbook Ukulele Hal Leonard
Ukulele SKU: HL.365043 Composed by Various. Chord Buddy. Pop, Standards. ...(+)
Ukulele SKU:
HL.365043 Composed by
Various. Chord Buddy.
Pop, Standards.
Softcover. 128 pages.
Published by Hal Leonard
(HL.365043). ISBN
9781705135273. UPC:
840126960648.
8.5x11.0x0.362
inches. Just press
the buttons on the
ChordBuddy ukulele device
and play! This songbook
features 60 favorites in
vocal melody, lyrics and
chord diagram
arrangements for standard
G-C-E-A tuning. The
chords in the book are
color-coded to match your
ChordBuddy ukulele
device. Songs include:
Blowin' in the Wind
• Down on the
Corner • Free
Fallin' • Hound Dog
• Margaritaville
• Old Time Rock
& Roll • Twist
and Shout • Walk of
Life • and more.
(Note: the ChordBuddy
device is sold
separately). $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Three Chord Songs Fake Book Tous Les Instruments [Fake Book] - Facile Hal Leonard
| | |
| Jake Shimabukuro - Travels Ukulele Hal Leonard
By Jake Shimabukuro. Ukulele Transcriptions. Softcover. 96 pages. Published by...(+)
By Jake Shimabukuro.
Ukulele
Transcriptions.
Softcover.
96 pages. Published by
Hal
Leonard
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ukulele 3 Chord Songbook Ukulele Hal Leonard
Play 50 Great Songs with Just 3 Easy Chords!. By Various. Ukulele. Softcover...(+)
Play 50 Great Songs with
Just 3 Easy Chords!. By
Various. Ukulele.
Softcover.
128 pages. Published by
Hal
Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Singapura Suite Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-0981357-010 Composed by Jan...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-0981357-010
Composed by Jan Van der
Roost. Performance
Series. Concert Piece.
Set (Score & Parts).
Composed 1998. De Haske
Publications #DHP
0981357-010. Published by
De Haske Publications
(BT.DHP-0981357-010).
9x12
inches. Singapura
Suite was commissioned by
Singapore's Ministry of
Education Extracurricular
Activities Branch to
serve as a compulsory
piece for the 1999
Singapore Youth
Festival.Singapura is the
original name of
Singapore in Malay, the
native language there.
Because Singapore is one
of the most important
harbors in the world,
this two-piece work opens
with a seaman's dance. An
authentic melody, Chan
Mali Chan, is woven into
the middle of this first
part, whose ABA form
becomes clear through the
recapitulation of the
seaman's dance in a
somewhat altered
form.Singapore is also a
dynamic city-state alive
with excitement, thus the
second part begins with a
fitting dance, a
fastbourrée. As
contrast there is a
second authentic melody,
Dayung Sampan, a more
easygoing sailing song.
This short but curious
suite ends in high
spirits with a
recapitulation of the
beginning.
‘SingapuraÃ
¢â‚¬â„¢ is de
oorspronkelijke naam van
Singapore in het Maleis,
de originele taal van
deze stadstaat. Omdat
Singapore een van de
belangrijkste havens ter
wereld is, opent de
componist met een
‘zeemansdansâ€â„
¢. Ook de
authentiekemelodie
Chan Mali Chan is
te herkennen. Het
dynamische aspect van
Singapore wordt verbeeld
in een snelle bourree,
gevolgd door een
contrasterend authentiek
en rustig bootslied:
Dayung
Sampan.
Das
Werk Singapura
Suite wurde vom
‚Singapure’s
Ministry of Education
Extracurricular
Activities Branch‘
(Ministerium für
Erziehung, Kultur und
Sport, Singapur) als
eines der
Pflichtstücke für
das Singapur
Jugendfestival“
1999 in Auftrag
gegeben.Singapura“
- das ist der malaiische
Name der Bewohner
Singapurs, es ist die
Sprache der Eingeborenen.
Weil in Singapur einer
der wichtigsten Häfen
der Welt ist, öffnet
dieses zweiteilige Werk
mit einem Seemannstanz.
Eine authentische
Melodie, Chan Mali Chan,
wird in den Mittelteil
dieses ersten Teils
eingeflochten, dessen
A-B-A-Form durch die
Wiederholung des
Seemannstanzes in einer
etwas veränderten Form
deutlichwird.Singapur ist
auch ein dynamischer und
lebendiger Stadtstaat,
und deshalb beginnt der
zweite Teil mit einem
passenden Tanz, einer
schnellen Bourrée. Als
Kontrast hierzu erklingt
eine zweite authentische
Melodie, Dayung Sampan,
ein sehr leichtes,
gelassenes Matrosenlied.
Diese kurze, aber kuriose
Suite endet sehr
ausgelassen mit einer
Wiederholung des Anfangs.
Singapore, la
citt del leone, è uno
dei più importanti
crocevia
dell’Asia.
Singapore mischia
abilmente le culture
provenienti dalla Cina,
dalla Malesia,
dall’India a
quelle occidentali. La
musica tradizionale è
l’immagine delle
molte etnie di questa
citt -stato. I due
movimenti di questa
composizione si ispirano
a canti tradizionali
della Malesia. Il primo
movimento sviluppa
quattro canti
tradizionali di carattere
contrastante e
contrastato. Il secondo
movimento è basato sui
canti Lenggang Kangkung e
Katang Lompat, che, come
d’abitudine in
oriente, descrivono
animali e
l’ambiente in cui
vivono legandoli a
simbolismi, e un canto
tradizionale in occasione
di matrimoni. I
duemovimenti di questa
rapsodia non sono legati
tra loro, rendendo
possibile eseguirli
separatamente. $184.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Singapura Suite Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-0981357-140 Composed by Jan...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-0981357-140
Composed by Jan Van der
Roost. Performance
Series. Concert Piece.
Score Only. Composed
1998. 76 pages. De Haske
Publications #DHP
0981357-140. Published by
De Haske Publications
(BT.DHP-0981357-140).
9x12
inches. Singapura
Suite was commissioned by
Singapore's Ministry of
Education Extracurricular
Activities Branch to
serve as a compulsory
piece for the 1999
Singapore Youth
Festival.Singapura is the
original name of
Singapore in Malay, the
native language there.
Because Singapore is one
of the most important
harbors in the world,
this two-piece work opens
with a seaman's dance. An
authentic melody, Chan
Mali Chan, is woven into
the middle of this first
part, whose ABA form
becomes clear through the
recapitulation of the
seaman's dance in a
somewhat altered
form.Singapore is also a
dynamic city-state alive
with excitement, thus the
second part begins with a
fitting dance, a
fastbourrée. As
contrast there is a
second authentic melody,
Dayung Sampan, a more
easygoing sailing song.
This short but curious
suite ends in high
spirits with a
recapitulation of the
beginning.
‘SingapuraÃ
¢â‚¬â„¢ is de
oorspronkelijke naam van
Singapore in het Maleis,
de originele taal van
deze stadstaat. Omdat
Singapore een van de
belangrijkste havens ter
wereld is, opent de
componist met een
‘zeemansdansâ€â„
¢. Ook de
authentiekemelodie
Chan Mali Chan is
te herkennen. Het
dynamische aspect van
Singapore wordt verbeeld
in een snelle bourree,
gevolgd door een
contrasterend authentiek
en rustig bootslied:
Dayung
Sampan.
Das
Werk Singapura
Suite wurde vom
‚Singapure’s
Ministry of Education
Extracurricular
Activities Branch‘
(Ministerium für
Erziehung, Kultur und
Sport, Singapur) als
eines der
Pflichtstücke für
das Singapur
Jugendfestival“
1999 in Auftrag
gegeben.Singapura“
- das ist der malaiische
Name der Bewohner
Singapurs, es ist die
Sprache der Eingeborenen.
Weil in Singapur einer
der wichtigsten Häfen
der Welt ist, öffnet
dieses zweiteilige Werk
mit einem Seemannstanz.
Eine authentische
Melodie, Chan Mali Chan,
wird in den Mittelteil
dieses ersten Teils
eingeflochten, dessen
A-B-A-Form durch die
Wiederholung des
Seemannstanzes in einer
etwas veränderten Form
deutlichwird.Singapur ist
auch ein dynamischer und
lebendiger Stadtstaat,
und deshalb beginnt der
zweite Teil mit einem
passenden Tanz, einer
schnellen Bourrée. Als
Kontrast hierzu erklingt
eine zweite authentische
Melodie, Dayung Sampan,
ein sehr leichtes,
gelassenes Matrosenlied.
Diese kurze, aber kuriose
Suite endet sehr
ausgelassen mit einer
Wiederholung des Anfangs.
Singapore, la
citt del leone, è uno
dei più importanti
crocevia
dell’Asia.
Singapore mischia
abilmente le culture
provenienti dalla Cina,
dalla Malesia,
dall’India a
quelle occidentali. La
musica tradizionale è
l’immagine delle
molte etnie di questa
citt -stato. I due
movimenti di questa
composizione si ispirano
a canti tradizionali
della Malesia. Il primo
movimento sviluppa
quattro canti
tradizionali di carattere
contrastante e
contrastato. Il secondo
movimento è basato sui
canti Lenggang Kangkung e
Katang Lompat, che, come
d’abitudine in
oriente, descrivono
animali e
l’ambiente in cui
vivono legandoli a
simbolismi, e un canto
tradizionale in occasione
di matrimoni. I
duemovimenti di questa
rapsodia non sono legati
tra loro, rendendo
possibile eseguirli
separatamente. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Beginning Electric Slide Guitar Guitare [Partition + DVD] Alfred Publishing
By Kirby Kelley. For Guitar. Guitar Method or Supplement. Blues. Book and DVD. 3...(+)
By Kirby Kelley. For
Guitar. Guitar Method or
Supplement. Blues. Book
and DVD. 32 pages.
Published by Alfred
Publishing.
$25.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Peace Excelcia Music Publishing
Choral SSA chorus SKU: XC.SSA2201A Composed by Jamey Ray. Contest/Festiva...(+)
Choral SSA chorus SKU:
XC.SSA2201A Composed
by Jamey Ray.
Contest/Festival.
Contest/Festival. Choral.
Octavo. Excelcia Music
Publishing #SSA2201A.
Published by Excelcia
Music Publishing
(XC.SSA2201A). 9 x 6
inches. If there is
any message that is
important right now, it
is a message of peace.
This was written for the
Winter Haven High School
Bella Voce ensemble and
is a great choice for any
SSA group for concert or
contest. $2.15 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Women of Western Music -- Hildegard to Ella Formation musicale - Solfège [Partition + CD] Alfred Publishing
The Music and Lives of 18 Noteworthy Composers, Teachers, and Performers. Com...(+)
The Music and Lives of 18
Noteworthy Composers,
Teachers, and Performers.
Composed by Anna
Wentlent.
This edition: 100%
Reproducible Book and
Enhanced
CD. Book; Classroom/Pre-
School; Enhanced CD;
General
Music and Classroom
Publications;
Reproducible.
Masterwork Arrangement.
76
pages. Published by
Alfred
Music
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ryan's Mammoth Collection of Fiddle Tunes Violon [Partition] Mel Bay
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Son...(+)
Edited by Patrick Sky.
For fiddle. All styles.
Level: Multiple Levels.
Book. Songbook. Size
8.75x11.75. 176 pages.
Published by Mel Bay
Pub., Inc.
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Skilful Solos Saxophone Tenor et Piano [Partition + CD] - Intermédiaire Anglo Music
Tenor Saxophone and Piano - intermediate SKU: BT.AMP-368-400 20 Progre...(+)
Tenor Saxophone and Piano
- intermediate SKU:
BT.AMP-368-400 20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Tuition. Book
with CD. Composed 2013.
44 pages. Anglo Music
Press #AMP 368-400.
Published by Anglo Music
Press (BT.AMP-368-400).
ISBN 9789043138871.
9x12 inches.
English-German-French-Dut
ch. Philip
Sparke’s
Skilful Solos is
the second volume of a
progressive series of
solo books that takes the
young wind player from
beginner to accomplished
musician. Following on
from the first book in
the series Starter
Solos this collection
generally contains longer
pieces suitable for the
developing young
musician. Specifically
tailored for each
instrument, Skilful
Solos introduces the
concept of phrasing by
suggesting suitable
breathing points and
takes the player into new
keys with extended
instrumental ranges, new
notes being introduced in
a gradual and logical
manner.Skilful
Solos comes with a
play-along CD. The
advantages of playing
eitherwith piano or CD
accompaniment are that
the beginning player can
now experience the
important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always achieved when
playing alone.
Skilful
Solos past in het
rijtje Starter
Studies, Skilful
Studies, Super
Studies en Starter
Solos, een succesvolle
reeks van Philip Sparke.
Net als de eerdergenoemde
uitgaven bevat Skilful
Solos
waardevol,motiverend
speelmateriaal dat de
keuze voor een methode
aanvult. Nieuwe muzikale
elementen komen in een
logische volgorde aan de
orde - om de ontwikkeling
van de complete muzikant
te bevorderen. Uitgave
met cd: De voordelen van
het spelen metbegeleiding
- hetzij op de piano,
hetzij op de cd - zijn
dat de beginnende speler
de belangrijke aspecten
van het ensemblespel kan
ervaren vanaf de eerste
lessen en essentiële
vaardigheden kan
aanleren: het luisteren
tijdens het spelen en
hethandhaven van een
strak tempo. Bij het
alleen spelen komen deze
factoren minder aan de
orde.
Das frühe
Lernstadium ist, neben
einem guten Lehrer im
Unterricht, für jedes
Instrument zweifellos das
Wichtigste. Von großer
Bedeutung ist aber auch
motivierendes
Lehrmaterial. Für
diese zwei Solobücher
beriet sich Philip Sparke
mit vielen Lehrern, wie
man am besten neue Noten
einführt und zugleich
einen Rahmen schafft, in
den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesenSoli und Etüden
in drei verschiedenen
Schwierigkeitsstufen
können
Instrumentalschüler
schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse und
Anforderungen des
einzelnen Instrumentes
zugeschnitten. STARTER
SOLOS und SKILFUL SOLOS
können dank der im
Buch und auf der CD
enthaltenen Begleitungen
auch gut alleine oder mit
einem Pianisten
einstudiert und
aufgeführt werden. Der
Vorteil dabei ist, dass
Anfänger so nicht nur
die wichtigsten Aspekte
desEnsemblespiels
erfahren sondern auch von
Anfang an die
Fähigkeit entwickeln,
zu hören während
sie spielen und das Tempo
zu halten. Inhalt:
Nice to See You Again
-Pony and Trap -Summer
Siesta -Spring (Vivaldi)
-A Victorian Ballad
-Trumpet Tune -Promenade
-Greensleeves -Could You
Repeat That? -Alladale
Aria -Scales of Justice
-Largo from Winter
(Vivaldi) -Waltz with
Variations -Atthe Circus
- Adagio (Mozart) -
Marche Militaire
(Schubert) - Thinking of
You - Fives and Threes -
Daydream - Rhode Island
Rag Suivant
Starter Solos,
Skilful Solos est
le nouveau recueil
motivant offrant une
présentation
structurée des
techniques de jeu et
d’apprentissage.
Les solos composés par
Philip Sparke constituent
les premiers pas
plaisants de votre
entrée dans le
formidable monde de la
musique ! Sur le compact
disc inclus, vous
trouverez une version
intégrale de chaque
pièce ainsi
qu’une version
où ne subsiste que
l’accompagnement ;
la version papier des
accompagnements de piano
est jointe au
recueil. Skilfu
l Solos può essere
considerato il seguito di
Starter Solos.
Suonare con
l’accompagnamento
è un lavoro di squadra
che sviluppa la capacit
di ascolto e di reazione.
Skilful Solos è
indispensabile per
progredire nel mondodella
musica. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
Page suivante 1 31 |