| The Disney Fake Book - 4th Edition Ligne De Mélodie, Paroles et Accords [Fake Book] Hal Leonard
| | |
| Harry Potter: The Music, Part 3 Fanfare [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: Hedwig's Theme / Nimbus 2000 / Wizard Wheezes / Hagrid the Profe...(+)
(Featuring: Hedwig's
Theme /
Nimbus 2000 / Wizard
Wheezes /
Hagrid the Professor / A
Window to the Past). By
John
Williams and Nicholas
Hooper.
Arranged by Victor
López,
percussion arr. Anthony
M.
Falcone. Marching Band.
Marching Band; Part(s);
Score.
Mega Sounds for Marching
Band.
Form: Medley. Movie.
Grade 3.
224 pages. Published by
Alfred
Music Publishing
$75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Harry Potter: The Music, Part 3 Fanfare [Conducteur] - Intermédiaire Alfred Publishing
(Featuring: Hedwig's Theme / Nimbus 2000 / Wizard Wheezes / Hagrid the Profess...(+)
(Featuring: Hedwig's
Theme /
Nimbus 2000 / Wizard
Wheezes /
Hagrid the Professor / A
Window to the Past). By
John
Williams and Nicholas
Hooper.
Arranged by Victor
López,
percussion arr. Anthony
M.
Falcone. Marching Band.
Marching Band; Score.
Mega
Sounds for Marching Band.
Form: Medley. Movie.
Grade 3.
Published by Alfred Music
Publishing
$8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Book of Playground Songs and Rhymes Voix d'Enfants GIA Publications
Composed by John M. Feierabend. Music Education. Educational. Collection. 96 pag...(+)
Composed by John M.
Feierabend. Music
Education. Educational.
Collection. 96 pages.
Published by GIA
Publications
$22.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Momma, Buy Me a China Doll GIA Publications
SKU: GI.G-9341 Composed by John M. Feierabend. First Steps in Music. Musi...(+)
SKU: GI.G-9341
Composed by John M.
Feierabend. First Steps
in Music. Music
Education. 32 pages. GIA
Publications #9341.
Published by GIA
Publications (GI.G-9341).
ISBN 9781622772261.
English. Momma, Buy
Me a China Doll is the
latest lavishly
illustrated
children’s
songtale based on the
great American folk music
heritage, and collected
by John M. Feierabend.
This delightful song
tells the story of Liza
Lou, who dreams of owning
a china doll after seeing
one in a peddler’s
cart. Owning a china
doll, however, would be a
luxury far out of reach
for a poor mountain girl
from the Ozarks. One of
the endearing charms of
this song is how Liza is
able to provide countless
ideas that could lead to
raising money to buy a
china doll...but alas, to
no avail. Like the other
picture books in John M.
Feierabend’s First
Steps in Music series,
Momma, Buy Me a China
Doll includes a
description of the
history of the song and
the notation of the song.
A link to download the
song in audio form is
below. John M.
Feierabend has spent
decades compiling songs
and rhymes from the
memories of the American
people in the hopes that
these treasures will be
preserved for future
generations. Dr.
Feierabend is a national
leader in the field of
early childhood education
and currently serves as a
professor and chair of
the Music Education
Department at The Hartt
School of the University
of Hartford. Allyssa
Norton is a graduate
of the University of
Hartford Art School and
currently lives in
Somers, CT. She is
devoted to her art, love
and care are given to
each illustration. She
accredits the hard work
put into each page of
this book to the love and
support from her
professors, friends, and
family. The song may be
downloaded in audio: FREE
MP3 Download - Full
Performance MP3 download
instructions: Windows
users right click on the
link. Mac users hold down
the Control key as you
click the link. Then
select either Save Link
As... or Save Target
As... and choose the
location you would like
to save the file on your
computer. $17.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Blues Piano Lights Piano seul - Facile Schott
Piano - easy to intermediate SKU: HL.49013017 16 Easy Bluesy Pieces fo...(+)
Piano - easy to
intermediate SKU:
HL.49013017 16
Easy Bluesy Pieces for
Piano. Composed by
Hans Luedemann. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 32 pages.
Schott Music #ED9232.
Published by Schott Music
(HL.49013017). ISBN
9790001128094. UPC:
884088083052.
9.0x12.0x0.129
inches. This volume
shows the wide stylistic
range inherent in the
Blues with particular
emphasis on specifically
pianistic varieties,
especially Boogie, Stride
Piano and New Orleans
Piano. While some pieces
are tributes to famous
masters of the Blues such
as Muddy Waters und
Professor Long-hair,
others are inspired by
Rock, Soul, Jazz and
Gospel. $22.99 - Voir plus => Acheter | | |
| La Méthode du Professeur Krooks Guitare [Partition + CD] Hit Diffusion
Guitar SKU: BT.HITPCKROO01 Composed by J-D Crouhy. Method. Book with CD. ...(+)
Guitar SKU:
BT.HITPCKROO01
Composed by J-D Crouhy.
Method. Book with CD.
Composed 2011. 96 pages.
Hit Diffusion
#HITPCKROO01. Published
by Hit Diffusion
(BT.HITPCKROO01).
French. Jouez
rapidement 20 morceaux
connus !
Une
méthode unique et
novatrice, accessible
tous les débutants
même ceux qui ne
connaissent pas le
solfège (tablatures,
grilles et
diagrammes).
Un
recueil ultra complet et
agréable utiliser
:présentation claire,
pages intérieures en
couleurs et
spirales.
Cette
méthode de guitare
progressive et facile est
organisée en deux
parties: La
première introduit la
guitare en présentant
les différentes
parties de
l’instrument,
lesdifférences de
modèles (classique,
folk, électrique) mais
aussi en expliquant
comment la tenir,
l’accorder et la
faire sonner ! La
deuxième partie
propose une formule
novatrice. 20 chansons
sous forme de leçon
cequi permet
d’introduire un
largechoix de styles
musicaux : rock, pop,
jazz, ballade,
reggae... Dès le
début de
l’apprentissage :
place au jeu gr ce
l’explication
technique, musicale et
historique de chaque
titre sur une double
page. Le morceau est
écrit sous forme
d’accords(grilles
et tablatures) avec les
paroles intégrales
pour chanter et
s’accompagner.
Bref, dans cette
méthode tout est l
pour apprendre avec
plaisir et jouer tous ses
morceaux
préférés.
Sur le CD audio : tous
les morceaux et leurs
play-backainsi que
certains passages plus
difficiles un rythme lent
pour faciliter
lapprentissage. $33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 33 Mélodies pour Piano 4 Mains à l'usage des Petits et Grands Débutants + CD 1 Piano, 4 mains Editions Bourges
Piano 4 Hands SKU: BU.EBR-516 By David Neyrolles. By Divers compositeurs....(+)
Piano 4 Hands SKU:
BU.EBR-516 By David
Neyrolles. By Divers
compositeurs. Arranged by
David Neyrolles. This
edition: French Edition.
Divers. Receuil.
Partition + Paroles +
Notes sur l'oeuvre + CD
99 pistes, 1 Piste Piano
4 Mains, 1 Piste Piano 1,
1 Piste Piano 2. Songbook
& CD. Editions Bourges
#EBR-516. Published by
Editions Bourges
(BU.EBR-516). ISBN
9790560151618. 8.58 x
12.48 inches. Comme
tout professeur de piano,
je suis continuellement
en quête
d’idées pour
motiver les jeunes et
moins jeunes élèves
à la découverte de
l’instrument. L
e répertoire pour
Piano Quatre Mains
accessible aux
débutants est assez
restreint.
L’écriture
pianistique en ce genre
doit prendre en compte
une faible technique
pianistique et des
notions de solfège en
cours
d’apprentissage,
sans que tout cela ne
nuise au rendu
musical. C’est
pourquoi j’ai eu
l’idée de
créer ce recueil «
grands débutants »,
attentif à ces
difficultés, recueil
où tout jeune pianiste
peut aborder dès son
premier cours, avec son
professeur ou un autre
élève, une pièce
à Quatre Mains.
L’expérience,
appliquée en premier
lieu avec mes
élèves, est
réellement
enrichissante : elle
révèle
l’importance du
rythme, renforce la
musicalité, la
motivation, et surtout,
amène le partage de la
musique et
l’écoute de
l’autre. Comme
anecdote…j’a
i donné à un
élève de six ans,
qui en était à son
deuxième cours,
l’étude
d’une des
premières pièces de
ce recueil. Rapidement
acquise, je lui ai dit
que nous allions la jouer
ensemble à quatre
mains. Après quelques
mesures, étonné du
rendu sonore il
m’a souri, car
à ce moment là il
était déjÃ
Pianiste. Musicalement
David Neyrolles. $41.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Guitare solo no. 7: Hugues Aufray Lemoine, Henry
Voice and guitar - Level 3 SKU: LM.28387 Composed by Hugues Aufray. Miche...(+)
Voice and guitar - Level
3 SKU: LM.28387
Composed by Hugues
Aufray. Michel Leclerc.
Pop, jazz. Score and CD.
Editions Henry Lemoine
#28387. Published by
Editions Henry Lemoine
(LM.28387). ISBN
9790230983877. Des
jonquilles aux derniers
lilas - Stewball - Le
Petit ane gris - Le
rossignol anglais - Le
port de Tacoma - Des que
le printemps revient -
Celine - L'epervier - Un
arbre m'a dit - Le bon
dieu s'enervait - Adieu,
monsieur le
professeur. $37.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Connecting Practice, Measurement, and Evaluation GIA Publications
SKU: GI.G-9140 Selected papers from the Fifth International Symposium ...(+)
SKU: GI.G-9140
Selected papers from
the Fifth International
Symposium on Assessment
in Music Education.
Edited by Timothy S.
Brophy. Assessment. Music
Education. 608 pages. GIA
Publications #9140.
Published by GIA
Publications (GI.G-9140).
ISBN 9781622771783.
English. With
Contributions byFrank
Abrahams Â
 Michael L.
Alexander Â
 Kimberly Lansinger
AnkneyEdward
Asmus   Rafael
Guerini Atolini Â
 William BauerElaine
Bernstorf Â
 Leonardo
Borne   Pamela
BurnardFrederick
Burrack   Paul
Chapin Â
 Jian-Jun
Chen-EdmundWilliam
Cirullo Â
 Richard
Colwell Â
 Rachel E.
CopelandBaisheng
Dai   Paul F.
Doerksen Â
 Cláudia Elisiane
Ferreira dos SantosDavid
Edmund Â
 Jian-Jun
Chen-Edmund Â
 Jan EdwardsGeorge
Engelhard, Jr. Â
 José Carlos
Godinho   Sandy
GoldieChristina
Haaf   Dee
Hansen   Jason
HawkinsMichele L.
Henry   René
Human   Ryan
JohnSangmi Kang Â
 Don Lebler Â
 Kathleen A.
MelagoJennifer S.
McDonel   M.
David Miller Â
 Tobias S. MonteGlenn
Nierman Â
 Helena de Souza
Nunes   Denese
OdegaardDouglas C.
Orzolek   Kelly
A. Parkes Â
 Phillip PayneJohn
Peasant, Jr. Â
 Jared R.
Rawlings   Gary
K. RitcherMaria Gleice
Rodrigues Â
 Maria Runfola Â
 Shelley
SandersonEdilson
Schultz Â
 Ronald G.
Sherwin   Scott
C. ShulerTimothy W.
Smith   Nathan
St. Pierre Â
 Stephanie
StanderferCynthia L.
Wagoner Â
 Dennis Ping-Cheng
Wang   Jeffrey
WardBrian C.
Wesolowski Â
 Stefanie A.
Wind Â
 Chia-Chieh WuBrian C.
Wuttke   Hyesoo
YooThe 5th International
Symposium on Assessment
in Music Education was
hosted by the University
of Florida, James Madison
University, and The
Shenandoah Conservatory
of Shenandoah University.
The symposium brought
together 288 participants
from 17 nations and six
continents to learn of
each other’s work,
establish collaborations
and professional
networks, and shape new
directions for research
in this important area of
music education in
Williamsburg, Virginia,
from February 18-21,
2015. The four keynote
addresses and 37 papers
published in this volume
document music assessment
practice and the
measurement and
evaluation of music
learning across the world
in local, state, and
national contexts at all
levels. The attendees
also attended special
work sessions to discuss
the key questions of the
symposium, and their
discussions are
summarized in this
collection. As music
educators across the
world come to terms with
increased expectations
for accountability of
learning in music, the
scholars and
practitioners who have
contributed to this
volume provide insight to
guide their work.About
the EditorsTimothy S.
Brophy is Professor of
Music Education and
Director of Institutional
Assessment at the
University of Florida in
Gainesville. Florida.
Jeffrey Marlatt is
Associate Professor of
Music Education and
Assistant Dean for
Student Learning,
Director of Music
Education, and holds the
Charlotte A. & Verne E.
Collins Endowed
Professorship at the
Shenandoah Conservatory
of Shenandoah University,
Winchester, Virginia.
Gary Ritcher is Professor
and Coordinator of Music
Education at James
Madison University,
Harrisonburg,
Virginia. $47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mon Piano, mon Professeur et moi Piano seul - Facile De Haske Publications
Piano - easy SKU: BT.DHP-0930501-401 Méthode de piano pour élÃ...(+)
Piano - easy SKU:
BT.DHP-0930501-401
Méthode de piano
pour élèves
débutants.
Composed by Andre
Waignein. Educational
Tool. Book Only. Composed
1993. 44 pages. De Haske
Publications #DHP
0930501-401. Published by
De Haske Publications
(BT.DHP-0930501-401).
French. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ma guitare, mon band (cahier du professeur) vol. 2 - Intermédiaire Productions OZ
Méthode - Intermediate SKU: DZ.DZ-1830 Composed by L. Levesque and N. ...(+)
Méthode - Intermediate
SKU: DZ.DZ-1830
Composed by L. Levesque
and N. Lachance. Method
book. Les Productions
d'OZ #DZ 1830. Published
by Les Productions d'OZ
(DZ.DZ-1830). ISBN
9782896557295. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ma guitare, mon band (cahier du professeur) vol. 1 - Facile Productions OZ
Méthode - easy SKU: DZ.DZ-1020 Composed by L. Levesque and N. Lachance...(+)
Méthode - easy SKU:
DZ.DZ-1020 Composed
by L. Levesque and N.
Lachance. Method book.
Les Productions d'OZ #DZ
1020. Published by Les
Productions d'OZ
(DZ.DZ-1020). ISBN
9782895009061. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mount Vernon Square Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS250 Concert March. Composed...(+)
Band Concert Band - Grade
2 SKU: CF.YPS250
Concert March.
Composed by Joseph
Compello. Yps. Set of
Score and Parts.
2+16+4+8+8+8+4+4+10+4+4+8
+8+8+4+4+6+6+6+4+6+1+1+4+
1+24 pages. Duration 2
minutes, 43 seconds. Carl
Fischer Music #YPS250.
Published by Carl Fischer
Music (CF.YPS250).
ISBN 9781491161333.
UPC:
680160919925. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march. Performance Notes
The form of the march is
a standard A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march.Performance
NotesThe form of the
march is a standard
A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mount Vernon Square Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS250F Concert March. Compose...(+)
Band Concert Band - Grade
2 SKU: CF.YPS250F
Concert March.
Composed by Joseph
Compello. Yps. Full
score. 24 pages. Duration
2 minutes, 43 seconds.
Carl Fischer Music
#YPS250F. Published by
Carl Fischer Music
(CF.YPS250F). ISBN
9781491161890. UPC:
680160920570. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march. Performance Notes
The form of the march is
a standard A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march.Performance
NotesThe form of the
march is a standard
A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 5 Easy Studies, Opus 50 2 Guitares (duo) - Intermédiaire Productions OZ
Guitar duet - Intermediate SKU: DZ.DZ-4311 Composed by Louise Farrenc. Ar...(+)
Guitar duet -
Intermediate SKU:
DZ.DZ-4311 Composed
by Louise Farrenc.
Arranged by Eddie Healy.
Score and parts. Les
Productions d'OZ #DZ
4311. Published by Les
Productions d'OZ
(DZ.DZ-4311). ISBN
9782898522284. Loui
se Farrenc was a
profoundly influential
French composer,
performer, professor, and
author. Though she would
ultimately become quite a
sought-after performer,
her potential as a
composer was recognized
quite early on. Women
were not permitted to
enroll in conventional
composition classes at
the Conservatoire de
Paris at the time, but,
she did receive private
lessons from Anton
Reicha, the professor of
composition there. Years
later she would receive a
permanent appointment as
Professor of Piano at the
same institution, a
position she held for
thirty years. She was the
only woman during the
19th century to bear that
title. Her piano
etudes possess
pedagogical value as well
as great beauty and
character. These works
lend themselves quite
well to the guitar duo
setting. While I have
rendered all of
FarrencâÂÂs
melodies quite
faithfully, I have taken
liberties with the
accompaniments in order
to make them more
idiomatic to the guitar.
Likewise, many of the
effects of which the
guitar is capable have
been brought to bear in
ways that deviate from
the original intent of
the etude. Alternatively,
the challenges that some
of these etudes were
meant to address for the
piano student are
amplified by this
adaptation. For example,
etude 5 is intended to
enable the piano student
to improve the
coordination between
their left and right
hands. It certainly
presents a challenge in
that regard to the guitar
duo! These selections
are entirely suitable for
guitarists with limited
experience, though they
could, of course, be
beautifully realized by
players with a great deal
more experience as
well.
Louise
Farrenc était une
compositrice,
interprète,
professeur et auteure
française
profondément
influente. Même si
elle deviendra finalement
une interprète
très
recherchée, son
potentiel en tant que
compositrice est reconnu
très tôt.
Les femmes
n'étaient pas
autorisées
ÃÂ s'inscrire aux
cours de composition
conventionnels au
Conservatoire de Paris
àl'époque,
mais elle recevait des
cours particuliers
d'Anton Reicha, le
professeur de composition
du Conservatoire de
Paris. Des années
plus tard, elle recevra
un poste permanent de
professeur de piano dans
la même
institution, poste
qu'elle occupera pendant
trente ans. Elle
était la seule
femme au XIXe
siècle ÃÂ
porter ce titre. Ses
études pour piano
possèdent une
valeur pédagogique
ainsi qu'une grande
beauté et un grand
caractère. Ces
Ã
Âuvres se
prêtent assez bien
au montage en duo de
guitares. Même si
jâÂÂai rendu
assez fidèlement
toutes les
mélodies de
Farrenc, jâÂÂai
pris des libertés
avec les accompagnements
afin de les rendre plus
idiomatiques ÃÂ la
guitare. De même,
de nombreux effets dont
la guitare est capable
ont été mis
en Ã
Âuvre
dâÂÂune
manière qui
sâÂÂécart
e de
lâÂÂintention
originale de
lâÂÂétude
. Alternativement, les
défis que
certaines de ces
études
étaient
censées relever
pour l'étudiant en
piano sont
amplifiés par
cette adaptation. Par
exemple, l'étude 5
est destinée
ÃÂ permettre
ÃÂ
l'élève de
piano d'améliorer
la coordination entre ses
mains gauche et droite.
Cela représente
certainement un
défi àcet
égard pour le duo
de guitares ! Ces
sélections
conviennent parfaitement
aux guitaristes ayant une
expérience
limitée,
même si elles
pourraient bien
sûr
également
être
magnifiquement
réalisées
par des musiciens
beaucoup plus
expérimenté
s. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Satierf Odracir Orchestre d'harmonie - Avancé Molenaar Edition
Concert Band - Grade 5 SKU: ML.013738090 Composed by Nuno Osório. Full s...(+)
Concert Band - Grade 5
SKU: ML.013738090
Composed by Nuno Osório.
Full set. Molenaar
Edition #013738090.
Published by Molenaar
Edition (ML.013738090).
Commissioned by
the musicians, direction
and friends of Banda de
Música de Vilela -
Portugal. The main
objective of the work is
to pay homage to the
conductor and professor
José Ricardo Freitas,
for all the work he
developed as conductor of
the Banda de Música de
Vilela. The thematic and
musical material
presented throughout the
work intent to show the
human and professional
characteristics of
maestro José Ricardo
Freitas.
In
opdracht van de
muzikanten, directie en
vrienden van de Banda de
Música de Vilela -
Portugal. De
belangrijkste
doelstelling van het werk
is om hulde te brengen
aan de dirigent en
professor José Ricardo
Freitas, voor al het werk
dat hij heeft ontwikkeld
als dirigent van de Banda
de Música de Vilela. Het
thematische en muzikale
materiaal dat in het werk
wordt gepresenteerd, is
bedoeld om de menselijke
en professionele
kenmerken van maestro
José Ricardo Freitas te
tonen.
Commande
des musiciens, de la
direction et des amis de
la Banda de Música de
Vilela - Portugal.
L'objectif principal de
l'œuvre est de rendre
hommage au chef
d'orchestre et professeur
José Ricardo Freitas,
pour tout le travail
qu'il a développé en
tant que chef d'orchestre
de la Banda de Música de
Vilela. Le matériel
thématique et musical
présenté tout au long
de l'œuvre vise à
montrer les
caractéristiques
humaines et
professionnelles du
maestro José Ricardo
Freitas.
In
Auftrag gegeben von den
Musikern, der Leitung und
den Freunden der Banda de
Música de Vilela -
Portugal. Das Hauptziel
des Werkes ist eine
Hommage an den Dirigenten
und Professor José
Ricardo Freitas, für all
die Arbeit, die er als
Dirigent der Banda de
Música de Vilela
entwickelt hat. Das
thematische und
musikalische Material,
das in dem Werk
präsentiert wird, soll
die menschlichen und
beruflichen Eigenschaften
von Maestro José Ricardo
Freitas zeigen. $237.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Ostinati Fanfare De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-020
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Set (Score & Parts). De
Haske Publications #DHP
1115084-020. Published by
De Haske Publications
(BT.DHP-1115084-020).
9x12 inches.
English-German-French-Dut
ch. It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Il
pourrait paraître
surprenant qu’un
ensemble japonais puisse
commander une pièce
pour orchestre de
fanfare, puisque
l’on rencontre
surtout ce type de
formation en Belgique,
aux Pays-Bas et au
Luxembourg, ainsi
qu’en France et en
Suisse. Senzoku Gakuen,
l’une des plus
grandes et plus
prestigieuses
académies de musique
du Japon, compte une
grande variété
d’ensembles et
d’orchestres. En
2006 s’y est
ajouté un orchestre de
fanfare fondé par
Sotaru Fukaishi, un
professeur
d’euphonium qui
pensait qu’il
était nécessaire
d’offrir de plus
larges possibilités
aux cuivres de la
région. Depuis
qu’il avait
assisté au World Music
Contest de Kerkrade
(Pays-Bas), plusieurs
années
auparavant,Fukaishi se
prit de passion pour le
son chaud et
généreux de
l’orchestre de
fanfare, une formation
atypique au Japon. Jan
Van der Roost a
favorablement
adhéré cette
nouvelle initiative,
tandis que Manu Mellaerts
collabora avec les deux
hommes afin de
concrétiser certains
projets. Le professeur
Kazuo Tomioka, doyen du
collège de musique,
soutint vigoureusement
l’orchestre et
commanda Ostinati.
La création de
l’oeuvre fut
donnée le 11 juin 2011
au Maeda Hall de
Mizonokuchi (Kawasaki),
où se trouve Senzoku
Gakuen. La pièce
débute avec un
impressionnant solo de
timbales précédant
l’entrée des
cuivres et des
saxophones. La pulsion
rythmique est constante,
la musique est
énergique et de
caractère affirmé.
Une mélodie
pentatonique émerge
graduellement, alors que
la trame musicale diminue
d’intensité et
s’adoucit.
L’ostinato la
percussion revient
fréquemment et la
première partie de
l’oeuvre se
termine dans un climat
semblable celui du
début. Le deuxième
mouvement, doux et
romancé, débute
avec un long passage en
mode mineur joué par
les saxophones. Le
même thème
apparaît alors en mode
majeur et se développe
peu peu ; la musique
s’intensifie pour
arriver un majestueux et
orchestral forte dont les
sonorités rappellent
celles d’un orgue
d’église. Puis
le thème revient sa
tonalité mineure
d’origine avec un
changement
d’instrumentation
qui mène. $478.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ostinati Fanfare De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-120
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2012. 99 pages. De Haske
Publications #DHP
1115084-120. Published by
De Haske Publications
(BT.DHP-1115084-120).
9x12 inches.
English-German-French-Dut
ch. It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Il
pourrait paraître
surprenant qu’un
ensemble japonais puisse
commander une pièce
pour orchestre de
fanfare, puisque
l’on rencontre
surtout ce type de
formation en Belgique,
aux Pays-Bas et au
Luxembourg, ainsi
qu’en France et en
Suisse. Senzoku Gakuen,
l’une des plus
grandes et plus
prestigieuses
académies de musique
du Japon, compte une
grande variété
d’ensembles et
d’orchestres. En
2006 s’y est
ajouté un orchestre de
fanfare fondé par
Sotaru Fukaishi, un
professeur
d’euphonium qui
pensait qu’il
était nécessaire
d’offrir de plus
larges possibilités
aux cuivres de la
région. Depuis
qu’il avait
assisté au World Music
Contest de Kerkrade
(Pays-Bas), plusieurs
années
auparavant,Fukaishi se
prit de passion pour le
son chaud et
généreux de
l’orchestre de
fanfare, une formation
atypique au Japon. Jan
Van der Roost a
favorablement
adhéré cette
nouvelle initiative,
tandis que Manu Mellaerts
collabora avec les deux
hommes afin de
concrétiser certains
projets. Le professeur
Kazuo Tomioka, doyen du
collège de musique,
soutint vigoureusement
l’orchestre et
commanda Ostinati.
La création de
l’oeuvre fut
donnée le 11 juin 2011
au Maeda Hall de
Mizonokuchi (Kawasaki),
où se trouve Senzoku
Gakuen. La pièce
débute avec un
impressionnant solo de
timbales précédant
l’entrée des
cuivres et des
saxophones. La pulsion
rythmique est constante,
la musique est
énergique et de
caractère affirmé.
Une mélodie
pentatonique émerge
graduellement, alors que
la trame musicale diminue
d’intensité et
s’adoucit.
L’ostinato la
percussion revient
fréquemment et la
première partie de
l’oeuvre se
termine dans un climat
semblable celui du
début. Le deuxième
mouvement, doux et
romancé, débute
avec un long passage en
mode mineur joué par
les saxophones. Le
même thème
apparaît alors en mode
majeur et se développe
peu peu ; la musique
s’intensifie pour
arriver un majestueux et
orchestral forte dont les
sonorités rappellent
celles d’un orgue
d’église. Puis
le thème revient sa
tonalité mineure
d’origine avec un
changement
d’instrumentation
qui mène. $115.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Music for a Noble Gathering - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Oboe,
Percussion, Piccolo,
Snare Drum, Suspended
Cymbal, Timpani and more.
- Grade 1.5 SKU:
CF.FPS162 Composed by
William Harbinson. Fps.
Set of Score and Parts.
2+8+8+4+8+8+8+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+4+6+4+2+
10+24 pages. Duration
4:15. Carl Fischer Music
#FPS162. Published by
Carl Fischer Music
(CF.FPS162). ISBN
9781491161548. UPC:
680160920198. Music
for a Noble Gathering
captures the pomp and
dignity of a regal
celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for a connected
and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is paramount.
The climax in m. 53
quickly subsides but
immediately rebuilds for
a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure. William
Harbinson is Professor
Emeritus and former Dean
of the Hayes School of
Music at Appalachian
State University. He has
received nine J.W. Pepper
Editors' Choice Awards
that identify the very
best of the new music
available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed worldwide.
 . Music for a
Noble Gathering captures
the pomp and dignity of a
regal celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for aÂ
connected and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is
paramount. The climax
in m. 53 quickly subsides
but immediately rebuilds
for a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure.William Harbinson
is Professor Emeritus and
former Dean of the Hayes
School of Music at
Appalachian State
University. He has
received nine J.W. Pepper
Editors’ Choice
Awards that identify the
very best of the new
music available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed
worldwide. . $58.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Teaching with Heart - Course Pack - 4 hrs of videos GIA Publications
SKU: GI.G-10383 Tools for Addressing Societal Challenges through Music...(+)
SKU: GI.G-10383
Tools for Addressing
Societal Challenges
through Music.
Composed by Jason Max
Ferdinand. Music
Education. 106 pages. GIA
Publications #10383.
Published by GIA
Publications
(GI.G-10383). ISBN
9781622775378. Incl
udes course pack with
activities and four hours
of video interviews.
Includes access codes for
25 students. Purchase
includes digital access
to complete book and
videos for 25 students
plus a physical copy of
the book. Jason Max
Ferdinand's book Teaching
With Heart is the first
book to directly help us
address the societal
issues in our choral
rehearsals. Not
attempting to separate
the music from social
issues, this new tool in
the classroom uses
musical examples to
address uncomfortable
topics and hopefully
'open minds and hearts.'
Built to ask singers to
read, watch, listen and
then to respond and
discuss, this resource
has been developed with
the help of nine
outstanding contributors
and ten composers and
arrangers. I strongly
urge you to take a look
at this new resource for
your classroom.
--Jo-Michael Scheibe,
D.M.A. Professor,
Department of Choral and
Sacred Music Conductor,
University of Southern
California Thornton
Chamber Singers Teaching
With Heart is a timely
and relevant resource
that offers a
well-crafted,
research-based approach
to choral music
education. Students will
learn how diverse choral
repertoire can be used as
a tool to not only
advance musicianship, but
also as an access point
for critical thinking and
the enhancement of social
emotional learning
skills. --Rollo A.
Dilworth, D.Mus. Vice
Dean and Professor of
Choral Music Education
Center for the Performing
and Cinematic Arts,
Temple University Through
valuable repertoire
suggestions, listening
examples, video
interviews, quotes, and
teaching activities, this
resource provides
designed lessons helping
students apply,
synthesize, evaluate, and
comprehend music from an
artistic perspective and,
more importantly, a human
perspective. --Brandon
Boyd, Ph.D. Assistant
Professor Choral
Conducting, Choral Music
Education University of
Missouri 'How would you
suggest a Caucasian
teacher talk about social
justice issues with
students of color?' a
student from Georgia
Southern University asked
via ZOOM. Dr. Ferdinand
responded by quoting from
Teaching With Heart,
specifically sharing
inspiration from the
module titled 'Justice,
or Just Us?' Powerful
conversation ensued and
our future educators were
immediately on fire to
get ahold of these
teaching tools! We are so
grateful for Dr.
Ferdinand's generous
leadership and his
extremely well-timed
Choral Conductor's
Compendium to help guide
us through current times
and into the future.
--Shannon Jeffreys,
D.M.A. Director of Choral
Activities Georgia
Southern University Jason
Max Ferdinand is a Full
Professor, Chair of the
Music Department, and
Director of Choral
Activities at Oakwood
University, where he
conducts the Aeolians of
Oakwood University. He
maintains an active
schedule as a presenter,
adjudicator, and guest
conductor for high
schools, collegiate, and
church choirs throughout
North America, Asia,
Europe, and the
Caribbean. Learn more
about this new resource
in the short video
below:. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Teaching Beyond the Music GIA Publications
SKU: GI.G-10900 Tools for Addressing Societal Challenges Through the A...(+)
SKU: GI.G-10900
Tools for Addressing
Societal Challenges
Through the Arts.
Composed by Jason Max
Ferdinand. Music
Education. 80 pages. GIA
Publications #10900.
Published by GIA
Publications
(GI.G-10900). ISBN
9781622777372. Jaso
n Max Ferdinand's book
Teaching With Heart is
the first book to
directly help us address
the societal issues in
our choral rehearsals.
Not attempting to
separate the music from
social issues, this new
tool in the classroom
uses musical examples to
address uncomfortable
topics and hopefully
'open minds and
hearts.'Â Built to ask
singers to read, watch,
listen and then to
respond and discuss, this
resource has been
developed with the help
of nine outstanding
contributors and ten
composers and arrangers.
I strongly urge you to
take a look at this new
resource for your
classroom.
—Jo-Michael
Scheibe, D.M.A. Â Â
Professor, Department of
Choral and Sacred Music
  Conductor,
University of Southern
California Thornton
Chamber Singers Teaching
With Heart is a timely
and relevant resource
that offers a
well-crafted,
research-based approach
to choral music
education. Students will
learn how diverse choral
repertoire can be used as
a tool to not only
advance musicianship, but
also as an access point
for critical thinking and
the enhancement of social
emotional learning
skills. —Rollo A.
Dilworth, D.Mus. Â
 Vice Dean and
Professor of Choral Music
Education  Â
Center for the Performing
and Cinematic Arts,
Temple University Through
valuable repertoire
suggestions, listening
examples, video
interviews, quotes, and
teaching activities, this
resource provides
designed lessons helping
students apply,
synthesize, evaluate, and
comprehend music from an
artistic perspective and,
more importantly, a human
perspective.
—Brandon Boyd,
Ph.D. Â Â Assistant
Professor Choral
Conducting, Choral Music
Education  Â
University of Missouri
'How would you suggest a
Caucasian teacher talk
about social justice
issues with students of
color?' a student from
Georgia Southern
University asked via
ZOOM. Dr. Ferdinand
responded by quoting from
Teaching With Heart,
specifically sharing
inspiration from the
module titled 'Justice,
or Just Us?' Powerful
conversation ensued and
our future educators were
immediately on fire to
get ahold of these
teaching tools! We are so
grateful for Dr.
Ferdinand's generous
leadership and his
extremely well-timed
Choral Conductor's
Compendium to help guide
us through current times
and into the future.
—Shannon Jeffreys,
D.M.A. Â Â Director
of Choral Activities Â
 Georgia Southern
University Jason Max
Ferdinand serves as the
Director of Choral
Activities at the
University of Maryland,
College Park. He assumed
the role in Fall of 2022.
He maintains an active
schedule as a presenter,
adjudicator, and guest
conductor for high
schools, collegiate, and
church choirs throughout
North America, Asia,
Europe, and the
Caribbean. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Madrigal Pavane / Timburibá - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4287
Composed by Francisco
Braga. Arranged by
Luciano Lima. Score. Les
Productions d'OZ #DZ
4287. Published by Les
Productions d'OZ
(DZ.DZ-4287). ISBN
9782898522048. Ant
nio Francisco Braga
(1868-1945) belongs to
the generation of
Brazilian composers of
the first republican
period, aesthetically
tied to romanticism,
alongside Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914), and Barrozo
Neto (1881-1941). Born in
Rio de Janeiro, on April
15th, 1868, he began his
musical studies at the
Asilo dos Meninos
Desvalidos, in 1876. In
1883, he enrolled at the
Imperial Conservatório
de Música where he
studied harmony and
counterpoint with Carlos
de Mesquita – a former
student of César Franck,
Durand, and Massenet –
and clarinet with
Antônio Luís de Moura.
Braga's first
compositions date from
this period: Sonho de
Dante (1885), Dolce far
niente (1886), the first
Valse Romantique for
piano (1886), among
others. In 1887, he
premiered his first
symphonic work,
Fantasia-Abertura. In
1890, being one of the
finalists in a
competition to choose the
new Brazilian national
anthem, Braga was awarded
a scholarship to study in
Europe, where he took
classes with Jules
Massenet at the Paris
Conservatory. During this
period, he wrote some of
his most important
symphonic works, Paysage,
Cauchemar, Episódio
Sinfônico, and Marabá
(which was performed by
Richard Strauss and the
Vienna Philharmonic in
1920, in Brazil). His
opera Jupyra is
considered one of the
greatest Brazilian
compositions of that
genre. Back in Brazil,
he was appointed
professor of
counterpoint, fugue, and
composition at the
Instituto Nacional de
Música, in 1902. There,
some of the finest
Brazilian composers
studied with him, like
Glauco Velásquez and
Lorenzo
Fernândez. Braga
wrote operas, symphonic
works, songs, sacred
music, two Masses, music
for piano, different
chamber formations, band,
and choir. He is the
author of many patriotic
hymns, the most popular
of which is Hino à
Bandeira (with lyrics by
Olavo Bilac). He explored
Brazilian nationalist
elements in some of his
works, as in Variações
sobre um Tema Brasileiro
and in the Trio for
violin, cello and piano,
whose third movement is
based on a lundu (a
musical genre and dance
of Afro-Brazilian
origin). In addition
to being a composer,
Braga was one of the most
active conductors of his
time, having been ahead
of three orchestras in
Rio de Janeiro: Instituto
Nacional de Música,
Sociedade de Concertos
Sinfônicos, and Theatro
Municipal. Braga
conducted the Brazilian
premiere of major
symphonic works such as
La Mer (Debussy), Pacific
231 (Honegger) besides
other numerous Brazilian
compositions. In 1938,
he retired from Instituto
Nacional de Música. He
passed away on March
14th, 1945, in Rio de
Janeiro. Unfortunately
, Francisco Braga never
wrote for the guitar.
However, over a century
ago his music had already
been incorporated to its
repertoire. According to
information found in
newspapers of the time,
Spanish guitarist
Josefina Robledo included
transcriptions of pieces
by Braga in her programs
when she performed in
Brazil: Gavota e Minuete
(from the melodrama
Contratador de
Diamantes), in 1919, in
São Paulo, and the
waltz-caprice Corrupio,
in 1921, in Rio de
Janeiro. The piano
score of Madrigal Pavane
was dedicated to Alexina
Leitão and published by
Casa Vieira Machado, in
1901. According to the
composer’s catalogue,
there are two other
versions of this piece:
strings orchestra (1901)
and quartet (which is
still in manuscript).
Dedicated to Braga’s
childhood friend José de
Souza Rocha, Timburibá
(the name of a Brazilian
tree) is a tango for
piano from 1886,
published by Narciso &
Arthur
Napoleão.
Antôni
o Francisco Braga
(1868-1945) appartient à
la génération des
compositeurs brésiliens
de la première période
républicaine,
esthétiquement liés au
romantisme, aux côtés
de Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914) , et Barrozo
Neto (1881-1941). Né à
Rio de Janeiro, le 15
avril 1868, il commence
ses études musicales à
l'Asilo dos Meninos
Desvalidos, en 1876. En
1883, il s'inscrit au
Imperial Conservatório
de Música où il étudie
l'harmonie et le
contrepoint avec Carlos
de Mesquita – ancien
élève de César Franck,
Durand et Massenet – et
clarinette avec Antônio
Luís de Moura. De cette
période datent les
premières compositions
de Braga : « Sonho de
Dante » (1885), « Dolce
far niente » (1886), la
première « Valse
Romantique » pour piano
(1886), entre
autres. En 1887, il
crée sa première œuvre
symphonique, «
Fantasia-Abertura ». En
1890, étant l'un des
finalistes d'un concours
pour choisir le nouvel
hymne national
brésilien, Braga obtient
une bourse pour étudier
en Europe, où il suit
les cours de Jules
Massenet au Conservatoire
de Paris. Durant cette
période, il écrit
certaines de ses œuvres
symphoniques les plus
importantes, « Paysage
», « Cauchemar », «
Episódio Sinfônico »
et « Marabá »
(interprétée par
Richard Strauss et la
Philharmonie de Vienne en
1920, au Brésil). Son
opéra « Jupyra » est
considéré comme l'une
des plus grandes
compositions
brésiliennes de ce
genre. De retour au
Brésil, il fut nommé
professeur de
contrepoint, de fugue et
de composition à
l'Instituto Nacional de
Música, en 1902. Là,
certains des meilleurs
compositeurs brésiliens
étudièrent avec lui,
comme Glauco Velásquez
et Lorenzo
Fernândez. Braga a
écrit des opéras, des
œuvres symphoniques, des
chansons, de la musique
sacrée, deux messes, de
la musique pour piano,
différentes formations
de chambre, un orchestre
et une chorale. Il est
l'auteur de nombreux
hymnes patriotiques, dont
le plus populaire est «
Hino à Bandeira » (avec
des paroles d'Olavo
Bilac). Il a exploré des
éléments nationalistes
brésiliens dans
certaines de ses œuvres,
comme dans « Variações
sobre um Tema Brasileiro
» et dans le Trio pour
violon, violoncelle et
piano, dont le troisième
mouvement est basé sur
un « lundu » (un genre
musical et une danse
afro-américaine).
Origine
brésilienne). En plus
d'être compositeur,
Braga a été l'un des
chefs d'orchestre les
plus actifs de son
époque, ayant dirigé
trois orchestres à Rio
de Janeiro : « Instituto
Nacional de Música »,
« Sociedade de Concertos
Sinfônicos » et «
Theatro Municipal ».
Braga a dirigé la
première brésilienne
d'œuvres symphoniques
majeures telles que « La
Mer » (Debussy), «
Pacific 231 » (Honegger)
ainsi que de nombreuses
autres compositions
brésiliennes. En
1938, il prend sa
retraite de l'Instituto
Nacional de Música. Il
est décédé le 14 mars
1945 à Rio de
Janeiro. Malheureuseme
nt, Francisco Braga n’a
jamais écrit pour la
guitare. Cependant, il y
a plus d'un siècle, sa
musique était déjà
incorporée à son
répertoire. Selon des
informations trouvées
dans les journaux de
l'époque, la guitariste
espagnole Josefina
Robledo incluait des
transcriptions de pièces
de Braga dans ses
programmes lorsqu'elle se
produisait au Brésil :
« Gavota e Minuete »
(du mélodrame «
Contratador de Diamantes
»), en 1919, à São
Paulo, et la
valse-caprice « Corrupio
», en 1921, à Rio de
Janeiro. La partition
pour piano de « Madrigal
Pavane » a été
dédiée à Alexina
Leitão et publiée par
« Casa Vieira Machado
», en 1901. Selon le
catalogue du compositeur,
il existe deux autres
versions de cette pièce
: orchestre à cordes
(1901) et quatuor (qui
est encore manuscrit).
Dédié à José de Souza
Rocha, ami d'enfance de
Braga, « Timburibá »
(nom d'un arbre
brésilien) est un tango
pour piano de 1886,
publié par « Narciso &
Arthur Napoleão
». Envoyer des
commentaires Panneaux
latéraux HistoriqueEnregistrées. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Piano Lessons, Book 1 - Portuguese Edition Piano seul [Partition + Accès audio] Hal Leonard
Hal Leonard Student Piano Library. Educational Piano Library. Instruction...(+)
Hal Leonard Student
Piano Library.
Educational Piano
Library. Instruction.
Softcover Audio Online.
64 pages. Published by
Hal Leonard (HL.120213).
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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