| Elements in Time - GROOVY Caisse Claire [Conducteur] - Intermédiaire Tapspace Publications
(groovy snare drum solos in four flavors). Composed by Danny Raymond. For solo s...(+)
(groovy snare drum solos
in four flavors).
Composed by Danny
Raymond. For solo snare
drum. Medium to
Medium-Advanced. Score.
16 pages. Published by
Tapspace Publications
$25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flamenco Scalathon A New Approach to Faster Picado Scales Guitare notes et tablatures Mel Bay
Saddle-stitched. Flamenco. Book. Mel Bay Publications, Inc #31105. Published...(+)
Saddle-stitched.
Flamenco.
Book. Mel Bay
Publications,
Inc #31105. Published by
Mel
Bay Publications, Inc
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Forty Songs (High)
Piano, Voix IMC (International Music Co.)
Complete in One Volume. By Henry Purcell. Voice and piano. Published by Internat...(+)
Complete in One Volume.
By Henry Purcell. Voice
and piano. Published by
International Music Co.
(3)$36.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Forty Songs (Low)
Voix basse, Piano IMC (International Music Co.)
Forty Songs. Complete in One Volume. By Henry Purcell. Voice and piano. Publishe...(+)
Forty Songs. Complete in
One Volume. By Henry
Purcell. Voice and piano.
Published by
International Music Co.
(3)$34.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Month of Sundays: Christmas Piano seul [Partition + CD] Alfred Publishing
Arranged by Jan Sanborn. Songbook and examples CD for solo piano. Series: Alfred...(+)
Arranged by Jan Sanborn.
Songbook and examples CD
for solo piano. Series:
Alfred's Sacred Performer
Collections. 48 pages.
Published by Alfred
Publishing.
(1)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Third Half of the Circle - Avancé Innovative Percussion
Multi-Percussion Solo w/ CD Accompaniment Multi-percussion Solo with CD Accompan...(+)
Multi-Percussion Solo w/
CD Accompaniment
Multi-percussion Solo
with CD Accompaniment
(marimba (low e),
vibraphone (pedal fixed
down), crotales (low
octave - DO NOT use high
octave), large (22) and
medium (18) chinese
cymbals china splash (8)
or similar effect cymbal,
large and small log drums
(multiple pitches), 2
mark trees (double row) -
Level 5 SKU:
IP.S-GF-THI Composed
by Gene Fambrough. Book
and CD. Duration 13
minutes. Innovative
Percussion #S-GF-THI.
Published by Innovative
Percussion (IP.S-GF-THI).
8.5x11
inches. Composer's
notes: The concept behind
this work is for the
performer to accompany
him / herself on marimba
through the use of
sustaining metal
instruments, sounding
like multiple performers
within a solo work. When
multiple vibraphones are
available, choose the
instrument with the
longest sustain. It is
necessary to use the low
octave of crotales for
best sustain.
This
is a multiple percussion
work with a brief section
of CD accompaniment. The
work is scored for
marimba (low E),
vibraphone, crotales,
cymbals, log drums, and
multiple sets of wind
chimes. The composer
states that the general
premise of the work is
the ability of the
marimbist to accompany
himself with longer
resonating metallic
instruments. It begins
with a free section
emphasizing mark tree,
cymbals and crotales. The
marimba emerges from this
texture with
sixteenth-note triplets
that suggest the primary
theme of the work. After
a brief interlude of
cymbals, crotales and
vibraphone, the
sixteenth-note figures
return in the marimba,
with punctuating, long
tones on the crotales.
This section continues
for a while, finally
yielding to a
transitional segment of
linear figures in the
marimba, culminating in
an explosive run to the
top of the instrument.
The tension it creates is
quickly released in the
ensuing chorale section.
Here again, the performer
is asked to sustain notes
in the marimba via
independent roll, while
the other hand plays
figures on the vibes and
crotales. The CD
accompaniment begins at
the end of this section.
The performer begins to
improvise in the style of
the opening of the work
over the gong, cymbal and
drum sounds on the
recording. The marimba
re-enters with groovy
sixteenth notes over the
recorded drum sounds. The
rhythms in the marimba
part become increasingly
syncopated as the
intensity builds, then
gradually wind down into
a short, improvised
section on log drums. As
the CD fades away, the
performer is left playing
sparse figures on the
resonant metal sounds.
The work ends with three,
very soft rolled chords
in the marimba with a
single, introspective
note on the crotales as a
finale. The mixture of
coloristic and rhythmic
devices used in this work
make is interesting for
the performer and the
listener. - Scott Herring
Percussive Notes, April
2006. $15.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(14)$59.99 - 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 | | |
| The Muse Of Distraction Carl Fischer
Chamber Music Clarinet, Piano, Violoncello SKU: CF.MXE19 For Bb Clarin...(+)
Chamber Music Clarinet,
Piano, Violoncello
SKU: CF.MXE19
For Bb Clarinet, Cello
and Piano. Composed
by Joshua Green. SWS the
20-pg to cover - rest
insert. Carl Fischer
Chamber Music Edition.
Set of Score and Parts.
With Standard notation.
20+4+4 pages. Carl
Fischer Music #MXE19.
Published by Carl Fischer
Music (CF.MXE19). ISBN
9780825872945. UPC:
798408072940. 9 x 12
inches. Winner of
the 2009 MTNA Composition
Competition, promising
young composer Joshua
Green gives us a striking
new work for clarinet,
cello and piano, borne of
an unlikely muse.
According to the
composer: For the better
part of three months I
fought an exasperating
battle. While trying to
compose a piece for
clarinet, cello, and
piano, a plethora of
distractions had consumed
my mind. This frustration
seemed to amplify with
the amount of time that
passed. It was then that
the following quotation
came to my attention:
Life does not consist
mainly, or even largely
of facts and happenings.
It consists mainly of the
storm of thoughts that is
forever flowing through
one’s head.-Mark
Twain. And so The Muse of
Distraction was born.
Rather than trying to
fight the storm of
thoughts, I allowed
myself to compose a piece
that embraced the
frustration and
irritation of those
previous three months.
Eventually these
distractions were no
longer my adversary. They
became my muse. For
advanced players. For
the better part of three
months I fought an
exasperating battle.
While trying to composea
piece for clarinet,
cello, and piano, a
plethora of distractions
had consumed my mind.This
frustration seemed to
amplify with the amount
of time that passed. It
was then that
thefollowing quotation
came to my
attention:“Life
does not consist mainly,
or even largely of facts
and happenings. It
consists mainly of
thestorm of thoughts that
is forever flowing
through one’s
head.†—Mark
TwainAnd so The Muse of
Distraction was
born.Rather than trying
to fight the “storm
of thoughts,†I
allowed myself to compose
a piecethat embraced the
frustration and
irritation of those
previous three months.
Eventually
thesedistractions were no
longer my adversary.They
became my muse. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Piano seul Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202. What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Minuet, Sarabande and Serenade - Intermédiaire Forton Music
Trumpet and piano - Intermediate SKU: FT.FM418 Composed by Paul Kelly. Tr...(+)
Trumpet and piano -
Intermediate SKU:
FT.FM418 Composed by
Paul Kelly. Trumpet and
Piano. Score and part.
Forton Music #FM418.
Published by Forton Music
(FT.FM418). ISBN
9790570483174. A
suite for trumpet and
piano in 3/4 time,
recommended for the
intermediate player.
Minuet and Variations for
Trumpet and Piano This
minuet starts off with
restrained elegance and
then veers off into
something with attitude,
no longer quite baroque.
There are few places to
rest in this piece so
good breath control is
very important. Strive
for precise articulation
especially in the
staccato passages, and a
full, rich tone in the
Tempo Primo section at
Bar 30. Sarabande This
piece was inspired by
various classical works
but it still has
something of the
Twentieth Century about
it. You'll notice the B
section suggests a
minuet. If you can find
moments to use a true,
fully supported
pianissimo it will help
make this melody truly
haunting. August Serenade
This piece has a spritely
main theme that
introduces two quieter,
more introspective
melodies. The first theme
again echoes a minuet
while the second is more
of a slow waltz. The main
theme should be precise
and fiery, the second
played with a sweet
elegance and the waltz
filled with warmth and
autumnal colours. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| American Death Ballads Piano, Voix [Vocal Score] Schirmer
Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st Cent...(+)
Composed by David Conte
(1955-). Vocal
Anthology/Vocal Solo.
Secular, 21st Century.
Vocal score. 35 pages.
Published by E.C.
Schirmer Publishing
(EC.8454).
$17.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| American Death Ballads Piano, Voix Schirmer
Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st cent...(+)
Composed by David Conte
(1955-). Vocal
Anthology/Vocal Solo.
Secular, 21st century.
Vocal score. 35 pages.
Published by E.C.
Schirmer Publishing
(EC.8455).
$17.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Capriccio Violon Ricordi
In cor piu non mi sento M.S. 44 Violin Solo. Composed by Nicolo Paganini (17...(+)
In cor piu non mi sento
M.S.
44 Violin Solo. Composed
by
Nicolo Paganini
(1782-1840).
Edited by Italo Vescovo.
String Solo. Classical.
Softcover. 40 pages.
Ricordi
#NR14183100. Published by
Ricordi
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music Theory for the Successful String Musician, Book 2 - Bass GIA Publications
SKU: GI.G-10118 A Curriculum of Theory, History, and Creativity Lesson...(+)
SKU: GI.G-10118
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 52 pages. GIA
Publications #10118.
Published by GIA
Publications
(GI.G-10118). ISBN
9781622774326. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Theory for the Successful String Musician, Book 2 - Violin GIA Publications
SKU: GI.G-10115 A Curriculum of Theory, History, and Creativity Lesson...(+)
SKU: GI.G-10115
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 52 pages. GIA
Publications #10115.
Published by GIA
Publications
(GI.G-10115). ISBN
9781622774296. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Theory for the Successful String Musician, Book 1 - Bass GIA Publications
SKU: GI.G-9944 A Curriculum of Theory, History, and Creativity Lessons...(+)
SKU: GI.G-9944
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 48 pages. GIA
Publications #9944.
Published by GIA
Publications (GI.G-9944).
ISBN
9781622773770. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Theory for the Successful String Musician, Book 1 - Viola GIA Publications
SKU: GI.G-9942 A Curriculum of Theory, History, and Creativity Lessons...(+)
SKU: GI.G-9942
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 48 pages. GIA
Publications #9942.
Published by GIA
Publications (GI.G-9942).
ISBN
9781622773756. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Theory for the Successful String Musician, Book 2 - Viola GIA Publications
SKU: GI.G-10116 A Curriculum of Theory, History, and Creativity Lesson...(+)
SKU: GI.G-10116
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 52 pages. GIA
Publications #10116.
Published by GIA
Publications
(GI.G-10116). ISBN
9781622774302. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Theory for the Successful String Musician, Book 2 - Cello GIA Publications
SKU: GI.G-10117 A Curriculum of Theory, History, and Creativity Lesson...(+)
SKU: GI.G-10117
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 52 pages. GIA
Publications #10117.
Published by GIA
Publications
(GI.G-10117). ISBN
9781622774319. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Theory for the Successful String Musician, Book 1 - Violin GIA Publications
SKU: GI.G-9941 A Curriculum of Theory, History, and Creativity Lessons...(+)
SKU: GI.G-9941
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 48 pages. GIA
Publications #9941.
Published by GIA
Publications (GI.G-9941).
ISBN
9781622773749. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Theory for the Successful String Musician, Book 1 - Cello GIA Publications
SKU: GI.G-9943 A Curriculum of Theory, History, and Creativity Lessons...(+)
SKU: GI.G-9943
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 48 pages. GIA
Publications #9943.
Published by GIA
Publications (GI.G-9943).
ISBN
9781622773763. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Marcel Tournier: Intermediate Pieces for Solo Harp, Volume II Harpe Carl Fischer
Chamber Music harp SKU: CF.H84 Composed by Marcel Tournier. Edited by Car...(+)
Chamber Music harp
SKU: CF.H84
Composed by Marcel
Tournier. Edited by Carl
Swanson. Collection -
Score. Carl Fischer Music
#H84. Published by Carl
Fischer Music (CF.H84).
ISBN 9781491165539.
UPC:
680160924530. Marce
l Tournier
(1879–1951) was
one of the most important
harpist/composers in the
history of the harp. Over
his long career, he added
a significant catalogue
of very beautiful works
to the harp repertoire.
Many of his solo works,
almost one hundred, have
been consistently in
print since they were
first published. But in
recent years harpist Carl
Swanson has discovered a
treasure trove of pieces
by Tournier heretofore
unknown and unpublished.
These include the
Déchiffrages in this
edition, as well as songs
set for voice, harp, and
string quartet, and
ensemble arrangements of
some of his most beloved
works.All of the works
that Carl Swanson found
were in manuscript only.
With the help of the
great harpist Catherine
Michel, he has put these
pieces into playable
form, and they are being
published for the very
first time. He and
Catherine often had to
re-notate passages to
show clearly how they
could be played, adding
fingerings and musical
nuances, tempos, pedals,
and pedal
diagrams.Tournier wrote
these pieces when he was
in his 20s, and before he
became the
impressionistic composer
those familiar with his
work know so well. They
are written in the late
nineteenth-century
romantic style that was
being taught at that time
at the Paris
Conservatory. They are
beautiful short,
intermediate level pieces
by a first rate composer,
and add much needed
repertoire to that level
of playing. Marcel
Tournier
(1879–1951) was
one of the most important
harpist/composers in the
history of the harp. He
graduated from the Paris
Conservatory with a first
prize in harp in 1899. He
also studied composition
there and won a second
prize in the prestigious
Prix de Rome competition,
as well as a first prize
in the Rossini
competition, another
major composition
competition of the day.
From 1912 to 1948 he
taught the harp class at
the Paris Conservatory.
But composition, and
almost entirely,
composition for the harp,
was the main focus of his
life. His published
works, including many
works for solo harp, a
few for harp and other
instruments, and several
songs, number around one
hundred pieces.In 2019,
while researching
Tournier for my edition
MARCEL TOURNIER: 10
Pieces for Solo Harp, I
discovered that there was
a significant list of
pieces by this composer
that had never been
published and were not
included on any inventory
of his music. Principal
on this list were his
déchiffrages
(pronounced
day-she-frahge, like the
second syllable in the
word garage).The word
déchiffrage means
sight-reading exercise,
and that was their
original purpose.
Tournier numbered and
dated these pieces, with
dates ranging from 1900
to 1910, indicating that
they were in all
likelihood written for
Alphonse
Hasselmans’ class
at the Paris
Conservatory. Tournier
was probably told how
long to make each one,
and how difficult. They
range in length from two
to four pages, with only
one in the whole series
extending to five, and
from thirty to fifty-five
measures, with only one
extending to eight-five.
The level of difficulty
for the whole series is
intermediate, with some
at the easier end, and
others at the middle or
upper end.We don’t
know if they were
intended to test students
trying to enter the harp
class, or if they were
used to test students in
the class as they played
their exams. The fact
that they were never
published means that
students had to not only
sight read them, but
sight read them in
manuscript form!I worked
from digital images of
the original manuscripts,
which are in the private
music library of a
harpist in France. She
had twenty-seven of these
pieces, and this edition
is the second in a series
of three that will
publish, for the first
time, all of the ones
that I have found thus
far. The manuscripts
themselves consist of
little more than notes on
the page: no pedals
written in, no
fingerings, few if any
musical nuances and tempo
markings, and no clear
indication as to which
hand plays which notes.
These would have been
difficult to sight read
indeed! My collaborator
Catherine Michel and I
added musical nuances,
fingerings, pedals and
pedal diagrams, and tempo
indications to put them
into their current
condition.At the time
these were written,
Tournier would have been
in his twenties, having
just graduated from the
harp class himself
(1899), and might still
have been in the
composition class. These
are the earliest known
pieces that he wrote, and
they were written at the
very beginning of a
cultural revolution and
upheaval in Paris that
was to completely and
profoundly alter musical
composition. Tournier
himself would eventually
be caught up in this new
way of composing. But not
yet.All of the
déchiffrages are
written in the late
romantic style that was
being taught at that time
at the Paris
Conservatory. Each one is
built on a clear musical
idea, and the variety
over the whole series
makes them wonderful to
listen to as well as to
learn. They are also
great technical lessons
for intermediate level
players.The obvious
question is: Why
didn’t Tournier
publish these pieces, and
why didn’t he list
them on his own inventory
of his music? Actually,
four of them were
published, with small
changes, as his
collection Four Preludes,
Op. 16. These came from
the ones that will be in
volume three of this
series from Carl Fischer.
His first large piece,
Theme and Variations, was
published in 1908, and
his two best known and
frequently played pieces,
Féerie and Au Matin,
followed in 1912 and 1913
respectively. We can only
speculate because there
is so much still unknown
about Tournier and about
these unpublished pieces.
He may have looked at
them, fresh out of school
as he was, as simply a
way to make some quick
money. The first several
pieces that he did
publish are much longer
than any of the
déchiffrages. So it
could be that, because of
their shorter length, as
well as the earlier
musical style that he was
moving away from, he
chose not to publish any
more of them. We may
never know the full
story. But all these
years later, more than a
century after they were
composed, we can listen
to them for their own
merits, and not measured
against whatever else was
going on at the time. The
numbers on these pieces
are the ones that
Tournier assigned to
them, and the gaps
between some of the
numbers suggest that
there are perhaps thirty
or more of these pieces
still to be found, if
they still exist. They
will, in all likelihood,
be found, as these were,
in private collections of
harp music, not in
institutional libraries.
We can only hope that
more of them will be
located in years to
come.—Carl
SwansonGlossary of French
Musical TermsTournier was
very precise about how he
wanted his pieces played,
and carefully
communicated this with
many musical indications.
He used standard Italian
words, but also used
French words and phrases,
and occasionally mixed
both together. It is
extremely important to
observe and understand
everything that he put on
the page.Here is a list
of the French words and
phrases found in the
pieces in this edition,
with their
translation.bien
chanté well sung,
melodiousdécidé
firm, resolutediminu peu
à peu becoming softer
little by littleen
diminuant becoming
softeren riten. slowing
downen se perdant dying
awayGaiement gayly,
lightlygracieusement
gracefully,
elegantlyLéger light,
quickLent slowmarquez le
chant emphasize the
melodyModéré at a
moderate tempopeu Ã
peu animé more lively,
little by littleplus lent
slowerRetenu held
backsans lenteur without
slownesssans retinir
without slowing downsec
drily, abruptlysoutenu
sustained, heldtrès
arpegé very
arpeggiatedTrès
Modéré Very
moderate tempoTrès peu
retenu slightly held
backTrès soutenu very
sustainedun peu retenu
slightly held back. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Theory for the Successful String Musician - Teacher's Edition GIA Publications
SKU: GI.G-9945 Composed by Christopher Selby. This edition: Teacher's edi...(+)
SKU: GI.G-9945
Composed by Christopher
Selby. This edition:
Teacher's edition.
Habits. Music Education.
396 pages. GIA
Publications #9945.
Published by GIA
Publications (GI.G-9945).
ISBN
9781622774937. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. To access
the online videos,
visit https://www.stri
ngeducation.org/music-the
ory-for-the-successful-st
ring-musician . $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Preludes 1-4 Piano seul Heugel
Piano SKU: BT.ALHE30257 Composed by Frederic Mompou. Classical. Book Only...(+)
Piano SKU:
BT.ALHE30257 Composed
by Frederic Mompou.
Classical. Book Only. 13
pages. Heugel & Cie
#ALHE30257. Published by
Heugel & Cie
(BT.ALHE30257).
French. Composed
by Federico Mompou, Piano
Preludes is a set of four
pieces with two hands for
upper intermediate
players. It covers the
Preludes Nos. 1 to 4
written in 1928. Each of
these preludes is written
on one to four pages and
canbe played separately.
The first one is short,
to be played like a
romance, with chords
only. The second one
lasts longer and features
distinctive parts,
starting with an
energetic section
followed by a sudden
musical burst, therest of
it being slower until the
animated close. The third
prelude is quite slow and
very expressive while the
last piece of this book
is quite short and
simple. Federico Mompou
was a Spanish pianist and
composer. He
composednumerous pieces
for piano and some
songs. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 50 Best-Loved Southern Gospel Favorites - Medium Voice Voix moyenne, Piano Lillenas Publishing Co.
(Easy to Sing, Easy to Play). By Richard Kingsmore. For medium voice solo and pi...(+)
(Easy to Sing, Easy to
Play). By Richard
Kingsmore. For medium
voice solo and piano.
Sacred Vocal. Published
by Lillenas Publishing
Company
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
1 |