| Sonatina Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Book - Volume 1
Instruments en Mib [Fake Book] - Intermédiaire Hal Leonard
Eb Instruments - Difficulty: easy-medium to medium Sixth Edition. Composed by Va...(+)
Eb Instruments -
Difficulty: easy-medium
to medium
Sixth Edition. Composed
by Various. Hal Leonard
Instrumental Fake Books.
Jazz. Fakebook (spiral
bound). With melody,
standard notation and
chord names. 428 pages.
Published by Hal Leonar
(5)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book
Instruments en Do [Fake Book] - Intermédiaire Hal Leonard
(Sixth Edition) For C instrument. Format: fakebook (spiral bound). With melody, ...(+)
(Sixth Edition) For C
instrument. Format:
fakebook (spiral bound).
With melody, standard
notation and chord names.
Jazz. Series: Hal Leonard
Instrumental Fake Books.
512 pages. 8.5x11 inches.
Published by Hal Leonard.
(17)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Bass Clef Edition [Fake Book] Hal Leonard
(Sixth Edition) Fakebook (spiral bound) for bass clef instrument. With melody, s...(+)
(Sixth Edition) Fakebook
(spiral bound) for bass
clef instrument. With
melody, standard notation
and chord names. Series:
Hal Leonard Instrumental
Fake Books. 462 pages.
Published by Hal Leonard.
(3)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Dreamers - A Gothic Tale for Horn Trio Wilhelm Hansen
Horn; Piano; Violin (Score & Parts) SKU: HL.14042113 Score and Parts(+)
Horn; Piano; Violin
(Score & Parts) SKU:
HL.14042113 Score
and Parts. Composed
by Niels Marthinsen.
Music Sales America.
Classical, Contemporary.
Softcover. Composed 2012.
Edition Wilhelm Hansen
#WH31620. Published by
Edition Wilhelm Hansen
(HL.14042113). ISBN
9788759826058.
International (more than
one language). THE
DREAMERS for horn, violin
and piano is the sixth of
a series of seven
compositions named after
Karen Blixen's collection
of short stories Seven
Gothic Tales. My musical
gothic tales are written
for very different
ensembles - THE SUPPER AT
ELSINORE is a saxophone
quartet, THE OLD
CHEVALIER is for bass
trombone and piano, THE
MONKEY is a chamber
orchestra work - but they
all share musical
material in a criss-cross
of contextual references
reminiscent of Blixen's
narrative complexity:
Themes and motivs from
one piece appear in
others in new and
surprising shapes and
combinations. Karen
Blixen's THE DREAMERS has
the most complex
narrative structure of
all her seven gothic
tales.The story is made
up of three tales with
different narrators, but
with the same principal
caracter in various
disguises, all three
imbedded within a fourth
tale that serves as a
framework for the entire
short story. The main
story line unravels the
life of a famous opera
diva who looses her voice
during a terrible fire.
Before this her life was
perpetual bliss, and the
tragedy drives her into
assuming different
personality guises in
order to escape reality.
Toward the end she is
confronted with her true
identity, and dies. THE
DREAMERS isn't 'about'
anything. The music is
inspired by the artistic
content of Blixen's short
story - it's
emotionalism, dramatic
construction, atmosphere,
period and settings - but
unfolds in time and
musical space in ways
that are completely
independent of the
story's narrative
progression... except one
might say that the three
players try their best to
either catch or escape
each other, and that when
they finally meet, it
happens abruptly, even
tragically - and only
barely provides a little
consolation. Duration:
approximately 15
minutes. $66.00 - 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 | | |
| Prometheus [Conducteur et Parties séparées] Subito Music
Percussion Ensemble (6 players) SKU: SU.80111701 For Percussion Ensemb...(+)
Percussion Ensemble (6
players) SKU:
SU.80111701 For
Percussion Ensemble (6
players). Composed by
Meyer Kupferman.
Percussion, Percussion
Ensemble. Score & Parts.
Subito Music Corporation
#80111701. Published by
Subito Music Corporation
(SU.80111701).
Prometheus was
composed in the spring of
1975 during my stay in
Munich. The work was
conceived as a complete
scene for my opera, also
called Prometheus, in
which the percussionists
are on stage as the main
actors. With the help of
dancers, projections, and
a dazzling array of
lighting effects, the
opera re-enacts the story
of Prometheus. Earlier
and later in the opera
there are singing
soloists and a chorus,
and an orchestra of many
brass and wind
instruments added to the
percussion. Strings are
used only for a few
lyrical sections. The
percussion group is made
up of six players, five
of whom are surrounded by
a large phalanx of drums,
cymbals, gongs, bells,
wood, skin, metal and
mallet instruments. The
slide whistle is even
used to suggest the wind
on the high mountain that
Prometheus is chained to.
The sixth player is
represented by the four
timpani, and is somewhat
set apart from the others
because he is the musical
image of the
hero--Prometheus. The
timpani cadence is the
high point of the scene,
with the lighting
throwing everything on
the stage into a
silhouette, except for
the face and hands of the
timpanist. The work is
built around the concept
of a God choosing to
bring fire and energy to
mankind; he imparts the
gift of work and the
freedom for man to choose
his own destiny. The five
big bass drums explode in
stretto-like passages
suggesting the anger of
the Gods. Ultimately
Prometheus is punished,
but man once tasting
freedom, becomes the
winner. Prometheus was
composed under a
Guggenheim Fellowship and
was first performed by
Paul Price's Manhattan
School Percussion
Ensemble in
1976.Percussion Ensemble
(6 players) Duration:
13’30 Composed:
1975 Published by:
Soundspells
Productions. $65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Extreme Make-Over Orchestre d'harmonie [Conducteur] Amstel Music
Metamorphoses on a Theme by Tchaikovsky for Brass Band. By Johan De Meij. (Scor...(+)
Metamorphoses on a Theme
by Tchaikovsky for Brass
Band. By Johan De Meij.
(Score). Amstel Concert
Bands. 90 pages.
Published by Amstel
Music.
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Extreme Make-Over Orchestre d'harmonie [Conducteur et Parties séparées] Amstel Music
Metamorphoses on a Theme by Tchaikovsky for Wind Orchestra. By Johan De Meij. (...(+)
Metamorphoses on a Theme
by Tchaikovsky for Wind
Orchestra. By Johan De
Meij. (Score and Parts).
Amstel Concert Bands.
Published by Amstel
Music.
(1)$192.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume I - Sixth Edition Cor [Fake Book] Hal Leonard
F Instruments. Composed by Various. Fake Book. Jazz. Softcover. 464 pages. Pu...(+)
F Instruments. Composed
by
Various. Fake Book. Jazz.
Softcover. 464 pages.
Published by Hal
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 1 - Sixth Edition (cd-rom edition) Instruments en Do [CD-ROM] Hal Leonard
| | |
| The Real Book - Volume 1: Sixth Edition (C Instruments Play-Along Edition) Instruments en Do [Partition + Accès audio] Hal Leonard
C Instruments Play-Along Edition. Composed by Various. Real Book Play- Along. ...(+)
C Instruments Play-Along
Edition. Composed by
Various. Real Book Play-
Along. Softcover Audio
Online. 464 pages.
Published
by Hal Leonard
$79.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best of Classical Themes for Piano (all C instruments) Piano seul [Partition] Santorella Publications
Collection for solo piano(all C instruments), . 159 pages. Published by Santorel...(+)
Collection for solo
piano(all C instruments),
. 159 pages. Published by
Santorella Publications.
(1)$16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Achnaton Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.GOB-000712-140
Composed by Jan Bosveld.
Score Only. 40 pages.
Gobelin Music
Publications #GOB
000712-140. Published by
Gobelin Music
Publications
(BT.GOB-000712-140).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Achnaton Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.GOB-000712-010
Composed by Jan Bosveld.
Set (Score & Parts). 38
pages. Gobelin Music
Publications #GOB
000712-010. Published by
Gobelin Music
Publications
(BT.GOB-000712-010).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen. $205.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Ave Maria Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1104923-140 Opus 52 No. ...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1104923-140
Opus 52 No. 6.
Composed by Franz
Schubert. Arranged by
Robert van Beringen.
Great Classics. Festive
and Solemn Music. Score
Only. Composed 2010. 12
pages. De Haske
Publications #DHP
1104923-140. Published by
De Haske Publications
(BT.DHP-1104923-140).
9x12 inches.
English-German-French-Dut
ch. Schubertâ€
s famous Ave Maria was
originally titled Ellens
dritter Gesang and was
the sixth song in the
Fräulein vom See song
cycle (after The Lady of
the Lake by Walter
Scott). Later the Latin
prayer Ave Maria was set
to the melody, creating
one of his most
well-known sacred songs
ever. In this arrangement
the melody line can be
played by either a solo
trumpet or by the entire
trumpet section. Either
option creates a
wonderful atmosphere that
will entertain and
enlighten your
audience.
Oorspron
kelijk heette Ave
Maria van Schubert
Ellens dritter
Gesang en was het het
zesde lied uit de
liederencyclus
Fräulein vom
See. Pas later werd
het met de tekst van het
Latijnse gedicht Ave
Maria gezongen.En
juist in die versie werd
het vele malen bekender
dan het origineel. In dit
fraaie arrangement van
Robert van Beringen kan
de trompetsectie of een
trompetsolist de melodie
op zich nemen. Welke
optie u ook kiest, dit
arrangementis een lust
voor het oor voor
muzikant en
publiek!
Urspru
76;nglich hieß
Schuberts Ave Maria
Ellens dritter
Gesang“ und war das
sechste Lied im
Liederzyklus Fräulein
vom See. Erst später
wurde es zum Text des
lateinischen Gedichtes
Ave Maria“ gesungen
und in dieser Version
weitaus berühmter
als das Original. In
diesem gelungenen
Arrangement von Robert
von Beringen kann das
Trompetenregister oder
eine einzelne Trompete
die Melodie spielen.
Beide Optionen ergeben
einen reizvollen
musikalischen Genuss
für Musiker und
Publikum.
PubliÃ
l’origine sous
le titre
d’Ellens
dritter Gesang (Le
troisième chant
d'Ellen),
l’Ave Maria
de Schubert constitue le
sixième lied du cycle
Das Fräulein vom
See, basé sur le
poème de Sir Walter
Scott, The Lady of the
Lake (La Dame du
Lac). Au fil du temps, le
texte en allemand fut
délaissé au profit
de la prière en latin.
Dans cet arrangement
signé Robert van
Beringen, le pupitre des
trompettes (ou la
trompette solo) joue la
ligne mélodique qui
plane au-dessus
d’un
accompagnement
céleste.
Pubbli
cata originariamente con
il titolo Ellens dritter
Gesang, l’Ave
Maria di Schubert
costituisce il sesto lied
del ciclo Das Fräulein
vom See, basato sul poema
di Sir Walter Scott, The
Lady of the Lake. In
questo arrangiamento
firmato Robert Van
Beringen, la sezione
delle trombe (o la tromba
solista), eseguono la
linea melodica che
aleggia sopra un
accompagnamento
celeste. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ave Maria Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1104923-010 Opus 52 No. ...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1104923-010
Opus 52 No. 6.
Composed by Franz
Schubert. Arranged by
Robert van Beringen.
Great Classics. Festive
and Solemn Music. Set
(Score and Parts).
Composed 2010. De Haske
Publications #DHP
1104923-010. Published by
De Haske Publications
(BT.DHP-1104923-010).
9x12 inches.
English-German-French-Dut
ch. Schubertâ??s
famous Ave Maria was
originally titled Ellens
dritter Gesang and was
the sixth song in the
Fräulein vom See song
cycle (after The Lady of
the Lake by Walter
Scott). Later the Latin
prayer Ave Maria was set
to the melody, creating
one of his most
well-known sacred songs
ever. In this arrangement
the melody line can be
played by either a solo
trumpet or by the entire
trumpet section. Either
option creates a
wonderful atmosphere that
will entertain and
enlighten your
audience.
Oorspron
kelijk heette Ave
Maria van Schubert
Ellens dritter
Gesang en was het het
zesde lied uit de
liederencyclus
Fräulein vom
See. Pas later werd
het met de tekst van het
Latijnse gedicht Ave
Maria gezongen.En
juist in die versie werd
het vele malen bekender
dan het origineel. In dit
fraaie arrangement van
Robert van Beringen kan
de trompetsectie of een
trompetsolist de melodie
op zich nemen. Welke
optie u ook kiest, dit
arrangementis een lust
voor het oor voor
muzikant en
publiek!
Urspru?ng
lich hieÃ? Schuberts Ave
Maria Ellens dritter
Gesangâ?? und war das
sechste Lied im
Liederzyklus Fräulein
vom See. Erst später
wurde es zum Text des
lateinischen Gedichtes
Ave Mariaâ?? gesungen
und in dieser Version
weitaus beru?hmter als
das Original. In diesem
gelungenen Arrangement
von Robert von Beringen
kann das
Trompetenregister oder
eine einzelne Trompete
die Melodie spielen.
Beide Optionen ergeben
einen reizvollen
musikalischen Genuss fu?r
Musiker und
Publikum.
PubliÃ
lâ??origine sous le
titre dâ??Ellens
dritter Gesang (Le
troisième chant
d'Ellen), lâ??Ave
Maria de Schubert
constitue le sixième
lied du cycle Das
Fräulein vom See,
basé sur le poème
de Sir Walter Scott,
The Lady of the
Lake (La Dame du
Lac). Au fil du temps, le
texte en allemand fut
délaissé au profit
de la prière en latin.
Dans cet arrangement
signé Robert van
Beringen, le pupitre des
trompettes (ou la
trompette solo) joue la
ligne mélodique qui
plane au-dessus dâ??un
accompagnement
céleste.
Pubbli
cata originariamente con
il titolo Ellens dritter
Gesang, lâ??Ave Maria di
Schubert costituisce il
sesto lied del ciclo Das
Fräulein vom See,
basato sul poema di Sir
Walter Scott, The Lady of
the Lake. In questo
arrangiamento firmato
Robert Van Beringen, la
sezione delle trombe (o
la tromba solista),
eseguono la linea
melodica che aleggia
sopra un accompagnamento
celeste. $98.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Joy Of Classics Piano seul [Partition] Music Sales
Selected and edited by Denes Agay. Book. Published by Music Sales. This fine col...(+)
Selected and edited by
Denes Agay. Book.
Published by Music Sales.
This fine collection
contains time-honored
shorter piano works by
the masters of the 18th
and 19th centuries from
Scarlatti and Purcell to
Brahms and Tchaikovsky.
In addition to the
well-known miniatures,
some rare and interesting
pieces are included. All
pieces are in their
original forms
(2)$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Forest of Arden Orchestre d'harmonie [Conducteur] - Intermédiaire G and M Brand Music Publishers
Concert band (Flute 1/Piccolo, Flute 2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, ...(+)
Concert band (Flute
1/Piccolo, Flute 2, Oboe
1/2, Bb Clarinet 1, Bb
Clarinet 2, Bb Clarinet
3, Eb Alto Clarinet
(optional), Bb Bass
Clarinet, Bassoon 1/2,
Alto Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Cornet 1,
Bb Cornet 2, Bb Cornet 3,
Bb Trumpet 1/2, Ho) -
grade 4 SKU:
CN.S11042 Composed by
George Lloyd. Band Music.
Score only. Duration
10:00. Published by G & M
Brand Music Publishers
(CN.S11042).
This symphonic
sketch for concert band
is packed full different
motives thrown around the
ensemble hinting at the
programmatic leitmotifs
of Wagner. Every section
of the ensemble gets a
workout in this
delightful 10-minute
work.
A Symphonic
Sketch for Concert Band.
The resurgence of
interest in George
Lloyd's music must give
us faith that such talent
will ultimately prevail
against sometimes unhappy
circumstances. Lloyd was
Cornish and showed
precocious gifts at an
early age - he had
completed his first
symphony by the age of
nineteen. During the
1930s he completed two
operas, one of which -
The Serf - was produced
at Covent Garden in 1938.
He was set for a
glittering career as a
composer. The Second
World War intervened and
he was invalidad out of
the Navy in a
shell-shocked state, and
having written very
little serious music
since 1937 went to
Switzerland to
recuperate, looked after
by his wife, Nancy.
Painfully, he began
writing again -
symphonies Nos. 4 and 5 -
and then returned to
England. He needed to
earn a living and he set
up a mushroom farm in
Dorset. But slowly he
began to compose again
and drafted more
symphonies in short
score. By this time he
was virtually unknown -
despite being considered
the equal of Walton,
Britten, and other young
stars of English music
some 30 years earlier.
Lloyd decided to embark
on a series of recordings
of his symphonies, and
slowly popular acclaim
enabled him to regain his
position. The Forest of
Arden was written in 1987
as a result of a
commission by the
Solihull Youth Wind Band.
Although Lloyd's music
feels instinctively
written one should not be
misled - it is carefully
crafted, but the craft
and structure are always
subordinated to create a
flow with a strongly
melodic content. Instead
of two or three themes,
The Forest of Arden
contains an abundance of
ideas which can be
described in two groups.
The first group contains
the opening rhythmic
motif, quickly developed
into a short rising
quaver passage in the
woodwinds, and later then
a chromatic ostinato bass
- only 8 bars at this
stage but later expanded.
The second group is broad
and expansive, initially
based on intervals of
rising fifths introduced
by euphonium, tubas, and
baritone saxophone,
immediately echoed by
horns. Low brass and
winds expand the theme
into rising sixths and
octaves. There is a hint
of development, bit this
is arrested as the music
moves to a piu tranquillo
section introduced by the
alto saxophone which
further develops the
rising sixth theme. There
follows a true
development of the
opening material,
starting with the
ostinato bass and
gradually passing through
different tonal centers
until the rising fifths
of the second theme group
are heralded - fortissimo
and poco piu largamente
shortly before the end.
The structure is almost
Wagnerian (albeit on a
much smaller scale), with
themes being used as
leitmotifs, but this is
music which, even within
the space of ten minutes
is conceived on a grand
design. $15.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Guitar Melody Chord Playing System Guitare notes et tablatures [Diagrammes] - Intermédiaire Mel Bay
By Mel Bay. For Guitar (All). Chord book. Jazz. Level: Intermediate-Advanced. Bo...(+)
By Mel Bay. For Guitar
(All). Chord book. Jazz.
Level:
Intermediate-Advanced.
Book. Size 8.5x11. 96
pages. Published by Mel
Bay Publications, Inc.
(1)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Student Instrumental Course: Tunes for Alto Saxophone Technic, Level II Saxophone [Partition] - Intermédiaire Alfred Publishing
By Acton Ostling and Fred Weber. For Saxophone. Woodwind - Saxophone Method or C...(+)
By Acton Ostling and Fred
Weber. For Saxophone.
Woodwind - Saxophone
Method or Collection.
Student Instrumental
Course. Level:
Intermediate. 1 pages.
Published by Alfred
Publishing.
$6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Managing Your Band - Sixth Edition Hal Leonard
SKU: HL.200476 Artist Management: The Ultimate Responsibility. Boo...(+)
SKU: HL.200476
Artist Management: The
Ultimate
Responsibility. Book.
Instruction, Music
Business. Softcover. 304
pages. Published by Hal
Leonard (HL.200476).
ISBN 9780965125079.
UPC: 888680650773.
8.5x11.0x0.616 inches.
Stephen Marcone with
David Philp. Making
it in music has never
been easy, but today it's
harder than ever before.
The digital age has
dawned and, with it, the
music biz has wholly
merged with the
entertainment industry.
Up-and-comers are
immediately faced with a
dire choice: alter your
art to appease the powers
that be or learn to
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Marcone and David Philp's
Managing Your Band
-Artist Management: The
Ultimate Responsibility
can help you keep your
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maybe - make a buck, all
for less than the price
of a decent dinner. Now
in its sixth edition,
Managing Your Band has
long since been the
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from publishing and
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Philp leave no stone
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it is to the new
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Sinclair, the EVP of
Digital Strategy &
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attests that the 6th
edition of Managing Your
Band provides an
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specificity toward a
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Implement it well and you
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music mogul Harvey Leeds
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In the end, we think Doc
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| Französische Suiten BWV 812-817 Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ7190 BWV 812-817. Composed by Johann Sebastian B...(+)
Piano SKU:
BT.EMBZ7190 BWV
812-817. Composed by
Johann Sebastian Bach,
Perti, and Tamas
Zaszkaliczky. EMB Urtext.
Book Only. Composed 1975.
60 pages. Editio Musica
Budapest #EMBZ7190.
Published by Editio
Musica Budapest
(BT.EMBZ7190).
English-German-Hungari
an. The most
important and only
autograph source of the
French Suites, the
Klavierbüchlein für
Anna Magdalena Bach
(1722) contains the first
three suites in fragments
only, and the sixth not
at all. This is why the
numerous copies which
have come down to us, are
of special significance.
Among the copies of major
importance is the
manuscript which for a
long time had been
attributed to Bach, and
which comprises the first
for suites in full
(Deutsche
Staastsbibliothek,
Berlin) as well as the
copy by Gerber (1725-26)
and the second volume of
the Klavierbüchlein
(1925). A few manuscripts
originating from the
circle of Bach's pupils
should also be added to
them.The texts of
thevarious copies show a
lot of deviations. The
present edition relies on
the first formulation -
at least where this can
be decided at all - but
it gives all the major
devations of the copies
as variants, either in
footnotes or after the
movement concerned.
(Tamás
Zászkaliczky). $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Exercices Journaliers Pour La Flute Flûte traversière Leduc, Alphonse
[Daily Exercises for the Flute]. Composed by Marcel Mose. Leduc. Instruction. ...(+)
[Daily Exercises for the
Flute]. Composed by
Marcel
Mose. Leduc. Instruction.
Softcover. 52 pages.
Alphonse
Leduc #AL16638. Published
by
Alphonse Leduc
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Context Matters GIA Publications
SKU: GI.G-9684 Selected Papers from the Sixth International Symposium ...(+)
SKU: GI.G-9684
Selected Papers from
the Sixth International
Symposium on Assessment
in Music Education.
Composed by Martin
Fautley and Timothy S.
Brophy. Assessment. Music
Education. 550 pages. GIA
Publications #9684.
Published by GIA
Publications (GI.G-9684).
ISBN
9781622773350. Cont
ributions by:Â Michael
L. Alexander •
William I. Bauer •
Rhoda Bernard •
Nikki Booth •
Leonardo Borne •
Frederick Burrack •
Richard M. Cangro •
Kyle Chandler •
Samantha Clements •
Obadias de Oliveira Cunha
• Sally E. Daunt
• Kirsty J. Devaney
• Paul Doerksen
• Martin Fautley
• Keith Griffioen
• Alice Hammel
• Marshall Haning
• Demaris Hansen
• Michele L. Henry
• John Holmes
• Daniel C. Johnson
• Joo Hyun Kang
• Gail Kuppan
• Andreas
Lehmann-Wermser •
Sharon Lierse •
Jason Longtin •
Jeffrey Marlatt •
Melissa C. McCabe •
Karabo Lucy Mogane
• Helena
Muciño-Guerra •
Dorothy J. Musselwhite
• Flávia
Motoyama Narita •
Emma Nenadic •
Glenn E. Nierman •
Helena de Souza Nunes
• Kelly A. Parkes
• Phillip D. Payne
• Laura Navarro
Ramón • Patricia
Riley • Shelley
Sanderson • Megan
M. Sheridan •
Stephanie L. Standerfer
• David A.
Stringham • Dennis
Ping-Cheng Wang •
Jeffrey Ward •
Brian C. Wesolowski
• Benjamin Weyel
The Sixth International
Symposium on Assessment
in Music Education was
hosted by the University
of Florida and Birmingham
City University. The
symposium brought
together 110 participants
from 23 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
Birmingham, England, from
April 18-21, 2017.Â
The two keynote addresses
and 35 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 International
Principles for Assessment
in Music Education
(developed and introduced
by the co-chairs at this
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. Timothy
S. Brophy is Professor of
Music Education and
Director of Institutional
Assessment at the
University of Florida in
Gainesville, Florida.
Martin Fautley is
Professor of Education
and Director of Research
in Education at
Birmingham City
University in Birmingham,
England. $47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Introductions, Harmonizations, Accompaniments, Interpretations, Vol. 6 Orgue Concordia Publishing House
By Jeffrey Blersch. For organ. Collection. 32 pages. Published by Concordia Publ...(+)
By Jeffrey Blersch. For
organ. Collection. 32
pages. Published by
Concordia Publishing
House
$16.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony in C minor Hob. I:52 [Conducteur] Barenreiter
(Oboes (2), Cornos (2), Strings) SKU: BA.BA10990 Composed by Franz Joseph...(+)
(Oboes (2), Cornos (2),
Strings) SKU:
BA.BA10990 Composed
by Franz Joseph Haydn.
Edited by Andreas
Friesenhagen, Clemens
Harasim, and Ulrich
Wilker. This edition:
urtext edition. Stapled.
Score. Baerenreiter
Verlag #BA10990_00.
Published by Baerenreiter
Verlag (BA.BA10990).
ISBN 9790006575619. 31
x 24.3 cm inches. Key: C
minor. Preface: Andreas
Friesenhagen. Only
eleven of the over one
hundred symphonies by
Joseph Haydn are composed
in a minor key. Written
in the early 1770s, the
Symphony Hob. I:52 in C
minor bears some
similarities to the
slightly earlier Symphony
in E minor Hob. I:44
(“Mourningâ€,
BA 10988), not only
because they both are
composed in a minor key
but also because they
both feature a pair of
horns tuned at different
pitches. Haydn seems to
have experimented with
differently tuned horns
inspired by an article in
Johann Adam
Hiller’s journal
“Musikalische
Nachrichten und
Anmerkungen†of
July 1770, which
suggested to tune the
horns a minor third apart
in order to expand the
total horn range. While
Haydn followed this
recommendation just like
that in the E-minor
symphony, he chose to
have the horns tuned a
major sixth apart (high C
and E-flat) in the outer
movements of the C-minor
symphony Hob. I:52,
resulting in an unusual
horn sound within the
orchestral
texture.
In
continuation of the
collaboration between
Bärenreiter and G.
Henle Verlag, this
edition is based on the
Urtext of the Complete
Edition “Joseph
Haydn Worksâ€
published by G. Henle
Verlag.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Repertoire Level 2 Piano seul - Facile Frederick Harris Music Company
Celebration Series, Sixth Edition. Method book. The Frederick Harris Music C...(+)
Celebration Series, Sixth
Edition. Method book. The
Frederick Harris Music
Company
#C6R02. Published by The
Frederick Harris Music
Company
$20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Butterflies CD Chorale Alfred Publishing
Choir Secular SKU: AP.47961 Composed by Kacey Musgraves, Luke Laird, and ...(+)
Choir Secular SKU:
AP.47961 Composed by
Kacey Musgraves, Luke
Laird, and Natalie Hemby.
Arranged by Andy Beck.
This edition: SoundTrax
CD. Choral Octavo;
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Country. CD. Alfred Music
#00-47961. Published by
Alfred Music (AP.47961).
UPC: 038081550480.
English. This
popular track from Kacey
Musgrave's Golden Hour
album earned the
singer-songwriter her
sixth GRAMMY(R)---for
Best Solo Country
Performance. Light love
song lyrics, a moderate
country groove, and sweet
singable harmonies offer
irresistible SSA
charm. $27.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chord Chemistry for Guitar Guitare notes et tablatures Santorella Publications
Chord Chemistry for Guitar for guitar. This edition: Paperback. Instructional. M...(+)
Chord Chemistry for
Guitar for guitar. This
edition: Paperback.
Instructional. Method.
Book. Text Language:
English; Standard
notation and tablature.
160 pages. Published by
Santorella Publications
(1)$17.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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