Non, pas depuis la publication de The Great Songbook australien y a-t-il eu un livre de mammouth compilation de chansons Aussie. Cette collection caractéristiques 200 rock australien classics et contemporains chansons australiennes, dont beaucoup n'ont pas paru dans imprimer avant ! Toutes les chansons ont été organisées dans la clé originale de réels succès enregistrements. Complet avec paroles complètes, symboles de la guitare et graphique d'arrachement chord. Petit et facile pour l'adapter à votre cas de guitare, la couverture de vinyle noir durable signifie vous utiliserez ce livre pendant de nombreuses années. / Chant Et Guitare / 288 pages / Partition

Il est difficile de décrire la transformation qui a eu lieu dans ce sourire, homme sympathique, penché sur sa guitare et se lance, corps semblait-il, dans sa musique. Le blues a possédé comme un 'verité secouant froid' et le public en haleine vu l'incarnation même du blues que, la tête rejetée en arrière, il a crié et gémi les paroles inquiétantes et fouetté la guitare, faisant claquer les cordes contre le manche en arrière pour accentuer la rythme d'agonie. Fils de musique est au centre de l'expérience de blues et quand il l'exécute est une chose corporelle, le public et le chanteur devenu comme l'un '-. Bob Groom / Blues mondiale'Dans les années précédant la Seconde Guerre mondiale, Son House a créé certains des bleus plus purs, les plus puissants du delta du Mississippi au dossier. Jouer avec les partenaires Charley Patton et Willie Brown, il a exercé une profonde influence sur Robert Johnson et Muddy Waters, qui ont tous deux copiés sa musique et la porta à de nouvelles générations influence de House résonne encore à travers les Rolling Stones, Eric Clapton, et de nombreux autres musiciens, et à bien des égards, il est le vrai père de ce qui est connu aujourd'hui comme des bleus profonds. '-. Jas ObrechtDans cette leçon, Tom Feldmann vous guide étape par étape à travers 15 chansons classiques Son House qui couvrent toutes les phases de la carrière enregistrés Fils. Cette leçon 4 heures est sans aucun doute l'aspect le plus étendu dans la musique de Son House et les techniques qu'il a développées.DISC ONE met en évidence 8 chansons en espagnol tuning. Bien DISQUE DEUX se concentre sur 7 chansons en utilisant le réglage Vestapol (Open D), Standard, et le plus surprenant pour les étudiants de la Maison du jeu, de la Croix-Note tuning avec Clarksdale Moan.Sont également inclus sur DISC TWO est une interview bonus avec Stefan Grossman où il parle longuement de rencontrer Son House et l'enregistrement avec lui. Performances rares de Son House après sa redécouverte sont utilisés tout au long de la leçon. Les pistes audio d'origine sont inclus, où le film est pas utilisé.Titres Inclure: OPEN TUNING G: Death Letter Blues, My Mama Black, Low Down Dirty Dog Blues, Blues Les Jinx, Rider Blues spéciales, Walkin 'Blues (à partir de 1930), sec Blues sorts, Comté Blues Farm OUVERTE D TUNING: Poney Shetland Blues, Preachin 'The Blues, This Little Light of Mine, CROSS-TUNING REMARQUE: Clarksdale Moan, accordage standard: Blues Depot, ai-je raison ou je me trompe, Walkin' Blues (à partir de 1940)240 minutes - Niveau 2/3 - Détail de l'onglet / la musique au format PDF sur le DVD / Guitare

La Musique d'Ensemble... ou La meilleure façon de communiquer avec et par son instrument Le vif intérêt porté à la musique d'ensemble ne se dément pas au fil du temps car sa pratique permet d'apprendre avec les autres, par les autres, dans un temps de plaisir partagé au service de la musique. La Musique d'ensemble participe au développement de qualités humaines. Elle construit la force d'un groupe dont les participants deviennent des 'compagnons d'art' et met en jeu: - la motivation, aiguisée par la naissance d'affinités qui évoluent en réelles amitiés, - la tolérance et le respect des vitesses d'apprentissage et de compréhension de chacun, - l'entraide, la socialisation et l'adaptation, - la responsabilité et la recherche de la confiance des partenaires: c'est un honneur d'assurer sa partie au mieux, afin de ne pas compromettre le tout, - le vécu d'expériences communes enrichissantes et variées à plusieurs: répétitions puis restitution devant un public par le biais des concerts, des spectacles. La Musique d'ensemble développe des qualités sensorielles et artistiques: - l'écoute attentive conduit à prendre du recul avec ce que l'on joue pour mieux s'entendre parmi les autres - et avec les autres. Une écoute 'pointilleuse' entraîne de réels et appréciables progrès instrumentaux: jouer en place: effort structurant au niveau de la précision (par exemple pulsation intérieure commune dans un tempo stable ou un rubato...), jouer plus juste: effort de correction dans lequel chacun doit faire une partie du chemin vers l'autre, ressentir les mêmes intentions musicales de style, de phrasé, de timbre, de qualité du son - soit se fondre pour accompagner, soit au contraire, s'opposer et se détacher. - En plus de ce travail complet de l'oreille, les yeux ne sont pas en reste. En effet, le regard doit circuler entre les musiciens et / ou le chef d'orchestre - 'l'oeil écoute', lui aussi. L'indépendance et les coordinations du schéma corporel se trouvent donc très sollicitées et améliorées puisque le geste musical nécessite le souffle, la langue, la bouche, l'oreille, le buste, les jambes, les pieds... et bien sûr, l'esprit et le coeur. L'ensemble de ce travail permet d'acquérir des réflexes d'adaptabilité aux autres, de communication et de communion avec les autres, au-delà même d'un objectif musical. Les raisons du choix de ce répertoire Toutes ces pièces sont en correspondance étroite avec l'enchaînement des acquisitions se trouvant dans le Volume 2 (réf.: VV 076) de la méthode La Flûte traversière. C'est un complément de répertoire à suivre en parallèle de la méthode, tout comme le sont les deux volumes de Tout en Do, se référant au Volume 1. / Divers / 3 x 24 pages / niveau : 2 / Partition

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

auf Texte aus der Bibel. Par HAKIM NAJI. Die Taube (The Dove) was commissioned by ”Kirchenmusik bei St. Anna Augsburg” to celebrate the 450th anniversary of the 'Augsburger Religionsfrieden' (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : ”And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. ” Luk. 1/79 : ”To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. ” Joh.14/27 : ”Peace I leave with you, my peace I give unto you. ” '...to guide our feet into the way of peace.' (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, 'Let God´s melody resound in you.' The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, 'I am with you always, even to the end of the age.' (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace./ Répertoire / Ténor et Quatuor à Cordes

Retrouvez toutes les chansons de Coldplay pour chant et guitare (symboles et grilles d'accords). Incluses les paroles complètes. / Chant Et Guitare / Partition

For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

Par CANAT DE CHIZY EDITH. Cette pièce est une commande des choeurs de l'Orchestre de Paris pour leur 30e anniversaire, choeurs particulièrement nombreux (122 choristes). Face à la difficulté d'utiliser au mieux cette impressionnante masse sonore, j'ai pris le parti d'une écriture en double choeur traitée en répons, en surimpression, ou en alternance. Selon ma prédilection pour la langue anglaise, j'ai travaillé sur des textes du poète irlandais William Butler Yeats, deux poèmes correspondant aux deux parties de l'oeuvre: 'To a child dancing in the wind' et 'The dancing days are gone', suivis de cette fameuse épitaphe: 'Cast a cold eye on life, on death. Horseman, pass by !'. Ici le thème de la danse rejoint celui du mouvement, une de mes préoccupations constantes, ainsi que celui du chant: 'May sing, and sing until he drop.' Edith Canat de Chizy / contemporain / Répertoire / Double Choeur

Complete theoretical and practical method for organ-playing in three parts. Par PEETERS FLOR. Flor Peeters, born in Belgium in 1903, is one of the most important organists and organ composers of the 20th century. After completing his studies at the famous Lemmens Institute in Mechelen, he worked there as a teacher of organ and improvisation before becoming professor at and director of the Royal Flemish Conservatoire of Antwerp. Until his death in 1986, Peeters gave concerts all around the world, held numerous master classes and received several awards and prizes for his achievements as a composer, organist and teacher. In his successful three-volume educational work 'Ars Organi', Peeters combines theoretical knowledge and practical exercises on all aspects of organ playing, starting with basic information on the instrument, manual and pedal exercises and two-part manual and pedal playing. While Vol. 2 contains exercises on three-part playing, Vol. 3 contains exercises on four and five-part playing as well as studies on demanding trio playing. Each learning stage is accompanied by pedal exercises and tips on articulation, touch, interpretation, registration and organ specifications - a valuable compendium for every organist. / Méthode / Date parution : 1954-11-20/ Méthode / Orgue

Par GIACCHINO MICHAEL. Le compositeur Michael Giacchino est à l'origine de plusieurs succès parmi les plus célèbres et les plus salués de l'histoire récente du cinéma, de la télévision et des jeux vidéo. Il a notamment participé à The Incredibles, Coco, Ratatouille, Star Trek, Jurassic World, Rogue One : A Star Wars Story, Spider-Man : No Way Home, The Batman et Werewolf by Night. La musique de Giacchino pour le film Up (Là-Haut) de Pixar en 2009 lui a valu un Oscar®, un Golden Globe®, un BAFTA, le Broadcast Film Critics' Choice Award et deux GRAMMY® Awards. Cette anthologie propose 24 de ses ?uvres emblématiques, arrangées pour piano solo. / Date parution : 2023-06-01/ Recueil / Piano

Par DONIZETTI GAETANO. Through works such as Verdi’s Requiem or Puccini’s Messa di Gloria, we know that the great composers of Italian bel canto opera also wrote marvelous sacred music. Yet most of these pieces are rarely performed. This is also true of Gaetano Donizetti’s Messa di Requiem, which he composed as an expression of grief at the early death of Vincenzo Bellini in 1835. Neither performed nor printed during Donizetti’s lifetime, the Requiem is ripe for rediscovery. A rich and highly intense work, it features dramatic choruses with full orchestra, fugues, and a cappella passages that alternate with lengthy cantilenas for the soloists. The solo numbers are often scored for three male voices accompanied by low winds to create a dark timbre. The soprano and alto soloists do not themselves sing any solo arias, instead remaining part of the solo ensemble. Carus is offering a critical edition of this editorially challenging work complete with vocal score, choral score, and all orchestral parts. / Date parution : 2023-07-31/ Répertoire / Solistes, SATB et Orchestre