Par TYRONE BROWN. A collection of hip musical compositions by award-winning bassist Tyrone Brown. Compositions for Bass offers 10 pieces in various grooves including Swing, Latin and odd meters. The companion CD has Mr. Brown performing each piece - eight on acoustic bass and two on acoustic bass guitar. The pieces are also playable on electric bass guitar. Some tunes are suitable for solos or duets. The solo from each piece is also transcribed. In standard notation and tablature. / Niveau : Intermédiaire / Jazz - Solos / Tablatures / Guitare Basse Tablatures

Seventy-Six popular compositions of the masters including themes from concertos and symphonies arranged for solo piano. Suitable for pianists from grade 5 standard. Edited by Hugo Frey. / Niveau : Difficile / Rép Classique / Recueil / Piano

Par KRZANOWSKI ANDRZEJ. The sequence of expressively and dynamically contrasting tempi (Lento assai e tranquillo – Allegro con vigore – Lento assai e tranquillo – Allegro con vigore – Lento assai – Allegro con vigore – Lento assai e tranquillo – Allegro con vigore – Lento assai da lontano) creates a distinctly twofold form. Yet the two agogic-expressive strands display two features in common: musical material that remains constant for the whole of the work (mostly referring to the so-called semitone – whole tone scale) and a lack of stability and regularity to the rhythmic passages of particular sections, obtained through the use of such devices as pauses and added dots. This work was written in Czechowice-Dziedzice in 1986 and is one of two compositions – alongside Autumn Impressions – scored for amplified bass accordion. Dedicated to the French accordionist and teacher Alain Abbott, it was first performed on 27 January 2012 by Klaudiusz Baran at the 9th Witold Lutoslawski Chain Festival. / Date parution : 2022-11-08/ Recueil / Accordéon Basse Amplifiée

piano reduction with solo part. Par WEBER CARL MARIA VON. Carl Maria von Weber (1786-1826), the great German romantic composer, was, after Mozart, the first master to write distinguished works for the solo clarinet. They include two compositions with piano accompaniment: the Grand Duo Concertant, and Theme and Variations ; two compositions for clarinet and string quartet: the Clarinet Quintet and a set of Variations ; three works for clarinet and orchestra: the Concertino and two Concertos. The Clarinet Concerto No. 2 In E Flat Op. 74 is a lively and majestic piece, which truly explores the sonorities and technical capabilities of the instrument& the opening two notes of the solo Clarinet part span an interval of three octaves, showing off the range and compass of the instrument! This is a tremendous work for solo Clarinet and Orchestra, arranged here for B flat Clarinet with Piano accompaniment, and edited by Eric Simon. The solo Clarinet in B flat part is also included on a separate insert. / Répertoire d'Examen / Répertoire / Clarinette et Orchestre

Edizione critica di Italo Vescovo - Serenata M.S. 115-Terzetti M.S. 116. Par PAGANINI NICCOLO. Nicolò Paganini?s trios for strings and guitar make up a small but significant group of pieces consisting of five works of different lengths, formal structure and difficulty: the Serenata in F major M.S. 115, the Terzetto in A minor M.S. 116, the Serenata in C major M.S. 17, the Terzetto concertante in D major M.S. 114, and the Terzetto in D major M.S. 69. Within this group, the Terzetto M.S. 116 and the Serenata M.S. 116 make up a small diptych for two violins and guitar that can be traced back to Paganini?s juvenile period (1796-1804). In addition to using the same musical formation, the two pieces also share some compositional features, regarding general formal characteristics as well as the order and the number of movements. Despite their simplicity, the two compositions still have features typical of Paganini?s writing from this period such as their spontaneous cantabilit , the freshness of their musical ideas, pleasant (if perhaps a little naive), and the well-defined sense of form that comes out in these small compositions. / Date parution : 2021-11-25/ Recueil / 2 Violons et Guitare

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

Terry Riley, most commonly associated with the minimalist and experimental schools of music, draws influence from a vast number of sources, including jazz and Indian classical music. In turn, his influence on contemporary composers and music in general is enormous, and with this collection of his Piano Works, you can learn a selection of his fascinating, hypnotic and simply stunning compositions for solo Piano.As one of the founders of western music's minimalist movement, Riley's works have been acclaimed as forays into ever-expanding loops of rhythm and melody, music that, instead of being listened to, immerses and envelops you. His early works, such as 'In C', spearheaded this innovative idea, beginning a career unmatched by other avant-garde composers. With The Piano Works, this collection of Terry Riley sheet music finally brings together some of his best-loved and most acclaimed works for solo Piano, like The Philosopher's Hand and Two Pieces For Piano.Featuring an extensive foreword by Terry Riley himself, this is not just a collection of sheet music, it's almost a work of art: a brilliant publication featuring some beautifully engraved music along with words by a genius composer. Riley gives a vast amount of fascinating biographical and compositional information about his included Piano Works, such as Keyboard Study #1 and #2, Be Kind To One Another (Rag) and The Heaven Ladder Book 7. At times humourous and always eloquent, his foreword tells the story of this composer's journey from humble Piano lessons to masterpieces and an unfathomable influence, it's just great. Finally, at the end of the book, a selection of facsimiles of Riley's own handwritten scores is included, letting you see what the music looks like from the man's own hand.As well as the foreword, there are introductory performance notes for each piece by pianist Sarah Cahill. These expound the techniques, skills and experience necessary to master each piece, but also simply provide some interesting reading before delving into the harmonic and rhythmic rabbit-hole that is Riley's Piano Works. Aside from the theoretical and academic joy that Terry Riley's music affords, the most immediate pleasure is the universal aesthetic beauty of the sounds that will emanate from your Piano as you play these wonderfully whirling and dynamic compositions.As a collection of sheet music, Terry Riley's Piano Works would make a wonderful addition to your music stand. As a book that will bring endless enjoyment to fans not just of Riley himself, but music in general, the foreword and performance notes combined with the magical music make a fantastic edition of a true master's masterpieces. / Piano

Some of the most beautiful and diverse pieces by some of the finest composers in recent history are included in this enormous Library Of Modern Piano Music. Such a comprehensive collection of brilliant works for solo Piano belies the rich quality and sheer amount of music being composed that just begs to be learned. Over 100 fantastic pieces are guaranteed to keep you learning from this truly classic selection until the next century!The Library Of Modern Piano Music boasts an unprecedented volume and variety of amazing compositions, some well-known, some more unfamiliar, some composed as standalone pieces and others as film scores, but the one thing uniting them all is their impeccable musicality and how enjoyable they are to play. Featuring the biggest names in contemporary classical music, composers like Einaudi lend their wonderful compositions (Primavera, Una Mattina), and all-round geniuses like Philip Glass are represented with a generous selection of their finest work (Metamorphosis Five, Opening Piece From Glassworks and more).The varied progression of Piano music through the 20th century to the present day has given rise to an exceptionally vast and diverse repertoire. The unbelievable depth of the composers included here means you'll rarely be stuck for something to play. Kaija Saariaho, Stravinsky, Francis Poulenc, Dustin O'Halloran, Nico Muhly and Witold Lutoslawski are genuinely just a fraction of the composers featured in The Library Of Modern Piano Music. Some great standalone compositions like Samuel Barber's incomparable Adagio For Strings sit aside excerpts from longer works like a portion of Edward Gregson's An Album For My Friends or Joby Talbot's Once Around The Sun.If you happen to be a fan of film and television scores, a taste of Michael Nyman's distinguished score for The Piano is included, a section from Crouching Tiger, Hidden Dragon, as well as parts of Richard Rodney Bennett's score for the now rarely-seen but superb 1980s miniseries of Tender Is The Night. Many established composers are included in this collection who are widely-recognised as masters. However, The Library Of Modern Piano Music also includes many young virtuosos who have not yet achieved that status but are certainly well on their way.These original compositions span standalone pieces, albums, suites and arrangements from diverse talents, making The Library Of Modern Piano Music a collection that is certain to be seen by future generations as a perfect collection of the best of contemporary classical music. / Piano

Telemann for Two Mandolins. As one of the most productive composers in history, Georg Philipp Telemann endeavored to supply a steady stream of new music for both professional and amateur musicians. The 64 compositions in this collection fall into three categories:Sonatas for two treble-clef instruments without bass accompaniment.Pieces for solo instrument and bass.Movements from Telemann?s many trio sonatas and overture-suites for two melody instruments and bass.Written in standard notation only for two mandolins, or mandolin with violin, flute, recorder, or any other instrument of similar range.

Per Nørgård's 2 Nocturnes - for 12 voices (2003) 1. Summer's Sleep (text: Ole Sarvig) 2. Michael's Night (text: Ib Michael) English version. Programme note:These two choral pieces for 12 voices consists of radical recompositions on of earlier themes: in Summer's Sleep we hear new combinations of two 'Sarvig melodies' from the 1970s (one of which is now in the Danish Hymnbook under the title 'Året' The Year); Michael's Night is based on an earlier simple choral song (Star Mirror 1987) now for 12 voices and composed such that an originalidea of 'simultaneously displaced opposite motions' cf. the poem) comes out as desired. Of the Nocturnes Nørgård writes: 'Summer's Sleep was composed to stanzas of Ole Sarvig's poem The Year (from the collection Forstadsdigte ('Suburban Poems')) and forms the picture of 'the summer of life' which is asleep - while the 'heaven seed' waits for the summer wind ('invisible to every mind'). The many layers of text are expressed musically in a multilayered choral texture with 'looks' up and down through the various tempo and time-worlds: summer sleep summer dream. 'The second nocturne Michael's Night takes its name from the author Ib Michael whose poem Star Mirror (from the collection Himmelbegravelse ('Sky Funeral') (1986) I pushed/coaxed him to expand from one to nine stanzas. The four selected stanzas set in the nocturne focus on the pan-erotic elements of the moonlit starlit night. With the titles I have chosen I have stressed the mythic layer of the text the summer night not as a dream but as sensual reality. 'The two nocturnes are dedicated to Ivan Hansen on the occasion of his fiftieth birthday on 25th February 2003 out of gratitude for over a quarter of a century of inspiring collaboration'. Danish version available: KP01444

Par GOODIN JOHN. As one of the most productive composers in history, Georg Philipp Telemann endeavored to supply a steady stream of new music for both professional and amateur musicians. The 64 compositions in this collection fall into three categories:Sonatas for two treble-clef instruments without bass accompaniment.Pieces for solo instrument and bass.Movements from Telemann's many trio sonatas and overture-suites for two melody instruments and bass.Written in standard notation only for two mandolins, or mandolin with violin, flute, recorder, or any other instrument of similar range. / Niveau : Intermédiaire / Classique / Date parution : 2019-05-27/ Recueil / 2 Mandolines

A new approach to Bach drawn from his compositions! With this collection that was conceived adapted and performed by Bob Zottola on the provided CD you can play first or second parts for: Two-Part Invention 4 in D minor · Minuet in F major · Minuet 3 in D minor · Little Prelude in C major · Gavotte in G minor · Minuet in A minor · Minuet in D minor · Gavotte in E-flat major · Minuet in E major · Minuet in C minor · Two-Part Invention 1 in C Major.

COMPOSER'S NOTESThe music of these violin duos has been influenced by the centuries-long flow of traditional music from the British Isles to North America and back again. The compositions are dedicated toseveral people who are keeping that transatlantic musical flow in motion today.Sleep Sound Ida Mornin'Sleep Sound ida Mornin' is a very short duo for two violins based on a traditionaltune which I first heard in the Orkney Islands although played there on the banjo by a native of Kansas. My extended version with a slow introduction was first played in Boston on 29th January 1995 by Lesley Chen and NathanSchmidt members of the New England Conservatory's Preparatory Division during their annual weekend festival of contemporary music. This very remarkable and encouraging event was devised and organised by Rodney Lister to whomthis piece is dedicated.Duration c. 2 minutes.Atlantic DriftAn earlier even shorter version of Atlantic Drift written for violin and piano was first performed by PeterSheppard Skaerved and Aaron Schorr at the Royal Academy of Music London on 9th May 2006 in a concert to celebrate the 70th birthday of the American composer and transatlantic communicator Elliott Schwartz. The melody isoriginal though clearly influenced by the music and perpetual tides of the Hebrides. Duration c. 3 minutes.Rain and Mist are on the Mountain I'd Better Buy SomeShoesThis four-movement duo for two violins is based on a fragment of a Gaelic folk song from Barra in the Western Isles of Scotland. The title suggests that although the Gaels of yesteryear were rich inpoetic expression and the beauties of nature they were otherwise not very affluent. Rain and Mist was first performed at the Wigmore Hall London on 6th February 2005 by Corina Belcea and Laura Samuel.Duration c. 6

This book is designed to help saxophonists develop fluency in the jazz language by providing mainstream jazz vocabulary (swing/bop/post-bop) that nails the changes and lays great on the horn. Think of Hip Licks for Saxophone Volume 2 as a musical reference book, like a dictionary of great licks in all twelve keys, available when you need it. You can open the book to any page and just start playing. Hip Licks for Saxophone Volume 2 is an indispensable resource that shows you how a professional player would deal with many of the complex chord progressions found in popular standards and jazz compositions.