Par DATESMAN KYLE. Perhaps the first 5-string banjo book of its kind, Renaissance and Elizabethan Music for Banjo consists entirely of music from these early periods and provides banjo players with \'growing material\''that is, the opportunity to play in a number of different keys besides G major. This detail alone will expand your banjo horizon by requiring the use of unusual chord shapes. Written for classical banjo enthusiasts who want to further enhance their musicianship, some selections reveal one of the earliest aspects of music theory, that of modal scales. Various compositional forms and unfamiliar tempos are also introduced in arrangements that will help you become less dependent on the open fifth string. This type of music would be extremely difficult to learn by ear, so a book of tablatures should prove to be invaluable. Every piece is presented first in a vertical chord arrangement, which was the way it was originally intended' and then arranged in a linear horizontal style more familiar to modern players. Every tune is accompanied by performance notes supported by a helpful glossary. Written in tablature only with access to online audio, these pieces also make great finger-limbering exercises! Includes access to online audio. / Date parution : 2022-01-18/ Recueil / Banjo

Preludio contains 130 easy attractive performance pieces from six centuries, thus offering the most important pieces for beginners' guitar lessons in one comprehensive volume. The repertoire is ideal for first performances at music schools, as pieces for competitions and examinations or just as a 'treasure trove' for teachers, pupils, students, and guitar lovers.The selected pieces can be played in the second to fourth year of guitar lessons. They are divided chronologically into five chapters and arranged progressively according to their level of difficulty. Each chapter refers to another epoch: Renaissance - Baroque - Classical period - Romanticism and early 20th century - modern, pop and world music. The result is a tune book which can already be used during or immediately after studying any guitar method.Most pieces can be played in the 1st and 2nd positions, without requiring any barré fingering or ties and slurs. The somewhat more difficult pieces that require small and large barré fingering as well as position playing are placed at the end of each chapter.The majority of the pieces are original works, and the editors have refrained from making any radical simplifications. Only a few difficult passages have alternatively been made easier to play such that the level of difficulty within a piece does not vary too much. / Guitare

Cziffra's transcriptions of -- Brahms: Hungarian Dances Nos. 1-6, 8-10, 12-13, 16-17, 19, 21; Rimsky-Korsakov: Flight of the Bumblebee: J. Strauss: Tritsch-Tratsch Polka; Vecsey: La valse triste; La Fantasie Roumaine (original composition)
'My most important desire and wish was to one day give my experience with the piano over to each pianist, and future young performer. But I have never seen myself as a teacher in the general meaning of the word. Rather I have seen in myself someone who sheds light, one who directs with a small lamp those similar to himself. My intentions may appear presumptuous to some, but it is what I have found my calling to be. ' - Gyorgy Cziffra. / Classique / Partition / Broché /

Le Petit Guitarama tablatures est la version tablatures du Petit Guitarama. Ce répertoire de morceaux tous styles, connus, pour guitaristes débutants, permet de jouer aussi bien du classique (Vivaldi, Bach...), des légendes de la pop (Beat It, Love Me Tender...), des musiques de films (Le parrain, La panthère rose...), du répertoire francophone (Brassens, Cabrel...), ou des airs traditionnels de différents horizons (Orient, Irlande, Italie...), dans une progression logique et motivante. Cet ouvrage est écrit en tablatures enrichies : une système qui intègre les signes d'interprétation et les valeurs rythmiques, pour une lecture facilitée, mais précise. Chaque morceau est le fruit d'un travail d'arrangement, précis, adapté à l'instrument et au niveau de l'élève (du tout débutant à deux ans de pratique) En plus des nombreuses pièces en solo, l'ouvrage propose des duos, trios, et quatuors. La mise en page assure une grande lisibilité, en couleur. Richement illustré, ce recueil s'adresse à tous. > Le CD, outil de travail précieux, permet la découverte et l'écoute des pièces, facilitant le déchiffrage et la mise en place des morceaux. > Fabrication de qualité : papier sans reflet (meilleure lisibilité), relié spirale. Et, toujours dans l'esprit de la collection ...RAMA : originalité, qualité des arrangements, progressivité, variété des styles./ Méthode / Guitare

Unsurpassed in his day as a lute virtuoso, John Dowland (1563'1626) today continues to delight singers, musicians, and music lovers alike. This collection of 45 songs includes all the works in Dowland's original third and fourth books of lute songs, the composer's contributions to his son's anthology of 1610, and a dance for solo guitar. Content :
THE THRID AND LAST BOOKE
I. Farewell too fair
II. Time stands still
III. Behold a wonder here
IV. Daphne was not so chaste
V. Me, me and none but me
VI. When Phoebus first did Daphne love
VII. Say Love if ever thou didst find
VIII. Flow not so fast ye fountains
IX. What if I never speed'
X. Love stood amaz'd
XI. Lend your ears to my sorrow
XII. By a fountain where I lay
XIII. Oh what hath overwrought
XIV. Farewell unkind farewell
XV. Weep you no more, sad fountains
XVI. Fie on this feigning
XVII. I must complain
XVIII It was a time when silly bees could speak
XIX. The lowest trees have tops
XX. What poor astronomers are they
XXI. Come when I call (for two voices and two lutes)
A PILGRIMES SOLACE
I. Disdain me still
II. Sweet stay awhile
III. To ask for all thy love
IV. Love those beams
V. Shall I strive with words to move (Mignarda, a galliard is Dowland's title for the solo lute version of the lyre Shall I strive with words to move.
VI. Were every thought an eye
VII. Stay Time awhile thy flying
VIII. Tel me true Love (with chorus)
The next three with treble and bass viols ofr violin and cello:
IX. Go nightly cares
X. From silent night
XI. Lasso vita mia
XII. In this trembling shadow
XIII. If that a sinner's sighs
A three-part work:
XIV. Thou mighty God
XV. When David's life
XVI. When the poor cripple
XVII. Where sin sore wounding
XVIII. My heart and tongue were twins
The next with chorus:
XIX. Up merry mates
XX. Welcome black night
XXI. Cease these false sports
THREE AYRES FROM A MUSICALL BANQUET
Far from triumphing Court
Lady if you so spite me
In darkness let me dwell
GALLIART TO LACHRIMAE
A lute solo from A Pilgrimes Solace, transcribed for guitar

Les pièces et les etudes vous devez développer votre premier répertoire de guitare classique. Ce livre et CD contient répertoire délicieux de pièces pour le joueur début ou intermédiaire. Les sélections sont tirées de toutes les périodes de la littérature de la guitare classique et ont été organisées et éditées par Jerry Willard nouvellement. Toute la musique, en notation standard tant l'onglet, à cinquante joyaux du répertoire pour les débutants, avec spectacles complets sur le CD-ROM d'accompagnement / Guitare / 78 pages / Partition Cd

Partition pour guitare
Collection : Rivoal Yvon
Nombre de pages : 48 Niveau : 2
Contenu :
Adriaensen: Branle Englese - Aguado: Menuet - Anonyme: Chanson catalane - Danse - Danse anglaise - Danse villageoise - Ecossaise - Gigue - Greensleeves - Greensleeves is all my joy - La Vieille - Ricercare - The Parlement - What if a day - Attaignant: Gaillarde - Pavane - Ballet: Greensleeves - Besard: Bransle gay - Carcassi: Moderato - Prélude - Valse - Caroso: Spagnoletta - Carulli: Allegretto - Valse - Valse et variations - Diabelli: Allegretto - Andantino - Vivace - Dowland: Orlando - Sleepeth - Giuliani: Andantino - Ecossaise - Grazioso - Thème et variation - Kleynjans: Berceuse - Menuet - Ouverture - Krieger: Menuet - Le Gars: Esquisse n°1 - Esquisse n° 2 - Le Roy: Allemande - Leclercq: Brunelle - Plume - Vallières - Meissonnier: Andante affettuoso - Andantino - Neusidler: Danse néerlandaise - Phalese: Passemese - Ruise de Ribayaz: Canarios - Torneo - Vacas - Sanz: La Francesa - Paradetas - Rujero - Schumann: Petite pièce - Susato: Allemande - Passo e medio - Thysius: Canon - Courante - Gigue - Volte - Visée de: Menuet

100 pop and classical standards that every piano player should master, including: Air on the G String · Bridge over Troubled Water · Canon in D · Clair de Lune · Fields of Gold · Fur Elise · I Dreamed a Dream · I Will Always Love You · Imagine · Lullaby of Birdland · Memory · Misty · Moon River · On My Own · Over the Rainbow · The Shadow of Your Smile · Smile · Stardust · Summertime · Sunrise, Sunset · Time After Time · Unexpected Song · The Way You Look Tonight · We\'ve Only Just Begun · What a Wonderful World · Yesterday · You Raise Me Up · Your Song · and more! / Piano

The Chester Books Of Madrigals offer an exciting collection of secular European madrigals, partsongs and rounds from the 16th and early 17th centuries, newly edited from early sources by Anthony G. Petti, who contributes copious historical notes to each volume. <br>The majority of the settings are for SATB and simplified keyboard reductions. Texts are in the original languages, with an English translation (for non-English texts) provided at the head of each piece. / Classique / Partition /

Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. This opera had its premiere on December 31, 1879, at the Fifth Avenue Theater in New York with Arthur Sullivan conducting. It opened on April 3, 1880, at the Opera Comique in London and ran for 363 performances. / Niveau : Intermédiaire / TV, Film, Comédie musicale / Recueil / Chant et Piano

Learn the most popular classical piano music of the past 300 years - from Bach, Beethoven, Mozart and more! 90 selections from the classical repertory with fingerings, each with their own performance notes detailing the wheres, whats, and hows - all in plain English! / Piano

Par WEDGWOOD PAM. This book is perfect for those looking for something to bridge the gap between grades 2 and 3. Pam Wedgwood's inimitable style is guaranteed to breathe new life into your piano playing - the varied pieces in this bright new collection range from toe-tapping jazzy numbers to more classical styles, all designed to ease you gently on towards the next grade. So lighten up and move on with Up-Grade! / Pédagogie / Date parution : 1995-09-22/ Recueil / Piano

Medieval Mandolin Voume 2 by Allan Alexander. These medieval pieces sound great on the mandolin. They also lay right under the fingers. There is both notation and TAB and no page turns for any of the pieces in this book. The reason? This book is made for musicians, by musicians. You can get the book with a CD and the guitar and mandolin are separate tracks. You can turn the mandolin totally off and play with the cd. There is no 'Tick Tick' before the pieces, instead there are two measures of intro with the guitar, so you can sit and listen to the CD and become familiar with the pieces without it sounding like a learning CD. There are chords with the music and at the end of thebook, there are examples of what the guitar is doing for many of the tunes in both tablature and notation. These tunes sound terrific, and are a great addition to any repertoire. You can use them for any kind of gig, or you can try doing some medieval fairs, medieval feasts or medieval weddings. The bowl back mandolin looks so much like the lute, most people would never know the difference. Often when I play the lute, they ask me if it's a mandolin. I play lute, guitar and more recently mandolin. I know the music. These pieces are particulary suited for the sound of the mandolin. I love playing them. The book is beautiful and scored professionally. The paper is heavy stock. The titles may not make a lot of sense, but these are great pieces. Many have variations to make them longer. Medieval Mandolin Voume 2 by Allan Alexander. These medieval pieces sound great on the mandolin. They also lay right under the fingers. There is both notation and TAB and no page turns for any of the pieces in this book. The reason? This book is made for musicians, by musicians. You can get the book with a CD and the guitar and mandolin are separate tracks. You can turn the mandolin totally off and play with the cd. There is no 'Tick Tick' before the pieces, instead there are two measures of intro with the guitar, so you can sit and listen to the CD and become familiar with the pieces without it sounding like a learning CD. There are chords with the music and at the end of thebook, there are examples of what the guitar is doing for many of the tunes in both tablature and notation. These tunes sound terrific, and are a great addition to any repertoire. You can use them for any kind of gig, or you can try doing some medieval fairs, medieval feasts or medieval weddings. The bowl back mandolin looks so much like the lute, most people would never know the difference. Often when I play the lute, they ask me if it's a mandolin. I play lute, guitar and more recently mandolin. I know the music. These pieces are particulary suited for the sound of the mandolin. I love playing them. The book is beautiful and scored professionally. The paper is heavy stock. The titles may not make a lot of sense, but these are great pieces. Many have variations to make them longer./ Recueil / Mandoline

Par BEETHOVEN LUDWIG VAN. Many anecdotes surround String Quartet op. 131: Beethoven is said to have considered it to be his finest quartet and of his late period works, the one dearest to his heart. It is also believed that the composer invested so much of himself in it: his ailing health, the social isolation brought about by his deafness and the suicide attempt of his nephew Karl. In addition it was reported that Franz Schubert asked to hear this piece once more on his deathbed. Even if these anecdotes are not all true, they reveal what generations of musicians felt they heard in this quartet: Beethoven’s most personal musical idiom and a vulnerable message from the final period of his life. This new edition by Jonathan Del Mar represents a thorough revision of this highly complex work. Meticulously incorporated are Beethoven’s pencil markings that were previously almost completely ignored./ Répertoire / Quatuor à Cordes