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Détails Détails	Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+) Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Intro duction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. Introducti onGustave Vogtâ€™s Musical ParisGustave Vogt (1781â€“1870) was born into the â€œAge of Enlightenment,â€ at the apex of the Enlightenmentâ€™s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the â€œgrandfather of the modern oboeâ€ and the â€œpremier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the â€œSystem Sixâ€ TriÃ©bert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the schoolâ€™s first oboe professor, Alexandre-Antoine Sallantin (1775â€“1830).Vogtâ €™s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed rÃ©pÃ©titeur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the schoolâ€™s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799â€“1839), Apollon Marie-Rose Barret (1804â€“1879), Charles Triebert (1810â€“1867), Stanislas Verroust (1814â€“1863), and Charles Colin (1832â€“1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854â€“1920), and then to Marcel Tabuteau (1887â€“1966), the oboist Americans lovingly describe as the â€œfather of American oboe playing.â€Opera was an important part of Vogtâ€™s life. His first performing position was with the ThÃ©Ã¢tre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the ThÃ©Ã¢tre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the OpÃ©ra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris OpÃ©ra, the top orchestra in Paris at the time. He played with the Paris OpÃ©ra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803â€“1865) after having just arrived in Paris in 1822 and attended the Paris OpÃ©raâ€™s performance of Mehulâ€™s Stratonice and Persuisâ€™ ballet Nina. It was in response to the song Quand le bien-amiÃ© reviendra that Berlioz wrote: â€œI find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogtâ€™s instrumentâ€¦â€ Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubiniâ€™s (1760â€“1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806â€“1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the OpÃ©ra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph ArtÃ´t (1815â€“1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having â€œlost none of his superiority over the oboeâ€¦. Itâ€™s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogtâ€™s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the SociÃ©tÃ© des Concerts du Conservatoire, a group established in 1828 by violinist and conductor FranÃ§ois-Antoine Habeneck (1781â€“1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770â€“1836).After his retirement from the OpÃ©ra in 1834 and from the SociÃ©tÃ© des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubiniâ€™s Ave Maria on English horn with tenor Alexis Dupont (1796â€“1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogtâ€™s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492â€“1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504â€“1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or NotestammbÃ¼cher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his â€œgrand tourâ€ through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his â€œmost valuable contributionâ€ came from Beethoven in 1815. Spohrâ€™s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of NotenstammbÃ¼cher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogtâ€™s Musical Album of AutographsVogtâ€™s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounodâ€™s (1818â€“1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	ARKA - 3 Rituale (Full Score) Voix basse, Piano Peters Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotal...(+) Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotali, Glockenspiel, gr, Trommel, vibraphonerafon - 1 Spieler), strings (7, 1) SKU: PE.EP14445 Composed by Bernd Franke. Full Scores. Edition Peters. Score. 52 pages. Duration 00:20:00. Edition Peters #98-EP14445. Published by Edition Peters (PE.EP14445). ISBN 9790014135041. 297 x 420 mm inches. German. ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss. Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester. Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen. In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte). Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between. In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung! Bernd Franke. Leipzig, 11.10.2019 W01476\|C\|Y 0.0000 Sheet Music _x000D_ 9780193556799 Y 23.50 X556799 357665 9780193556799 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556799 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 Low voice & piano Low voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556799 Young: A babe is born Rutter: Angels' Carol McDowall: Before the paling of the stars Rutter: Candlelight Carol Rutter: I sing of a maiden Chilcott: Mid-winter Todd: My Lord has Come Bullard: Scots Nativity Quartel: Snow Angel Todd: Softly Chilcott: Sweet was the song Chilcott: The Shepherd's Carol Quartel: This endris night McGlade: What child is this? for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano. 14 songs for solo voice Well-loved composers, including John Rutter and Bob Chilcott Wide selection of Christmas texts Accessible accompaniments Includes backing tracks downloadable from a Companion Website Available in volumes for high and low voice MISC\|AU\|Y 0.0000 Paperback _x000D_ EP73308R Y 0.00 73308R P73308R 1 ORCHA 8000 0.00 Hover A (LARGE) BEAMISH EP73308R GP:ORCHESTRAL HOVER ONLY RENTAL SALLY WORKS NONE ORCHA P 303000 EP73308R 0.0000 Sheet Music _x000D_ EP14437A Y 22.95 14437A P14437A FRANKE, BERND C 9790014137199 52A1 8000 0.00 AGNI A 9790014137199 AGNI BASS BERND CLARINET EP14437A FRANKE PHOTOPRINTS W01476 English / German 00:12:0 Instrumental Score 232 x 303 mm Bass clarinet 20 DETNT NEW PR43 23/04/2021 P 303006 AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything: Every flame, every fire, every light, every warmth is AGNI. AGNI is omnipresent, establishing everything and ending everything. AGNI is often depicted with seven tongues which represent different aspects of his being. These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming. Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet. This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet. W01476\|C\|Y 0.0000 Sheet Music _x000D_ EP68686 Y 165.00 68686 P68686 LEWIS C 9790300761299 97 8000 0.00 Ikons A 9790300761299 CONTEMPORARY ENSEMBLE EP68686 GEORGE IKONS LEWIS PHOTOPRINTS SMALL W06652 English 00:14:0 Conductor Score & Parts 303 x 232 mm Fl (A-fl in F).Cl.Bsn (Cbsn).Tbn.Perc.Vln.Vlc.C b 132 NEW PR43 USTNT 21/04/2021 P 303006 Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies. The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer. W06652\|C\|Y 0.0000 Sheet Music _x000D_ EP73531 Y 31.95 73531 P73531 PANUFNIK, ROXANNA C 9790577020976 61 8000 0.00 Sonnets without Words A 9790577020976 EP73531 HORN PANUFNIK PHOTOPRINTS PIANO ROXANNA SHAKESPEARE SONNETS W03578 WILLIAM WITHOUT WORDS English Score & Instrumental Parts 232 x 303 mm Horn and piano 28 NEW PR43 UKTNT 21/04/2021 P 303006 Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work. Score and horn part. Contempo rary work for Horn in F and piano Settings of Sheakespeare's Sonnets 8, 24 & 29 in instrumental form W03578\|C\|Y W06737\|LY\|N 0.0000 Sheet Music _x000D_ EP73571 Y 15.95 73571 P73571 MCNEFF, STEPHEN C 9790577021317 20 8000 0.00 Trig for Solo Cello A 9790577021317 (SOLO) CELLO EP73571 MCNEFF PHOTOPRINTS SOLO STEPHEN TRIG W03150 English 00:07:0 Instrumental Score 232 x 303 mm Solo Violoncello 8 NEW PR43 UKTNT 21/04/2021 P 303006 Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010. Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music. Contemp orary piece for solo cello Written for the Royal Academy of Music's bicentennial W03150\|C\|Y 0.0000 Sheet Music _x000D_ EP14528 Y 34.95 14528 P14528 SAUNDERS, REBECCA C 9790014136796 3 8000 0.00 to an utterance - study A 9790014136796 (SOLO) AN EP14528 PHOTOPRINTS PIANO REBECCA SAUNDERS STUDY TO UTTERANCE W04191 English Instrumental Score 420 x 297 mm Piano Solo 16 DETNT NEW PR43 21/04/2021 P 303006 to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin. W04191\|C\|Y 0.0000 Sheet Music _x000D_ EP71880 Y 75.00 71880 P71880 PANUFNIK, ROXANNA C 9790577008332 82 8000 0.00 Spirit Moves for Brass Quintet A 9790577008332 BRASS ENSEMBLE EP71880 MOVES PANUFNIK PHOTOPRINTS QUINTET ROXANNA SPIRIT W03578 English 00:15:0 Score & Instrumental Parts 232 x 303 mm Trumpet 1 in B flat (doubling Piccolo Trumpet), Trumpet 2 in B flat (doubling Flugel Horn), Horn in F, Trombone, Tuba 84 NEW PR43 UKTNT 21/04/2021 P 303006 Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual. This product consists of score and parts. W03578\|C\|Y 0.0000 Sheet Music _x000D_ EP73585 Y 4.00 73585 P73585 369282 WILLIAMS, RODERICK C 9790577021591 1 151 8000 0.00 Eriskay Love Lilt A 9790577021591 (SECULAR) CHORAL EP73585 ERISKAY HALSTAN-USA LILT LOVE RODERICK TRADITIONAL W05152 WILLIAMS WORKS English 00:03:0 190 x 272 mm SATB (divisi) and piano 16 NEW PR30 UKTNT 20/05/2021 P 377788 A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'. Commiss ioned by The Sixteen choir and recorded on their 2021 album 'Goodnight Beloved' Roderick Williams is a composer/arranger and also a world-renowned baritone The arrangement is described by Williams as 'having a little nod to Ravel and Grieg' W05152\|C\|Y W04819\|LY\|N 0.0000 Sheet Music _x000D_ 9780193556782 Y 23.50 X556782 357665 9780193556782 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556782 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 High voice & piano High voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556782 Young: A babe is born Rutter: Angels' Carol McDowall: Before the paling of the stars Rutter: Candlelight Carol Rutter: I sing of a maiden Chilcott: Mid-winter Todd: My Lord has Come Bullard: Scots Nativity Quartel: Snow Angel Todd: Softly Chilcott: Sweet was the song Chilcott: The Shepherd's Carol Quartel: This endris night McGlade: What child is this? for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano. 14 songs for solo high voice Well-loved composers, including John Rutter and Bob Chilcott Wide selection of sacred and secular Christmas texts Accessible accompaniments Includes backing tracks downloadable from a Companion Website Available in volumes for high and low solo voice MISC\|AU\|Y 0.0000 Paperback _x000D_ 9780193559066 Y 4.25 X559066 357665 9780193559066 YOUNG C 1 444 8030 0.00 O splendour of God's glory bright PAPER 9780193559066 BRIGHT CHORAL GLORY GOD'S MIXED OF OXFORD SACRED SPLENDOUR TOBY VOICES W06576 YOUNG C 00:03:30 SATB & organ Vocal score 254x178 SATB 20 NONE P 355580 9780193559066 for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different. W06576\|C\|Y 0.0000 Paperback _x000D_ 9780193554399 Y 2.60 X554399 357665 9780193554399 LASSUS, ORLANDO DE C 1 445 8030 0.00 Oculus non vidit PAPER 9780193554399 CHORAL DE KEANE LASSUS MARK NON OCULUS ORLANDO OXFORD SACRED UPPER VIDIT VOICES W02750 B 00:01:30 SA unaccompanied Vocal score 254x178 Upper Voices - 3 parts or more 4 NONE 10/06/2021 P 355580 9780193554399 for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit). W02750\|C\|Y W06960\|E\|N 0.0000 Paperback _x000D_ 9780193954298 Y 3.35 X954298 357665 9780193954298 TALLIS, THOMAS C 1 448 8030 0.00 Honor, virtus et potestas PAPER 9780193954298 CANTICLES DUNKLEY ET HONOR OXFORD POTESTAS SALLY SERVICES TALLIS THOMAS VIRTUS W04705 C 00:06:0 SAATB unaccompanied Vocal score MSER00020 SATB 12 NONE 28/05/2021 P 355580 9780193954298 for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony. W04705\|C\|Y W01184\|E\|N 0.0000 Paperback _x000D_ EP73527 Y 6.95 73527 P73527 BEAMISH, SALLY C 9790577020891 50 8000 0.00 The Parting Glass A 9790577020891 (SOLO) BEAMISH CLARINET EP73527 GLASS PARTING PHOTOPRINTS SALLY W00306 English Score 232 x 303 mm Clarinet 4 NEW PR43 UKTNT 12/12/2020 P 303006 Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019. Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth. But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind. I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation. The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet. The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians. It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble. W00306\|C\|Y 0.0000 Sheet Music _x000D_ EP73516 Y 6.95 73516 P73516 BEAMISH, SALLY C 9790577020747 20 8000 0.00 Maple A 9790577020747 (SOLO) BEAMISH CELLO EP73516 MAPLE PHOTOPRINTS SALLY W00306 English 00:06:0 Score 232 x 303 mm Contemporary cello solo 8 NEW PR43 UKTNT 12/12/2020 P 303006 Seed; Spinning Seed; Roots, shoots; Leaves ; Flowers; Tree ; Autumn ; Cello Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world. The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello. The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style. Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project. W00306\|C\|Y 0.0000 Sheet Music _x000D_ EP73508 Y 39.95 73508 P73508 DILLON, JAMES C 9790577020648 3 8000 0.00 echo the angelus A 9790577020648 (SOLO) ANGELUS DILLON ECHO EP73508 JAMES PHOTOPRINTS PIANO W01097 English 00:25:0 Score 232 x 303 mm Piano Solo 44 NEW PR43 UKTNT 12/01/2021 P 303006 First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020. Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer. $90.00 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	Marcel Tournier: Intermediate Pieces for Solo Harp, Volume II Carl Fischer Chamber Music harp SKU: CF.H84 Composed by Marcel Tournier. Edited by Car...(+) Chamber Music harp SKU: CF.H84 Composed by Marcel Tournier. Edited by Carl Swanson. Collection - Score. Carl Fischer Music #H84. Published by Carl Fischer Music (CF.H84). ISBN 9781491165539. UPC: 680160924530. Marce l Tournier (1879â€“1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the DÃ©chiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing. Marcel Tournier (1879â€“1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his dÃ©chiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word dÃ©chiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmansâ€™ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We donâ€™t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the dÃ©chiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didnâ€™t Tournier publish these pieces, and why didnâ€™t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, FÃ©erie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the dÃ©chiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.â€”Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chantÃ© well sung, melodiousdÃ©cidÃ© firm, resolutediminu peu Ã peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLÃ©ger light, quickLent slowmarquez le chant emphasize the melodyModÃ©rÃ© at a moderate tempopeu Ã peu animÃ© more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrÃ¨s arpegÃ© very arpeggiatedTrÃ¨s ModÃ©rÃ© Very moderate tempoTrÃ¨s peu retenu slightly held backTrÃ¨s soutenu very sustainedun peu retenu slightly held back. $19.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	The Complete Guitar Player Songbook Omnibus 1 Guitare [Partition + CD] Amsco Wise Publications Guitar SKU: BT.MUSAM996996 Arranged by Russ Shipton. The Complete Guitar ...(+) Guitar SKU: BT.MUSAM996996 Arranged by Russ Shipton. The Complete Guitar Player. Pop & Rock. Book with CD. Wise Publications #MUSAM996996. Published by Wise Publications (BT.MUSAM996996). ISBN 9781849380140. English. Th e Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists. N ow these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns! Over 180 great songs! Perfect for all players and singers! The bonus CD contains backing tracks to 16 of the songs in the book. $32.95 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	The Greatest Showman Orchestre - Intermédiaire/avancé Hal Leonard Full Orchestra (Full Score) - Grade 4 SKU: HL.4492291 Composed by Pasek a...(+) Full Orchestra (Full Score) - Grade 4 SKU: HL.4492291 Composed by Pasek and Paul. Arranged by Sean O'Loughlin. HL Full Orchestra. Movies. Softcover. Published by Hal Leonard (HL.4492291). UPC: 888680738952. 9.0x12.0x0.059 inches. From the songwriting team who brought us Dear Evan Hansen and La La Land, the blockbuster movie musical The Greatest Showman is based on the true story of P.T. Barnum with Hugh Jackman in the title role. This arrangement of the powerful songs from the film is a dynamic musical montage for the concert stage. Includes Come Alive, The Greatest Show, A Million Dreams, Rewrite the Stars and This Is Me. $7.50 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails	Deborah's Theme Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Molenaar Edition (from 'Once upon a time in America'). Composed by Ennio Morricone (1928-). Arran...(+) (from 'Once upon a time in America'). Composed by Ennio Morricone (1928-). Arranged by Ton van Grevenbroek. For concert band. Movies/Catalogue New Band Music Vol. 13. Molenaar Slow Movements. Recorded on The Rise - 2351 (ML.311122720). Grade 3. Full set. Duration 4 minutes, 16 seconds. Published by Molenaar Edition $114.95 - Voir plus => Acheter Délais: 4 to 6 weeks Articles Similaires

Détails Détails	My Dearest Ruth Voix Mezzo-Soprano, Piano Theodore Presser Co. For Mezzo-soprano and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes...(+) For Mezzo-soprano and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes, 40 seconds. Theodore Presser Company #111-40297. Published by Theodore Presser Company $9.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	My Dearest Ruth Voix Baryton, Piano Theodore Presser Co. For Baritone and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes, 40 ...(+) For Baritone and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes, 40 seconds. Theodore Presser Company #111-40298. Published by Theodore Presser Company $9.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	Jarba, Mare Jarba Chorale SATB Carl Fischer Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+) Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700). ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk. In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.). In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit oneâ€™s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singersâ€™ longing to return home; these are interspersed with the folk songâ€™s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass â€“ oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass â€“ oh, that I cannot go home! Tall grass, green grass â€“ I would like to go home.but I cannot, because I have sworn not to.Stacy Garropâ€™s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys â€“ some simple and beautiful, while others are complicated and dark â€“ depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theaterâ€™s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerousÂ awards and grantsÂ including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments.Â Notable commissionsÂ include My Dearest RuthÂ for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg,Â The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious MahaliaÂ for the Kronos Quartet, Give Me HungerÂ for Chanticleer,Â Rites for the AfterlifeÂ for the Akropolis and Calefax Reed Quintets, andÂ Terra Nostra:Â an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Childrenâ€™s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).ÂÂ. $3.00 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	The Reharmonized Real Book - Volume 1: C Instruments Instruments en Do [Fake Book] Hal Leonard Arranged by Jack Grassel. Composed by Various. Arranged by Jack Grassel. Fake ...(+) Arranged by Jack Grassel. Composed by Various. Arranged by Jack Grassel. Fake Book. Jazz. Softcover. 456 pages. Published by Hal Leonard $45.00 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	Hey Brother - Intermédiaire Barenreiter Mixed Choir (SMezATBarB) - Level 3 SKU: BA.BA11395 Composed by Ash Pourno...(+) Mixed Choir (SMezATBarB) - Level 3 SKU: BA.BA11395 Composed by Ash Pournouri, Avicii, Salem Al Fakir, Veronica Maggio, and Vincent Pontare. Edited by Hans Vainikainen. Arranged by Hans Vainikainen. Stapled. Choral score. 11 pages. Baerenreiter Verlag #BA11395_00. Published by Baerenreiter Verlag (BA.BA11395). ISBN 9790006568574. 29.7 x 21 cm inches. Text Language: English. Text: Al Fakir, Salem / Maggio, Veronica / Pontare, Vincent / Bergling, Tim / Pournouri, Ash. â€œHey brother! There's an endless road to rediscover Hey sister! Know the water's sweet but blood is thicker â€¦â€ â� ��œIf the sky comes falling down, for you / Thereâ€™s nothing in this world I wouldnâ€™t doâ€. The subject of this energetic, life-affirming hit is being there for one another. Whether sung by female or mixed choirs, the fanfare-like theme is equally powerful and will keep the audience tapping their feet. The editor: Hans Vainikainen (b. 1976) hails from a new generation of conductors in the Swedish choral tradition. His conducting repertoire covers a wide range of genres and eras, from Mahlerâ€™s Eighth Symphony to the Swedish DJ Avicii. In 2005 he won the Swedish Conductorsâ€™ Prize, and two years later he was appointed artistic director of the Katarina kyrka, the home of KatarinakÃ¶rerna, one of Swedenâ€™s largest choral societies. Hans Vainikainen heads Stockholmâ€™s KatarinakÃ¶rerna with more than 500 singers in various combinations. Their programmes cover both sacred and secular music. In his search for suitable arrangements, his eye fell on one the worldâ€™s best-known pop artists, Tim Bergling, known professionally as Avicii. He then arranged three of Aviciiâ€™s best songs for classical choirs, intending them to be encore pieces. â€œHey Brotherâ€, â€œLevelsâ€ and â€œWithout youâ€ are now available for six-part mixed or female choir. The arrangements offer a wide variety of vocal and choral possibilities and attention has been paid that all parts are of the same musical standard. Whether homophonic or unisono, they artfully intertwine from one passage to the next. However, for all their sophistication the arrangements remain manageable and easy to learn, displaying the typical groove of each Avicii song within a multi-layered texture. $5.95 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Hey Brother - Intermédiaire Barenreiter Female Choir (SSSAAA) - Level 3 SKU: BA.BA11394 Composed by Ash Pournouri...(+) Female Choir (SSSAAA) - Level 3 SKU: BA.BA11394 Composed by Ash Pournouri, Avicii, Salem Al Fakir, Veronica Maggio, and Vincent Pontare. Edited by Hans Vainikainen. Arranged by Hans Vainikainen. Stapled. Choral score. 10 pages. Baerenreiter Verlag #BA11394_00. Published by Baerenreiter Verlag (BA.BA11394). ISBN 9790006568567. 30 x 21.5 cm inches. Text Language: English. Text: Al Fakir, Salem / Maggio, Veronica / Pontare, Vincent / Bergling, Tim / Pournouri, Ash. â€œHey brother! There's an endless road to rediscover Hey sister! Know the water's sweet but blood is thicker â€¦â€ â� ��œIf the sky comes falling down, for you / Thereâ€™s nothing in this world I wouldnâ€™t doâ€. The subject of this energetic, life-affirming hit is being there for one another. Whether sung by female or mixed choirs, the fanfare-like theme is equally powerful and will keep the audience tapping their feet. The editor: Hans Vainikainen (b. 1976) hails from a new generation of conductors in the Swedish choral tradition. His conducting repertoire covers a wide range of genres and eras, from Mahlerâ€™s Eighth Symphony to the Swedish DJ Avicii. In 2005 he won the Swedish Conductorsâ€™ Prize, and two years later he was appointed artistic director of the Katarina kyrka, the home of KatarinakÃ¶rerna, one of Swedenâ€™s largest choral societies. Hans Vainikainen heads Stockholmâ€™s KatarinakÃ¶rerna with more than 500 singers in various combinations. Their programmes cover both sacred and secular music. In his search for suitable arrangements, his eye fell on one the worldâ€™s best-known pop artists, Tim Bergling, known professionally as Avicii. He then arranged three of Aviciiâ€™s best songs for classical choirs, intending them to be encore pieces. â€œHey Brotherâ€, â€œLevelsâ€ and â€œWithout youâ€ are now available for six-part mixed or female choir. The arrangements offer a wide variety of vocal and choral possibilities and attention has been paid that all parts are of the same musical standard. Whether homophonic or unisono, they artfully intertwine from one passage to the next. However, for all their sophistication the arrangements remain manageable and easy to learn, displaying the typical groove of each Avicii song within a multi-layered texture. $5.95 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	National Anthems from Around the World Piano, Voix et Guitare [Partition] Hal Leonard P/V/G Choral, Piano/Vocal/Guitar SKU: HL.311633 Composed by Various. Pian...(+) P/V/G Choral, Piano/Vocal/Guitar SKU: HL.311633 Composed by Various. Piano/Vocal/Guitar Songbook. World. Songbook (softcover). With vocal melody, piano accompaniment, lyrics, chord names, guitar chord diagrams and translations. 168 pages. Published by Hal Leonard (HL.311633). ISBN 9780793560790. UPC: 073999116335. 9x12 inches. This unique book contains piano/vocal/guitar arrangements of the national anthems from 56 countries, with lyrics in the original language and with an English translation. As a special bonus, historical notes and a full-color section showing each country's flag are also included. Anthems include those from: Australia, Finland, France, Germany, Great Britain, Jamaica, Japan, Mexico, South Africa and many more. For all ages. (2) $21.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails	There Stands A Little Man Orchestre [Conducteur et Parties séparées] Alfred Publishing Arranged by Sandra Dackow. Conductor's score and set of performance parts for st...(+) Arranged by Sandra Dackow. Conductor's score and set of performance parts for string orchestra (8 - 1st violin, 8 - 2nd violin, 5 - 3rd violin/viola (treble clef), 5 - viola, 5 - cello, 5 - string bass, 1 - piano accompaniment). Series: Orchestra Expressions Series. Published by Alfred Publishing. $40.00 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	The Complete Guitar Player: Acoustic Songbook Guitare Amsco Wise Publications Guitar SKU: BT.MUSAM1008029 By Toby Knowles. The Complete Guitar Player. ...(+) Guitar SKU: BT.MUSAM1008029 By Toby Knowles. The Complete Guitar Player. Pop & Rock. Book Only. Composed 2015. 146 pages. Wise Publications #MUSAM1008029. Published by Wise Publications (BT.MUSAM1008029). ISBN 9781783055364. English. The Complete Guitar Player Acoustic Songbook features a huge collection of 50 acoustic hits from all genres for Guitar. Each song includes full lyrics and Guitar chords as well as strumming and picking patterns, making this perfect for the aspiring acoustic Guitarist. Every song included in this Guitar songbook is a bona fide acoustic classic, perfect for singalongs at parties or just a strum on a summer's day in the park. Songs like Hey, Soul Sister by Train, Wonderwall by Oasis and Ho Hey by The Lumineers represent the best in unplugged and fun chill-out music. 'The book is designed to be accessible and enjoyable, showcasing the best songs by the best songwriters like Bob Dylan, Mumford & Sons, The Beatles and Adele. Songs from the past and the present are included, so there will be something for everyone in this acoustic songbook. Each song has been carefully arranged for Guitar and Voice, including the melody, lyrics and Guitar chord shapes. Not only this, but there are also suggested strumming or picking patterns to help you nail the exact sound of the song straight away. This acoustic Guitar songbook is ideal for beginners and intermediate Guitarists looking to expand their repertoire with acoustic songs new and old, whereas absolute beginnersnew to the Guitar might find that the four books of the famous Complete Guitar Player series by Russ Shipton will help them out with the basics. With these 50 acoustic Guitar songs, you'll be singing, strumming andfingerpicking your way through the folk, pop and rock canon in no time at all. The Complete Guitar Player Acoustic Songbook would make a stellar addition to any guitarist's bookshelf, and every one of these great songs will make sure that everyone is singing along. $29.95 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	First 50 Songs You Should Play on Melodica Melodica - Facile Hal Leonard Melodica SKU: HL.1315785 By Various. Melodica. Classical, Pop, Standards,...(+) Melodica SKU: HL.1315785 By Various. Melodica. Classical, Pop, Standards, Traditional. Softcover. Published by Hal Leonard (HL.1315785). ISBN 9798350110319. UPC: 196288179078. 9.0x12.0 inches. So you've just started playing this compact wonder – now what? Hal Leonard's First 50 series is here to help! Designed for new players, First 50 Songs You Should Play on Melodica features a variety of accessible songs in a wide range of styles, simply arranged so you can start playing right away. Choose to play just the melody or enhance it using the chord labels or left hand part – the possibilities are endless for wherever you are on your melodica journey! Songs include: All of Me • Blinding Lights • Cabinessence • Canon in D • Easy on Me • Final Countdown • The Flight of the Bumblebee • Hallelujah • Heart of Gold • Imagine • A Million Dreams • Perfect • Someone Like You • Toccata in D Minor • Wellerman • You Raise Me Up • and more. About First 50 You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune. $19.99 - Voir plus => Acheter Délais: 4 to 6 weeks Articles Similaires

Détails Détails	Two Chinese Folk Songs Chorale SATB SATB Theodore Presser Co. (1. the Flowing Stream, 2. the Sun Is Rising with Our Joy). Arranged by Chen Yi ...(+) (1. the Flowing Stream, 2. the Sun Is Rising with Our Joy). Arranged by Chen Yi Steven Stucky. Mixed chorus. Cornell University Chorus and Glee Club, Beijing, China. Standard notation ~~$3.00~~ $2.85 (- 5%) Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails	Welcome Christmas (from How the Grinch Stole Christmas) Chorale 2 parties 2 parties, Piano [Octavo] Alfred Publishing By Dr. Seuss, music by Albert Hague. Arranged by Andy Beck. Choir Secular. 2-Par...(+) By Dr. Seuss, music by Albert Hague. Arranged by Andy Beck. Choir Secular. 2-Part Choir. Choral Octavo. Pop Choral. Christmas; Winter. 8 pages. Published by Alfred Music Publishing ~~$2.10~~ $1.995 (- 5%) Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails	Welcome Christmas (from How the Grinch Stole Christmas) Chorale 3 parties SAB, Piano [Octavo] Alfred Publishing By Dr. Seuss, music by Albert Hague. Arranged by Andy Beck. Choir Secular. 3-Par...(+) By Dr. Seuss, music by Albert Hague. Arranged by Andy Beck. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Pop Choral. Christmas; Winter. 8 pages. Published by Alfred Music Publishing ~~$2.10~~ $1.995 (- 5%) Voir plus => Acheter Délais: 4 to 6 weeks Articles Similaires

Détails	Welcome Christmas (from How the Grinch Stole Christmas) Chorale 3 parties SSA, Piano Alfred Publishing By Dr. Seuss, music by Albert Hague. Arranged by Andy Beck. Choir Secular. Women...(+) By Dr. Seuss, music by Albert Hague. Arranged by Andy Beck. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. Christmas; Winter. 8 pages. Published by Alfred Music $2.10 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Sing Pop a Cappella Book 3 SATB/Piano W/ Audio Download Card Chorale SATB SATB, Piano [Partition + Accès audio] Novello & Co Ltd. SATB Choir and Piano SKU: HL.14043700 Composed by Various. Arranged by Gi...(+) SATB Choir and Piano SKU: HL.14043700 Composed by Various. Arranged by Gitika Partington. Choral. Pop & Rock. Softcover Audio Online. Composed 2015. Novello & Co Ltd. #NOV165110. Published by Novello & Co Ltd. (HL.14043700). ISBN 9781783058617. UPC: 888680736491. 9.0x12.0x0.125 inches. English. Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new, by renowned teacher, singer and director Gitika Partington . Her arrangements are used by choirs across the UK, and she emphasises that being able to read music is not necessary. Rewarding and enjoyable, Book Three continues her project to bring people together through the power of song. What's great about Gitika Partington 's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song, it's not necessary to be able to sight-read. It may be useful, but she has learned that there are other ways to communicate music, namely through ear training,repetition and gesture. Her arrangements, five of which appear in this book, have enabled youth and community choirs to spring up across the country, making singing truly and universally accessible. Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine by Bill Withers, Black Is The Colour Of My True Love's Hair, Rick Astley's Never Gonna Give You Up, Adele's Rolling In The Deep and a huge favourite, Sway (Quien Sera) . Vocal scores for these innovative and enjoyable arrangements are included in standard notation, although Partington recommends learning by ear as something equally beneficial. To aid with this, the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano, alto, tenor or bass. The easy download of these tracks makes learning efficient and fun, as you are able to listen wherever you are. The great thing about a cappella singing is that it can be done anywhere, with limited resources, with members who don't necessarily have any musical training. Partington has created a book that can be used by a cappella choirs who love pop music that sounds great and will thrill audiences. Sing Pop A Cappella is not just a songbook, though, it also includes an extensive. $17.95 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	100 Most Beautiful Christmas Songs Hal Leonard Electronic Keyboard; Piano/Keyboard SKU: HL.348318 E-Z Play Today #53<...(+) Electronic Keyboard; Piano/Keyboard SKU: HL.348318 E-Z Play Today #53. Composed by Various. E-Z Play Today. Christmas. Softcover. 352 pages. Published by Hal Leonard (HL.348318). ISBN 9781540097347. UPC: 840126930009. 9.0x12.0x0.731 inches. A giant Christmas collection with easy-to-read and play arrangements for all keyboardists! E-Z Play Today songbooks feature simple arrangements with authentic-sounding chords and melody lines with a minimum number of page turns. The books also include lyrics for ultimate playing and sing-along enjoyment. This collection features a variety of holiday favorites, including: Baby, It's Cold Outside â€¢ The Christmas Shoes â€¢ The Christmas Song (Chestnuts Roasting on an Open Fire) â€¢ Christmas Time Is Here â€¢ Do You Hear What I Hear â€¢ Have Yourself a Merry Little Christmas â€¢ I'll Be Home for Christmas â€¢ The Little Drummer Boy â€¢ Mary, Did You Know? â€¢ Merry Christmas, Darling â€¢ O Holy Night â€¢ Silver Bells â€¢ Ukrainian Bell Carol â€¢ White Christmas â€¢ and many more! Over 300 pages! About Hal Leonard E-Z Play Today For organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar. $27.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails	The Cowboys Fanfare - Intermédiaire/avancé Alfred Publishing Marching Band Marching Band - Grade 4 SKU: AP.31677 Composed by John Will...(+) Marching Band Marching Band - Grade 4 SKU: AP.31677 Composed by John Williams. Arranged by Ralph Ford and T. Adam Blackstock. Marching Band. Diamond Series. Movie. Score and parts. 240 pages. Duration 2:42. Alfred Music #00-31677. Published by Alfred Music (AP.31677). UPC: 038081351254. English. John Williams' themes for the movies have become standard repertoire for the field. We bring you an exciting new arrangement of the music from one of his most memorable scores. It is full of colorful textures that will add the needed punch for your show this fall. (2:42). $60.00 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

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