Un ajout incroyable du répertoire de la bande de niveau supérieur ! Un ouvreur de compteur mixtes pointilliste saisit votre attention suivie des motifs rythmiques ensemble urgent, excitation par percussion, surprenant tremolos de corne et laiton palpitante et interaction de bois. Un mouvement deuxième onirique prolongé présente des clarinettes de chalumeau unisson riche et chorals de laiton qui disparaissent et sortir, tout comme la lumière du soleil sur un pool de crystal prism ou de réflexion. Le mouvement final est rempli de travaux de passage rapide de laiton faible, comparé par des solos de clarinette, flûte et hautbois exotiques au fil des coups de poing staccato ensemble complet. Une incursion syncopée tourbillonnante termine le travail avec flair. Le travail commémore le 125e anniversaire du St. Olaf College. / Ensemble A Vent

With his clarinet quintet, begun in 1915, Reger was remembering his role models Mozart and Brahms, whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger's last opus. Shortly after he had sent it to his publisher, he died of heart attack in May 1916. The quintet was to become his swan song, first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later, we are now publishing it for the first time in an Urtext edition, edited by the Reger scholar Michael Kube. / Clarinette, 2 Violons, Alto Et Violoncelle

Traditional fiddle music from around the world. Par . Le répertoire complet de musique traditionnelle pour violon est maintenant à votre portée ! Avec ce grand choix de recueils vous pourrez recréer l\'ambiance de votre propre \'ceilidh\', des danses folkloriques, du club de jazz, des cafés concerts comme à Sarajevo. Certains de ces morceaux de musiques sont connus, d\'autres sont plus exotiques, mais tous sont absolument authentiques et leurs arrangements sont faits sans compromis, mais ce qu?il y a de plus important, c\'est qu\'ils vous donneront énormément de plaisir. Chaque titre de la série est disponible en deux versions : la Violin Edition (avec en option une partie violon simplifiée et des accords de guitare), ou la Complete Edition qui comprend des accompagnements pour clavier et pour violon. Chaque version permet de jouer la musique en solo, en duo ou en trio aussi bien que dans des ensembles plus importants. Edward Huws Jones a beaucoup voyagé lors de sa recherche de styles traditionnels pour violon. Dans chaque livre il explique l\'histoire d\'un style particulier, offrant ses propres suggestions pour obtenir une exécution vivante. / Date parution : 2022-10-12/ Recueil / Violon

“I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA Idecided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication theevent featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion.A Bulgar is aRomanian Jewish Dance that was very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewishornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba andpercussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majesticconclusion.” --Hankus Netsky

For almost a hundred years Jester Hairston entertained and taught us with his classic spiritual editions. Now his niece Jacqueline Hairston is following suit with this fine arrangement of “Fix Me Jesus ” selected byAlbert McNeil for his series. Great a cappella writing with juicy harmonic flavors will make this a favorite for festivals churches and schools.

Rags marches waltzes-This Comprehensive Book Contains Scott Joplin's Entire Output For The Piano Which Apart From A Small Number Of Songs And Two Operas In Fact Made Up Everything He Wrote. The 41 Rags Five Waltzes And Six Marches Include PopularFavourites Such As The Entertainer And Maple Leaf Rag As Well As The Lesser-known Heliotrope Bouquet And The Crush Collision March. the Roots Of Pop Music Today Can Be Traced Right Back To TheMusic Of Scott Joplin. Ragtime Of The 1890s In Turn Influenced Jazz Country Music Skiffle And Rock 'N' Roll Through To Pop In The 1960s. Its Energetic Style Is Driven By The Rhythm Of The Left Hand Against The Syncopation OfThe Right. Ragtime Music Instantly Appealed To Millions And More Than A Hundred Years After Its Birth It Still Enjoys Great Popularity Today. the Greatest Ragtime Composer Of All Scott Joplin Is Rightly Regarded As ATrue Musical Giant.

This extremely practical introduction to musical analysis explores the factors that give unity and coherence to musical masterpieces. Having first identified and explained the most important analytical methods Nicholas Cook examines given compositions from the last two hundred years to show how different analytical procedures suit different types of music.Readership: Teachers students of music at university level.

Bach To The Future for Percussion Duo and Orchestra was composed by Per Nørgård in 1997. Programme Note: For many years I have been specially fascinated by three of the preludes of Bach?s Well-tempered Piano and I wish with this concerto-version for percussion-duo and orchestra to 'highlight' some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history that makes it possible to let certain germs in an earlier period unfold into new but not heterogenious dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several yearscollaboration with Uffe Savery and Morten Friis ('Safri-Duo') as well in original compositions - (Resonances Repercussion Resumé in EchoZone I-III) as in arrangements of the 3 Bach preludes preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a ?palimpsest? containing as well the old as the new musical tale simultaneously. Later in the movement this singleline is multiplied by the till then discrete but permanently pervading proportion - throughout the piece - very close to the ?Golden Section?(= 3:5:8.t.i:8 before repetition 5 before starting anew from the deepest tone 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic

Another addition to the hit series, making authentic folk music available in a flexible format suitable for teaching, busking and performance. Traditional music from Scandinavia - Denmark, Finland, Iceland, Norway, Sweden. Explore the rich variety of the Nordic tradition, from the Polish-influenced polska dances to a Norwegian Wedding Song. The Complete edition includes a violin part, keyboard accompaniment with optional violin accompaniment, easy violin part and guitar chords. / 2 Violons, Guitare Et Piano

While Robert Burns is celebrated today for his body of poetry the composer of Auld Lang Syne was also the composer or arranger of more than three hundred songs. A Rosebud by My Early Walk is set to the traditional tune The Shepherd’s Wife and it was a favourite of drawing room musicians for many years. According to at least one researcher the ‘rosebud’ was the daughter of a family with whom Burns lived while recovering from a broken leg. The girl was just twelve years old and as a young musician played Burns's songs to him on harpsichord. The sheet music includes a version in C and in D.

This is one of four level-two books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book.Level TwoFor students in their early years of study- Full triads and pedal- Whole note half note quarter note dotted half note- Whole rest half rest quarter rest dotted-half rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent tenuto grace notes- 3/4 4/4 and 5/4 time signatures- Key signatures up to two sharps and one flat-Repeat 8va 8vb tie fermata ritardando a tempo- Fine DC al Fine Coda DS al CodaSkills Books:round out the comprehensive course of study. Paced to enhance progress in the corresponding Repertoire and Etudes Albums the module structure ensures a smooth integration of Ear-Training Sight-Reading and Technic. ? Ear-training: reinforces the auraldevelopment already achieved through the repertoire and improvisation etudes; ? Sight-reading: time-effective module structure leads to regular practice the single most important contributing factor to success;? Technic: provides a structured and measured approach; prepares for the challenges ahead.About the American Popular Piano series:???Why can???t I play more music like this'??? asked a fourteen-year-old piano student. ???My friends like to hear me play cool music.??? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will??? ? develop traditional pianistic and musical skills through music in

The majority of works by Czerny are confusing to most Piano academics. Out of these the following are still the classics: Op. 139 261 299 335 337 355 365 453 553 599 636 718 740 755 802 821 823 834 et 849. Each one of these volumes contains numerous exercises some contain more than a hundred. It is of course impossible for aspiring pianists to study them all and it is difficult for Piano teachers to sort them out and organise them into the ones that could be the most interesting in a logical and progressive way.This is exactly what Heinrich Germer has tried to do. Germer an outstanding teacher and German pianist was born in Sommerdorfin 1839 and died in Dresde in 1913. He was 18 years old when Cerny died at the age of 66 years. Germer had great luck in knowing the first generation of pianists he was studying and saw the need to reorganise this huge quantity of didactic material. Germer's success was down to the fact that his systematic organisation of Czerny's work split into three volumes continues to be the three used by contemporary piano teachers. Germer did not make hardly any changes to Czerny collections. And there is more - he adds dynamic text for phrasing and pedals so that there is more musicality in the books making the exercises more enjoyable to play. He changes some archaic armatures for more modern ones. He revises Czerny's method on regrouping notes by placing bar values making reading rhythms a lot easier. He corrected numerous printing errors. In the longest pieces he adds capital letters to indicate the beginning of each movement same or part period which helps pupils to know blocks it would be better for him to practise. The revision work undergone by Germer introduces order and the results obtained for the Piano teachers that use them are very satisfying.