Par SPARKE PHILIP. This is a little salute to the wonderful music of Duke Ellington, taking Mood Indigo as its model. Something Borrowed, Something Blue will allow the young band to approach this masterpiece?s laid-back style, using chords and harmonies that they may be hearing for the first time. The flexible instrumentation of this work makes it ideal for bands without the full quota of players. Bring the world of jazz to life with this smooth classic. / Niveau : 1 / Répertoire / Concert Band ou Harmonie

Ed. Critica Di Charles S. Brauner - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Reduction for voice and piano based on the critical edition of the orchestral score. In two volumes. Volume 1 contains Act One, with characters, instrumentation, index of pieces, source notes, a preface, and critical notes. Volume 2 contains Act II and Act III. 'Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show, Rossini was very proud of this opera, considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact, it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano, in two volumes, derives from the critical edition of the score, published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in the Bibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini, the first five recitatives in Act II are not in Rossini’s hand and may or may not be by Rossini, also not in Rossini’s hand is the Aria Amaltea, although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera, since the first performance in Naples (1818, 1819) to the Parisian ones (1822 – 1840). In particular in the appendices are included the original Aria Faraone which, composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819, was later replaced by the Aria Faraone Rossini himself composed in 1820 and, in Appendix II, the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances, after 1822. ' Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show, Rossini was very proud of this opera, considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact, it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano, in two volumes, derives from the critical edition of the score, published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in theBibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini, the first five recitatives in Act II are not in Rossini's hand and may or may not be by Rossini, also not in Rossini's hand is the Aria Amaltea, although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera, since the first performance in Naples (1818, 1819) to the Parisian ones (1822 & 1840). In particular in the appendices are included the original Aria Faraone which, composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819, was later replaced by the Aria Faraone Rossini himself composed in 1820 and, in Appendix II, the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances, after 1822. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction

Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. The present reduction derives from the critical edition of the score, published in this catalog in November 2019. Antonio Vivaldi's La Dorilla, a heroic-pastoral opera on a libretto by Antonio Maria Lucchini, was premiered at the Teatro Sant'Angelo in Venice on 6 November 1726. Six years later it was revived in a much shortened and altered form at the Sporck Theatre in Prague. In 1734 it returned for the last time to the Venetian stage at the Teatro Sant'Angelo, where, despite being greatly revised, it was once again successful. Many of its recitatives had been shortened and several arias replaced, some with movements borrowed from other operas by Vivaldi and some with arias taken from ones by other composers, such as Johann Adolf Hasse, Geminiano Giacomelli, Domenico Sarro and Leonardo Leo. The adaptation was the work of the Venetian man of letters Bartolomeo Vitturi, who adjusted the libretto with the precise aim of satisfying the demands of the public, which wished to hear the most famous pieces by the composers who were fashionable in those years. This vocal-score edition includes a synthetic introduction of the historical context, the description of the main source employed and a choice of the critical Notes to the musical text. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Réduction Piano

Folksong from the Hebrides. Par REINSHAGEN FRANK. Writing these arrangements, Frank Reinshagen has created little masterpieces, which broaden the rhythmical and harmonic context of the original tunes in an interesting manner without detracting from their archaic and melancholic character. These original tunes are - in a direct or wider sense - of „Celtic origin', in other words, they have been borrowed from the Irish, Scottish and Gaelic musical tradition. These through-composed arrangements are rather easy to perform from the rhythmical and technical point of view. Yet, they are quite demanding in respect of the key they are written in, their intonation and, especially, their interpretation. Their different instrumentations are fully compatible with each other and, due to their overall structure, they are also suitable to be played with multi-scored parts. Annotation on 'Aignish on the Machair'. The arrangement of Aignish on the Machair illustrates, above all, the melancholic character inherent in the harmonies of the original tune. A short rubato passage is followed by several variations over the flowing melody in 3/4 time. The short triplet passages embedded in these variations are quite demanding from the technical point of view - considering the key they are written in, however, these passages are not too difficult to play./ Répertoire / Quatuor de Cuivres

An Extensive collection of reels, jigs, hornpipes and polkas from the French Canadian, Cape Breton, Scottish, Shetland, New England, and Southern Old Time Traditions arranged for the piano accordion. Written with the beginner as well as the advanced player in mind, the arrangements are complete with ornamentation, fingering, left hand notation and chord symbols. Appropriate for any G clef instrument.A Finnish Polka Albert's Hornpipe Andy Dejarlis Angeline The Baker Angus Chisholm's Favourite Aubey Foley's Jig Auld Snatwell Bachelder's Reel Bay Of Fundy Beauties Of The Ballroom Bonaparte Crossing The Rhine Bonnie Banchory Cape North Jig Charleston Gals Chorus Jig Corn Rigs Cropie's Strathspeys Da Auld Stoer's Back Agen Da Corbie An' Da Craw Da Forefit O Da Ship Da Galley Watch Da Scalloway Lasses Da Shaalds O'foula Da Underhill Dave Marsh's Favourite Donald John The Tailor Down The Brae East Tennessee Blues Elizabeth's Big Coat Forester's Hornpipe Garster's Dream General Drummond General Stewart Glasgow Hornpipe Growling Old Man, Grumbling Old Woman Haste To The Wedding Highlander's Farewell Highlander's Jig Indian Reel Ingonish Jig Jimmy Allen Juliann Johnson Kiss Her Sweetly La Bastringue La Grande Chaine La Grondeuse Lady Gordon Of Gordonstown Lady Of The Lake Liza Jane Macbeth's Strathspey Mackilmoyle Reel Major Molle's Andrew GowMarcel Martine Mickie Ainsworth Miss Betty Ann Gordon Miss Drummond Of Perth Miss Hannah's Jig Miss Mcleod's Reel Mouth Of The Tobique Mr. Morison Of Bognie William MarshallNancy Ann Oot Be Est Da Vong Opera Reel Pays De Haut Peter Francisco Pit Hame Da Borrowed Claes Po' Liza President Garfield's Hornpipe Quindaro Hornpipe Reconciliation Reel Alouette Reel De Beatrice Reel De Montreal Reel Des Ouviers (Walker St.) Reel St. Antoine Reel St. Jean Rickett's Hornpipe Rock The Cradle Joe Ross's Reel No. 4 Sandy Boys Seneca Square Dance Shenandoah Falls Sillocks And Tatties Smith's Hornpipe Spey The Spate J. Scott SkinnerSpootiskerry Spotted Pony Square Da Mizzen St. Anne's Reel Staten Island Hornpipe Tam's Grey Mare The Boatman Dance The Braes Of O'tullymet The Devil's Dream The Drunken Wives Of Fochabers The Gaspe Reel The Mason's Apron Timour The Tartar J. Scott SkinnerWest Fork Gals J. Scott SkinnerWoodchopper's Reel

Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Choeur

Simon and Garfunkel's anthemic Bridge Over Troubled Water borrowed its central image from a 1958 gospel track by The Swan Silvertones, but melodically and emotionally Paul Simon's 1969 song was a glorious original.It is arranged here for SATB mixed choir with Piano accompaniment.Routinely voted one of the greatest songs of all time, it was sung solo by Art Garfunkel on the duo's final studio album together. / Choeur Mixte (SATB) Et Piano

Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Conducteur

For Violin and Piano. Par PIAZZOLLA ASTOR. 25 tangos by the revolutionary tango musician and composer Astor Piazzolla, arranged for violin and piano. These crowd-pleasing tangos borrow from classical, jazz, and Latin traditions. The collection includes Piazzolla's most famous tangos, Libertango and Oblivio. / Niveau : Intermédiaire à Avancé / Recueil / Violon et Piano

25 tangos by the revolutionary tango musician and composer Astor Piazzolla, arranged for cello and piano. These crowd-pleasing tangos borrow from classical, jazz, and Latin traditions. The collection includes Piazzolla's most famous tangos, Libertango and Oblivion. / Violoncelle Et Piano

25 tangos by the revolutionary tango musician and composer Astor Piazzolla, arranged for alto saxophone and piano. These crowd-pleasing tangos borrow from classical, jazz, and Latin traditions. The collection includes Piazzolla's most famous tangos, Libertango and Oblivion. / Saxophone Alto Et Piano

25 tangos by the revolutionary tango musician and composer Astor Piazzolla, arranged for flute and piano. These crowd-pleasing tangos borrow from classical, jazz, and Latin traditions. The collection includes Piazzolla's most famous tangos, Libertango and Oblivion. / Flûte

More fluffy mainstream pop with a slight traditional Irish twist: what the Corrs do best. All the songs from the album, including the single Summer Sunshine , arranged for piano, voice and guitar. / Piano/Vocal/Guitare (PVG)