Par BAY WILLIAM. Un texte très basique qui n'importe qui aidera à apprendre à jouer portable clavier rapidement et facilement. Il peut être utilisé avec pratiquement toute chord automatique de clavier électronique et les effets de la rythmique, Casio, Bontempi et Yamaha. La musique est écrite comme big notes, marquées avec leur nom de la lettre. Les diagrammes de clavier sont également inclus. Le livre couvre de nombreuses fonctionnalités automatiques trouvées communément sur les claviers. / Niveau : Débutant / All Styles - Methods / Méthode / Clavier Electronique

Par BRITTEN BENJAMIN. Benjamin Britten composa son Overture Op.38 occasionnel, pour l'ouverture du troisième programme BBC le 29 Septembre 1946, année où elle a été réalisée par le BBC Symphony Orchestra dirigé par Sir Adrian Boult. Elle n'a pas été entendue à nouveau jusqu'en 1982, lorsque les exécuteurs testamentaires du compositeur . décidé qu'il devrait être rétabli Compte tenu de la prédominance des cuivres et bois dans cet ouvrage concis mais passionnant, des versions pour orchestre de cuivres et orchestre d'harmonie ont été préparés pour l'année du centenaire de Britten Brass Band 6e année:.. Championnat Durée: 8 minutes./ Répertoire / Brass Band

23 Pieces From 6 Centuries. The Easy Concert Pieces series for alto saxophone and piano provide easy to intermediate pieces from the Renaissance to the modern era for music lessons, concert performances or private music-making. The volumes with accompanying CD add to the not very extensive repertoire of performance pieces for saxophone. They were carefully selected according to technical and musical requirements and are arranged in three volumes according to their level of difficulty. All pieces are included on the accompanying CD as demo and play-along versions (piano accompaniment). The piano part contained in the volume is very easy so that it can even be played by a pupil, e.g. at a music school concert. Volume 1 (ED 22553) contains easy pieces which mainly range from d' to c''', occasionally even to d'''. The keys range from C to D major or the respective minor keys. This volume contains works by Charpentier, Vivaldi, Handel, Bach, Haydn, Mozart, Beethoven, Smetana, Pütz, Moser, and others. Volume 2 (ED 22554) contains intermediate pieces ranging from c' to e''', with unusual metres and demisemiquavers appearing occasionally. Including works by Wolkenstein, Peuerl, Schein, Purcell, Telemann, Handel, Mozart, Beethoven, Gounod, Humperdinck, Elgar, and others. Volume 3 (ED 22942) - in preparation: Will contain pieces at even higher levels of difficulty and add further works to the repertoire. / Niveau : Facile / Recueil / Saxophone Alto et Piano

Par JOLLIFFE EDMUND. For parish choirs Edmund Jolliffe offers a fine post-communion anthem in a much-loved idiom of Anglican liturgical music. The resources are straightforward: SATB choir without divisions, and Piano. The effects however are subtle. The music builds steadily through broadly phrased paragraphs that balance individual lines within the choral ensemble, in a landscape of gently shifting yet unexpected harmonic effects. Immediately appealing, this music will reach out to a range of listeners, both regular worshippers and those for whom occasional church attendance is an opportunity for quiet reflection in words and music. For parish choirs Edmund Jolliffe offers a fine post-communion anthem in a much-loved idiom of Anglican liturgical music. The resources are straightforward: SATB choir without divisions, and Piano. The effects however are subtle. The music builds steadily through broadly phrased paragraphs that balance individual lines within the choral ensemble, in a landscape of gently shifting yet unexpected harmonic effects. Immediately appealing, this music will reach out to a range of listeners, both regular worshippers and those for whom occasional church attendance is an opportunity for quiet reflection in words and music./ Feuillet / SATB et Piano

“Music for solo organ” is the fourth volume in the series “Music for occasional services. ” In choosing the music for this collection the editor was guided by the principle of publishing not only arrangements of well-known music, but above all unknown organ works. In selecting older as well as newer organ music for “Music for occasional services” care was taken to achieve a balance between the various styles represented in this collection. As a rule, the level of performance is within a moderate range of difficulty. In addition to the indications for the use of these pieces contained in the table of contents, they may also be played in church on many occasions, for sacred eveningservices, and last, but not least, they are practical for use in organ instruction./ Répertoire / Choeur Mixte

For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

Par HUMMEL BERTOLD. With the Eight Fragments Bertold Hummel has successfully created a most impressive work. Uncommonly concentrated in the evoking of atmosphere and reflecting the texts strongly, these 'dark grey songs' - to quote Ludwig Hirsch - develop a sadly expressive, almost somnambulant charm. These songs seem to have become Bertold Hummel's completely inwardly turned 'Winterreise', the epigram of a psychosis, full of concealed suggestion and dark references, but always more full of hope. The 'sun' becomes the constantly invoked bearer of hope. The music is highly expressive, exploiting the various performing and bowing possibilities of the stringed instruments and their capacity for nuances to the limits; occasionally oppressive visions in sound appear. It is music in danger, of a most fragile balance. Nor are subtle musical references missing. With only one note, following the word 'music', harmony and tonality are conjured up. / Date parution : 2007-11-20/ Répertoire / Baryton et Quatuor à Cordes

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

Par LERDAHL FRED. Waltzes, a cycle of twelve virtuoso waltzes for violin, viola, cello, and double bass, was commissioned by the Spoleto Festival USA in Charleston, where the first nine waltzes were premiered in 1981. Soon thereafter I composed the final three waltzes. The violinist Rolf Schulte led the first performance of the complete work in New York City in 1983. Waltzes lasts about 22 minutes and is dedicated to the violist Scott Nickrenz, who directed the chamber music series at Spoleto. In arranging the commission, Mr. Nickrenz made three stipulations: make my modernist idiom accessible for summer-festival listening, provide a challenge for brilliant string players accustomed to 19th-century repertory, and give the piece a loud ending. The idea of composing a set of waltzes came from the pleasure I took in playing waltzes by Schubert and Chopin at the piano. Waltzes incorporates occasional references to the music of past composers, but always in ways that fit within my own musical language. Its instrumentation for “low” string quartet is reminiscent of Schubert’s Vienna./ Répertoire / Violon, Alto, Violoncelle et Contrebasse

Par VIGNOLA FRANK. This Modern Guitar Method Supplement (formerly of the Frank Vignola Play-Along Series) contains solos which have been written and recorded over blues and rhythm changes in many different keys. Learn more about commonly used chord changes by having the opportunity to jam on them extensively. Some of these etudes have been recorded both at a slower tempo for learning and at performance tempo. The performance-tempo recordings of the solos include numerous choruses of rhythm section only. This allows for individual practice of the written solos or practice of original ideas with a 'live' rhythm section. Occasionally, during these 'rhythm only' sections, Frank Vignola will play an improvised solo for four, 12, or 24 measures. This allows the student to interact with the recording by copying ideas, building upon what has just been played, or practicing the chords to the piece. The Modern Guitar Method Supplement Blues and Rhythm Changes series gives any student of jazz guitar great ideas for playing solos over two of the most popular musical forms in jazz. It is recommended that the student be able to play the jazz standard 'I Got Rhythm' before using this book/CD set. / Niveau : Débutant à Intermédiaire / Jazz - Improvisation / Méthode / Guitare

Par BRUCKNER ANTON. Great art in small forms ? Bruckner's smaller sacred works reveal a more personal side to the master symphonist and creator of large-scale orchestral masses. Throughout his life, Bruckner?s deep faith and dedication to the Catholic liturgy inspired him to write church music in smaller forms suitable for performance at Sunday services or in sacred concerts. The long phrases and shimmering sounds of Locus iste, the chromatic modulations and thrilling climaxes in Christus factus est (1884) and in Virga Jesse (1885), or the use of church modes in almost all the motets present a range of fascinating challenges to any choir.In addition to the well-known motets, the choral collection includes smaller sacred works such as short mass settings (a cappella or with organ) and simple liturgical songs and hymns, some with organ or occasionally with trombones. In addition, the volume presents two somewhat longer works from Bruckner?s youth: a Magnificat and a setting of Psalm 23, both with piano accompaniment.The Choral Collection Bruckner. Sacred Choral Music is an expanded new edition of the successful choral collection Anton Bruckner für Gottesdienst und Konzert (Sacred works for worship and concert, Carus 2.065).A detailed preface and several indexes supplement the musical scores in the editionCHORLEITUNG with information on the works and their liturgical usability. An affordable volume (editionCHOR) is also available for purchase, as well as separate editions in print and digital form.?,New expanded volume featuring 39 sacred choral works at all levels of difficulty?,For use both in worship and in concert / Date parution : 2023-06-01/ Répertoire / SATB et Piano

These carefully crafted grade 3-4 jazz duets utilize easy-to-hear harmonies, commonly encountered jazz rhythms, and occasional metric changes. Interesting material is provided for both musicians, and this collection is suitable for practice and performance as well. / 2 Saxophones (Eb ou Bb)

This book contains dazzling new Choral versions of five chart-topping pop songs. The arrangements are by Vocal coach and Choral director Mark De-Lisser and are recorded by ACM Gospel Choir. These crowd-pleasing songs have been selected for their positive lyrics and overall heart-warming feel, making them a joy to sing and listen to. Arranged for SAT Choir with the occasional solo part, this pack includes two CDs with performance backing tracks, full demonstrations and individual rehearsal tracks of each Vocal line recorded by members of ACM Gospel Choir. The scores feature Piano parts and chord symbols for band accompaniment. Helpful hints for performing each piece are also included in this book, giving you everything you need to learn these well-loved songs. / Choeur SAT Et Piano