Edition : Paris, C. Ballard, 1714.Présentation de jean Saint-Arroman : Prosodie et agrémentation chez Campra.Sixième cantate à deux voix, Enée et Didon : Voix de dessus, voix de basse, basse continue.Cette cantate a été isolée du second livre, parce qu'elle figure au programme de l'Agrégation et du Capes. Le second livre sera publié ultérieurement en entier. / Musique De Chambre, Voix Et Basse Continue (Dessus Et Basse) / 48 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Par OTTAVIANI DIDIER. Piece pour 4 batteries inspiree du rythme djagbe, tradition Malinke. / Niveau : Elémentaire / Répertoire / Batterie

Par BENETTI DIDIER. Piece pour 4 claviers : 2 vibraphones et 2 marimbas. / Niveau : Difficile / Répertoire / 2 Marimba et 2 Vibraphones

Par BENETTI DIDIER. / Niveau : Elémentaire / Répertoire / 2 Vibraphones 2 Marimbas

Par BENETTI DIDIER. Reduction piano du concerto pour percussion solo et orchestre a cordes / Niveau : Difficile / Répertoire / Vibraphone, Marimba, Boobams, 1 Cajon ou 4 Toms, C

Méthode progressive, vol. 1 (franCais / english / español)64 p., Niveau 1Une nouveauté aux Productions d'Oz, forts actives dans le domaine de la pédagogie pour guitare. ConCue pour être utilisée avec un professeur, la Méthode progressive pour guitare de Claudio Camisassa se démarque des autres ouvrages pour guitaristes débutants. De très nombreux morceaux sur les cordes à vides (une quinzaine de pages) permettent à l'élève de se concentrer sur l'acquisition d'un bonne technique de main droite, seul le pincé étant abordé dans ce premier volume. La méthode qui s'appuie sur un répertoire original écrit par Claudio Camisassa, comporte de nombreux duos pour l'éléve et le professeur et, surtout pour l'éléve, un accompagnement optionnel en accord ou en arpèges des mélodies travaillées. Deux pages d'exercices journaliers simples mais réellement efficaces, accompagnées d'indications précises sur Ies techniques de jeu, complètent cette méthode au chemin pédagogique efficace et rigoureux.(FranCois Nicolas, Guitare Classique, 2e trimestre 2002)This well-presented volume takes students from the very beginning with four main objectives of Classical Guitar Magazine developing technique, sight-reading, basic chord accompaniments and duo playing, and assumes the student is working with a teacher. It is very methodical, beginning with photographs of hand positions etc, and gives explanations of both rest and free stroke from the start. The first musical examples are open string melodies with added chord symbols with plenty of varied exampIes, and blank staves are given for note-writing exercises and also for aural tests, both of which are useful ideas for reinforcing general musical understanding. Apart from chord symbols, the left hand is first introduced with natural harmonics at the twelfth fret in an effective two-part exercise Carillon, which requires right fingers and thumb. Combinations of open strings and right-hand arpeggios follow and the opening section is brought to a natural close with Valse des Harmoniques - nicely shaped and quite complex with its use of natural harmonics, but a bit over-long. Camisassa now introduces notes on each string, in turn, in first position, and more complex arpeggio patterns, illustrated by pieces utilising each new group of notes. 2-guitar arrangements of tunes including Frere Jacques and Au Clair de la lune and Alouette, gentille alouette work quite weIl with straightforward accompaniments. I liked Camisassa's Tango, and Recuerdo de mi infanta, a two-part milonga reminiscent of Cardoso. Favourites such as Greensleeves and Malaguena are also included, and there are many pieces by Camisassa included which aim to enforce musical ideas. I found the way this book progresses, and the technical and musical aspects it teaches, very good and very thorough. I found myself using it a lot as supplementary material to demonstrate technical points and for sight-reading. However, the majority of pieces written by Camisassa did not inspire me musically and would need to be supplemented with pieces of more characterful musical interest, particularly for young players, but this volume does have much to offer.(Linda Kelsall Barnett, Classical Guitar Magazine, June 2002) / Guitare

Boogie-Woogie And The Blues is dedicated to all the great Blues and Boogie-Woogie pianists who Andrew has had the privilege of listening to over the last 40 years. His first recollection of being inspired to learn Blues piano was in 1968 when he heard the Blues piano solo by Nicky Hopkins on the song ???Blues Deluxe??? from Jeff Beck???s first album ???Truth??? Just as that piano solo inspired him in turn he hopes these songs inspire you in the same way. The song ???Boogie with Nicky??? is dedicated to Nicky Hopkins. He hopes that you have the same enjoyment learning and playing these songs as he did creating them.There are nine songs in this book which Andrew composedranging from the slow Blues of H.R. Blues to the up-tempo Boogie-Woogie of Holly and Ben???s Boogie as well as the Ragtime feel of Raggedy Blues. Beside learning from this book it is important to listen to the masters of Blues and Boogie-Woogie piano styles a discography on page 2 will get you started.'You have so imaginatively integrated traditional blues sounds in a new and innovative way. I myself have been in what I call a 'riff rut'. Studying this book is going to open my mind immensely. I am really excited about practicing these tunes.' - User feedback