70 bekannte Lieder and Songs. Par LETSCH PERRY. Finding songs for the diatonic Richter harmonica (blues harp) is not easy. Many songs can only be played in the upper octave; otherwise advanced techniques like bending have to be applied. Perry Letsch has looked through hundreds of German songs and examined them for their suitability. The results are songs suitable both for the beginner and the advanced player. Some songs have been provided with their own solos. Apart from popular folk songs the edition includes standards such as 'Abilene', 'Blue Bossa' or 'Dona, Dona'. Play-along with all titles included. / Date parution : 2022-10-25/ Recueil / Harmonica

98 favorite hymns gospel songs and spirituals arranged in several different keys for diatonic cross harp or chromatic harmonica solo. In notation only. The book will give many hours of playing pleasure to the beginner as wellas the advanced performer.

This tender flowing waltz conveys a sense of peaceful nostalgia reflecting his family's long association with the pastoral village of Waterford Maine. This enchanting piece provides an opportunity for young string players to master graceful phrasing and smooth legato bowing. Totally approachable for intermediate players yet appropriately challenging for more advanced musicians it includes a delightful optional harp/piano part. An original fiddle waltz written to celebrate the wedding of the composer's daughter this piece will transport audiences and complement any string orchestra program.

A complete new series of instruction book and CD packs for the beginning guitarist, bass guitarist or harmonica player. Master the basics of playing your chosen instrument plus a complete guide to playing in the styles of country, folk, blues and rock. A good introduction to the Fast Forward Series. A complete method for learning folk, country, blues and rock styles for beginning 'harp' players. Takes you from picking your first harmonica, through the basics of playing to advanced techniques. / Harmonica

Par WILLLIAM BAY. The arts flourished in the Baroque period. Music from that time is still performed worldwide by symphonies, opera companies, choirs, chamber ensembles and soloists on many instruments. The period was characterized by the works of such great artists as J. S. Bach (b. 1685), Handel (b. 1685), Telemann (b. 1681) and many others. These composers defined the rich, ornate and melodic Baroque style of music which we categorize in the classical realm. There was another genre of music flourishing during this period, and that was the 'common' or folk music style characterized by such composers as Ireland's legendary harpist, Turlough O'Carolan (b. 1670). In composing music for this book the author recreated harmonic and melodic elements of this great musical age, while adding some contemporary twists. All of the etudes are original and will serve to enhance guitar technique, phrasing, expression, note- reading ability, and knowledge of the entire guitar fingerboard. Fingering and string markings are included where appropriate. In addition to facilitating the many technical and aesthetic aspects of performing at an advanced level on the guitar, these etudes may be used successfully in concerts or recitals. This book is an ideal companion for the other books in the Mel Bay 'Achieving Guitar Artistry' series, which is designed to condition and guide the developing guitarist to an advanced level of proficiency, regardless of the style of music performed./ Recueil / Guitare

Par DOWNLAND JOHN. For years, classical guitarists have enjoyed playing the lute music of the English composer, John Dowland (1563-1626). Forty of his beautiful compositions are included in this volume. The book is intended for the guitarist with intermediate to advanced fingerstyle technique, and can be played on both nylon and steel string instruments. In order to help capture the unique character of Dowland\'s music, renaissance lute tuning (capo on the third fret with the G string tuned to F sharp) is used throughout. The pieces progress more or less in order of increasing difficulty, and special care has been taken to be sure any group of consecutive pieces can be played with satisfyingresults. Standard notation only. Includes access to online audio. For years, classical guitarists have enjoyed playing the lute music of the English composer, John Dowland (1563-1626). Forty of his beautiful compositions are included in this volume. The book is intended for the guitarist withintermediate to advanced fingerstyle technique, and can be played on both nylon and steel string instruments. In order to help capture the unique character of Dowland\'s music, renaissance lute tuning (capo on the third fret withthe G string tuned to F sharp) is used throughout. The pieces progress more or less in order of increasing difficulty, and special care has been taken to be sure any group of consecutive pieces can be played with satisfyingresults. Standard notation only. Includes access to online audio. / Niveau : 4 / Classique / Répertoire / Guitare Classique

Score and Parts-This treatment has been done for strings alone with an optional part for harp. The original key of F has been retained and the optional harp part is embraced by the celli in definitive sections. This arrangement is playable by advancing ensembles with expanded use of rhythms ranges and keys but technical demands are still carefully considered. Includes viola T.C. parts and optional harp and piano.

Par OLIVIERO-DENAES. Amelie Oliviero-Denaë s studied at the Paris Conservatoire where she won First Prize for Music Theory. As an advanced violinist herself, Oliviero-Denaë s' Le Solfège Des Violinistes is very well-informed. Oliviero-Denaë s' Le Solfège Des Violinistes is described as the 'simultaneous learning of Theory and Violin'. Le Solfège Des Violinistes addresses the stave, clefs, the 4 strings of the Violin, note names and values, time signatures, sharps and flats, rests, scales and tones, and intervals, amongother aspects. For all beginner violinists, Oliviero-Denaë s' Le Solfège Des Violinistes ensures a high standard of understanding and progression./ Solfège/Formation Musicale / Violon

The complete Harpsichord work - Volume 2 by Louis Couperin is the second of a series of volumes with suites for Harpsichord. Composed in a Baroque style the whole series features 133 pieces for advanced players. Louis Couperin (1626-1661) was a French composer and performer who created many pieces for Organ and for Harpsichord who later became musician at the court. He invented the genre of Unmeasured Prelude for which he created a form of notation where the harpsichordist can choose how long each note lasts. François Couperin Louis’ nephew is also a very famous musician who played the Harpsichord.

Improve your Guitar-playing rhythm feel and timing.If you want to improve your timing sharpen your technique or get inspired by new ideas Guitar Rhythm and Technique For Dummies breaks down the basicsof reading counting strumming and picking rhythms on Guitar to make you an ace on the axe in no time. With the help of this friendly guide you'll learn to play examples of eighth and sixteenth note rhythms???including commonstrum patterns heard in popular music???to improve your guitar rhythm feel and timing. Plus access to audio downloads and online video lessons complement the coverage presented in the book giving you the option of supplementingyour reading with additional visual and audio learning.There's no denying that Guitar is one of the coolest musical instruments on the planet. Okay perhaps undeniably the coolest. Whether you bow at the feet of ChuckBerry Keith Richards the Edge or Eddie Van Halen they all have one thing in common: they make it look incredibly naturally easy! However anyone who's actually picked up a guitar knows that mastering rhythm and technique issomething that takes a lot of practice???not to mention good coaching. Luckily Guitar Rhythm and Technique For Dummies makes your aspirations to play Guitar like the pros attainable with loads of helpful step-by-stepinstruction on everything from mastering hammer-ons pull-offs and slides to perfecting your picking???and beyond.Covers strum patterns articulations picking techniques and more.Showcases musical stylessuch as pop rock blues folk and funk.Includes techniques for playing with both your right and left hand.Provides access to online audio tracks and video instruction so you can master the concepts andtechniques presented in the book.Whether you're new to Guitar or an advanced player looking to improve your musical timing and skills Guitar Rhythm and Technique For Dummies quickly gets you in the

This title is slightly more advanced than other Easiest Tune Books but the waltzes have been arranged quite simply for young pianists. The left hand is entirely in the five-finger position. There are no key-signatures allsharps and flats are placed in front of the notes requiring them.

Pièces De Clavecin D'Orgue Et De Forte Piano - LP. 52 by C.B Ballastreis a selection of twenty-three pieces chosen by Alan Curtis that can be played by a Harpsichordist, an Organist or a Pianist with upper-intermediate to advanced skills but seem better suited for a Pianist. The twenty-three pieces are: - Fugue - La de Caze - La d'Héricourt - La Ségur - La Monmartel ou La Brunoy - La Boullongne - La Castelmore - La Courteille - La Bellaud - La Lamarck - La Berville - La Lugeac - La Suzanne - La Genty - La Malesherbe - La Berryer ou La Lamoignon - La Laporte - La Morisseau - Prélude - Fugue - Sonate en Quatuor, IV: Allegro / Andante Pastoralle / Allegro - La d'Esclignac - Marche des Marseillois et l'Air Ça ira C. B. Balbastre (1724-1799) is one of the most famous musicians of his era. He was a great composer who could play the Harpsichord, the Piano and the Organ.

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

Charles-Marie Widor (1844-1937) composed this Mass Op. 36 in 1878 for the St Sulpice church in Paris. The initial two choirs for which it was composed were comprised of around 200 and 40 voices while the score for this version is for a choir of baritones and an SATB choir. The Organ part requires an advanced-level of ability as it contains some difficult parts. Divided into five sections the entire work has been transposed one half step lower ‘to avoid the awkward key of F sharp major’. These sections are:  1. Kyrie (Moderato – F# minor) 2. Gloria (Vivace – Lento D major 3.Sanctus (Con brio A major) 4. Benedictus ( Piú lento A major) 5. Agnus Dei (Moderato F# major) This really delicate and emotive Mass Op. 36 is a piece that stands out by its majesty. Charles-Marie Widor was a great organist who did not only focus on Organ composition. From orchestra pieces to chamber music he wrote various different compositions including 10 symphonies for Organ some Operas and some Piano Concerti.