This brand new compilation acts as a source for the very best of today's worship songs, with many of the leading names in contemporary Christian music-writing represented. Each song has been freshly engraved and is presented in full piano/keyboard arrangements with complete words and chord symbols. Here you will find music to enhance moments of prayer, devotion, worship and praise. Spiral-bound for easy singing and playing. / Piano/Vocal/Guitare (PVG)

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Thirty-four well-loved gospel tunes especially arranged for intermediate and advanced mandolinists. These beautiful, meditative melodies have been played and cherished for generations. The music is written in standard notation, with accompaniment chords, tablature and performance notes on the techniques used in each arrangement. Includes access to online recordings of each piece for playing along and listening. You will enjoy playing these historic and engaging melodies which lend themselves especially well to the mandolin.
Description
Thirty-four well-loved gospel tunes especially arranged for intermediate and advanced mandolinists. These beautiful, meditative melodies have been played and cherished for generations. The music is written in standard notation, with accompaniment chords, tablature and performance notes on the techniques used in each arrangement. Includes access to online recordings of each piece for playing along and listening. You will enjoy playing these historic and engaging melodies which lend themselves especially well to the mandolin.
Spécifications
Compositeur Dix Bruce
Instrumentation Mandolin
Type de produit Recueil + Enregistrement(s) en ligne
Année d'édition 2021
Groupe d'Instruments Banjo ou Mandoline
GenreView Description Études et exercices
Édition musicale Mel Bay Publications
Style Folk
Année d'édition 2021
ISBN 9781513467788
Nombre de pages 80
No. MB30870M
Songlist
1. Praise God From Whom All Blessings Flow
2. Amazing Grace
3. Down in the Valley to Pray
4. Drifting Too Far from the Shore
5. Softly and Tenderly
6. Angel Band
7. Bright Morning Stars are Rising
8. Bring Them In
9. Faith of our Fathers
10. This Little Light of Mine
11. Pass Me Not
12. Give Me Oil
13. Have Thine Own Way, Lord
14. What A Friend We Have in Jesus
15. Higher Ground
16. I Shall Not Be Moved
17. There Shall Be Showers Of Blessing
18. Holy, Holy, Holy
19. O Store Gud
20. Jesus Loves Me
21. Old time Religion
22. I Love to Tell the Story
23. I’m Working on a Building
24. Lord, I’m Coming Home
25. Just a Closer Walk With Thee
26. The Lily of the Valley
27. Come, Ye Thankful People Come
28. Oh, How I Love Jesus
29. Sweet Hour of Prayer
30. The Old Rugged Cross
31. Just as I Am
32. Savior, Like a Shepherd Lead Us
33. The Wayfaring Stranger
34. When I Lay My Burden Down
/ Méthodes et pédagogie / Guitare / Autres cordes pincées / MEL BAY

The Piano Treasury of Hymns is designed to be the cornerstone of your personal music library. This tremendous collection contains 400 pages of the best-loved Christian hymns from Europe and America. From traditional favourites to contemporary worship songs, here you'll find the music that has inspired praise and worship for over four centuries. This sacred folio will provide years of enjoyment for everyone who loves the music of the church. Rediscover the beauty and power of the great songs that are a part of the fabric of the church and music history. / Piano

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

In The Violin Concerto Op. 64 and Chamber Music For Strings. Par BROWN CLIVE. Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Livre / Livre

Piano Reduction Of The Early 1844 Version. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Piano

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

The Billy Strayhorn Collection brings together 17 memorable pieces written, arranged or made famous by the man of whom Duke Ellington said '(He) was my right arm, my left arm, all the eyes in the back of my head'. A shy man who realised early on that his dream of a career in classical music was unlikely to become a reality because of his race, Strayhorn found a father figure and a lifelong employer in jazz man Ellington. The music presented here reflects the full range of Strayhorn's talent and contains his two most famous compositions Take The 'A' Train and Lush Life . Either one would have granted Strayhorn immortality in jazz's hall of fame, but he wrote and collaborated on so much more, doing it all in the role of a highly-valued but low-profile member of Ellington's entourage. Ellington, a cultured man, had succeeded despite racism - and the tacit deal he struck with show business was to be the smiling guy in the spotlight. Strayhorn remained in the shadows and lived a life of quiet courage, working in the civil rights movement, living openly as a homosexual and using his abundant musical talent mainly for the good of the Ellington orchestra. Play his incomparable music and decide for yourself who got the better deal. The true answer is probably that we all did. / Piano/Vocal/Guitare (PVG)

Par TAUZIN BRUNO. Cet ouvrage recense précisément 100 riffs de basse. Mais pas n'importe quels riffs... des riffs dans l'esprit des plus grands tubes de la musique moderne, ces morceaux qui ont traversé les décennies, qui font partie de la culture 'bassistique', qu'il faut absolument connaître et savoir jouer. Chacun des 100 riffs de basse présentés dans ces pages est agrémenté d'une explication pouvant être technique et/ou théorique, afin de vous aider à les affronter plus aisément. Tous les riffs, sans exception, sont repris sur le CD MP3 joint à la méthode, ce qui vous permettra de lever le voile sur des mises en place parfois difficiles à aborder avec la seule partition. La plupart de ces riffs sont abordables par le plus grand nombre... le principe même d'un riff réussi reposant souvent sur la simplicité et l'efficacité ! Bref, voici un ouvrage 100% plaisir... qui vous permettra d'épater rapidement votre entourage ! A la manière de Money, Cissy Strut, The Chicken, Wild thing, Come together, Seven nation army, Peter Gunn, Good times, Can't stand losing you, Another one bites the dust, Sir Duke, Cheap sunglasses, Smoke on the water, Miss You, I want you back, Respect, Knock on wood, Ain't too proud to beg, Walk this way, I got you (I feel good), Bulls on parade, Give it away, Le freak, Let's groove, Beast of burden, Under pressure, Bombtrack, Lady Madonna, I love rock 'n' roll, I just want to celebrate, Sweet emotion, Come as you are, Pea, Feel good inc., Sunshine of your love, For whom the bell tolls, Billie Jean, Susie Q, Uptight (everything's alright), Soul Man, What's going on, Walking on the moon, Stand by me, Stir it up, Celebration, New year's day, On the road again, The lemon song, With or without you, You're the one I want, Roxanne, Black night, You really got me, Welcome to the jungle, t's the same old song, Paranoïd, Another brick in the wall, Mission impossible, I can't help myself, Get down on it, Black dog, This love, I shot the sheriff, Everybody needs somebody to love, Killing in the name, Starlight, Peggy sue, So Lonely, Pretty woman, Reach out I'll be there, Message in a bottle, I was made to love her, Smells like teen spirit... et tant d'autres encore !/ Méthode / Guitare Basse

Cet ouvrage recense précisément 100 riffs de basse. Mais pas n?importe quels riffs... des riffs dans l?esprit des plus grands tubes de la musique moderne, ces morceaux qui ont traversé les décennies, qui font partie de la culture «bassistique», qu?il faut absolument connaître et savoir jouer. Chacun des 100 riffs de basse présentés dans ces pages est agrémenté d'une explication pouvant être technique et/ou théorique, afin de vous aider à les affronter plus aisément. Tous les riffs, sans exception, sont repris sur le CD MP3 joint à la méthode, ce qui vous permettra de lever le voile sur des mises en place parfois difficiles à aborder avec la seule partition. La plupart de ces riffs sont abordables par le plus grand nombre... le principe même d?un riff réussi reposant souvent sur la simplicité et l?efficacité ! Bref, voici un ouvrage 100% plaisir... qui vous permettra d?épater rapidement votre entourage ! A la manière de Money, Cissy Strut, The Chicken, Wild thing, Come together, Seven nation army, Peter Gunn, Good times, Can't stand losing you, Another one bites the dust, Sir Duke, Cheap sunglasses, Smoke on the water, Miss You, I want you back, Respect, Knock on wood, Ain't too proud to beg, Walk this way, I got you (I feel good), Bulls on parade, Give it away, Le freak, Let?s groove, Beast of burden, Under pressure, Bombtrack, Lady Madonna, I love rock ?n? roll, I just want to celebrate, Sweet emotion, Come as you are, Pea, Feel good inc., Sunshine of your love, For whom the bell tolls, Billie Jean, Susie Q, Uptight (everything?s alright), Soul Man, What's going on, Walking on the moon, Stand by me, Stir it up, Celebration, New year?s day, On the road again, The lemon song, With or without you, You?re the one I want, Roxanne, Black night, You really got me, Welcome to the jungle, t's the same old song, Paranoïd, Another brick in the wall, Mission impossible, I can?t help myself, Get down on it, Black dog, This love, I shot the sheriff, Everybody needs somebody to love, Killing in the name, Starlight, Peggy sue, So Lonely, Pretty woman, Reach out I?ll be there, Message in a bottle, I was made to love her, Smells like teen spirit... et tant d'autres encore !