Wilson Peter (Arranger). Par WILSON PETER. Flexible arrangements of three irresistible pieces from popular Christmas songs for young string players: perfect for concerts or just for fun! For Violin, optional Viola, Cello and Double Bass (up to approximately Grade 2 standard), plus additional open-string parts so beginners can be included, with Piano accompaniments. Put the CD-Rom in a computer to access PDFs of all ten instrumental parts and print out as many as are needed. Put it in a standard CD player to hear the free audio tracks of the Piano accompaniments - ideal for rehearsals and performances./ Répertoire / Conducteur et Poche

100 Years Of Popular Music chronicles the greatest music of the last century. This book contains more than 70 songs from the 1930s arranged for piano, voice and guitar, providing a fascinating insight into the music of the era. A listing of new inventions first seen during the 1930s is also included. / Niveau : Intermédiaire / Recueil / Piano, Chant et Guitare

100 Years Of Popular Music 1960s. Includes, What a wonderful world, I can't stop loving you, Everybody's talkin' and more. Volume 1, arranged for Piano, Voice, and Guitar. / Niveau : Assez Facile / Recueil / Piano, Chant et Guitare

A New Edition Revised and Edited by the Composer. Par VILLA-LOBOS HEITOR. An exciting assortment of Piano works that are musically and technically rewarding as study pieces, and appealing in recital. The music is on a level with that of the 18th and 19th century masters. This edition has been edited by the composer. Contents: ALMA BRASILEIRA - CHOROS NO.5 BACHIANAS BRASILEIRAS NO.4 - Suite 1. Preludio - Introdução - (Prelude) 2. Coral - Canto Do Sertão (Song of the Jungle) 3. Aria - Cantiga (Song) 4. Dansa - Miudinho (Dance) CAIXINHA DE MUSICA QUEBRADA (The Broken Little Music Box) CARNAVAL DAS CRIANCAS BRASILEIRAS - Suite 1. A Manhã Da Pierrete (Pierrette's Hands) 2. O Chicote Do Diabinho (The Devil's Whip) CICLO BRASILEIRO - Suite 1. Plantio Do Caboclo (Native Planting Songs) 2. Impressões Seresteiras (Mistrel Impressions) 3. Festa No Sertão (Jungle Festival) 4. Dansa Do Indio Branco (Dance of the White Indian) GUIA PRATICO - Album 1 - Five Pieces 1. Acordei De Madrugada (Dawn) 2. A Maré Encheu (Full Tide) 3. A Roseira (The Rose-Bush) 4. Manquinha (Little Lame Girl) 5. Na Corda Da Vióla (On the Strings of a Viola) GUIA PRATICO - Album 8 - Seven Pieces 1. O Limão (Oh, Lemon) 2. Carambola (Goodness!) 3. Pobre Céga (Poor Blind Woman) 4. Pai Francisco (Father Francisco) 5. Xô Passarinho! (Fly! Little Bird) 6. Sinh' Aninha (Farmers' Daughters) 7. Vestidinho Branco (Little White Dress) GUIA PRATICO - Album 9 - Six Pieces 1. Laranjeira Pequenina (The Little Orange Tree) 2. Pombinha, Rolinha (Little Dove, Tiny Dove) 3. O Ciranda, O Cirandinha (Circle Dance) 4. A Velha Que Tinha Nove Filhas (The Old Woman That Had Nine Daughters) 5. Constante (Constant) 6. O Castelo (The Castle) POEMA SINGELO (Simple Song) PROLE DO BEBE - #1 - Suite 1. Moreninha (The Little Paper Doll) 2. Mulatinha (The Little Rubber Doll) 3. O Polichinelo (Clown) SIMPLES COLETANEA - Three Pieces 1. Valsa Mistica (Valse Mystique) 2. Em Um Berço Encantado (Dans Un Berçeau Féerique) 3. Rhodante (Circle Dance) SUITE FLORAL - Op.97 - Three Pieces 1. Idilio Na Rede (Summer Idyll) 2. Uma Camponeza Cantadeira (A Singing Country Girl) 3. Alegria Na Horta (Joy In The Garden) / Niveau : Intermédiaire à Avancé / Répertoire / Piano

The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

91 Sélections de littérature de clavier, des Concertos, des Oratorios et des opéras. La période Baroque (1600-1750) est représentée par 67 pièces pour piano et 24 transcriptions pour piano facile d'intermédiaires. Il y a 25 compositeurs dans la collection, y compris de J.S. Bach, Couperin, Haendel, Pachelbel, Purcell, Telemann et Vivaldi. La musique comprend les plus célèbres morceaux baroques : quatre saisons, chanoine de D, sélections de Messie, Air sur la chaîne G, mouton peut faire paître en toute sécurité. Très satisfaisant facile de pièces pour piano intermédiaires donnera aux musiciens années de plaisir. Imprimé sur du papier de qualité, de couleur ivoire, avec une liaison cousue de longue durée. 224 pages. / Piano

10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a master / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes

Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes