Early Piano Music. Par STRAUSS RICHARD. The tonal language of the young Richard Strauss is still characterized by the traditions of the 19th Century; indeed, the musical content of the composer’s early piano works is determined to a large extent by his response to the examples of Schubert, Mendelssohn and Schumann. These previously unpublished piano pieces appear for the first time in this edition. The “Sonatinas” in several movements and a “Fantasie” from the year 1874 - whose level of difficulty is comparable with the Sonatinas by Kuhlau and Clementi and with early pieces by Mozart - are versatile pieces suitable for teaching purposes./ Recueil / Piano

20 RomancesInstrument : medium (low) voice and pianoNombre de Pages : 104Content : My Guardian, My Angel, My Friend - A Tear Hangs There op. 6/4 - None But The Lonely Heart op. 6/6 - Rest You Now, O My Heart op. 25/1 - No Answer Now op 28/5 - Don Juan's Serenade op. 38/1 - At The Ball op. 38/3 - O, Could You But for One Short Hour op. 38/4 - The Love of One Dead op. 38/5 - Pimpinella op. 38/6 - O Sleep, Unhappy Friend op. 47/4 - I Greet You All, You Woods and Forests op. 47/5 - On Golden Meadows Now op. 57/2 - Bravery op. 60/11 - The Stars Looked Tenderly upon Us op. 60/12 - I Opened My Window op. 63/2 - The Lights Were Being Dimmed op. 63/5 - Night op. 73/2 - Now the Sun's Departed op. 73/4 - Ah! Once Again All Alone op. 73/6 - Appendix

Partition pour Voix, Dessus et basse continue - Bas-dessus et basse continue Edition en fac-similé des manuscrits autographes des cantates Italiennes de Haendel, en 6 volumes. Cette publication mettra enfin ces très belles oeuvres A la portée de tous. Présentation de Philippe Lescat : Lecture de la partition ? corrections et suggestions ? les révisions des cantates ? restauration ? index de ce recueil. Cantates pour voix seule et basse continue. Fac-similé du manuscrit autographe d?Haendel. Volume II. Compositeur : HAENDEL Georg Friedrich Auteur : LESCAT Philippe Collection : Dominantes Contenu : Udite il moi consiglio : cantate pour soprano et basse continue HWV 172 - Sarai contenta un di : cantate pour soprano et basse continue HW 159 - Ah ! che pur troppo è vero : cantate pour soprano et basse continue HWV 77 - Fra tante pene : cantate pour soprano et basse continue HWV 116 - La Lucrezia. Oh Numi eterni : cantate pour soprano et basse continue HWV 145 (une page du manuscrit a disparu et a été remplacée par une page moderne dont le texte est établi d'après l'édition de Chrysander) - Siete rose ruggiadose : cantate pour alto et basse continue HWV 162 - Sento lA che ristretto : cantate pour soprano et basse continue HWV 161c. (La version primitive figure dans notre volume I, qui reproduit le manuscrit R.M.20.d.11.) - Lungi dal moi bel nume : cantate pour soprano et basse continue HWV 127c - E partirai mia vita ? : cantate pour soprano et basse continue HWV 111b. (La version primitive figure dans notre volume I, qui reproduit le manuscrit R.M.20.d.11.) - Il Gelsosimo. Son gelsosimo : cantate pour soprano et basse continue HWV 164a - Ninfe e pastori : cantate pour soprano et basse continue HWV 139c. (La version primitive figure dans notre volume I, qui reproduit le manuscrit R.M.20.d.11.) - Del bel idolo moi : cantate pour soprano et basse continue HWV 104 - Un sospir a chi si muore : cantate pour soprano et basse continue HWV174 - Non sospirar, non piangere : cantate pour soprani et basse continue HWV 141 - Clori degli occhi miei : cantate pour alto et basse continue HWV91a - Clori degli occhi miei : cantate pour soprano et basse continue HWV91b Format : 24 x 32 Nombre de pages : 128 Date de parution : 01/2000

Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ' a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy'he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book'encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation and pivot, and the application to tunes. The reader will be tempted to stop on every page and compose. I found the Lost Chord, but won't tell you the page number. Bert Ligon Jazz Pianist/Guitarist, Composer, Arranger, Educator, Director of Jazz Studies, University of South Carolina Ever wonder how to move harmony around instead of repeating the same chord voicing over and over' Then Chords in Motion is a must have book for you! Andy has included a ton of information that will open up your comping and should keep you busy with new ideas for a long time! I highly recommend it! Dan Haerle Jazz Pianist, Composer, Author, Educator, Professor Emeritus, University of North Texas Chords in Motion is an essential guide to expanding one's conception of modern Jazz Piano Harmony. Andy LaVerne has managed to outline in a very practical and concise way, modern principles of piano chord voicings, as they pertain to the Jazz Pianist's primary group function of comping. David Hazeltine Jazz Pianist, Composer, Educator, SUNY Purchase College Conservatory of Music Chords in Motion should be fun to take into the practice room to explore new ways of sustaining harmonies over the entire register of the piano. It is encyclopedic and thorough in its content. No stone is left unturned! Stephany Tiernan Pianist, Composer, Educator, Chair, Piano Department, Berklee College Of Music Chords In Motion is an excellent practicing resource that provides a garden of harmonic sonorities for a musician to choose and explore at the piano. I like the way that Andy has made the information accessible to any level of student. I look forward to discovering some different sounds with this book. Phil DeGreg Jazz Pianist, Author, Educator, University of Cincinnati College Conservatory of Music I am delighted to recommend Andy LaVerne's Chords In Motion to aspiring jazz pianists! Andy is a superb pianist, very capable of addressing this topic. Prior to pianists like McCoy Tyner, Herbie Hancock, Bill Evans, and others, most pianists were content to have acquired a small handful of chord voicings, generally with the chord roots on the bottom of the voicings. Though 'rootless voicings' were adopted in later years, they were primarily for the left hand and generally only used the 3rd or 7th on the bottom. But now the serious jazz pianist needs to be able to move his or her voicings in a more diatonic manner, as shown in Andy's book. Jerry Coker Jazz Saxophonist, Author, Educator Andy LaVerne's Chords in Motion is a study of encyclopedic scope on the use of harmonies based on fourth intervals in the context of jazz harmony. There is a wealth of information in terms of voicings, voice leading and chord/scale relationships and their application to common harmonic formulae (ii-V, etc.) and the chord progressions used in blues and common standard tunes. Jazz musicians interested in this vocabulary should find this book to be a useful launching pad for exploring this important corner of the world of jazz harmony. Bill Dobbins Jazz Pianist, Composer, Arranger, Author, Educator, Professor of Jazz Studies, Conductor, Coordinator Jazz Composition and Arranging, Eastman School of Music Chords in Motion is a highly detailed, informative and filling-in-the-gap text. It's an important and welcome addition to the jazz piano literature, which can be applied to any level of proficiency. Stefan Karlsson Jazz Pianist, Educator, Professor/Jazz Studies Division, University of North Texas Fantastic pianist Andy LaVerne has put together an amazing, detailed, and incredibly comprehensive guide for effectively implementing quartal and related voicings. He has honed in on the 'secret' to using these structures musically and creatively: moving the voicings through changes in logical and interesting ways. Clearly presented, extremely thorough, and loaded with information, Chords in Motion is a must-have for any pianist! Martin Bejerano Jazz Pianist, Composer, Educator, Assistant Professor, Jazz Piano, Frost School of Music University of Miami Chords in Motion is an in-depth look at fourth and related voicings that give an atmosphere that you want to improvise on. We play over the voicing, not the chord symbol. Chords in Motion targets that modal atmosphere that horn players love playing over. Love this book - can't wait to start practicing it! Jerry Bergonzi Jazz Saxophonist, Composer, Author, Educator, New England Conservatory I was thrilled when Jazz Piano Great Mulgrew Miller agreed to write a quote for this book. I was deeply saddened to hear of Mulgrew's passing just days before publication. All who loved Mulgrew and his music will sorely miss him, and are grateful for the rich musical legacy he left us. Rest easy, Mulgrew. Andy LaVerne

Dearest Jesus, sore I need Thee Instrument : 2 solo parts, choir and chamber orchestra Type : study score Series : Eulenburg Miniature Scores Nombre de Pages : 40 Content : Vorwort - Revisionsbericht - Preface - Editorial Notes - I. Liebster Jesu, mein Verlangen (Sopran) - II. Was ist's, dass du mich gesuchet? (Bass) - III. Hier, in meines Vaters Stätte (Bass) - IV. Ach, heiliger und großer Gott (Sopran/Bass) - V. Nun verschwinden alle Plagen (Sopran/Bass) - VI. Mein Gott, öffne mir die Pforten (Choral)

27 pieces on the quiet sideInstrument : pianoNombre de Pages : 56Did you know that Bruckner wrote for the piano' Or that Liszt wrote some pieces that are not fiendishly difficult' Contemplations is selection of fascinating pieces for intermediate-level pianists. The music is drawn from a wide range of periods and styles, creating intriguing juxtapositions of pieces by well-known and lesser-known composers. Bernstein's tribute to Sondheim rubs shoulders with Erik Satie; Bartók, Benjamin and Bortkiewicz are bedfellows; Mozart and Tchaikovsky are represented alongside their contemporaries Koželuh and Cui. There are some thoroughly accessible new pieces too by contemporary masters.Piano Moods is an exciting new piano series from Boosey and Hawkes. Each volume is devoted to a particular mood. The pieces chosen draw on Boosey and Hawkes' extensive collection of wonderful music as well as lesser-known gems from the past - some of them from surprising sources - and newly composed works.Content : MacMillan: Barncleupédie - Scott: At dawn - L. Kozeluh: Pastorale - Benjamin: A rest by the brooklet - Bartók: Farewell (from Gyermekeknek (For Children)) - Grieg: Gone op. 71 no. 6 - Davies: Piano Piece No. 14 - Mozart: Adagio for glass harmonica K 346 (617a) - Delius: Waltz (no. 2 from Five Piano Pieces) - MacMillan: For Neil - Skrjabin: Prelude op. 16 no. 3 - C. Ph. E. Bach: Cantabile (from Sammlung für Kenner und Liebhaber Wq 55/III) - Quilter: Forest Lullaby (no. 3 from Contry Pieces op. 27) - Bartók: Melody in the mist 25 (from Mikrokosmos IV) - Bortkiewicz: Pensées lyriques op. 11 no. 2 - Cimarosa: Sonate no. 13 - Bruckner: Quiet contemplation on an autumn evening - Davies: Piano Piece No. 17 - Tchaikovsky: October (no. 10 from Les saisons op. 37b) - Rowley: Nocturene no. 1 (from A shepherd did roam the hills) - Prokofieff: Visions fugitives op. 22 no. 4 - Cui: At the cradle op. 39 no. 4 - Schwertsik: Albumleaf - Schumann: Evening song (from Sonata no. 2 op. 118) - Satie: Danse de travers no. 2 (from Pièces froides) - Liszt: Grey clouds - Bernstein: For Stephen Sondheim (from 13 Anniversaries)

En entendant le premier trio, Robert Schumann a déclaré « Mendelssohn est le Mozart du 19ème siècle ! » Écrit dans le modèle romantique célèbre débordant du compositeur, ces deux pièces sont des incontournables du répertoire de musique de chambre. Les deux trios apparaissent ici pour la première fois dans une édition simple et accessible.

Contents are: Allegretto (Op. 2, No. 5) * Allegro (Op. 3, No. 6) * The Bird (Op. 33, No. 3) * Cantabile (Op. 64, No. 5) * Canon (Op. 76, No. 2) * A Graceful Dance (Op. 3, No. 4) * The Horseman (Op. 74, No. 3) * In the Style of a Minuet (Op. 64, No. 5) * Menuetto (Op. 1, No. 1) * Menuetto (Op. 2 No. 4) * Menuetto (Op. 2, No. 5) * Menuetto (Op. 17, No. 2) * Menuetto (Op. 17, No. 3) * Menuetto (Op. 17, No. 5) * Perpetuo Mobile (Op. 64, No. 5) * Presto (Op. 1, No. 2) * Presto (Op. 2, No. 5) * Scherzo (Op. 3. No. 5)

Par . The Piano Player: Christmas Time presents 25 of the best-loved carols and Christmas songs, specially arranged for intermediate piano solo, with lyrics for singing along. Contents include Have Yourself a Merry Little Christmas, Away in a Manger, Do They Know It?s Christmas' and Little Donkey. The striking cover features Edward Bawden?s colour linocut The Titfield Thunderbolt, 1952, and a double-sided colour print provides the full artwork as a beautiful collectible. The Piano Player series includes several wonderful collections of some of the greatest classical music ever written, specially arranged for the intermediate pianist, each with its own collectible pull-out poster of the stunning Edward Bawden cover artwork.   / Date parution : 2023-10-31/ Recueil / Piano

Nino Ferrer est entré de son vivant dans l?histoire de la chanson française en nous léguant quelques classiques qui furent à leur époque des ?tubes? (« Mirza », « Le téléfon », « La maison près de la fontaine », « Le Sud »). Ces succès, définitivement ancrés dans la mémoire collective, ne doivent pas masquer le malentendu et la frustration d?un artiste authentique, déçu que ses ?uvres majeures soient restées aussi confidentielles et que le public se soit arrêté au seuil de ses albums. Pour l?immense majorité, il demeure l?homme de quelques chansons incontournables. Plus d?un artiste s?en serait contenté, mais Nino Ferrer, l?homme révolté, restera blessé à tout jamais par cet état de fait.

Cet homme épris de liberté, en colère contre les maisons de disque, le monde du show-business et les faiseurs d?opinion ne cessera d?affirmer son indépendance au prix d?une marginalisation et d?une perte substantielle d?audience. La liberté était à ce prix.

L'ouvrage contient une discographie détaillée et commentée.

Sommaire

Introduction
Chapitre 1 ? L?enfance et les années 50
Chapitre 2 ? Les années 60 : la naissance d?un malentendu
Chapitre 3 ? Les années 70 : révolte et ruptures
Chapitre 4 ? Les années 80 : l?exil sans le royaume
Chapitre 5 ? Les années 90 : la chute
Chapitre 6 ? L?après Ferrer
Conclusion / Variété / Livre /

This collection contains 39 easy-to-play piano pieces from the Baroque to the Early Modern period and presents an ideal repertoire for music schools and private music-making.Conceived as a current supplement to Bärenreiter's popular anthology 'Easy Classics for Piano? (BA 8758), it offers a wide-ranging repertoire which includes popular classical pieces but also small gems such as Chopin's 'Contredanse? in G-flat major as well as Satie's 'Berceuse? and 'Méditation?. Tried and tested fingering by the experienced pianist and piano teacher Annette Töpel help players to learn the pieces more quickly.- Ideal for students, music-lovers and piano teachers- Tried and tested fingering - Practical page-turnsFrom the contents:Chopin, 'Préludes? in A major and C minor (op. 28 nos. 7 and 20), Contredanse in G-flat major, Schumann, 'Bärentanz and Haschemann? / Bach, 'Preludes? / Debussy, 'The little shepherd? from 'Children's Corner? / Mendelssohn, 'Wedding March? / Brahms, 'Waltz? in E major (op. 39 #5), Theme from the 'Paganini Variations? (op. 35), 'Verstohlen geht der Mond auf? from Piano Sonata op. 1 (movt. 2) / Ravel, Prélude / Satie, 'Berceuse? and 'Méditation? / Piano

Tabla For All is a complete learning method for Indian Tabla percussion set, intended to gradually develop the Tabla player's skills, from the beginner stages of playing position and tuning, to more advanced levels of interpretation. It is also designed for musicians and general public who are interested in learning how the Industani Tala system of rhythmic cycles works. With a simple and novel system based on the onomatopoeic syllables commonly used in the Industani music, it is accessible for anyone, even without prior knowledge of traditional music notation.Tabla For All includes plenty of graphics, pictures and 2 CDs with 70 audio examples, analyzing in detail the intricate fascinating Tabla technique skills: strokes, vocal percussion, different time signatures, fixed compositions and variations, etc. / Tabla