Le Real Book est une alternative à la pléthore de mal conçus, les volumes illisibles, inexactes et mal édités qui abondent sur ??le marché aujourd'hui. Claire et précise, la série Real Book vise à fournir une sélection de musique qui est à la fois facile à lire et agréable à réaliser. Arrangé pour E instruments plat, cette édition de The Real Book: Volume II contient 400 chansons, dont Moon River, Georgia On My Mind, Fly Me To The Moon, Oye Como Va et de nombreux airs les plus connus. / Instruments En Mib

Livre de poche regroupant une compilation de standards de Jazz. (I'm Afraid) The Masquerade Is Over, (Love Is) The Tender Trap52nd Street Theme, A Ballad, A Blossom Fell, A Cottage For Sale, A Flower Is A Lovesome Thing, A Lovely Way To Spend An Evening, A Nightingale Sang In Berkeley Square, A Portrait Of Jenny, A Taste Of Honey, A Walkin' Thing, A Weaver Of Dreams, A Wonderful Day Like TodayAblution, Adam's Apple, Affirmation, Alfie's Theme, All Alone (Left Alone), All My Tomorrows, Along Came Betty, Alto Itis, April Skies, Aquellos Ojos Verdes (Green Eyes), Ask Me Now, At The Mambo Inn, AzureBaby, It's Cold Outside, Bags And Trane, Bags' Groove, Baia (Bahla), Bali Ha'i, Ba-lue Bolivar Ba-ldes-arb (Bolivar Blues), Barbara, Be-bopBig P, Billie's Blues (I Love My Man), Bill's Hit Tune, Bird Feathers, Birdland, Bitches Brew, Blackberry Winter, Bloomdid, Blue 'n Boogie, Blue Serge, Blue Seven, Blue Silver, Blues By Five, Blues For Wood, Blues In The Closet, Bohemia After Dark, Bolivia, Born To Be Blue, Bossa Antigua, Bouncing With Bud, Bright Boy, Brilliant Corners, Buster Rides Again, Bye Bye BlackbirdCaldonia (What Makes Your Big Head So Hard'), Caravan, Careful, Chameleon, Chasin' The Trane, Circle, Cold Duck Time, Comin' Home Baby, Continuum, Cool Blues, Cousin Mary, Crazy She Calls Me, Criss CrossDance Of The Infidels, Day By Day, Day Dream, 'deed I Do, Dewey Square, Dheamy, Dig, Dindi, Do I Love You Because You're Beautiful', Don't Ever Go Away (For Causa De Voce), Don't Explain, Don't Worry 'Bout Me, Doxy, DuffEarly Morning Mood, East To Wes, Eclypso, Elogie, Elora, Emancipation Blues, Estate, Eye Of The HurricaneFarmer's Trust, Feels So Good, Fever, Fields Of Gold, Filthy Mcnasty, Five Brothers, Fly Me To The Moon (In Other Words), Flying Home, Fox Hunt, Freight Trane, Frenest, Full Moon And Empty Arms, Funkallero, FunkyGeorgia On My Mind, Gettin' It Togetha, Girl Talk, Glad To Be Unhappy, Gregory Is Here, GrooveyardH and H, Hackensack, Hallucinations, Happy Little Sunbeam, Hard Hearted Hannah (The Vamp Op Savannah), Harlem Nocturne, Havona, Head And Shoulders, Hi Beck, High Fly, Hit That Mess, Ho-ba-la-la, Holy Land, Honeysuckle Rose, Horace Scope, How Are Things In Glocca Morra, HumptydumptyI Believe In You, I Can't Believe That You're In Love With Me, I Didn't Know What Time It Was, I Get Along Without You Very Well (Except Sometimes), I Gotta Right To Sing The Blues, I Have Dreamed, I Hear A Rhapsody, I Left My Heart In San Francisco, I Like The Likes Of You, I Remember Bird, I Remember You, I Will Wait For You, I Wish, I Didn't Love You So, I Wish I Were In Love Again, I Wish You Love, Ice Cream Konitz, Idol Gossip, If I Loved You, If I Should Lose You, If I Were A Bell, I'll Know, I'm A Fool To Want You, I'm Just A Lucky So And So, I'm Sitting On Top Of The World, Imagination, In A Little Spanish Town ('twas On A Night Like This), In Case You Haven't Heard, In Pursuit Op The 27th Man, In Walked Bud, Indiana (Back Home Again In Indiana), Infant Eyes, Island Birdie, It All Depends On You, It Could Happen To You, It Might As Well Be Spring, It Never Entered My Mind, It's A Good Day, It's A Most Unusual Day, It's Impossible (Somos Novios), It's Only A Paper Moon, It's So Peaceful In The Country, I've Found A New Baby, I've Told Ev'ry Little StarJackie, Jamba, James, Jingles, Jitterbug Waltz, Jumpin' With Symphony Sid, June Is Bustin' Out All Over, Just A Few, Just The Two Of UsKary's Trance, Kathina Ballerina, Kickin' The Gong Around, Kids Are Pretty People, Killer JoeLady Day, Lakes, Last Night When We Were Young, Learnin' The Blues, Leila, Lennie's Pennies, Let There Be Love, Let's Cool One, Let's Get Lost, Like Sonny (Simple Like), Like Young, Limbo, Line Games, Linger Awhile, Little Chicago Fire, Little Rootie Tootie, Little Shoes, Little Sunflower, Lone Jack, Lonely Dreams, Look For The Silver Lining, Look To The Rainbow, Lost In The Stars, Love Is Just Around The Corner, Love Vibrations, Love, Look Away, Lover, Lover Man (Oh, Where Can You Be'), Lover, Come Back To MeManhattan, Manteca, Masquerade, Mayreh, Mean To Me, Menina Flor, Midnight Sun, Miles Ahead, Minor Mishap, Minor Mood, Moanin', Monk's Mood, Monk's Shop, Moon Rays, Moon River, Moonglow, Moose The Mooche, More Than You Know, Morning Dance, Moten Swing, Move, Mr. Magic, My Attorney Bernie, My Blue Heaven, My Heart Stood Still, My Little Suede Shoes, My Old Flame, My Silent LoveNight Song, No Moe, No Splice, North Atlantic Run, Now See How You Are, NutvilleOff Minor, Oh, What A Beautiful Mornin', Old Devil Moon, One By One, One Foot In The Gutter, One Morning In May, Out Back Of The Barn, Oye Como VaPannonica, Parisian Thoroughfare, Passport, Peel Me A Grape, Pennies Prom Heaven, People Will Say We're In Love, Perdido, Petite Fleur (Little Flower), Petits Machins, Phase Dance, Picadillo (A La Puente), Poinciana (Song Of The Tree), Polka Dots And Moonbeams, Poor Butterfly, Prisoner Of Love, Pursuance (Partih)Question and Answer, QuicksilverRaw Kan Kan, Re: Person I Knew, Revelation, Rhythm-a-ning, Right As Rain, Room 608, Rose Room, Rosewood, Round Trip, RubberneckS.O.S., Sack Of Woe, Salt Peanuts, Sandu, Say It (Over And Over Again), Segment, Serenade To A Soul Sister, Serene, Shutterbug, Silver's Serenade, Simone, Sing, You Sinners, Smoke Gets In Your Eyes, Smoke Rings, So Danqo Samba (Jazz 'N' Samba), Softly As In A Morning Sunrise, Some Other Blues, Somebody Loves You, Something Wonderful, Song For Bilbao, Song For Strayhorn, Songbird (Thank You For Your Lovely Song), Soul Eyes, Speak Like A Child, Spiral, S'posin', Spring Will Be A Little Late This Year, Squeeze MeSt. Thomas, Stablemates, Stormy Weather (Keeps Rainin' All The Time), Straight Life, Strayhorn 2, Strode Rode, Strollin', Struttin' With, Some Barbecue, Subconscious Lee, Suddenly It's Spring, Summer In Central Park, Sweet And Lovely, Syeeda's Song Flute tain't What You Do (It's The Way That Cha Do It)Take Ten, Tanga, Tangerine, Teen Town, Teenie's Blues, Telephone Song, Tempus Fugit, Tenor MadnessThe Best Things In Life Are Free, The Birth Of The Blues, The Blessing, The Breeze And I, The Core, The Creole Love Call, The Drive, The Folks Who Live On The Hill, The Frim Fram Sauce, The Gift! (Recado Bossa Nova), The Glory Of Love, The Hucklebuck, The Jody Grind, The Lady Is A Tramp, The Last Time I Saw Paris, The Nearness Of You, The Odd Couple, The Red One, The Sweetest Sounds, The Thrill Is Gone, The Thumper, The Touch Of Your Lips, The WhopperTheme From Mr. Broadway, There Are Such Things, There's A Small Hotel, These Foolish Things (Remind Me Of You), Thick, Things To Come, This Masquerade, Three Base Hit, Till There Was You, Tippin', Tomorrow's Destiny, Too Young, Trane's Blues, Turnaround, Twisted, Two Cigarettes In The Dark, Two Degrees East, Three Degrees WestUntil I Met YouWalkin' Shoes, Warm Valley, Watch What Happens, Watehcolors, Webb CityWendy, What A Diff''rence A Day Made, What A Wonderful World, What's New', Where Or When, Whisper Not, Who Can I Turn To (When Nobody Needs Me), Why Do I Love You', Will You Still Be Mine, Witchcraft, With A Song In My Heart, Without A SongYardbird Suite, You Are Beautiful, You Can Depend On Me, You're My Everything, You're Nobody 'Til Somebody Loves You

Performer: Agnes Baltsa, Antonia Fahberg, Audience Applause, Barbara Hendricks, Berliner Philharmoniker, et al. Orchestra: Berliner Philharmoniker, Orchestre Philharmonique de Berlin Conductor: Alfred Hertz, Arthur Nikisch, Bruno Walter, Carlo Maria Giulini, Claudio Abbado, et al. Compositeur: Alban Berg, Anton Bruckner, Anton Webern, Antonin Dvorak, Antonio Vivaldi, et al. CD (16 septembre 2013) Nombre de disques: 50 Format : Coffret, CD Label: Deutsche Grammophon

Détendez-vous au piano avec cette collection exceptionnelle de morceaux apaisants. Jouez certaines pièces des plus grands compositeurs classiques de tous les temps : Bach, Beach, Beethoven, Chopin, Coleridge-Taylor, Debussy, Mozart, Schumann et bien d'autres. Certaines oeuvres ont été transposées et simplifiées./ Recueil / Piano

Avec plus de 80 chefs-d'oeuvre essentiels arrangées pour piano facile, ce livre garantit une durée de vie de l'exploration et de plaisir à la clé. / Piano

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

«Je veux le composer tout à fait d?après le caractère de Mlle Rose». Voici ce que répondit Mozart à la question de savoir comment il allait concevoir l?Andante de sa Sonate en Ut majeur. Il avait fait la connaissance de Rosina Cannabich à Mannheim durant l?automne 1777. Composée à son intention, la Sonate K. 309 lui fut tout de suite présentée lors d?une leçon, si bien que d?après les dires de son professeur, elle la jouait déjà de manière «admirable» en décembre 1777. Afin que de nombreux élèves puissent faire de même, nous présentons ce joyau de la musique de piano de Mozart, jusqu?alors seulement disponible dans les recueils intégrals des sonates (HN 1 et 3), sous la forme d?une édition séparée avec, en sus, une nouvelle préface de l?éditeur.


1er MOUVEMENT Le premier mouvement de la sonate K 309 en ut majeur est un modèle pour enseigner la structure de la forme sonate. Dans les formes sonate, pas plus que dans la fugue de Bach, aucun dogme ne sert de base au processus de composition, mais chaque sonate apporte une nouvelle variation à un principe fondamental. Cela impliquait, pour Mozart, l?obligation stricte de se conformer à certains schémas sans pour autant laisser entraver sa propre liberté de création. Pour ses mouvements de sonates en tonalités majeures, il était, par exemple, favorable à la dominante comme la plupart de ses contemporains. Sur ce point, Haydn, en revanche, se délectait à tenter de nouvelles expériences.
Il serait peut-être utile, par une brève analyse, de montrer quel était le modèle de référence d?une «forme d?allegro de sonate» pour Mozart, et le premier mouvement de la sonate en ut majeur K 309 est, à cet égard, un exemple idéal pour un tel examen. Le premier thème est un début caractéristique en marcato, suivi d?une «réponse» de cinq mesures. La quarte descendante et la sixte ascendante du début forment un des motifs favoris de Mozart; c?est son procédé mélodique habituel. Il l?utilise souvent en mineur comme en majeur et beaucoup de ses thèmes commencent par ce motif (pour exemple le deuxième mouvement de la sonate en la majeur K 331 et l?Adagio en si mineur K 540 et certains thèmes des Symphonies K 114, 124, 319/II et 551/II). Les sept mesures du thème principal sont répétées avec une légère variation. Les mesures 12 à 30 viennent conclure la période du premier thème par une phrase réponse (3 3 mesures). La transition fait appel à un nouveau matériau puis, dans la mesure 35 (âpres 2 mesures préliminaires) vient un second thème cantabile à la dominante (sol majeur), comprenant deux fois quatre mesures. Il est également repris et s?achemine vers un thème de clôture plein d?allant (groupe conclusif) qui traverse un passage d?ornementation pianistique (m. 43) et enferme une merveilleuse réduction des mesures 35 et 36 dans la mesure 45. L?exposition se termine par une «codetta» de cinq mesures. Le développement présente d?abord le motif d?exposition en sol mineur puis les différentes idées du premier thème sont élaborées. Dans cette démarche, Mozart s?en réfère beaucoup plus aux principes d?école qu?il ne le fait d?habitude. Deux autres expositions du motif du départ nous conduisent à la réexposition dans la mesure 94. Le second thème, maintenant à la tonique, s?est interverti avec son accompagnement. On assiste à un rappel du début dans une coda qui s?impose avec force.

2eme MOUVEMENT Le deuxième mouvement de cette sonate est un Andante un poco adagio introspectif. Mozart avait fait part dans une lettre de sin désir d?adapter cet Andante au caractère de la jeune pianiste Rosa Cannabich pour laquelle il l?avait écrit : «c?est une jolie et charmante jeune fille, tout comme cet andante. Elle est très mûre et posée pour son âge, elle ne parle pas beaucoup et c?est toujours avec grâce et gentillesse».

3eme MOUVEMENT C?est un Rondo élégant et fluide, d?une longueur inusitée, qui clôt cette sonate. / [Sonate pour piano en Ut majeur K. 309 (284b)] / Classique / Partition / Agrafé /

A great collection of classical music arranged for Clarinet, specially graded from easy-to-play tunes to more challenging pieces. This book is specially bound to help the pages to lie flat while you are playing. / Clarinette

Par SETH F.ORTSAO JOSEL. This book, co-written by guitarist Seth F. Josel and composer Ming Tsao, provides a comprehensive survey of contemporary performance techniques on the classical guitar. It was inspired by a new generation of solo guitarists whose extraordinary technical and virtuosic skills have paved the way for a new understanding of instrumental performance practice. Detailed explanations are given for the instrument's technical potential within the historical context of traditional guitar technique. Composers will be interested in the in-depth analyses of contemporary guitar literature, featuring many examples of chamber and ensemble music. Four main chapters describe: - Techniques of the right and left hands - Special harmonies and percussive techniques - The main instruments of the guitar family and their potential - Possible ways of notating contemporary guitar literature The examples discussed in the book are complemented by an enclosed CD and detailed charts on multiphonics, bitones, and percussion techniques. Seth F. Josel is among the leading figures of his generation in modern guitar performance and has taken part in the premieres of more than 100 works as a soloist and ensemble member. A regular guest at Europe's major contemporary music festivals, he has worked with composers of the stature of Mauricio Kagel, Helmut Lachenmann, Tristan Murail and James Tenney and has played with such leading orchestras and ensembles as the New York Philharmonic, the BBC Symphony Orchestra and the Berlin Staatskapelle. From 1991 to 2000 he was a permanent member of the Ensemble musikFabrik. Today he lives in Berlin. Ming Tsao (b. Berkeley, CA, 1966) is professor of composition at Gothenburg University. His compositions have been performed amongst others by the Arditti Quartet, ensemble recherche and the Stuttgart Opera (premiere of 'Die Geisterinsel” in 2011). He is regularly involved in the Donaueschingen Festival, the Witten Days of New Chamber Music, the Darmstadt Contemporary Music Holiday Courses and Wien Modern. His works are published by C.F. Peters (Frankfurt am Main and Leipzig). He, too, lives in Berlin./ Recueil / Guitare

Suite à certains commentaires et suggestions de nos clients, l’ouvrage a été intégralement revu et mis à jour le Lundi 12 octobre 2020, avec les changements suivants : Augmentation des marges intérieures pour ne pas être gêné sur certains morceaux Qualité de l’impression revu à la hausse Nouvelle mise en page de chaque morceau afin de limiter le nombre de pages à tourner et d’améliorer la lisibilité de la partition Ce recueil de partition contient 40 des plus beaux morceaux de piano classique.