| The Golden Age of American Bands GIA Publications
SKU: GI.G-10368 A Document History (1835-1935). Composed by Bryan ...(+)
SKU: GI.G-10368
A Document History
(1835-1935). Composed
by Bryan J. Proksch.
Music Education. 346
pages. GIA Publications
#10368. Published by GIA
Publications
(GI.G-10368). ISBN
9781622776276. This
is a fascinating and
important book for
everybody even remotely
interested in the history
of American bands. Bryan
Proksch has done some
painstakingly thorough
research in putting
together an amazing
assemblage of
documents… This is
a must-have book!
—Jon Ceander
Mitchell   The
Wind Music Research
Quarterly:
Mitteilungsblatt der IGEB
  (March 2022),
14–15 For the
scholar, each entry
presents an opportunity
for expansion. For the
teacher, this work
provides source readings
for courses on wind band
history or for
complementing Strunk or
Weiss-Taruskin in
university music history
courses. That said, these
documents stand as an
enriching and
entertaining read in
their own right for
anyone interested in the
subject. —Michael
O’Connor  Â
Historic Brass Today 1/2
(Spring 2022), 32 The
Golden Age of American
Bands is ideally suited
for courses on the
history and literature of
bands in America. Indeed,
this volume could suffice
as a textbook for
adventuresome teachers in
that it touches on the
major musicians,
instruments, ensembles,
and functions expected of
such a course. . . . Both
private and classroom
band instructors will
find compelling glimpses
into the history of their
craft. [It is] bursting
with opportunities to
inspire curiosity in
their students while
effectively supporting
their own curricular
goals. —Benjamin
D. Lawson and James A.
Davis   The
Journal of Music History
Pedagogy Proksch’s
new collection of
documents is a most
welcome step in the
direction of getting [the
story of bands] under
control. The
juxtaposition of
documents from so many
levels and types of
ensembles proves to have
a cumulative effect: one
begins to see the subtle
and long-lasting
connections among them
despite the big
differences. It is easy
to envision it as a
supplemental text in a
course on band history
and literature, but the
book is also just an
absorbing read. There is
much to learn here, and
much to enjoy.
—Ken Kreitner Â
 Notes 79/2 (December
2022): 217-218 This is
the story of the American
wind band, told
chronologically by those
who experienced it in
real time from 1835 to
1935. How did bands
become bands? How did
they rise in popularity?
Which figures had
insights and specific
impacts on the
development of the genre?
Through source documents
and articles, Bryan
Proksch takes us on an
extraordinary journey
from the time of the
first brass bands in the
1830s, through the Civil
War and the golden ages
of Gilmore and Sousa, to
the cusp of the wind
ensemble just before
World War II. Hear from a
young Frederick Fennell
about his efforts to
create the first band at
Eastman. Read the outline
of Allessandro
Liberati’s
unpublished trumpet
method book. Eavesdrop on
Karl L. King as he muses
on the fate of bands
after the death of Sousa.
See Patrick
Conway’s first
undergraduate music
education curriculum.
Gawk as trombonist
Fredrick Neil Innes
embarrasses
“world’s
greatest cornetistâ€
Jules Levy at Coney
Island. Explore as Alan
Dodworth revolutionizes
bands. Retreat with a
military band in the
middle of a Civil War
battle. Find out what it
felt like to sit in a
Sousa Band rehearsal. Ask
Herbert L. Clarke why he
thinks you should be
playing a cornet instead
of a trumpet. Find out
how P. S. Gilmore managed
to pull off the biggest
concert events in
American history. The
book includes numerous
rare and unknown
illustrations to show you
the places where band
history happened. The
documents include rare
periodical excerpts,
handwritten letters, and
other writings taken from
archives throughout the
United States. These
first-person accounts are
certain to further refine
and deepen our
understanding and
appreciation of American
band history on a grand
scale. Contents:
Beginnings
(1835–1859) The
Civil War
(1860–1865) The
Jubilees
(1866–1879) The
Gilded Age
(1880–1896) The
Band Age
(1897–1914) World
War I (1915–1919)
Transition and Decline
(1920–1935) Â
Click here to download a
FREE addenda. Bryan
Proksch is a
distinguished faculty
lecturer and associate
professor of music
history and literature at
Lamar University in
Beaumont, Texas. This is
his third book. His A
Sousa Reader: Essays,
Interviews, and Clippings
(GIA Publications, 2016)
explores the documents
relating to the life and
career of John Philip
Sousa. $39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ted Alan Worth in Concert Orgue [Set de Parties séparées] Sacred Music Press
By Robert Hebble (1934-). For Organ. Sacred. 3-staff. Parts. Published by Sacred...(+)
By Robert Hebble (1934-).
For Organ. Sacred.
3-staff. Parts. Published
by Sacred Music Press
$25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pumping Nylon (2nd edition) Guitare Guitare classique [Partition + DVD] Alfred Publishing
A Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This ...(+)
A Classical Guitarist's
Technique Handbook.
Composed
by Scott Tennant. This
edition: 2nd. Book;
Classical Guitar Method
or
Supplement; DVD; Digital
Download;
Method/Instruction;
Software. Pumping Nylon
Series. 144 pages.
Published
by Alfred Music
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pumping Nylon Guitare Guitare classique Alfred Publishing
(A Classical Guitarist's Technique Handbook). Composed by Scott Tennant. For Gui...(+)
(A Classical Guitarist's
Technique Handbook).
Composed by Scott
Tennant. For Guitar. This
edition: 2nd. Book;
Classical Guitar Method
or Supplement;
Method/Instruction;
Other. Pumping Nylon
Series. 144 pages.
Published by Alfred Music
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pumping Nylon -- Complete Guitare Guitare classique [Partition + Accès audio] Alfred Publishing
The Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This ed...(+)
The Classical Guitarist's
Technique Handbook.
Composed by Scott
Tennant. This edition:
2nd. Book; Classical
Guitar Method or
Supplement; Digital
Download;
Method/Instruction;
Software. Pumping Nylon
Series. 272 pages.
Published by Alfred Music
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Requiem Orquesta Editorial de Musica Boileau
Orequesta sinfonica, Orquesta camara, voces y coro (Symphony Orchestra, Chamber ...(+)
Orequesta sinfonica,
Orquesta camara, voces y
coro (Symphony Orchestra,
Chamber Orchestra, Solo
Voices and Choir) SKU:
BO.B.3472 A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Choir. Duration
85:00. Published by
Editorial de Musica
Boileau (BO.B.3472).
ISBN
9788480208130. Engl
ish comments: The Requiem
in memory of Salvador
Espriu by Xavier
Benguerel was
commissioned by the
Torroella de Montgri
International Music
Festival for a double
commemoration: on the one
hand, to celebrate the
tenth anniversary of the
Festival, and on the
other, in remembrance of
Catalan poet Salvador
Espriu in the fifth year
after his death. This
concert, which was held
on 5 October, was a
brilliant closing gala
performance and it was
repeated twice on 6 and 7
October at the Palau de
la Musica Catalana in
Barcelona. It was
performed by the
Orchestra and Choir of
the Gran Teatro del
Liceo, with soloists
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo soprano;
Eduard Gimenez, tenor;
and Carlos Chausson,
baritone, with the
additional collaboration
of baritone Lluis Llach,
conducted by Romano
Gandolfi. In my
opinion, this work by
Benguerel is a piece that
was written with passion
and sincerity, with great
strength and depth, and
it contains some very
beautiful passages. It is
written in a language
through which, without
abandoning his current
musical thoughts,
Benguerel manages to
communicate with the
audience in a dense work
that lasts for an hour
and a half. It is
interspersed with seven
poems by Espriu on the
subject of death, some
sung and others recited,
which gives the Requiem
great contrasts from a
musical and linguistic
point of view -in
comparison with the Latin
texts normally used in a
requiem mass-, but within
a successful and coherent
unity. The performers
certainly proved their
worth, but much of the
hard work that went into
preparing the piece can
be attributed not only to
the performers, the
composer and the poet in
tribute to whom the work
was written, but also to
the conductor Romano
Gandolfi, who is largely
responsible for the
success of the three
performances of this
Requiem. Benguerel
himself says of the work:
This Requiem is linked to
my previous work, the
Llibre Vermell, and it
has been written without
making any concessions,
but with a true wish to
communicate with the
audience. I've got past
the stage of musical
experiments and I'm now
working on bridging the
gap between composer and
audience, which I'm sure
will be good for
both. --Comments
written by Jordi Codina
in the December 1990
issue of Nexus
magazine Comentario
s del Espanol: El Requiem
a la memoria de Salvador
Espriu de Xavier
Benguerel ha sido
compuesto por encargo del
Festival Internacional de
Musica de Torroella de
Montgri para una doble
conmemoracion: por una
parte, el decimo
aniversario del Festival;
por otra, el recuerdo de
la figura del poeta
catalan Salvador Espriu
en el quinto ano de su
fallecimiento. Este
concierto, celebrado el
dia 5 de octubre,
constituyo una sesion de
gala y de clausura
brillante y tuvo una
doble repeticion los dias
6 y 7en el Palau de la
Musica Catalana de
Barcelona. Fueron sus
interpretes la Orquesta y
el Coro del Gran Teatro
del Liceo, con los
solistas vocales
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo; Eduard
Gimenez, tenor; y Carlos
Chausson, baritono, con
la colaboracion del
tambien baritono Lluis
Llach. Todos bajo la
direccion de Romano
Gandolfi. A mi
entender, la obra de
Benguerel es una
partitura escrita con
pasion y sinceridad,
posee una gran solidez,
es profunda y contiene
pasajes de una gran
belleza. Esta escrita en
un lenguaje con el que
Benguerel, sin renunciar
a su actual pensamiento
musical, alcanza la
comunicacion con el
publico en una obra densa
que dura una hora y
media. La intercalacion
de siete poemas de Espriu
relacionados con el tema
de la muerte, en una
interpretacion cantada o
recitada, segun los
casos, otorga al Requiem
grandes contrastes desde
un punto de vista musical
y lingŸistico à en
contraposicion con los
textos latinos propios de
una misa de requiem Ã,
pero dentro de una unidad
conseguida y coherente.
La labor de los
interpretes demostro su
categoria y el trabajo
exhaustivo en la
preparacion de la obra,
que, ademas de los
interpretes, el
compositor y el poeta
homenajeado, tuvo otro
gran protagonista en la
persona del director
Romano Gandolfi, a quien
se debe una gran parte
del exito obtenido en las
tres audiciones de este
Requiem. El propio
Benguerel ha dicho de la
obra: Este Requiem
entronca con mi obra
anterior, el Llibre
Vermell, y ha sido
escrito sin concesiones,
pero con una voluntad
real de comunicacion con
el publico. La epoca de
los experimentos
musicales ya se me paso y
he entrado en una nueva
etapa de acercamiento
entre el compositor y el
publico que, estoy
convencido, beneficiara a
ambos. --Comentario
escrito por Jordi Codina
en la revista Nexus en
diciembre de 1990 $41.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Requiem Voces, Coro y Piano (Reduccion) Editorial de Musica Boileau
Coro, Voces y Piano (Choir, Solo Voices, and Piano) SKU: BO.B.3473 A l...(+)
Coro, Voces y Piano
(Choir, Solo Voices, and
Piano) SKU:
BO.B.3473 A la
memoria de Salvador
Espriu. Composed by
Xavier Benguerel. Vocal
Music. Piano reduction.
Choir. Duration 85:00.
Published by Editorial de
Musica Boileau
(BO.B.3473). ISBN
9788480208147. Engl
ish comments: The Requiem
in memory of Salvador
Espriu by Xavier
Benguerel was
commissioned by the
Torroella de Montgri
International Music
Festival for a double
commemoration: on the one
hand, to celebrate the
tenth anniversary of the
Festival, and on the
other, in remembrance of
Catalan poet Salvador
Espriu in the fifth year
after his death. This
concert, which was held
on 5 October, was a
brilliant closing gala
performance and it was
repeated twice on 6 and 7
October at the Palau de
la Musica Catalana in
Barcelona. It was
performed by the
Orchestra and Choir of
the Gran Teatro del
Liceo, with soloists
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo soprano;
Eduard Gimenez, tenor;
and Carlos Chausson,
baritone, with the
additional collaboration
of baritone Lluis Llach,
conducted by Romano
Gandolfi. In my
opinion, this work by
Benguerel is a piece that
was written with passion
and sincerity, with great
strength and depth, and
it contains some very
beautiful passages. It is
written in a language
through which, without
abandoning his current
musical thoughts,
Benguerel manages to
communicate with the
audience in a dense work
that lasts for an hour
and a half. It is
interspersed with seven
poems by Espriu on the
subject of death, some
sung and others recited,
which gives the Requiem
great contrasts from a
musical and linguistic
point of view -in
comparison with the Latin
texts normally used in a
requiem mass-, but within
a successful and coherent
unity. The performers
certainly proved their
worth, but much of the
hard work that went into
preparing the piece can
be attributed not only to
the performers, the
composer and the poet in
tribute to whom the work
was written, but also to
the conductor Romano
Gandolfi, who is largely
responsible for the
success of the three
performances of this
Requiem. Benguerel
himself says of the work:
This Requiem is linked to
my previous work, the
Llibre Vermell, and it
has been written without
making any concessions,
but with a true wish to
communicate with the
audience. I've got past
the stage of musical
experiments and I'm now
working on bridging the
gap between composer and
audience, which I'm sure
will be good for
both. --Comments
written by Jordi Codina
in the December 1990
issue of Nexus
magazine Comentario
s del Espanol: El Requiem
a la memoria de Salvador
Espriu de Xavier
Benguerel ha sido
compuesto por encargo del
Festival Internacional de
Musica de Torroella de
Montgri para una doble
conmemoracion: por una
parte, el decimo
aniversario del Festival;
por otra, el recuerdo de
la figura del poeta
catalan Salvador Espriu
en el quinto ano de su
fallecimiento. Este
concierto, celebrado el
dia 5 de octubre,
constituyo una sesion de
gala y de clausura
brillante y tuvo una
doble repeticion los dias
6 y 7en el Palau de la
Musica Catalana de
Barcelona. Fueron sus
interpretes la Orquesta y
el Coro del Gran Teatro
del Liceo, con los
solistas vocales
Enriqueta Tarres,
soprano; Nelibel
Martinez, mezzo; Eduard
Gimenez, tenor; y Carlos
Chausson, baritono, con
la colaboracion del
tambien baritono Lluis
Llach. Todos bajo la
direccion de Romano
Gandolfi. A mi
entender, la obra de
Benguerel es una
partitura escrita con
pasion y sinceridad,
posee una gran solidez,
es profunda y contiene
pasajes de una gran
belleza. Esta escrita en
un lenguaje con el que
Benguerel, sin renunciar
a su actual pensamiento
musical, alcanza la
comunicacion con el
publico en una obra densa
que dura una hora y
media. La intercalacion
de siete poemas de Espriu
relacionados con el tema
de la muerte, en una
interpretacion cantada o
recitada, segun los
casos, otorga al Requiem
grandes contrastes desde
un punto de vista musical
y lingŸistico à en
contraposicion con los
textos latinos propios de
una misa de requiem Ã,
pero dentro de una unidad
conseguida y coherente.
La labor de los
interpretes demostro su
categoria y el trabajo
exhaustivo en la
preparacion de la obra,
que, ademas de los
interpretes, el
compositor y el poeta
homenajeado, tuvo otro
gran protagonista en la
persona del director
Romano Gandolfi, a quien
se debe una gran parte
del exito obtenido en las
tres audiciones de este
Requiem. El propio
Benguerel ha dicho de la
obra: Este Requiem
entronca con mi obra
anterior, el Llibre
Vermell, y ha sido
escrito sin concesiones,
pero con una voluntad
real de comunicacion con
el publico. La epoca de
los experimentos
musicales ya se me paso y
he entrado en una nueva
etapa de acercamiento
entre el compositor y el
publico que, estoy
convencido, beneficiara a
ambos. --Comentario
escrito por Jordi Codina
en la revista Nexus en
diciembre de 1990 $41.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Shenandoah Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Composed by Randol Alan Bass. Concert Band; Performance Music Ensemble; Single T...(+)
Composed by Randol Alan
Bass. Concert Band;
Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Folk; Light Concert.
Part(s); Score. 152
pages. Duration 4:15.
Alfred Music #00-31738.
Published by Alfred Music
$78.00 $74.1 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jan Ladislav Dussek (1760-1812). A Bohemian Composer ‘en voyage’ through Europe Ut Orpheus
Books and Journals SKU: UT.QC-4 Edited by Roberto Illiano and Rohan H. St...(+)
Books and Journals
SKU: UT.QC-4
Edited by Roberto Illiano
and Rohan H.
Stewart-MacDonald.
Paperback (Soft Cover).
Quaderni Clementiani.
Essays by Jean-Pierre
Bartoli, Alan Davison,
Therese Ellsworth, Erik
Entwistle, Jeremy
Eskenazy, Michaela
Freemanova, Stephan D.
Lindeman, Rudolf Rasch,
Renato Ricco, Jeanne
Roudet, David Rowland,
Massimiliano Sala, Laure
Schnapper, Rohan H.
Stewart-MacDo. Classical.
Books and Journals. 568
pages. Ut Orpheus #QC 4.
Published by Ut Orpheus
(UT.QC-4). ISBN
9788881094783. 6.5 x 9.5
inches. Saggi di
Jean-Pierre Bartoli, Alan
Davison, Therese
Ellsworth, Erik
Entwistle, Jeremy
Eskenazy, Michaela
Freemanová, Stephan D.
Lindeman, Rudolf Rasch,
Renato Ricco, Jeanne
Roudet, David Rowland,
Massimiliano Sala, Laure
Schnapper, Rohan H.
Stewart-MacDonald, Marie
Sumner
Lott
The
career of Jan Ladislav
Dussek (1760-1812) was
notable for its
peripateticism. Starting
out in his native Bohemia
Dussek spent periods of
time in Germany and the
Netherlands, settling in
London for about ten
years in the 1790s,
progressing to Hamburg
and ending his days in
Paris. Although his
activities centred on the
piano, like so many
musicians of his day
Dussek branched out from
performing and composing
to encompass teaching,
publishing and instrument
retail, with varying
success. A plethora of
reviews and biographical
accounts attest to
Dussek’s renown
throughout Europe as a
pianist and composer,
particularly when it came
to sensitive and
cantabile playing; and he
interacted with some of
the most eminent
musicians, artists and
political figures of his
time. Dussek’s
reputation declined
sharply in the nineteenth
century, however, and
with the exception of
isolated revivals of his
work, for instance in
London in the
mid-nineteenth century,
he has remained on the
verge of obscurity in the
minds of many musicians
and music-lovers until
the present day: even his
well-known innovation of
placing the piano
sideways-on to the
audience to display his
striking profile is often
mistakenly attributed to
Franz Liszt. Although
Dussek has provided the
subject of a number of
student dissertations
over the years, in the
published literature he
has largely been
restricted to cameo
appearances or brief
entries in historical
surveys. The
bicentennial anniversary
of Dussek’s death
provides a fitting
occasion for bringing
together scholars from
all parts of the world to
produce the first
multi-author,
multi-lingual study of
the composer. Several
chapters deal with
aspects of
Dussek’s biography
and iconography that
receive only sparse
treatment elsewhere;
others survey the
different branches of his
output, including the
piano sonatas, the piano
concertos, the chamber
music with and without
harp and the three String
Quartets, Op. 60, which
are currently enjoying a
revival via recordings
and a new edition.
This book has two
fundamental aims. One is
to stimulate renewed
interest in, and debate
about, a less than
celebrated – one
might say unjustly
neglected –
figure. The other aim is
to approach
Dussek’s
multi-facetted,
geographically diverse
career as an interface
between ourselves and the
music business at the
beginning of the
nineteenth century, whose
complexity and
vicissitudes emanated
from the sociological
dynamics and political
events with which Dussek
was, to an almost unique
degree, inextricably
associated. The highs and
lows of Dussek’s
career, the surviving
contemporary accounts of
Dussek the performer and
composer, and the letters
he exchanged with
colleagues in several
nations vividly portray
the struggles of a
worldly, ambitious,
versatile and extremely
perspicacious musician
striving to carve out a
place of eminence and
material security for
himself. This meant
negotiating the complex
progression, underway at
this point in history,
from the patronage system
to the emergence of the
artist as a socially and
financially autonomous
entity.
$146.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Contact GIA Publications
SKU: GI.G-CD-1043 GIA WindWorks Series. GIA WindWorks. Music Educa...(+)
SKU: GI.G-CD-1043
GIA WindWorks
Series. GIA
WindWorks. Music
Education. CD. GIA
Publications #1043.
Published by GIA
Publications
(GI.G-CD-1043).
Ford •
McCarthy • Abe
• Higdon •
Goto Since the inception
of the projects,
composers, conductors,
music critics, and
connoisseurs worldwide
have praised the
recordings conducted by
Eugene Migliaro Corporon
for their innovation,
excellence, and
professional standards.
These exceptional videos
and compact discs
identify and preserve the
standard repertoire and
globally encourage
composers to contribute
to the ever-growing
legacy of great music
that has the power of
universality. The breadth
and variety of the discs
highlight the fact that
the wind symphony, in its
many forms throughout
hundreds of years of
music history, has been
and continues to be a
significant original
medium for serious
aesthetic expression. The
projects have yielded
more than 100 discs that
showcase the creative
energy of thousands of
world-renowned composers
and gifted musicians.
Winds magazine offers the
following regarding the
body of work: “This
series has immense
historic value in
documenting the best of
the repertoire...as well
as providing much sheer
listening (and viewing)
pleasure for the level of
artistry in the
performances. The
acoustic quality of the
recording is
state-of-the- art...All
of the works are superbly
realized and worthy of
exploration...these discs
represent the standards
to which all must
aspire.† This
is a monumental recording
that should be listened
to and studied by every
serious concert
percussionist. The
writing for percussion
and winds is innovative
and cutting edge, and
there is much here for
composers to learn about
scoring for percussion
and winds. The
[University of North
Texas] Wind Symphony
performs these works
fabulously and
flawlessly, and the baton
of Maestro Corporon is
evident throughout.
—Tom Morgan,
Percussive Notes •
Vol. 56, No. 3 •
July 2018 Watch this
video: Eugene Corporon
and Mark Ford Discuss
Contact Read Mark Ford's
commentary on his project
with Eugene Corporon:
Contact Contents 1.
Stubernic Fantasy (2012)
• Mark Ford (b.
1958) • (13:04)
Copyright © Innovative
Percussion • Mark
Ford, Paul Rennick, Sandi
Rennick – Marimba
Soloists Chamber Symphony
No. 1 for Marimba (1993)
• Daniel McCarthy
(b. 1955) • (16:03)
Copyright © C. Alan
Publications 2. Deer
Hunting in Michigan
(4:07) 3. Harmonic
Rhythms (4:33) 4. The
Stuff of Adventure (7:23)
Mark Ford –
Marimba Soloist 5. Prism
Rhapsody II (1996)
• Keiko Abe (b.
1937) • (15:54)
Copyright © Xebec
Music • Mark Ford,
Keiko Abe –
Marimba Soloists 6.
Percussion Concerto
(2009) • Jennifer
Higdon (b. 1962) •
(25:21) Copyright ©
Lawson Press • Mark
Ford – Percussion
Soloist 7. Ruffles Call
from Afar (2013) •
Yo Goto (b. 1958) •
(10:26) Copyright © C.
Alan Publications •
Mark Ford – Snare
Drum Soloist Total Time
(70:22) Â . $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The New Modern Method for Cello, Volume 1 Violoncelle Theodore Presser Co.
Chamber Music Cello SKU: PR.414412370 Composed by Stephen De'ak. Edited b...(+)
Chamber Music Cello
SKU: PR.414412370
Composed by Stephen
De'ak. Edited by Joseph
Mendoes. Sws. Methods And
Studies. Theodore Presser
Company #414-41237.
Published by Theodore
Presser Company
(PR.414412370). ISBN
9781491137949. UPC:
680160692637. 9 x 12
inches. First
published in 1929,
Stephen Deâakâs
two-volume Modern Method
for Cello remains a
timeless resource for new
and developing cellists
at every stage of
practice and performance.
A student of David
Popper, Deâak
presents a thoughtful and
thorough method for
beginning cellists with a
detailed focus on
fundamentals, including
posture and balance of
the bow and left
hand.Unlike many other
methods, the Modern
Method spends
considerable time
developing
note-recognition and tone
production by isolating a
skill or concept in a
single exercise. These
include open string and
bow distribution
exercises, as well as
systematic left hand
practice focusing on one
or two notes at a time.
This careful approach in
the beginning allows the
new player to reinforce
important right- and
left-hand skills before
attempting performance
pieces.Sequential scales
and exercises in various
keys and positions are
supplemented with songs
and tuneful etudes,
allowing the player to
apply practical technique
to expressive
performance. These etudes
are both pedagogical and
performance-worthy, rich
with musicality and
charm. The musical and
technical concepts
presented in this method
can be learned in any
order at the
teacherâs discretion
to best serve the
student.Revisions in this
new edition include
additional instruction,
clarification of
fingerings with shifting
indications, updated
melodies, and a beautiful
new engraving. The wealth
of practice and
performance repertoire in
The New Modern Method for
Cello, Volume 1 makes
this book a valuable
addition to every
cellistâs
library.Volume 2 offers
training in higher
positions and thumb
position, advanced
left-hand and bowing
techniques, and musical
exercises including 29
concert studies. These
etudes, often heard in
recitals, were designed
by Deâak as the
perfect stepping stone to
Popperâs High School
of Cello Playing. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Casey at the Bat (Additional Full Score) Orchestre [Conducteur] Randol Bass Music
Full orchestra (Full Orchestra) SKU: EC.RBM-253 Composed by Randol Alan B...(+)
Full orchestra (Full
Orchestra) SKU:
EC.RBM-253 Composed
by Randol Alan Bass.
Orchestra: Pops,
Orchestra: Short Work.
21st Century. Full score.
Randol Bass Music
#RBM-253. Published by
Randol Bass Music
(EC.RBM-253).
Casey
at the Bat was
commissioned in 2001 by
the Dallas Symphony
Orchestra as a part of
their Americana concert
series from that season.
The work is a colorful
and highly descriptive
narrative setting of the
famous poem, “Casey at
the Bat” by Ernest
Lawrence Thayer, first
published in an 1885
edition of The San
Francisco
Chronicle.(The
poetry has been slightly
paraphrased from the
original to replace some
arcane terminology.)This
composition was conceived
in a distinctly
cartoonish style –
reminiscent of the
orchestral music so
masterfully created by
Carl Stalling and other
great film score writers
during the Golden Age of
the animated short. In
addition to brief quotes
from Till
Eulenspiegel of
Richard Strauss, the
melody from Take Me
Out to the Ballgame
(Tilzer-Norworth) is
interpolated throughout
the fabric of the piece
(although the lyrics are
never sung).The first
performance of this work
took place during the
Spring of 2001, under the
baton of Richard Kaufman
and featuring Pat Sajak
as narrator of the
well-known poem.Audio
excerpts from a matchless
narrative performance of
this piece by
Shakespearean actor Sir
Derek Jacobi (with the
National Symphony of
London and the composer
conducting) are included
below for perusal
purposes. The full
performance may be
purchased as an audio
file from Kodanja
Records of Dallas,
TX. ( dur: 8’
) $75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The New Modern Method for Cello, Volume 2 Violoncelle Theodore Presser Co.
Chamber Music SKU: PR.414412380 Composed by Stephen De'ak. Edited by Jose...(+)
Chamber Music SKU:
PR.414412380 Composed
by Stephen De'ak. Edited
by Joseph Mendoes. Sws.
Methods And Studies.
Theodore Presser Company
#414-41238. Published by
Theodore Presser Company
(PR.414412380). ISBN
9781491137956. UPC:
680160692644. First
published in 1930,
Stephen Deâakâs
two-volume Modern Method
for Cello remains a
timeless and beloved
resource for new and
developing cellists at
every stage of practice
and performance. A
student of David Popper,
Deâak presents a
thoughtful and thorough
method for beginning
cellists with a detailed
focus on fundamentals,
including posture and
balance of the bow and
left hand. Unlike many
other methods, the Modern
Method spends
considerable time
developing
note-recognition and tone
production by isolating a
skill or concept in a
single exercise. These
include open string and
bow distribution
exercises, as well as
systematic left hand
practice focusing on one
or two notes at a time.
This careful approach in
the beginning allows the
new player to reinforce
important right- and
left-hand skills before
attempting performance
pieces.Sequential scales
and exercises in various
keys and positions are
supplemented with songs
and tuneful etudes,
allowing the player to
apply practical technique
to expressive
performance. These etudes
are both pedagogical and
performance-worthy, rich
with musicality and
charm. The musical and
technical concepts
presented in this method
can be learned in any
order at the
teacherâs discretion
to best serve the
student. Revisions in
this new edition include
additional instruction,
clarification of
fingerings with shifting
indications, updated
melodies, and a beautiful
new engraving. The wealth
of practice and
performance repertoire in
The New Modern Method for
Cello, Volume 2 makes
this book a valuable
addition to every
cellistâs
library. Volume 2
offers training in higher
positions and thumb
position, advanced
left-hand and bowing
techniques, and musical
exercises including 29
concert studies. These
etudes, often heard in
recitals, were designed
by Deâak as the
perfect stepping stone to
Popperâs High School
of Cello Playing. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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