Cette folio fournit une collection complète de plus de 120 favoris irlandais. Chansons comprennent : Avondale, bande de velours noir, falaises de Doneen, les coques et les moules (Molly Malone), Danny Boy, vers le bas par les jardins Salley, sillage du Finnegan, j'aime une fois une jeune fille, The Irish Rover, bande de MacNamara, Minstrel Boy, My Wild Irish Rose, Too-Ra-Loo-Ra-Loo-Ral (qui est une berceuse irlandais), lorsque Irish Eyes Are Smiling, Whiskey dans le pot, Rover sauvages et plus encore ! / Chant Et Guitare / 292 pages / Partition

This flexible collection offers a wealth of excellent material for singing in rounds. All of the standard rounds are represented, including many by master composers as well as anonymous ones. The book is divided into three main sections: rounds with texts, rounds without texts and selected rounds in score format. In addition to a complete alphabetical index, there are separate listings of rounds with sacred texts, rounds with secular texts, rounds about animals, rounds about bells, Christmas rounds, rounds in foreign languages, lullabies, rounds about music, rounds about nature, rounds about singing and street cries. There's even an additional listing of rounds in two parts, three parts, four, five and six parts. This is one collection no music library should be without! From the Kodály Choral Concept. Includes index based on song content and teaching concepts. / Choeur Mixte

Und es waren Hirten in derselbigen Gegend - BWV 248.2. Par BACH JOHANN SEBASTIAN. The Christmas Oratorio with just organ instead of orchestral accompaniment' Can this work with such a festive and colorfully orchestrated piece' This arrangement shows that it can, and surprisingly well!Carsten Klomp has carefully transcribed the orchestral writing for organ. Staying close to the original score goes hand-in-hand with a transcription brilliantly suited to the organ, with full use of the tonal and performing possibilities of the instrument.The first three parts of the Christmas Oratorio are now available from Carus in this form. So for the first time, a complete performance of Parts I?III of the work can now be given in an arrangement for soloists, choir and organ. Each of the organ parts is available to match the scores. These allow for optimal page-turns, as the choral parts are not printed and the da capo sections are always written out in full.The editions are available individually or as a set (including the three scores with the individual organ parts).The vocal parts (for soloists and choir) are identical to the original version, so that the vocal score and choral score of that version can be used.This work (original version) is also available in carus music, the choir app! / Date parution : 2022-10-12/ Répertoire / Solistes, SATB et Orgue

Victor Lemonte Wooten emerged as a once-in-a-lifetime, game-changing bassist in the early- 90s, via his highly innovative playing with Bela Fleck and the Flecktones. Launching his solo career a few years later, with A Show of Hands, it soon became apparent that Wooten was also a major musical force, thanks to an organic and highly original approach to music and music education. In this book/online video package, Victor Wooten Bass Workshop: The Language of Music and How to Speak It, Victor reveals his musical soul.In Part 1, he outlines his ten essential elements of music including such important and under-emphasized areas as emotion and feel, dynamics, tone, phrasing, space, and listening. This section deals more with Victor s concepts and approaches and are more theoretical in nature.In Part 2, Victor addresses the personal lessons, using text, notation, tablature, and video footage to cover such key topics as warming up and hand-strengthening, tone, harmonics, thumb technique, tapping, looping, and soloing. This section is a more how to approach with hands-on demonstrations. Throughout, Victor underscores this vital material with a groove first ethic, as well an accent on being musical and creative three mandatory ingredients to becoming a highly-sought-after professional bassist. All of which makes Victor Wooten Bass Workshop a must-have tool for bass players at all levels. Includes online 4 hrs. of video that can be streamed or downloaded. / Guitare Basse

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Par SCHUMANN ROBERT. Clara Wieck's sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that ; it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano… In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara's wish by creating a number of musical pieces composed specifically for Piano andOrchestra. Although Schumann 's genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann 's Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann 's compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstuck, Op. 92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at / Date parution : 2019-12-12/ Répertoire / Piano et Orchestre

Enregistré sur le CD nominé aux Grammy Awards 'I Am Three' par le Mingus Big Band, cette composition a été initialement écrit par Mingus pour un drame 1959 à la télévision. Arrangé pour le Mingus Big Band par le regretté John Stubblefield grande, le tableau s'ouvre sur une introduction de piano bluesy, suivie par un accelerando qui débute dans une rainure Shuffle de haute énergie. Solos sont inclus pour sax ténor, trombone, trompette et piano. Un cri d'ensemble grésillement et l'improvisation de groupe apportent tout pour une finition excitant! / Scores

G.F. Handel's masterful L'Allegro, Il Penseroso Ed Il Moderato have been expertly-edited by Donald Burrows to present this complete vocal score, arranged for two Soprano, Tenor and Bass Soli, with an SATB Chorus and Orchestra.This complete edition of L'Allegro, Il Penseroso Ed Il Moderato features the 1740, 1741 and 1743 scores, reflecting Handel's personal changes, involving alternative and additional movements. The 1740 score is a complete reconstruction, requiring two Soprano, a Tenor and a Bass soloists. For the longer 1741 score, Handel added extra movements to accommodate additional soloists, the complete version of which is included here. Finally, the 1743 score boasts a radical change from the previous years, with a removal of part three and a significant rearrangement of other movements. L'Allegro, Il Penseroso Ed Il Moderato was first performed on the 27th of February 1740 at the Lincoln's Inn Fields theatre, after just over a month of drafting. The work is a setting of a libretto by James Harris and Charles Jennens, based on John Milton's two complementary yet contrasting poems about the relative virtues of happiness and melancholy. This edition of L'Allegro, Il Penseroso Ed Il Moderato presents practical versions of the score which are based on the musical schemes of Handel's performances in 1741 and 1743. For a complete vocal score of this masterpiece by one of the all-time great composers, this Novello Handel Edition is authoritative. / Choeur Mixte (SATB)

Victor Lemonte Wooten emerged as a once-in-a-lifetime, game-changing bassist in the early- 90s, via his highly innovative playing with Bela Fleck and the Flecktones. Launching his solo career a few years later, with A Show of Hands, it soon became apparent that Wooten was also a major musical force, thanks to an organic and highly original approach to music and music education. In this book/online video package, Victor Wooten Bass Workshop: The Language of Music and How to Speak It, Victor reveals his musical soul. In Part 1, he outlines his ten essential elements of music including such important and under-emphasized areas as emotion and feel, dynamics, tone, phrasing, space, and listening. This section deals more with Victor s concepts and approaches and are more theoretical in nature. In Part 2, Victor addresses the personal lessons, using text, notation, tablature, and video footage to cover such key topics as warming up and hand-strengthening, tone, harmonics, thumb technique, tapping, looping, and soloing. This section is a more how to approach with hands-on demonstrations. Throughout, Victor underscores this vital material with a groove first ethic, as well an accent on being musical and creative three mandatory ingredients to becoming a highly-sought-after professional bassist. All of which makes Victor Wooten Bass Workshop a must-have tool for bass players at all levels. Includes online 4 hrs. of video that can be streamed or downloaded.

Take the centre stage and play along with a live jazz trio. The authentic CD backing tracks will help you achieve a more professional performance. With this great three-part hybrid book you get printed music with ten pieces in melody line arrangements. The audio CD contains professional 'live' performances of every piece featuring a three-piece band, plus backing tracks to play along with. The book includes: Ten top line arrangements of jazz tunes of an intermediate standard (a step up from the Guest Spot series). A CD of demo and backing tracks performed by a live jazz trio. Background song notes for each tune at the front of the book. A hybrid code enabled the user to download parts and scores for the backing band (Piano, Bass, Drums) so they can play with friends as well as with the backing CD. / Trombone

Five Fantasias and Two Dances Of Three Parts. Par COATES / DART. Set of Parts Edited by William Coates and Thurston Dart. Score available in Musica Britannica Volume 9 (MB9)./ Recueil / Violes de Gambe

La série de ' Equipe ' est utilisable avec les deux individus ou un tuteur de groupe encourager les étudiants à essayer ensemble jouant depuis le début. Tous les livres de la série sont entièrement intégrés permettant aux étudiants à l'aide de ' Equipe Recorder ' à jouer dans les ensembles avec les élèves à l'aide de 'Equipe cordes', 'Equipe en laiton', ' Equipe percussions ' et ' Equipe chaînes '. ' Equipe enregistreur ' est un cours flexible et adaptable idéal pour les joueurs d'enregistreur de débutant. Le tuteur peut être adapté en fonction des besoins spécifiques de chaque étudiant. Chaque pièce est soigneusement classé pour assurer une progression logique à un rythme raisonnable et étudiants sont introduits à une grande variété de styles musicaux tout au long de l'ouvrage. Accompagnements piano imaginatives ont été fournies ainsi que certains accompagnements des percussions pour ajouter la variété en performance. Introduit simple-partie joué par l'utilisation de tours, ensemble des pièces pour enregistreur triple et il y a un certain nombre de duos qui peut être étendue en bande de classe, d'orchestre ou de vent... / Flûte A Bec (Matériel pédagogique)