(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(34 workouts for guitar ensemble). By Debbie Cracknell. For guitar. Enjoy Playin...(+)
(34 workouts for guitar
ensemble). By Debbie
Cracknell. For guitar.
Enjoy Playing Guitar.
Easy. Repertoire book. 56
pages. Published by
Oxford University Press
Bass Guitar SKU: BT.MUSMI0286 Composed by Bruno Tazzino. Play Music Itali...(+)
Bass Guitar
SKU:
BT.MUSMI0286
Composed
by Bruno Tazzino. Play
Music Italia. Classical.
Book with CD. Composed
2015. Play Music Italy
#MUSMI0286. Published by
Play Music Italy
(BT.MUSMI0286).
Italian.
Qualsia
si sia il vostro livello,
troverete in questa
raccolta di che
arricchire la vostra
cultura musicale e
soprattutto divertirvi
suonando le più grandi
melodie della musica
classica con il basso.
Tutti i grandi
compositori che hanno
marcato la storia della
musica (Mozart, Bach,
Beethoven, Tchaikovsky,
Verdi, Brahms, Wagner,
Vivaldi…) sono
presenti tramite le loro
più grandi opere. Si
tratta di arie conosciute
da tutti, che avete di
sicuro sentito da qualche
parte (film, pubblicit ,
radio…) senza
conoscerne per forza il
titolo. Solamente brani
famosi del repertorio
classico, splendidi da
suonare sul basso.
Trascritte su pentagramma
ed intavolature, nelle
posizioni che siadattano
meglio al basso, queste
bellissime melodie sono
riprese anche sul CD
allegato. Le versioni
proposte sono varie e
moderne, con uno o più
effetti: delay, chorus,
distorsione…
Inoltre un playalong,
cioè una base
musicale, è a vostra
disposizione per suonare
ogni melodia in vere
condizioni musicali.
Divertimento
assicurato!
Voice and Melodieinstrument SKU: HL.49005162 Lieder mit Instrumentalbe...(+)
Voice and
Melodieinstrument
SKU:
HL.49005162
Lieder
mit
Instrumentalbegleitung
fur die Schule.
Edited by Paul Nitsche.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical.
Textbook. 140 pages.
Schott Music #ED 4800.
Published by Schott Music
(HL.49005162).
ISBN
9790001055369.
German.
Folgende
Instrumente konnen in
verschiedenen
Kombinationen verwendet
werden:Blockfloten
(SATB), Violine, Viola,
Violoncello, Fidel,
Gitarre, Klavier,
Glockenspiel, Xylophon,
Trommel, Handtrommel,
Schellentrommel,
Triangel, Cymbeln,
Pauken.
1-2 soprano recorder(s); guitar ad libitum (BFL) SKU: HL.49023852 Mit ...(+)
1-2 soprano recorder(s);
guitar ad libitum (BFL)
SKU: HL.49023852
Mit den schonsten
Liedern aus aller
Welt.. Composed by
Krepp. Edited by Frithjof
Krepp and Rolf Oppermann.
This edition: Saddle
stitching. Sheet music.
Kunter-bund-edition. 64
pages. Schott Music #BUND
71144. Published by
Schott Music
(HL.49023852).
ISBN
9783795756789.
8.25x6.0x0.21
inches.
Seit vielen
Jahren lernen Kinder das
Blockflotenspielen mit
den Spiel mit
uns!-Banden. Bereits in
vierter Auflage erscheint
Spiel mit uns!
Blockfloten Lieder. Die
besonders breit
gefacherte Liedauswahl
erstreckt sich von Barock
uber Klassik zu deutschen
Volksliedern von
Traditionals uber
Kinderlieder, Schlager
zur Pop-Musik. Die 92
ein- bis zweistimmigen
Lieder sind fur
6-14jahrige SchulerInnen
geeignet, die schon etwas
Erfahrung mit der
Blockflote gesammelt
haben. Fast alle Stucke
sind mit Akkorden fur
Gitarrenbegleitung
versehen. So eignet sich
dieser Band auch
besonders fur das
gemeinsame Musizieren in
der Musikschule oder im
Familienkreis, zu zweit
oder im Ensemble.
Voice and Melodieinstrument (MELA) SKU: HL.49005163 Lieder mit Instrum...(+)
Voice and
Melodieinstrument (MELA)
SKU: HL.49005163
Lieder mit
Instrumentalbegleitung
fur die Schule.
Edited by Paul Nitsche
and Wilhelm Twittenhoff.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Melody
Line. 93 pages. Schott
Music #ED 4800-01.
Published by Schott Music
(HL.49005163).
Oboe SKU: BT.9781408105283 Composed by Helen McKean. Abracadabra. Method....(+)
Oboe
SKU:
BT.9781408105283
Composed by Helen McKean.
Abracadabra. Method. Book
with CD. Collins Music
Publishing
#9781408105283. Published
by Collins Music
Publishing
(BT.9781408105283).
Easy SKU: HL.49013230 Schulkanons fur alle Gelegenheiten. Composed...(+)
Easy
SKU:
HL.49013230
Schulkanons fur alle
Gelegenheiten.
Composed by Fritz Joede.
This edition:
Paperback/Soft Cover.
Paperback. Bausteine fur
Musikerziehung und
Musikpflege. Classical.
64 pages. Schott Music #B
101. Published by Schott
Music (HL.49013230).
Vocal - advanced SKU: HL.49005565 Vocal Score. Composed by Philipp...(+)
Vocal - advanced
SKU:
HL.49005565
Vocal
Score. Composed by
Philipp Mohler. Sheet
music. Edition Schott.
Classical. Score. Op. 41.
86 pages. Duration 25'.
Schott Music #ED5260.
Published by Schott Music
(HL.49005565).
ISBN
9790001059848. UPC:
073999543742.
9.0x12.0x0.234
inches.
Solo (S or
T), Men's Choir (TTBB),
String Orchestra and 3
Trumpets ad lib.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
2-3 clarinets / clarinet and piano (CL/PF) - easy SKU: HL.49015420 Compos...(+)
2-3 clarinets / clarinet
and piano (CL/PF) - easy
SKU: HL.49015420
Composed by Rudolf Mauz.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Performance
Book. 62 pages. Schott
Music #ED 8084. Published
by Schott Music
(HL.49015420).
ISBN
9783795751562.
9.0x12.0x0.269 inches.
German.
Tune Book 2
of Mauz' Clarinet Method
is adjusted to the
content of Vol. 2 of the
method. It provides
additional performance
material for clarinet and
piano as well as for 2 or
3 clarinets. German and
international songs,
several canons as well as
short pieces from the
Classical, Romantic and
Modern eras shall further
deepen the joy of joint
music-making.
Schirmer's Library of Musical Classics, Vol. 2139. Composed by Various. Piano....(+)
Schirmer's Library of
Musical
Classics, Vol. 2139.
Composed
by Various. Piano.
Classical.
Softcover. 386 pages. G.
Schirmer #LIB 2139.
Published
by G. Schirmer
Composed by Antonio Vivaldi (1678-1741). Edited by Gunter Graulich. Arranged b...(+)
Composed by Antonio
Vivaldi
(1678-1741). Edited by
Gunter
Graulich. Arranged by
Paul
Horn. Stuttgart Urtext
Edition: Vivaldi-Archiv.
Sacred vocal music, Mass
sections, Christmas,
Praise
and thanks. Full Score.
Composed 1713/1717. RV
589.
Duration 29 minutes.
Carus
Verlag #CV 40.001/50.
Published by Carus Verlag
Composed by Antonio Vivaldi (1678-1741). Edited by Gunter Graulich. Arranged b...(+)
Composed by Antonio
Vivaldi
(1678-1741). Edited by
Gunter
Graulich. Arranged by
Paul
Horn. Stuttgart Urtext
Edition: Vivaldi-Archiv.
Sacred vocal music, Mass
sections, Christmas,
Praise
and thanks. Vocal score.
Composed 1713/1717. RV
589.
Duration 29 minutes.
Carus
Verlag #CV 40.001/53.
Published by Carus Verlag
Solo (S or T), men's choir (TTBB), string orchestra and 3 trumpets ad libitum (S...(+)
Solo (S or T), men's
choir (TTBB), string
orchestra and 3 trumpets
ad libitum (ST KPL) -
advanced
SKU:
HL.49031856
Kantate. Composed
by Philipp Mohler. Sheet
music. Edition Schott.
Performance Material. Op.
41. 66 pages. Duration
25'. Schott Music #ED
5260-10. Published by
Schott Music
(HL.49031856).
Solo (S or T), men's choir (TTBB), string orchestra and 3 trumpets ad libitum (C...(+)
Solo (S or T), men's
choir (TTBB), string
orchestra and 3 trumpets
ad libitum (CHP) -
advanced
SKU:
HL.49031855
Kantate. Composed
by Philipp Mohler. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Choral
Score. Op. 41. 8 pages.
Duration 25'. Schott
Music #ED 5260-01.
Published by Schott Music
(HL.49031855).
Solo (S or T), men's choir (TTBB), string orchestra and 3 trumpets ad libitum (V...(+)
Solo (S or T), men's
choir (TTBB), string
orchestra and 3 trumpets
ad libitum (V1) -
advanced
SKU:
HL.49031857
Kantate. Composed
by Philipp Mohler. Sheet
music. Edition Schott.
Individual part. Op. 41.
12 pages. Duration 25'.
Schott Music #ED 5260-11.
Published by Schott Music
(HL.49031857).
Solo (S or T), men's choir (TTBB), string orchestra and 3 trumpets ad libitum (V...(+)
Solo (S or T), men's
choir (TTBB), string
orchestra and 3 trumpets
ad libitum (VA) -
advanced
SKU:
HL.49031859
Kantate. Composed
by Philipp Mohler. Sheet
music. Edition Schott.
Individual part. Op. 41.
8 pages. Duration 25'.
Schott Music #ED 5260-13.
Published by Schott Music
(HL.49031859).
Solo (S or T), men's choir (TTBB), string orchestra and 3 trumpets ad libitum (V...(+)
Solo (S or T), men's
choir (TTBB), string
orchestra and 3 trumpets
ad libitum (VC) -
advanced
SKU:
HL.49031860
Kantate. Composed
by Philipp Mohler. Sheet
music. Edition Schott.
Individual part. Op. 41.
10 pages. Duration 25'.
Schott Music #ED 5260-14.
Published by Schott Music
(HL.49031860).
Solo (S or T), men's choir (TTBB), string orchestra and 3 trumpets ad libitum (K...(+)
Solo (S or T), men's
choir (TTBB), string
orchestra and 3 trumpets
ad libitum (KB) -
advanced
SKU:
HL.49031861
Kantate. Composed
by Philipp Mohler. Sheet
music. Edition Schott.
Individual part. Op. 41.
8 pages. Duration 25'.
Schott Music #ED 5260-15.
Published by Schott Music
(HL.49031861).
Solo (S or T), men's choir (TTBB), string orchestra and 3 trumpets ad libitum (V...(+)
Solo (S or T), men's
choir (TTBB), string
orchestra and 3 trumpets
ad libitum (V2) -
advanced
SKU:
HL.49031858
Kantate. Composed
by Philipp Mohler. Sheet
music. Edition Schott.
Individual part. Op. 41.
8 pages. Duration 25'.
Schott Music #ED 5260-12.
Published by Schott Music
(HL.49031858).
B-Tonarten, C-Dur, 2.
und 3. Lage, Doppelgriffe
und andere Kniffe.
Composed by Renate
Bruce-Weber. Arranged by
Mark Bruce. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. 144
pages. Schott Music #ED
8432. Published by Schott
Music (HL.49015482).
ISBN 9783795754631.
9.0x12.0x0.42 inches.
German.
Vol. 3 of
'Die frohliche Violine'
pursues the same musical
and technical goals as
the first two volumes. It
contains a detailed
introduction to the flat
keys, C major key as well
as the 2nd and 3rd
positions. The last
chapter takes up the
subject matter of the
first chapters again in a
more demanding form and
with longer charming
pieces, giving an insight
into 'virtuoso' violin
technique.
Skilful Solos Alto, Piano [Partition + CD] - Intermédiaire Anglo Music
Viola and Piano - intermediate SKU: BT.AMP-349-400 20 Progressive Piec...(+)
Viola and Piano -
intermediate
SKU:
BT.AMP-349-400
20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Tuition. Book
with CD. Composed 2013.
44 pages. Anglo Music
Press #AMP 349-400.
Published by Anglo Music
Press (BT.AMP-349-400).
ISBN 9789043138673.
9x12 inches.
English-German-French-Dut
ch.
Philip
Sparke’s
Skilful Solos is
the second volume of a
progressive series of
solo books that takes the
young wind player from
beginner to accomplished
musician. Following on
from the first book in
the series Starter
Solos this collection
generally contains longer
pieces suitable for the
developing young
musician. Specifically
tailored for each
instrument, Skilful
Solos introduces the
concept of phrasing by
suggesting suitable
breathing points and
takes the player into new
keys with extended
instrumental ranges, new
notes being introduced in
a gradual and logical
manner.Skilful
Solos comes with a
play-along CD. The
advantages of playing
eitherwith piano or CD
accompaniment are that
the beginning player can
now experience the
important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always achieved when
playing alone.
Skilful
Solos past in het
rijtje Starter
Studies, Skilful
Studies, Super
Studies en Starter
Solos, een succesvolle
reeks van Philip Sparke.
Net als de eerdergenoemde
uitgaven bevat Skilful
Solos
waardevol,motiverend
speelmateriaal dat de
keuze voor een methode
aanvult. Nieuwe muzikale
elementen komen in een
logische volgorde aan de
orde - om de ontwikkeling
van de complete muzikant
te bevorderen. Uitgave
met cd: De voordelen van
het spelen metbegeleiding
- hetzij op de piano,
hetzij op de cd - zijn
dat de beginnende speler
de belangrijke aspecten
van het ensemblespel kan
ervaren vanaf de eerste
lessen en essentiële
vaardigheden kan
aanleren: het luisteren
tijdens het spelen en
hethandhaven van een
strak tempo. Bij het
alleen spelen komen deze
factoren minder aan de
orde.
Das frühe
Lernstadium ist, neben
einem guten Lehrer im
Unterricht, für jedes
Instrument zweifellos das
Wichtigste. Von großer
Bedeutung ist aber auch
motivierendes
Lehrmaterial. Für
diese zwei Solobücher
beriet sich Philip Sparke
mit vielen Lehrern, wie
man am besten neue Noten
einführt und zugleich
einen Rahmen schafft, in
den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesenSoli und Etüden
in drei verschiedenen
Schwierigkeitsstufen
können
Instrumentalschüler
schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse und
Anforderungen des
einzelnen Instrumentes
zugeschnitten. STARTER
SOLOS und SKILFUL SOLOS
können dank der im
Buch und auf der CD
enthaltenen Begleitungen
auch gut alleine oder mit
einem Pianisten
einstudiert und
aufgeführt werden. Der
Vorteil dabei ist, dass
Anfänger so nicht nur
die wichtigsten Aspekte
desEnsemblespiels
erfahren sondern auch von
Anfang an die
Fähigkeit entwickeln,
zu hören während
sie spielen und das Tempo
zu halten.
Inhalt:
Nice to See You Again
•Pony and Trap
•Summer Siesta
•Spring (Vivaldi)
•A Victorian Ballad
•Trumpet Tune
•Promenade
•Greensleeves
•Could You Repeat
That? •Alladale
Aria •Scales of
Justice •Largo from
Winter (Vivaldi)
•Waltz with
Variations •Atthe
Circus - Adagio (Mozart)
- Marche Militaire
(Schubert) - Thinking of
You - Fives and Threes -
Daydream - Rhode Island
Rag
Skilfu
l Solos può essere
considerato il seguito di
Starter Solos.
Suonare con
l’accompagnamento
è un lavoro di squadra
che sviluppa la capacit
di ascolto e di reazione.
Skilful Solos è
indispensabile per
progredire nel mondodella
musica.