| Lyrics Paroles Seulement [Partition] Hal Leonard
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
(1)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Marasy CD matching piano folio on Anison Piano 2 ~marasy animation songs cover on piano Piano seul Yamaha
Piano Pop and Vocal. Animation Songs. Sheet music. Yamaha Music Media #GTP0109...(+)
Piano Pop and Vocal.
Animation
Songs. Sheet music.
Yamaha
Music Media #GTP01093497.
Published by Yamaha Music
Media
$20.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Little Moods Piano seul Breitkopf & Härtel
Piano SKU: BR.EB-9442 15 Easy Pieces. Composed by Strecke Kerstin....(+)
Piano SKU:
BR.EB-9442 15 Easy
Pieces. Composed by
Strecke Kerstin. Solo
instruments. Edition
Breitkopf. Music
pedagogy; New music
(post-2000). Sheet Music.
Breitkopf and Haertel #EB
9442. Published by
Breitkopf and Haertel
(BR.EB-9442). ISBN
9790004189191. 9 x 12
inches. German / English
/ Chinese. Little
Moods aims to be a
building block for
versatile piano lessons
with children, teenagers
and adults. The 15
self-contained,
round-sounding miniatures
are musically easy to
grasp and therefore easy
to learn. They are
suitable for
sight-reading and are
especially good for
practicing the use of the
right pedal. Ifthe one or
the other piece is then
transposed into other
keys in a courageous and
experimental way or taken
as a starting point for
one's own improvisations,
the purpose of the
collection is more than
fulfilled._____________
<>
Zhi Zai Wei Er Tong ,
Qing Nian He Cheng Ren De
Gang Qin Xue Xi Ti Gong
Feng Fu Duo Yang De Ji
Chu Xing Jiao Cai . Zhe
15Shou Zi Cheng Yi Ti ,
Yin Se Bao Man De Xiao Qu
Zi Zai Yin Le Shang Yi Yu
Li Jie ,Yin Ci Qi Yan Zou
Ji Qiao Ye Yi Yu Zhang Wo
. Ta Men Gua He Yu Shi
Zou Lian Xi ,Ye Te Bie
Gua He You Ta Ban De Lian
Xi . Ci Wai ,Ru Guo You
Yong Qi Jiang Qi Zhong Ge
Bie Zuo Pin Shi Yan Xing
Di Zhuan Dao Qi Ta Diao
Xing Shang Dan Zou ,Huo
Zhe Jiang Ta Men Zuo Wei
Ji Xing Chuang Zuo De Kai
Duan ,Na Yao Zhe Tao Qu
Ji De Yi Yi Jiu Wan Quan
Da Dao Liao . $20.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Japanese Graffiti X Samurai Action Stories Orchestre d'harmonie - Intermédiaire Yamaha
Wind Band - Grade 3 SKU: YM.GTW01082692 Concert Band. New Sounds in Brass...(+)
Wind Band - Grade 3
SKU:
YM.GTW01082692
Concert Band. New Sounds
in Brass (NSB). J-POP.
Score & Parts. Yamaha
Music Media #GTW01082692.
Published by Yamaha Music
Media (YM.GTW01082692).
ISBN
9784636826920. New
Sounds in Concert Band
Series (NSB). 5 theme
songs from Japanese
Samurai TV program
Duration: approx.7'00
Arranged by Takashi
Hoshide
Medley of:
Oh! Jinsei ni Namida
Ari; Theme of Zenigata
Heiji; Theme for Big City
Edo Sousa Mou; Theme for
Ooka Echizen; Opening
Theme for Abarenbo Shogun
Zu Qu : Ren Sheng
You Lei ,Chu Zi Shui Hu
Huang Men ; Qian Xing
Ping Ci Tong Ming Zhu Ti
Ge ; Da Jiang Hu Sou Cha
Wang Zhu Ti Qu ; Da Gang
Yue Qian Zhu Ti Qu ; Bao
Fang Jiang Jun Pian Tou
Qu. $83.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Howl's Moving Castle, Medley Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Yamaha
Concert Band. New Sounds in Brass (NSB). Studio Ghibli. Score & Parts. Y...(+)
Concert Band. New Sounds
in
Brass (NSB). Studio
Ghibli.
Score & Parts. Yamaha
Music
Media #GTW01081097.
Published
by Yamaha Music Media
$91.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Alto à la Mode Theodore Presser Co.
Chamber Music alto Flute SKU: PR.114423380 Composed by Christine Potter. ...(+)
Chamber Music alto Flute
SKU: PR.114423380
Composed by Christine
Potter. Performance
Score. 4 pages. Duration
3 minutes. Theodore
Presser Company
#114-42338. Published by
Theodore Presser Company
(PR.114423380). ISBN
9781491135129. UPC:
680160686988. Inspi
red by her
friends’
beatboxing and
exploration of jazz,
flutist Chris Potter
joins the fun and brings
us along in this
introduction to swing
rhythm and the basics of
beatboxing. Playing off
the multiple meanings of
“mode†and
“à la
modeâ€, Dr. Potter
fashionably explores a
world of varied scales
and modern percussive
sonorities where the ch-
ch- ch- beatboxing attack
leads players to chant
about
ch-ch-chocolate!. A
Few Words from ChrisThis
title came to me out of
nowhere at 4 AM one
morning, and I just had
to write a piece to go
along with it! I love
words with multiple
meanings, and
“mode†has
three!The French term
à la mode means in a
current, fashionable
style: in other words,
popular. The alto flute
certainly fits that
description!For
Americans, the phrase is
used when describing the
dessert pie à la mode,
meaning pie with ice
cream, typically vanilla.
Pie à la mode has an
interesting history! The
phrase and the American
dessert is attributed to
John Gieriet. He was born
in Switzerland, later
moved to France, and must
have studied cooking
because two years after
moving to the U.S. in
1854, Gieriet was put in
charge of all the food
service at the White
House. He served under
two presidents, Franklin
Pierce and James
Buchanan. When that job
ended, he moved to
Duluth, Minnesota and
bought a hotel. In 1885,
a menu for the hotel
offered a dessert called
pie à la mode, the
first time this phrase
had appeared in print.
Originally it was
blueberry pie with
vanilla ice cream.In
music, the term mode
means a series of notes
that have an identifiable
pattern of intervals
encompassing an octave.
Major and minor scales
are modes, as are other
scale forms such as
pentatonic, dorian,
phrygian, and lydian.
ALTO À LA MODE uses
three modes, all based on
D. In this piece, you
will find the D blues
scale (D F G Ab A C D),
the D dorian (D E F G A B
C D), and the D minor
natural form (D E F G A
Bb C D).In addition to
the three melodic modes,
I wanted a rhythmic idea
or two to unify the
piece. I decided touse
the rhythms of the word
vanilla: three short
notes with emphasis on
the second note, and
chocolate: two short
notes with emphasis on
the first note. Also
please notice that the
spoken syllable cha is
the beginning sound of
chocolate! All this and
no calories!I credit my
fabulous friend Ali
Ryerson for the jazz
influence, and the
wonderful composer Nicole
Chamberlain for the
beatboxing
inspiration. $8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Exercises for Three Finger Banjo Banjo - Débutant Mel Bay
Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay ...(+)
Composed by Jack
Hatfield. Squareback
saddle stitch. Book.
Published by Mel Bay
Publications, Inc
(MB.99783).
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chalumeau on the go Orchestre d'harmonie - Facile Curnow Music
Concert Band/Harmonie and Clarinet Solo - Grade 2 SKU: BT.CMP-0893-05-140 ...(+)
Concert Band/Harmonie and
Clarinet Solo - Grade 2
SKU:
BT.CMP-0893-05-140
Composed by Mike
Hannickel. Young Band.
Solo & Concerto. Score
Only. Composed 2005. 15
pages. Curnow Music #CMP
0893-05-140. Published by
Curnow Music
(BT.CMP-0893-05-140).
English. Typical
ly bands that play at
this level have some
Clarinet players who are
comfortable above the
break and others who are
not. By staying below the
break throughout, this
light and spirited
Clarinet section feature
let’s you give the
entire section a bit of
the limelight. This is a
perfect vehicle to help
your Clarinet section
learn to shape a phrase,
and the cheerful melody
let’s you program
this piece anywhere you
like. It’s also a
good selection to use to
take the pressure off
Brasses before a
particularly taxing major
work. Remind the
critically important
Clarinet section that you
value their efforts as
much as any other
section.
Breezy!
De term
‘chalumeau’
is afkomstig van de naam
van een zeventiende-eeuws
instrument dat de
voorloper was van de
huidige klarinet. In
Chalumeau on the
Go speelt de
klarinetsectie in het
warme, comfortabele
chalumeauregister.
Ditlichte, levendige werk
helpt uw klarinettisten
om goed te fraseren. De
vrolijke melodie is
geschikt voor elk moment
binnen uw
concertprogramma (u kunt
er eventueel uw
koperblazers mee sparen
voordat u een werk brengt
waarin zijeen grote en
zware rol spelen). Dit is
een prima werk om uw
klarinetsectie te
stimuleren.
Ein
einfaches, spritziges
Stück, mit dem das
Klarinettenregister Ihres
Blasorchesters mit
Leichtigkeit in jedem
Sinne glänzen kann!
Mit diesem Stück
können sich die
Klarinetten wunderbar in
Phrasierung üben,
während die
Blechbläser eine
Atempause erhalten, die
sie vielleicht vor einem
weiteren anspruchsvollen
Programmpunkt gut
gebrauchen können. Die
schwungvolle,
fröhliche Melodie von
Chalumeau on the
Go peppt jedes
Konzertprogramm auf. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chalumeau on the go Orchestre d'harmonie - Facile Curnow Music
Concert Band/Harmonie and Clarinet Solo - Grade 2 SKU: BT.CMP-0893-05-010 ...(+)
Concert Band/Harmonie and
Clarinet Solo - Grade 2
SKU:
BT.CMP-0893-05-010
Composed by Mike
Hannickel. Young Band.
Solo & Concerto. Set
(Score & Parts). Composed
2005. Curnow Music #CMP
0893-05-010. Published by
Curnow Music
(BT.CMP-0893-05-010).
English. Typical
ly bands that play at
this level have some
Clarinet players who are
comfortable above the
break and others who are
not. By staying below the
break throughout, this
light and spirited
Clarinet section feature
let’s you give the
entire section a bit of
the limelight. This is a
perfect vehicle to help
your Clarinet section
learn to shape a phrase,
and the cheerful melody
let’s you program
this piece anywhere you
like. It’s also a
good selection to use to
take the pressure off
Brasses before a
particularly taxing major
work. Remind the
critically important
Clarinet section that you
value their efforts as
much as any other
section.
Breezy!
De term
‘chalumeau’
is afkomstig van de naam
van een zeventiende-eeuws
instrument dat de
voorloper was van de
huidige klarinet. In
Chalumeau on the
Go speelt de
klarinetsectie in het
warme, comfortabele
chalumeauregister.
Ditlichte, levendige werk
helpt uw klarinettisten
om goed te fraseren. De
vrolijke melodie is
geschikt voor elk moment
binnen uw
concertprogramma (u kunt
er eventueel uw
koperblazers mee sparen
voordat u een werk brengt
waarin zijeen grote en
zware rol spelen). Dit is
een prima werk om uw
klarinetsectie te
stimuleren.
Ein
einfaches, spritziges
Stück, mit dem das
Klarinettenregister Ihres
Blasorchesters mit
Leichtigkeit in jedem
Sinne glänzen kann!
Mit diesem Stück
können sich die
Klarinetten wunderbar in
Phrasierung üben,
während die
Blechbläser eine
Atempause erhalten, die
sie vielleicht vor einem
weiteren anspruchsvollen
Programmpunkt gut
gebrauchen können. Die
schwungvolle,
fröhliche Melodie von
Chalumeau on the
Go peppt jedes
Konzertprogramm auf. $75.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Electone STAGEA GRADE 9 & 8 Vol.2 Classical Music(+USB)/English Version Yamaha
Electone - EL Grade 9-8 SKU: YM.GPE01096811 Electone. Arranged Classics. ...(+)
Electone - EL Grade 9-8
SKU:
YM.GPE01096811
Electone. Arranged
Classics. Book & USB.
Yamaha Music Media
#GPE01096811. Published
by Yamaha Music Media
(YM.GPE01096811). ISBN
9784636968118. Spec
ial Electone book with
USB for registration
data. Fu USBNei Han
Zhu Ce Shu Ju ,Shuang Pai
Jian Le Pu Shu .
1. Vivaldi:
Spring from Four Seasons;
2. Mozart: First Movement
from Symphony No.40; 3.
Tchaikovsky: Famous Scene
from Swan Lake; 4.
Strauss, Jr., J.: The
Blue Danube; 5. Verdi:
The Triumph March from
Aida; 6. Brahms:
Hungarian Dance No.5; 7.
Puccini: Nessun Dorma
from Turandot ; 8.
Dvorak: Largo from New
World Symphony 1. Wei
Wa Er Di : Chun Chu Zi
<> ; 2. Mo Zha Te
: Di 40Hao Jiao Xiang Qu
Di 1Le Zhang ; 3. Chai Ke
Fu Si Ji : Zhu Ming Qing
Jing Chu Zi <>
; 4. Shi Te Lao Si : Lan
Se Duo Nao He ; 5. Wei Er
Di : Kai Xuan Jin Xing Qu
Chu Zi Ge Ju <>
; 6. Bo La Mu Si : Xiong
Ya Li Wu Qu Di 5Hao ; 7.
Pu Qi Ni : Jin Ye Wu Ren
Ru Shui Chu Zi Ge Ju <> ; 8. De Wo Xia
Ke : Man Ban Chu Zi <> $38.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Over 100 million views! Making net pianists' movie into the score. And effect is ...!? Piano seul Yamaha
Piano - Intermediate-Advanced SKU: YM.GTP01097337 Piano Pop & Vocal. Comb...(+)
Piano -
Intermediate-Advanced
SKU:
YM.GTP01097337 Piano
Pop & Vocal. Combination.
Sheet music. Yamaha Music
Media #GTP01097337.
Published by Yamaha Music
Media (YM.GTP01097337).
ISBN
9784636973372. 17
arrangements by 8 net
pianists. SNSShang Da
Ren Qi Yan Zou Shi Pin De
Le Pu Hua
1.
Japanese traditional song
Furusato(My home town) in
three different
atomosphere; 2. If Chopin
plays Happy Birthday to
You; 3. Twinkle Ode to
Joy; 4. Orpheus in the
Underworld in expiring
expression; 5. Japanese
children's song Soap
Bubble Flew Away on the
keyboard; 6. How to play
Theme from Vice General
Song in the bar; 7. How
to play the background
music from Summer Wars;
8. Chopsticks in cross
genre arrangement; 9.
Magic accompaniment; 10.
To understand tension of
the music through My
Grandfather's Clock; 11.
To explain Pachelbel's
Canon thoroughly; 12. If
Mozart is a student in
Yamaha music school; 13.
Brilliant Twinkle Twinkle
Little Star; 14. To play
a Japanese traditional
song Antagata
Dokosa(Where are you
born?) on the keyboard;
15. To explain the rhythm
patterns practically
through Marunouchi
Sadistic; 16. To study
how to make variations
with Four Season Songs
basically; 17. Japanese
children song
Zo-san(Elephant song) in
Jazz 1. <>
3Chong Fen Wei Gai Bian ;
2. Ru Guo Rang Xiao Bang
Lai Dan <> Geng Jia Hui
Huang Yi Dian ; 4. <> Gan Dong
Ban Bian Qu ; 5. Jiang
<> Gai Bian
Wei Gang Qin Qu ; 6. Ru
He Zai BarLi Bu Bei Cha
Jue Di Yan Zou <> ; 7. <> Ju Zhong Qu
; 8. <> Ge Chong Qu Feng
Bian Qu ; 9. Mo Fa De Ban
Zou ; 10. Jiao Ni Ru He
Shi Yong TensionDe <> ; 11.
<> Che Di Jie
Shuo ; 12. Ru Guo Mo Zha
Te Shi Ya Ma Ha Yin Le
Jiao Shi De Xue Sheng De
Hua ; 13. Rang <>
Shan Shan Fa Guang ; 14.
Xiong Ben Fang Yan Ge Yao
<>
Gang Qin Bian Qu ; 15.
<> Shi Yong Jie Zou
Xing Xiang Jie ; 16. Yong
<> Jiang
Jie Ji Ben Bian Zou Fa ;
17. <> Jue Shi Ban Bian
Qu. $13.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cubase Profi Guide MDS (Music Distribution Services)
SKU: M7.PPV-20047476 Kreativeres Musikmachen und perfekter Sound. ...(+)
SKU:
M7.PPV-20047476
Kreativeres
Musikmachen und perfekter
Sound. Book. PPV
Medien #PPV 20047476.
Published by PPV Medien
(M7.PPV-20047476).
ISBN 9783955122133.
German. Kreativeres
Musikmachen und perfekter
Sound! Cubase Profi Guide
- aktualisierte Auflage
mit den neuen Funktionen
von Cubase Pro 10 und
10.5! Speziell für
Einsteiger gibt es viel
Grundlagenwissen zur
Systemeinrichtung, Audio-
und MIDI-Aufnahmen sowie
allgemeine
Bedienfunktionen. Aber
auch der versierte
Anwender findet
Informationen zu Themen
wie Mixing, Mastering
oder fortgeschrittenes
Editing. Das Buch
zeichnet sich durch
einfache Kurzanleitungen
und Erklärungen sowie
ein übersichtliches
Layout aus, so dass auch
komplexe Themen intuitiv
nachvollziehbar bleiben.
Auch Anwender, die
bereits mit der Bedienung
von Cubase gut vertraut
sind, nutzen meist nur
einen Bruchteil der
Möglichkeiten. Holger
Steinbrink zeigt
zahlreiche Tipps und
Tricks beim Umgang mit
dem Programm. Der
optimale Einsatz der
internen EQs, Effekte und
Dynamikprozessoren
verbessert Ihren Mix und
das Mastering. Die
Cubase-VST-Instrumente
bieten ein
unerschöpfliches
Potenzial an
Möglichkeiten für
den eigenen Song, das
Sounddesign und die
Groove-Programmierung. In
vielen praktischen
Beispielen erfahren Sie,
wie Sie aus diesem Fundus
auch für Ihre
musikalische Arbeit
schöpfen können und
dadurch auch neue
Inspirationen erhalten.
Darunter finden sich alle
Kniffe, mit denen Sie das
Maximum aus Ihrem Rechner
herausholen und die
tägliche Arbeit noch
einfacher gestalten. $26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Twilight Serenade Orchestre d'harmonie - Débutant Alfred Publishing
Concert Band - Grade 1 SKU: AP.37803 Composed by Steve Hodges. Concert Ba...(+)
Concert Band - Grade 1
SKU: AP.37803
Composed by Steve Hodges.
Concert Band; Performance
Music Ensemble; Single
Titles. Alfred Debut
Series. Form: Ballade;
Chorale. Score and
Part(s). 118 pages.
Duration 2:10. Alfred
Music #00-37803.
Published by Alfred Music
(AP.37803). UPC:
038081436319.
English. Dedicated
to all parents and
grandparents who have
enjoyed a relaxing moment
singing to a child or
grandchild, this piece
uses a simple melody,
sung privately by the
composer to his children
and grandchildren, and
has been developed into
an expressive piece for
the young band. With
opportunities for
extended phrasing, simple
suspensions, and dynamic
contrasts, this lyrical
offering provides an
effective learning
experience as well as a
nice change of pace for
any concert. (2:10). $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| euphonia Professional Rotary Mixer Aucune valeur Hal Leonard
SKU: HL.1455816 AlphaTheta. DJ Gear. Hal Leonard #EUPHONIA. Published by ...(+)
SKU: HL.1455816
AlphaTheta. DJ Gear. Hal
Leonard #EUPHONIA.
Published by Hal Leonard
(HL.1455816). UPC:
841300102434.
19.0x21.0x9.0
inches. The
euphonia produces a
euphoric sound with the
clarity of digital and
the richness of analog
that's never been heard
from a DJ mixer before.
To deliver a clearer
sound quality that
accurately reproduces the
expression of the music,
the euphonia uses
high-quality 32-bit A/D
and D/A converters as
well as 96kHz/64 bit
floating point mixing
processing operations in
the DSP, utilizing the
digital signal processing
technology AlphaTheta has
developed over many
years. All sound coming
out of the euphonia
passes through a
transformer circuit
co-designed by AlphaTheta
and Rupert Neve Designs,
the legendary makers of
outstanding analog audio
circuitry and mixing
desks revered by artists
and sound engineers
around the world. This
transformer circuit,
tuned specifically for
the euphonia, adds
harmonics to the music
and creates a glossy and
energetic sound that's
smoother for mixing. Low
frequencies such as kicks
and bass are more stable
and punchy, mid
frequencies like vocals
and instruments have more
presence and gloss, and
high frequencies such as
hi-hats sound silky and
natural. The transformer
breaks down the barrier
between vintage live and
modern electric sounds,
making mixing easier and
surprisingly natural, as
if recordings in
different styles were
orginally one piece of
music. When you touch the
faders on the euphonia,
you won't want to let go.
To enhance its intuitive
mixing experience, the
unit is loaded with
rotary faders that
feature a brand-new
carefully developed
design to give you the
feeling that you and the
mixer are one. After
extensive testing, the
perfect knob sizers were
chosen, with an elastomer
applied to the outer
circumference of each to
ensure a comfortable and
reliable grip as well as
a high level of vibration
absorption. The uniquely
developed mechanism for
the faders also benefits
from optimum weighting.
You'll notice a
difference in the feel of
the knobs when you turn
them at different speeds,
as a smooth load is
applied when you turn a
knob slowly for delicate
fine-tuning and a limited
load level is applied
when you turn the knob
quickly to instantly
reach your intended
volume level. And the
fader volume curves have
been optimized through
feedback from numerous
DJs, enabling smooth and
natural mixing without
equalizing, so you can
concentrate on volume
control. This innovative
fader allows for musical
expression that will move
your audience and enhance
your performance. Get an
instant visual grasp of
the status of your mix
and the balance of tack
volume levels by glancing
at the euphonia's Energy
Visualizer. Conventional
VU meters only have 1
needle meter, making it
difficult for DJs to
graps multiple channel
levels at the same time.
But the euphonia's
uniquely developed Mix
Level Meter features a
needle meter for each
channel so you can
visually check the levels
for all channels and mix
smoothly. $3799.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Song Of Songs Chester
Score Cello SKU: HL.14032637 For Cello and Electronics Score. Comp...(+)
Score Cello SKU:
HL.14032637 For
Cello and Electronics
Score. Composed by
Karen Tanaka. Music Sales
America. Classical. Book
[Softcover]. Composed
2000. 12 pages. Chester
Music #CH61515. Published
by Chester Music
(HL.14032637).
8.25x11.75x0.044
inches. This work
was commissioned by
Yutaka Fujishima and the
Xebec Hall. It was first
performed by Ryoichi
Fujimori in Mito, Japan
on 10th November 1996.
Duration: 8 minutes 10
seconds. The following
equipment is required: 1
full-size CD player (not
a portable), with a
clearly readable time
counter display, set next
to the cellist, 1
microphone for the cello,
1 digital reverb, 1
mixing desk, 1 stereo
amplifier, at least 2
high quality
loudspeakers. Quoting
Karen Tanaka: The title
comes from the Song of
Solomon of the Old
Testament, which is a
beautiful song of love. I
have attempted to project
this sensual song of love
onto the sound of cello
and computer. My
intention was to weave
color and scent into the
sound while blending the
ancient story and today's
technology. The sound of
cello is consistently
gentle and tender. CD Rom
available separately for
sale. $9.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Swingin' at the Riverside Orchestre d'harmonie - Facile Curnow Music
Concert Band/Harmonie and Saxophone Solo - Grade 2 SKU: BT.CMP-0991-06-010(+)
Concert Band/Harmonie and
Saxophone Solo - Grade 2
SKU:
BT.CMP-0991-06-010
Composed by Stephen
Bulla. Young Band. Set
(Score & Parts). Composed
2006. Curnow Music #CMP
0991-06-010. Published by
Curnow Music
(BT.CMP-0991-06-010).
9x12
inches. Feature
anywhere from one
Saxophone up to the
entire Sax section in
Stephen Bulla’s
jazzy new arrangement
titled Swingin’ at
the Riverside. The quick,
rhythmic swing-style
music is catchy to say
the least! It’s
the perfect opportunity
to “lighten
up†during the next
concert performance. In
addition, it’s a
good piece to program
just before or after that
large work that’s
taxing for the Brass
players. It’s lots
of fun for Brasses to
play but gives them
plenty of short rests
throughout so they can
refresh their chops.
Now’s the time to
let the Saxes
shine!Light-hearted
and fun!
Dit
is een lekker vlot en
swingend werk waarin een
hoofdrol is weggelegd
voor de saxofoon. De
interactie tussen het
orkest en de solist(en)
is leuk en boeiend voor
zowel de muzikanten als
het publiek. De titel
Swingin’at the
Riversideis
natuurlijk een zinspeling
op de alom bekende
spiritual Down by the
Riverside, die te
horen is terwijl de
muziek zich ontvouwt. Een
levendige aanvulling op
uw eerstvolgende
concertprogramma!
Rücken Sie einen
Saxophonisten oder auch
das ganze Register ins
Rampenlicht - mit Stephen
Bullas jazzigen Titel
Swingin’ at the
Riverside haben Sie
die Wahl! Die flotte,
swingende rhythmische
Musik ist absolut
eingängig, ein
strahlendes Highlight
für jedes
Konzertprogramm!
Idealerweise planen Sie
dieses Stück nach
einem für die
Blechbläser
anstrengenden
Programmpunkt ein, da sie
hier zwar auch jede Menge
Spaß, aber auch
genügend Pausen haben.
Nun sind die Saxophone
dran!
Cette
œuvre de Stephen
Bulla trouve ses origines
dans le swing et combine
avec originalité
l’un des plus
célèbres standards
du jazz
Nouvelle-Orléans,
Down by the
Riverside.
L’accompagnement
est brillant et les
solistes effervescents !
Questo brano di
Stephen Bulla nasce dallo
swing e combina con
originalit uno dei più
grandi successi del jazz
di New Orleans, Down
by the Riverside.
L’accompagnamento
è brillante ed i
solisti semplicemente
sfavillanti! $84.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Enjoy 14 Very Easy Piano Duets for 3 players, 4 hands: Classic Music Piano Facile Yamaha
Piano 4 hands - Entry vs Entry vs Easy SKU: YM.GTP01094114 Piano Ensemble...(+)
Piano 4 hands - Entry vs
Entry vs Easy SKU:
YM.GTP01094114 Piano
Ensemble. Arranged
Classics. Sheet music.
Yamaha Music Media
#GTP01094114. Published
by Yamaha Music Media
(YM.GTP01094114). ISBN
9784636941142. Try
3 players 4 hands
ensemble with these very
easy classical pieces.
Player 1: right hand, 2:
right hand, and 3: both
hands. Yong Ben Shu
Nei De Jian Dan Gu Dian
Le Qu ,Chang Shi 3Ren
4Shou . Yan Zou Zhe 1:
You Shou ; Yan Zou Zhe 2:
You Shou ; Yan Zou Zhe 3:
Shuang Shou .
1.
Toy Symphony; 2. Ode to
Joy; 3. For Elise; 4.
Turkish March; 5. Twinkle
Twinkle Little Star; 6.
Mozart's Serenade; 7.
March of the Toy
Soldiers; 8. Canon; 9.
Military March; 10.
Jupiter; 11. Csikos Post;
12. Pomp and Circmstances
March No.1; 13. I Got
Rhythm; 14. Syncopated
Clock. 1. Wan Ju Jiao
Xiang Qu ; 2. Huan Le
Song ; 3. Zhi Ai Li Si ;
4. Tu Er Qi Jin Xing Qu ;
5. Xiao Xing Xing ; 6. Mo
Zha Te Xiao Ye Qu ; 7.
Wan Ju Bing Jin Xing Qu ;
8. Qia Nong ; 9. Jun Dui
Jin Xing Qu ; 10. Mu Xing
; 11. You Di Ma Che ; 12.
Wei Feng Tang Tang No.1;
13. Wo De Jie Zou ; 14.
Diao Pi De Shi Zhong. $11.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concerto for Pianoforte & Orchestra Piano seul Subito Music
Pno; 2,1 2 2,1 2; 4231; timp, stgs SKU: SU.96040010 Composed by Amy Marcy...(+)
Pno; 2,1 2 2,1 2; 4231;
timp, stgs SKU:
SU.96040010 Composed
by Amy Marcy Beach. Study
Score. Subito Music
Corporation #96040010.
Published by Subito Music
Corporation
(SU.96040010).
Critical
Edition by Laurine
Celeste
FoxxInstrumentation: pno;
2,1 2 2,1 2; 4231; timp,
stgs Duration:
35' Composed: 1899
Published by: Subito
Music Publishing
Performance materials
available on rental only:
Subito Music Rental
Library. $133.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| On That Starry Night Chorale SATB SATB, Piano [Partie séparée] Carl Fischer
(For SATB Voices with Keyboard and Optional Flute). By Elizabeth Campbell Philli...(+)
(For SATB Voices with
Keyboard and Optional
Flute). By Elizabeth
Campbell Phillips Brooks.
SATB chorus. For SATB,
Keyboard, Flute. Carl
Fischer Performance
Series for Chorus. Choral
part(s). Standard
notation. 11 pages.
Published by Carl Fischer
$2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Appalachian Fiddle Music Violon Mel Bay
Fiddle - Beginning; Intermediate; Advanced SKU: MB.30091 Featuring 43 ...(+)
Fiddle - Beginning;
Intermediate; Advanced
SKU: MB.30091
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091). ISBN
9781513466378. 8.75 x
11.75
inches. Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Crown Him - Accompaniment CD (Split) Chorale SATB - Facile Word Music
SATB choir - Easy SKU: WD.080689915123 A Celebration of Our Risen King...(+)
SATB choir - Easy SKU:
WD.080689915123 A
Celebration of Our Risen
King. Composed by
Deborah Craig-Claar.
Arranged by Marty Hamby.
Choral, cantatas. Simply
Word. Accompaniment CD
(split). Duration 33
mintues. Word Music
#080689915123. Published
by Word Music
(WD.080689915123).
UPC:
080689915123. The
successful songwriting
team of Lee Black and
Gina Boe have joined with
respected arranger and
orchestrator Marty Hamby,
and venerable wordsmith
Deborah Craig-Claar, to
create Crown Him...A
Celebration of Our Risen
King. Working together,
this breath of fresh air
creative collaboration
brings you another
powerful yet
easy-to-learn,
easy-to-sing Easter
musical from the
best-selling Simply Word
series. All you need to
add is your choir to have
an impressive combination
of gifts and talents for
your next Easter
service! Crown Him is
a wonderful combination
of content, mixing new
and familiar songs with
current, popular songs
(such as the title song,
Crown Him, made popular
by Chris Tomlin). The
comfortable blending of
songs and styles,
expertly guided by Marty
Hamby's choral and
orchestral arranging and
married with the promise
of Simply Word's
ease-of-performance
editorial guidelines,
make this a musical
perfect for a broad range
of choirs, needs and
expectations. In
addition to the
availability of a CD
Accompaniment Track and
an Orchestration, Simply
Word also offers a
visually-compelling DVD
Accompaniment Track,
designed to creatively
and technically raise the
production value of your
Easter presentation and
enhance the way you and
your choir engage the
congregation on the
holiest of holy
days. This Easter, as
you lead your church and
community, celebrate the
resurrection of our risen
King and move hearts to
deeper encounters with
the Savior with the new
Simply Word musical,
Crown Him! $99.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Crown Him - Accompaniment Video Chorale SATB - Facile Word Music
SATB choir - Easy SKU: WD.080689522093 A Celebration of Our Risen King...(+)
SATB choir - Easy SKU:
WD.080689522093 A
Celebration of Our Risen
King. Composed by
Deborah Craig-Claar.
Arranged by Marty Hamby.
Choral, cantatas. Simply
Word. Accompaniment
video. Duration 33
mintues. Word Music
#080689522093. Published
by Word Music
(WD.080689522093).
UPC:
080689522093. The
successful songwriting
team of Lee Black and
Gina Boe have joined with
respected arranger and
orchestrator Marty Hamby,
and venerable wordsmith
Deborah Craig-Claar, to
create Crown Him...A
Celebration of Our Risen
King. Working together,
this breath of fresh air
creative collaboration
brings you another
powerful yet
easy-to-learn,
easy-to-sing Easter
musical from the
best-selling Simply Word
series. All you need to
add is your choir to have
an impressive combination
of gifts and talents for
your next Easter
service! Crown Him is
a wonderful combination
of content, mixing new
and familiar songs with
current, popular songs
(such as the title song,
Crown Him, made popular
by Chris Tomlin). The
comfortable blending of
songs and styles,
expertly guided by Marty
Hamby's choral and
orchestral arranging and
married with the promise
of Simply Word's
ease-of-performance
editorial guidelines,
make this a musical
perfect for a broad range
of choirs, needs and
expectations. In
addition to the
availability of a CD
Accompaniment Track and
an Orchestration, Simply
Word also offers a
visually-compelling DVD
Accompaniment Track,
designed to creatively
and technically raise the
production value of your
Easter presentation and
enhance the way you and
your choir engage the
congregation on the
holiest of holy
days. This Easter, as
you lead your church and
community, celebrate the
resurrection of our risen
King and move hearts to
deeper encounters with
the Savior with the new
Simply Word musical,
Crown Him! $225.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Crown Him - Stem Mixes Chorale SATB - Facile Word Music
SATB choir - Easy SKU: WD.080689876424 A Celebration of Our Risen King...(+)
SATB choir - Easy SKU:
WD.080689876424 A
Celebration of Our Risen
King. Composed by
Deborah Craig-Claar.
Arranged by Marty Hamby.
Choral, cantatas. Simply
Word. Stem mixes.
Duration 33 mintues. Word
Music #080689876424.
Published by Word Music
(WD.080689876424).
UPC:
080689876424. The
successful songwriting
team of Lee Black and
Gina Boe have joined with
respected arranger and
orchestrator Marty Hamby,
and venerable wordsmith
Deborah Craig-Claar, to
create Crown Him...A
Celebration of Our Risen
King. Working together,
this breath of fresh air
creative collaboration
brings you another
powerful yet
easy-to-learn,
easy-to-sing Easter
musical from the
best-selling Simply Word
series. All you need to
add is your choir to have
an impressive combination
of gifts and talents for
your next Easter
service! Crown Him is
a wonderful combination
of content, mixing new
and familiar songs with
current, popular songs
(such as the title song,
Crown Him, made popular
by Chris Tomlin). The
comfortable blending of
songs and styles,
expertly guided by Marty
Hamby's choral and
orchestral arranging and
married with the promise
of Simply Word's
ease-of-performance
editorial guidelines,
make this a musical
perfect for a broad range
of choirs, needs and
expectations. In
addition to the
availability of a CD
Accompaniment Track and
an Orchestration, Simply
Word also offers a
visually-compelling DVD
Accompaniment Track,
designed to creatively
and technically raise the
production value of your
Easter presentation and
enhance the way you and
your choir engage the
congregation on the
holiest of holy
days. This Easter, as
you lead your church and
community, celebrate the
resurrection of our risen
King and move hearts to
deeper encounters with
the Savior with the new
Simply Word musical,
Crown Him! $239.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hal Leonard Recording Method Book 5: Engineering and Producing Livre - Pas de partitions [Livre + DVD] Hal Leonard
(2nd Edition). Music Pro Guide Books and DVDs. Softcover with DVD-ROM. 304 pages...(+)
(2nd Edition). Music Pro
Guide Books and DVDs.
Softcover with DVD-ROM.
304 pages. Published by
Hal Leonard
$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Summer Isles Orchestre d'harmonie - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie and Euphonium Solo - Grade 4 SKU: BT.AMP-048-010 (+)
Concert Band/Harmonie and
Euphonium Solo - Grade 4
SKU:
BT.AMP-048-010
From Hymn of the
Highlands - Euphonium
Solo. Composed by
Philip Sparke. Anglo
Music Midway Series. Solo
& Concerto. Set (Score &
Parts). Composed 2006.
Anglo Music Press #AMP
048-010. Published by
Anglo Music Press
(BT.AMP-048-010). 9x12
inches.
English-German-French-Dut
ch. The Summer
Isles are a group of
islands located off the
North West coast of
Scotland which are famous
for their wildlife. This
piece, written for solo
euphonium and brass band,
reflects the natural
beauty and relaxing
atmosphere of the
islands. The wonderful
melodious nature of the
euphonium is displayed in
this piece and the
opening theme is followed
by melodic interplay
between the soloist and
cornets. This piece will
surely be enjoyed by any
audience.
Het
werk Summer Isles
is afkomstig uit de suite
Hymn of the
Highlands van Philip
Sparke. Het is een
dromerig deel voor
euphoniumsolo, met als
thema een kleine
eilandengroep ten
noordoosten van
Schotland, die beroemdis
vanwege de plaatselijke
fauna. De warme klank van
het euphonium komt in
deze muziek prachtig tot
zijn
recht.
Summer
Isles erweitert die
dreisätzige Suite
Hymn of the
Highlands, einem
viersätzigen Werk von
Philip Sparke über
verschiedene Orte im
schottischen Hochland, um
einen weiteren Satz, kann
aber auch wunderbar
separat gespielt werden.
Es handelt sich dabei um
ein träumerisches
Euphonium-Solo, das nach
einer Inselgruppe vor der
Nordwestküste
Schottlands, die
für ihre Tier- und
Pflanzenwelt
berühmt ist,
benannt wurde.
Hymn of the
Highlands(“Hymn
e des Highlandsâ€)
est une suite en sept
mouvements composée la
demande du Yorkshire
Building Society Band et
de son directeur David
King. Le mouvement
intitulé Summer
Isles (du nom
d’un ensemble
d’îles
situées au large des
côtes nord-ouest de
l’Écosse) est
un superbe solo pour
euphonium, aérien et
fluide, qui célèbre
la beauté sauvage de
ces îles
réputées pour la
richesse de la faune et
de la flore. $140.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Phillips Collection of Traditional American Fiddle Tunes Vol 1 Violon [Partition] Mel Bay
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
(1)$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Summer Isles Orchestre d'harmonie - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie and Euphonium Solo - Grade 4 SKU: BT.AMP-048-140 (+)
Concert Band/Harmonie and
Euphonium Solo - Grade 4
SKU:
BT.AMP-048-140
From Hymn of the
Highlands - Euphonium
Solo. Composed by
Philip Sparke. Anglo
Music Midway Series. Solo
& Concerto. Score Only.
Composed 2006. 16 pages.
Anglo Music Press #AMP
048-140. Published by
Anglo Music Press
(BT.AMP-048-140). 9x12
inches.
English-German-French-Dut
ch. The Summer
Isles are a group of
islands located off the
North West coast of
Scotland which are famous
for their wildlife. This
piece, written for solo
euphonium and brass band,
reflects the natural
beauty and relaxing
atmosphere of the
islands. The wonderful
melodious nature of the
euphonium is displayed in
this piece and the
opening theme is followed
by melodic interplay
between the soloist and
cornets. This piece will
surely be enjoyed by any
audience.
Het
werk Summer Isles
is afkomstig uit de suite
Hymn of the
Highlands van Philip
Sparke. Het is een
dromerig deel voor
euphoniumsolo, met als
thema een kleine
eilandengroep ten
noordoosten van
Schotland, die beroemdis
vanwege de plaatselijke
fauna. De warme klank van
het euphonium komt in
deze muziek prachtig tot
zijn
recht.
Summer
Isles erweitert die
dreisätzige Suite
Hymn of the
Highlands, einem
viersätzigen Werk von
Philip Sparke über
verschiedene Orte im
schottischen Hochland, um
einen weiteren Satz, kann
aber auch wunderbar
separat gespielt werden.
Es handelt sich dabei um
ein träumerisches
Euphonium-Solo, das nach
einer Inselgruppe vor der
Nordwestküste
Schottlands, die
für ihre Tier- und
Pflanzenwelt
berühmt ist,
benannt wurde.
Hymn of the
Highlands
(“Hymne des
Highlandsâ€) est une
suite en sept mouvements
composée la demande du
Yorkshire Building
Society Band et de son
directeur David King. Le
mouvement intitulé
Summer Isles (du
nom d’un ensemble
d’îles
situées au large des
côtes nord-ouest de
l’Écosse) est
un superbe solo pour
euphonium, aérien et
fluide, qui célèbre
la beauté sauvage de
ces îles
réputées pour la
richesse de la faune et
de la flore. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Latin Real Book - Eb Edition Instruments en Mib [Fake Book] Sher Music Company
By Various. Arranged by Chuck Sher. For E§ Instruments, Melody/Lyrics/Chords....(+)
By Various. Arranged by
Chuck Sher. For E§
Instruments,
Melody/Lyrics/Chords.
Latin and Latin Jazz.
Difficulty: easy-medium
to medium. Fakebook
(spiral bound). Melody
and chord names. 572
pages. Published by Sher
Music Company
$40.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
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