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Partitions numériques (guide d'achat)
Recherche#Sam-Franko
Partitions (expédition des USA)
Wolfgang Amadeus Mozart: Violin Concerto In A Major, K. 219 Violon et Piano [Set de Parties séparées] Barenreiter
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Christoph Hellmut Mah...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791), edited by
Christoph Hellmut
Mahling. K. 219. Set of
performance parts
(includes separate
pull-out violin part) for
violin and piano. Urtext
of the New Mozart
Edition. With solo part,
piano reduction and
introductory text. A
Major. 69 pages.
Published by
Baerenreiter-Ausgaben
(German import).
$27.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Johann Sebastian Bach: Arioso Violoncelle, Piano [Conducteur et Parties séparées] Hal Leonard
By Johann Sebastian Bach (1685-1750), arranged by Sam Franko. Set of performance...(+)
By Johann Sebastian Bach
(1685-1750), arranged by
Sam Franko. Set of
performance parts for
violin solo (or cello)
and piano accompaniment.
For violin or cello and
piano. G Major. Published
by Hal Leonard.
(2) $3.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Wolfgang Amadeus Mozart: Violin Concerto No. 5 in A Major, K. 219 - Violin/Piano Violon et Piano [Set de Parties séparées] Schirmer
Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Sam Franko. K. 219. I...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791), edited by
Sam Franko. K. 219.
Instrumental solo book
for violin solo and piano
accompaniment. With solo
part, standard notation,
bowings, fingerings and
piano reduction. A Major.
54 pages. Published by G.
Schirmer, Inc.
(2) $11.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Nestler History Of Music Bk Ge Schott
(BR) SKU: HL.49041700 Die grossen Zeitraume der Musik von den Anfangen...(+)
(BR)
SKU:
HL.49041700
Die
grossen Zeitraume der
Musik von den Anfangen
bis zur elektronischen
Komposition . Composed
by Nestler. This edition:
Paperback/Soft Cover.
Paperback. Serie Musik.
Dies ist die Einladung zu
einer musikalischen
Zeitreise. Der Einstieg
erfolgt bei den alten
Griechen,
Zwischenstationen konnen
bei den Meistern in Paris
oder den Niederlanden, in
Venedig und Wien
eingelegt werden. Letzter
Halt: Die Werkstatt der
elektroni. 660 pages.
Schott Music #SEM 8204.
Published by Schott Music
(HL.49041700).
ISBN
9783254082046.
German.
Gerhard
Nestler erzahlt die
Musikgeschichte von einem
ungewohnlichen Ansatz
her: Der Autor fuhrt den
Leser durch die
Jahrtausende und durch
die europaische Geografie
auf eine Reise uber die
musikalischen Zentren.
Ausgehend von den alten
Griechen, uber Paris (mit
seiner
Notre-Dame-Schule), den
Hennegau mit seinen meist
niederlandisch genannten
Meistern, Venedig, Wien
fuhrt die Reise mit
vielen Zwischenstationen
in die heutige Zeit. Die
zahlreichen
Querverbindungen zwischen
den Zentren
verdeutlichen, dass die
Weiterentwicklung der
Musik stets eine
gesamteuropaische, nicht
eine nationale war.
$24.95 - Voir plus => Acheter
36 Celebrated Studies for the Cornet Carl Fischer
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited b...(+)
Chamber Music Cornet
SKU: CF.O88X
Composed by Narcisse
Bousquet. Edited by Joey
Tartell Edwin Franko
Goldman. SWS. Softcover.
With Standard notation.
44 pages. Carl Fischer
Music #O88X. Published by
Carl Fischer Music
(CF.O88X).
ISBN
9781491153406. UPC:
680160910908. 9 X 12
inches.
These
studies are a staple of
the advanced trumpet
method repertoire. Each
etude is an exploration
of a wide variety of
registers, articulations
and tonalities. While
going through these 36
etudes the trumpeter will
develop an even sound in
all registers while
tackling the musical and
melodic challenges that
lie
within. IntroductionTi
ps on Musical
PracticeStarting a new
study can be
overwhelming. Using Etude
No. 1, here’s an
example of how to
approach working on these
etudes with both
musicality and technique
in mind.Bousquet’s
first study can be broken
down into three large
musical sections:Section
1: from the beginning to
the downbeat of m.
26.Section 2: from the
upbeat of 2 in m. 26 to
the downbeat of m.
51.Section 3: from the
downbeat of m. 51 to the
end.Each one of those
sections can be broken
down into two smaller
sections:Section 1a: from
the beginning to the
downbeat of m. 16.Section
1b: from the downbeat of
m. 16 to the downbeat of
m. 26.Section 2a: from
the upbeat of 2 in m. 26
to the end of m.
35.Section 2b: from m. 36
to the downbeat of m.
51.Section 3a: from the
downbeat of m. 51 to the
downbeat of m. 59.Section
3b: from the downbeat of
m. 59 to the end.To get
started playing, choose a
slow tempo that allows
you to play Section 1 all
the way through without
stopping. If that is
problematic, just play
through 1a.Remember to
focus on the music.
Section 1a is light,
moving in four-measure
phrases to the ninth
measure, where it
cadences in G. From
there, retain the
lightness through the
arpeggiation that
concludes with the trill
that brings an arrival
point at Section 1b. Here
the style changes
completely, alternating
two measures of fluid,
connected sixteenth notes
with two measures of
scalar staccato
sixteenths before finally
cadencing on the downbeat
of m. 26.Section 2 begins
with a melodic line of
eighth notes, punctuated
by sixteenths in the
third full measure before
returning to the original
line for only a measure
before driving forward
with a flourish to finish
Section 2a. Section 2b
starts back in C with
four-measure phrases in
which the line moves up
for two measures, then
down for two measures,
ending in G. The last
seven measures of Section
2 stay light as they work
their way back to
C.Section 3 is very
exciting, starting with a
fiery cornet solo-like
passage in 3a. 3b brings
the piece to a dramatic
conclusion outlining C
major for the first four
measures before
arpeggiating C major and
G dominant for two
measures, finally
finishing with the
C-major scale.The next
step is to isolate any of
the parts that proved
troublesome. Examples
could include missed
notes or figuring out
where to breathe. Once
you have practiced the
troublesome sections in
isolation, play the
section all the way
through without stopping
again. Even if there are
still problems, you are
now practicing in a way
that is preparing you to
perform musically.The
next day, play through
Section 1 again, at a
tempo that allows you to
do this without stopping.
Now go on to Section 2,
and follow the same three
steps:Play all the way
through, at a tempo that
allows you to do so
without stopping,Isolate
and practice the
troublesome passages,
thenPlay all the way
through, at a tempo that
allows you to do so
without stopping.Now play
from the beginning to the
end of Section 2.The next
day, play Section 1. Now
play Section 2. Then play
Section 3 and apply the
same three steps outlined
above.Now play the whole
study. At this point you
have spent time on each
section, making musical
decisions and correcting
mistakes. Increase the
tempo as you gain
confidence and control of
the material. As you work
towards performing the
entire study as a piece
of music, record yourself
playing the entire study
as a performance each
day. Review the
recordings to reveal what
still needs work. Be
honest with yourself!
When you are happy with
the recording of your
performance, it’s time
to move on to the next
study.About the Goldman
PrefaceThese studies will
be an excellent practice,
especially for the lower
register of the Cornet,
which is somewhat
neglected in other
instruction books. It is
recommended that the
pupil should practice one
of this series of Studies
now and then to repose
his lips, and acquire
facility in difficult
fingering.— Edwin
Franko GoldmanIn his
original preface, Edwin
Franko Goldman is
absolutely correct that
these studies are
excellent practice and
will help with the
dexterity demanded of
today’s player.
Although the low register
is certainly explored
throughout the book, it
does not appear to be the
focus of these studies.
There are many books
available now that
concentrate on the low
register. The suggested
fingerings have been
removed. Using alternate
fingerings was more
common to cornet players
to aid in the fluidity of
a passage. This practice
is not nearly as common
today, especially with
trumpet players, as the
difference in timbre
caused by the alternate
fingerings is disruptive
to the musical line.
Published for cornet, as
it was the solo
instrument of choice in
the 1920s, these etudes
are just as useful to
today’s trumpet player.
When playing these
studies on trumpet, the
performer should strive
for a fluid line while
maintaining a full and
clear sound. Because of
the musicianship and
technique demanded, this
book remains as useful
today as it has ever
been.— Joey
TartellAbout Narcisse
Bousquet and the 36
EtudesNarcisse Bousquet
(c. 1800–1869) was
French by birth, active
as a composer, editor and
arranger in both France
and England in the early
nineteenth century.
Bousquet was respected as
an accomplished performer
of the French flageolet,
a high-pitched woodwind
instrument much like a
recorder, although later
outfitted with the Boehm
key system like the
modern flute. Although
obsolete in modern times,
the instrument once
enjoyed great popularity
with a variety of
composers and performers,
both amateur and
professional. Purcell and
Handel composed for the
instrument, and Berlioz
was purportedly an
accomplished amateur
performer of the
flageolet. The Scottish
author Robert Louis
Stevenson, likewise, was
a proficient performer of
the instrument and
composed a number of
pieces for it.Little is
known today of
Bousquet’s life. He
composed a large variety
of music, including works
specifically for the
flageolet, which were
widely appreciated in
their day. The 36 Etudes
for flageolet are
undoubtedly the most well
known of his works.
Published in 1851, the
Etudes explore a variety
of techniques, such as
scales, arpeggios,
ornamentation, breath
control and expressive
playing, and their
technically demanding
writing confirms
Bousquet’s prowess as a
flageolet performer.
However, the date of the
arrangement of the etudes
for cornet and their
arranger remain
speculative. Edwin Franko
Goldman is credited as
the arranger of the 1890
publication by Carl
Fischer, although Goldman
would have been only
twelve years old at the
time; his work on these
pieces surely came at a
later time. Bousquet
himself may have arranged
these pieces for cornet
at the request of an
accomplished cornet
player at some point
after their
publication.
$16.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Practical Studies for the Trumpet Trompette Carl Fischer
Chamber Music Trumpet SKU: CF.O243X Composed by Edwin Franko Goldman. Edi...(+)
Chamber Music Trumpet
SKU: CF.O243X
Composed by Edwin Franko
Goldman. Edited by Joey
Tartell. SWS. Book. With
Standard notation. 48
pages. Carl Fischer Music
#O243X. Published by Carl
Fischer Music (CF.O243X).
ISBN 9781491151006.
UPC: 680160908509. 9x12
inches.
Edwin
Franko Goldman's
Practical Studies for the
Trumpet, edited by Joey
Tartell, is a terrific
tool for addressing the
issues that all trumpet
players encounter. This
book can be used to
introduce concepts to
young students as well as
fine tune the same
concepts for advanced
students.
$18.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Klingende Melodien Vol. 3 Piano seul - Facile Schott
Piano (Vol 3) - easy SKU: HL.49015098 Eine Sammlung von beliebten Tanz...(+)
Piano (Vol 3) - easy
SKU: HL.49015098
Eine Sammlung von
beliebten Tanzen,
Marschen, Liedern und
Stucken, leicht
gesetzt . Edited by
Richard Krentzlin. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 48 pages.
Schott Music #ED 4350.
Published by Schott Music
(HL.49015098).
ISBN
9790001051316.
9.0x12.0x0.21
inches.
$20.99 - Voir plus => Acheter
Concerto Grosso in d for Two Violin and Cello Soli, Op. 3 No. 11, F.IV/11 Lucks Music Library
(str,2 vn & vc obligato) SKU: TM.06947SC Composed by Antonio Vivaldi. Arr...(+)
(str,2 vn & vc obligato)
SKU: TM.06947SC
Composed by Antonio
Vivaldi. Arranged by
Franko. Score. Published
by Lucks Music Library
(TM.06947SC).
Soli in set.
Soli and ripieno parts
together on same
page.
$20.00 - Voir plus => Acheter Délais: 2 to 3 weeks
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