| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flute En Suite Flute And Piano Reducation Schott
Flute and orchestra (FLUTE PIANO) - difficult SKU: HL.49044665 For flu...(+)
Flute and orchestra
(FLUTE PIANO) - difficult
SKU: HL.49044665
For flute and
orchestral groups.
Composed by Jorg Widmann.
This edition: Saddle
stitching. Sheet music.
Woodwind Solo. This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface,. Softcover.
Composed 2011. 80 pages.
Duration 22'. Schott
Music #FTR225. Published
by Schott Music
(HL.49044665). ISBN
9790001200103. UPC:
841886022928.
9.0x12.0x0.213
inches. This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface, hover in
dangerously distorted
fashion and then sink
back to the bottom.Almost
every individual movement
allots the solo flute a
specific tonal colouring
and an instrumental group
from the orchestra: in
the opening Allemande,
the flutes of the
orchestra (including alto
and bass flute and later
also piccolo to include
the entire flute family);
the string section in the
Sarabande; in both
chorales (extremely muted
in the first and
brutalist in the second),
the brass etc.; and it is
only in the concluding
Badinerie that all
orchestral groups are
combined, although they
are terraced in the
Baroque style, one
following another, seldom
all playing
simultaneously.This
permits the flute to
remain the provider of
all impulses; it attaches
itself to the wide
variety of instrumental
colours, becomes suffused
with these colours and
thereby shines in
different lights -
acerbic, pale and
radiant. This first
performance marks the
conclusion of my two-year
residence with the
Cleveland Orchestra. The
immense versatility of
this fine body of sound
(which is indeed treated
as such with the sum of
its parts) and the
exciting dark timbre of
its principal flautist
Joshua Smith have to a
great extent determined
the form and tonal
character of my Flute en
suite. Jorg
Widmann
This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface, hover in
dangerously distorted
fashion and then sink
back to the bottom.Every
individual movement
allots the solo flute an
instrumental group from
the orchestra: in the
opening Allemande, the
flutes of the orchestra;
the string section in the
Sarabande; in both
chorales the brass etc.;
and it is only in the
concluding Badinerie that
all orchestral groups are
combined, although they
are terraced in the
Baroque style, one
following another, seldom
all playing
simultaneously.This first
performance marks the
conclusion of my two-year
residence with the
Cleveland Orchestra. The
immense versatility of
this fine body of sound
and the exciting dark
timbre of its principal
flautist Joshua Smith
have to a great extent
determined the form and
tonal character of my
Flute en suite. Jorg
Widmann
3 (2. auch
Altfl., 3. auch Bassfl.,
alle auch Picc.) * 3 (2.
auch Ob. d'am., 3. auch
Engl. Hr.) * 0 * 3 (3.
auch Kfg.) - 4 * 4 * 3 *
1 - S. (Glsp. * Vibr. * 3
hg. Beck. [h./m./t.] *
chin. Beck. * 4 Gongs * 4
Buckelgongs * 2 Tamt.
[m./t.] * Wassertamt. *
gr. Tr. * Metal Chimes *
Peitsche) (2 Spieler) -
Hfe. * Cel. (auch Cemb.)
- Str. (10 * 8 * 6 * 4 *
3). $74.00 - Voir plus => Acheter | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114406980 Vista...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114406980
Vistas. Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation. 42 +
112 pages. Duration 25
minutes. Theodore Presser
Company #114-40698.
Published by Theodore
Presser Company
(PR.114406980). UPC:
680160010806. Shula
mit Ran’s second
string quartet, subtitled
“Vistas,â€
occupies a large canvas
that is cast in a
traditional fourmovement
mold, where the outer
movements present,
explore, and later return
to the work’s
principal musical
materials, surrounding a
slow movement and
scherzo-type third
movement with a trio. In
addition to tempo-based
titles, the individual
movements have subtitles
that are evocative of
each movement’s
character, as follows: I.
Concentric: from the
inside out II. Stasis
III. Flashes IV.
Vistas. My second
string quartet,
“Vistasâ€, is
a work cast in a
traditional four-movement
formal mold, with the
outer movements,
presenting and later
returning to the
work’s principal
musical materials,
surrounding a slow
movement and a
scherzo-type third
movement.While the four
movements’
“properâ€
names -- Maestoso con
forza, Lento, Scherzo
impetuoso, and
Introduzione; Maestoso e
grande – give some
indication of the general
character of the
individual movements, I
have also subtitled, less
formally, each movement
as follows:Â 1)
Concentric:Â from the
inside out 2)Â
Stasis 3) FlashesÂ
4) Vista. The images
evoked by these titles
tell one, I think, a bit
more about the inner
workings of the
quartet.In the first
movement, a prominently
presented opening pitch
(E) reveals itself, as
the movement unfolds, to
be a center of gravity
from which ever-growing
cycles of activity
gradually evolve.Â
While various important
themes come into being as
the movement progresses,
their impact on the
listener has, I believe,
a great deal to do with
their juxtaposition and
relationship to the
initial central point of
gravity.Stasis is, as the
name implies, a movement
where activity seems, at
times, almost
suspended. Being
also, as Webster’s
Dictionary reminds us,
“a state of static
balance and equilibrium
among opposing tendencies
or forces,†it
develops various
materials, including ones
from the first movement,
without bringing them to
points of
resolution.Flashes is
short and very fast,
evoking in my mind the
quick shimmer of
fireflies, a
“sudden burst of
lightâ€, but also a
“brief
timeâ€. Perhaps,
even, a
“smile�Final
ly, the last movement,
Vista, is not only
“a view or
outlookâ€, but also
“a comprehensive
mental view of a series
of remembered or
anticipated
events.â€Â After
a brief recall of the
opening of the second
movement, this movement
brings back all the
important themes of the
first movement in their
original order. But
just as going back can
never really mean going
back in time, the
movement is much more
than recapitulatory.Â
By cutting through
previously transitory
passages and presenting
the main ideas in a
fashion more direct yet
more evolved, it also
sheds new light on
earlier events, offering
a retrospective, synoptic
view of the first
movement as it brings to
culmination the work as a
whole. “Vistasâ
€ was commissioned by
C. Geraldine Freund for
the Taneyev String
Quartet of what was then
Leningrad. It was the
first commission given in
this country to a Soviet
chamber ensemble since
the 1985 cultural
exchange accord between
the Soviet Union and the
United States. $285.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fare musica insieme N. 2 per gruppi strumentali. Esperienze per interpretare e inventare la musica Ut Orpheus
Methods and Music for Children (Flute I, Flute II, Clarinet I, Clarinet II, Clar...(+)
Methods and Music for
Children (Flute I, Flute
II, Clarinet I, Clarinet
II, Clarinet III, Bassoon
I, Bassoon II, Trumpet I,
Trumpet II, Strum Orff,
Percussion, Guitar I,
Guitar II, Violin I,
Violin II, Cello I, Cello
II, Piano) SKU:
UT.DM-39B Composed by
Gabrielangela Spaggiari.
Saddle stitching. Fare
Musica. Classical. Set of
Parts. 174 pages. Ut
Orpheus #DM 39B.
Published by Ut Orpheus
(UT.DM-39B). ISBN
9790215310056. 9 x 12
inches. Il secondo
quaderno dedicato alla
musica d’insieme
è diviso in due
parti: la prima comprende
partiture classiche da me
trascritte per strumenti
musicali tradizionali con
alcuni interventi dello
strumentario Orff, la
seconda propone alcune
attività di
esplorazione sullo
strumento, di
elaborazione di materiali
sonori e di
improvvisazione
collettiva. I brani
trascritti ed elaborati
nella prima parte del
quaderno si susseguono
secondo un ordine di
difficoltà
crescente e sono presi
dal repertorio colto: dal
tardo barocco alla prima
metà del
Novecento. Le
trascrizioni non
prevedono organici
originali della
letteratura cameristica
classica: le partiture
sono state scritte con
intenti principalmente
didattici. La pratica
di musica
d’insieme, come
abbiamo già
ricordato presentando
Fare musica insieme n.
1, rappresenta
un’esperienza
fondamentale nella
formazione musicale
perché abitua lo
studente ad ascoltarsi in
rapporto agli altri e
rende più
consapevole e disinvolto
il suo rapporto con lo
strumento. Con questo
secondo quaderno vorremmo
però proporci
anche un obiettivo
più ambizioso:
quello di tentare di
favorire e stimolare le
capacità
analitiche,
interpretative e anche
creative. È per
questo che accanto allo
studio e
all’esecuzione
delle partiture vengono
qui suggerite anche una
serie di esperienze che,
sempre partendo
dall’ascolto e
dalla
‘analisi’
della musica, offrono lo
spunto per diverse
attività di
improvvisazione
collettiva e di
invenzione
musicale.
Il
percorso proposto nella
seconda parte del
quaderno si articola in
quattro fasi:
a)
L’allievo viene
sollecitato in un primo
momento a indagare e
sperimentare i diversi
suoni che riesce ad
ottenere con il proprio
strumento per poi
contribuire a creare,
anche con l’aiuto
di stimoli extramusicali
e sinestesici, situazioni
sonore insieme al
gruppo. b) Viene
proposta
l’elaborazione di
nuovi progetti
compositivi partendo
dalle partiture
trascritte nel quaderno:
aggiungendo, togliendo,
mescolando e modificando
gli elementi
musicali. c) Vengono
proposte diverse
attività di
improvvisazione prendendo
spunto dai principi
costruttivi individuati
ascoltando alcuni
brani. d) Si propone
di creare situazioni
sonore progettando e
interpretando grafici
inventati a partire dalle
analogie strutturali
ricavabili osservando le
strutture e gli elementi
che caratterizzano un
quadro,
un’architettura, un
elemento della natura,
ecc. L’intento
è quello di
aiutare l’allievo a
sviluppare le proprie
capacità di
comprensione, di
interpretazione e di
invenzione della musica e
nel contempo di favorire
una duttilità
esecutiva aperta, non
irrigidita,
creativa.
Mentre
il primo quaderno di
Fare musica
insieme è
pensato principalmente
per bambini di 8-12 anni,
questo prevede invece che
l’allievo abbia
già acquisito una
certa abilità
tecnica sullo
strumento. Il quaderno
si rivolge soprattutto
agli allievi delle scuole
di musica e delle scuole
medie a
indirizzo musicale.<
/p>
$61.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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