| Six Pieces - The Ensemble Collection [Conducteur et Parties séparées] - Intermédiaire Schott
2 violins, viola (cello) and piano - intermediate SKU: HL.49003244 Sco...(+)
2 violins, viola (cello)
and piano - intermediate
SKU: HL.49003244
Score and Parts.
Composed by John Kember.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score and
Parts. 52 pages. Schott
Music #ED12500. Published
by Schott Music
(HL.49003244). ISBN
9790220117473. UPC:
884088073435.
9.0x12.0x0.181
inches. 2 violins,
viola (cello) and piano.
Presented in a variety of
styles, these short
pieces gieve each player
an equal share of the
melodic interest and are
aimed at students of
similar playing
experience and standards.
The minimum of teacher
assistance should be
required. This series
will prove a valuable
addition to the
repertoire as items of
ensemble playing for
concert performance as
well as for friends of
all ages to play together
for enjoyment.
...extremely useful to
teachers who want to
encourage chamber music
playing with youngsters
of about grade 5
standart. (Jean Horsfall,
Music Teacher Magazine)
Nocturne * Barcarolle *
Romance * Melodie * Waltz
* Russian Dance. $23.95 - Voir plus => Acheter | | |
| Simply Romantic Era Piano seul [Partition] Alfred Publishing
(24 Well Known Masterpieces). Arranged by Carol Matz. For Piano. Masterworks; Pi...(+)
(24 Well Known
Masterpieces). Arranged
by Carol Matz. For Piano.
Masterworks; Piano
Collection; Piano
Supplemental. Simply
Series. Masterwork;
Recital; Romantic. Easy
Piano. Book. 80 pages
$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Favorite Italian Songs Piano, Voix Ricordi
Piano; Vocal SKU: HL.50499587 Voice and Piano. Composed by Various...(+)
Piano; Vocal SKU:
HL.50499587 Voice
and Piano. Composed
by Various. Vocal
Collection. Collection,
Folk, Italian. Softcover.
Composed 2014. Ricordi
#MLR908. Published by
Ricordi (HL.50499587).
UPC: 888680630379.
9.0x12.0x0.425
inches. Contents:
Anema e core *
Arrivederci Roma *
Carmela * Caruso * Casta
diva * Che gelida manina
* Con te partiro * Core
'ngrato * Coro a bocca
chiusa (Madama Butterfly)
* Di quella pira * E
lucevan le stelle *
Fenesta che lucive *
Funiculi funicula *Inno
di Mameli * La donna e
mobile * Libiam ne' lieti
calici * Marechiare *
Mattinata * Mi chiamano
Mimi * Nel blu, dipinto
di blu * Nessun dorma *
Non dimenticar * O mio
babbino caro * Quando,
quando, quando *
Recondita armonia * Resta
cu' mme *Roma nun fa' la
stupida stasera * Santa
Lucia * Santa Lucia
luntana * Tammurriata
nera * Una furtiva
lagrima * Una voce poco
fa * Un bel di vedremo *
Va pensiero sull'ali
dorate * Vierno * Vissi
d'arte, vissi
d'amore.
Inhalt:
Anema e core *
Arrivederci Roma *
Carmela * Caruso * Casta
diva * Che gelida manina
* Con te partiro * Core
'ngrato * Coro a bocca
chiusa (Madama Butterfly)
* Di quella pira * E
lucevan le stelle *
Fenesta che lucive *
Funiculi funicula *Inno
di Mameli * La donna e
mobile * Libiam ne' lieti
calici * Marechiare *
Mattinata * Mi chiamano
Mimi * Nel blu, dipinto
di blu * Nessun dorma *
Non dimenticar * O mio
babbino caro * Quando,
quando, quando *
Recondita armonia * Resta
cu' mme *Roma nun fa' la
stupida stasera * Santa
Lucia * Santa Lucia
luntana * Tammurriata
nera * Una furtiva
lagrima * Una voce poco
fa * Un bel di vedremo *
Va pensiero sull'ali
dorate * Vierno * Vissi
d'arte, vissi
d'amore.
Contents:
Anema e core *
Arrivederci Roma *
Carmela * Caruso * Casta
diva * Che gelida manina
* Con te partiro * Core
'ngrato * Coro a bocca
chiusa (Madama Butterfly)
* Di quella pira * E
lucevan le stelle *
Fenesta che lucive *
Funiculi funicula * Inno
di Mameli * La donna e
mobile * Libiam ne' lieti
calici * Marechiare *
Mattinata * Mi chiamano
Mimi * Nel blu, dipinto
di blu * Nessun dorma *
Non dimenticar * O mio
babbino caro * Quando,
quando, quando *
Recondita armonia * Resta
cu' mme * Roma nun fa' la
stupida stasera * Santa
Lucia * Santa Lucia
luntana * Tammurriata
nera * Una furtiva
lagrima * Una voce poco
fa * Un bel di vedremo *
Va pensiero sull'ali
dorate * Vierno *Vissi
d'arte, vissi
d'amore. $23.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 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 | | |
| Verbum Caro Carl Fischer
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus SKU:
CF.CM9588 Composed by
Tomas Luis de Victoria.
Arranged by Jeb Mueller.
Fold. Performance Score.
8 pages. Duration 1
minute, 59 seconds. Carl
Fischer Music #CM9588.
Published by Carl Fischer
Music (CF.CM9588).
ISBN 9781491154106.
UPC: 680160912605. 6.875
x 10.5 inches. Key: Eb
major. Latin. Traditional
Latin. Tomas Luis
de Victoria (15481611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victorias time. It should
be noted that dynamics
are largely subjective,
so performers may make
alternative choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[v??bum k??? p?n?m v?rum]
verbo carnem efficit:
fitque sanguis Christi
merum. [v??b? k??n?m
??fit?it fitkw? s??gwis
k?isti m??um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[?t si s?nsus ?d?fit?it,
?d fi??m?ndum k?? sin
t???um] Jeb
Mueller. TomA!s Luis
de Victoria (1548a1611)
is widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoriaas time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is ao,a which
sounds similar to the
English words bought and
got. The letter ata
should be produced
dentally: lift the tongue
to the top of the mouth
as in English, but
aspirate less on the
release. All occurrences
of asa should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum, [vEE
3/4 bum kEE 3/4 E pEnEm
vErum] verbo carnem
efficit: fitque sanguis
Christi merum. [vEE 3/4
bE kEE 3/4 nEm EEfitEit
fitkwE sEAgwis kE 3/4
isti mEE 3/4 um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[Et si sEnsus EdEfitEit,
Ed fiE 3/4 EmEndum kEE
3/4 sin tEEE 3/4 um] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange lingua based
on a Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano. The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomás Luis
de Victoria
(1548–1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano.The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance.Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria’s time.
It should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and
clarity.PRONUNCIATION
GUIDEVictoria received
much of his training in
Italy, therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is
“o,†which
sounds similar to the
English words bought and
got. The letter
“t†should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of “s†should
be soft and never
hardened to [z], such as
in praise.Verbum caro,
panem
verum,[vɛɾbum
kɑɾɔ
pɑnɛm
vɛrum]verbo carnem
efficit: fitque sanguis
Christi
merum.[vɛɾbɔ
kɑɾnɛm
ˈɛfitʃit
fitkwÉ›
sɑŋgwis kɾisti
mɛɾum]Et si sensus
deficit, ad firmandum cor
sin cerum.[ɛt si
sɛnsus
ˈdɛfitʃit,
É‘d
fiɾˈmɑndum
kɔɾ sin
tʃɛɾum]Jeb
Mueller. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| 24 Meisterwerke der Romantik für Klavier Piano seul Music Distribution Services
Piano SKU: M7.ART-42203 Romantische, leicht spielbar arrangierte Klavi...(+)
Piano SKU:
M7.ART-42203
Romantische, leicht
spielbar arrangierte
Klaviernoten für
Klassik-Liebhaber.
Arranged by Theresia
Prelog. Score with online
audio files. Performance
book. 60 pages. MDS
(Music Distribution
Services) #ART 42203.
Published by MDS (Music
Distribution Services)
(M7.ART-42203). ISBN
9783866422032. Die
vorliegende
Klassik-Sammlung bietet
eine spannende Auswahl
von Meisterwerken
berühmter Komponisten
der Romantik wie u.a.
Chopin, Schubert, Grieg,
Schumann, Mussorgski und
Mendelssohn-Bartholdy.
Viele Klavierschüler
und Hobbypianisten haben
den Wunsch,
weltberühmte
klassische Melodien
selbst zu spielen und
vorzutragen. Die
vorliegenden Arrangements
in leicht spielbarer
Fassung ermöglichen
dies und bleiben dennoch
so nahe wie möglich am
Original. Diese Sammlung
enthält bekannte
Kompositionen, bietet
aber auch die
Gelegenheit, weniger
bekannte Werke
kennenzulernen und stellt
somit einen reichen
Fundus für
Klavierunterricht und
Hobby dar. Die Stücke
sind mit Tempoangaben und
Fingersätzen versehen
und für Spieler*innen
aller Altersstufen ab dem
3. bis 4. Unterrichtsjahr
sowie für erwachsene
Wiedereinsteiger
geeignet. Als
zusätzliche Lernhilfe
dient der zum Buch
erhältliche kostenlose
Download mit
Audio-Dateien aller
Werke. Allen Kindern,
Jugendlichen und
Erwachsenen wünschen
wir viel Freude bei der
Interpretation dieser
wundervollen
Melodien. $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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