| Viioloncell-Flageolett-Schule Hofmeister Musikverlag
Violoncello SKU: HF.FH-1049 Op. 147. Composed by Justus Johann Fri...(+)
Violoncello SKU:
HF.FH-1049 Op.
147. Composed by
Justus Johann Friedrich
Dotzauer. Edited by Bruns
and Schulz. Sheet music.
40 pages. Friedrich
Hofmeister Musikverlag
#FH 1049. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-1049).
ISBN 9790203410492. 9
x 12 inches. 1. Von
den naturlichen
Flageolett-Tonen; 2. Von
den kunstlichen
Flageolett-Tonen. $38.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Eine Flageolett-spiel Guitars - Intermédiaire Schott
1-3 guitars and other instruments - intermediate SKU: HL.49007111 Compose...(+)
1-3 guitars and other
instruments -
intermediate SKU:
HL.49007111 Composed
by Lorenz Schmidt. Edited
by Dieter Kreidler. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 20 pages.
Schott Music #ED 7288.
Published by Schott Music
(HL.49007111). ISBN
9790001076166.
German. $19.95 - 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 => AcheterDélais: 1 to 2 weeks | | |
| Mantel G+r Cello M Spass U Hugo Bd3 - Facile Schott
Cello (VC) - easy to intermediate SKU: HL.49032608 Ein neuer Weg zum C...(+)
Cello (VC) - easy to
intermediate SKU:
HL.49032608 Ein
neuer Weg zum
Cellospiel. Composed
by Mantel. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Student book. 88 pages.
Schott Music #ED 8404.
Published by Schott Music
(HL.49032608). ISBN
9783795751753.
9.0x11.75x0.189 inches.
German. Renate
Mantel. Diese
Celloschule wendet sich
an den Einzel- und
Gruppenunterricht mit
Kindern von 5-10 Jahren.
Die Lese- und
Spielfahigkeit werden
parallel entwickelt.
Neben der traditionellen
Notenschrift gibt es zur
visuellen Verdeutlichung
Block-Noten und eine
Griffschrift. Von Anfang
an wird Musik gemacht.
Die cellistischen
Bewegungsablaufe werden
leicht verstandlich
erlautert und bewusst
trainiert. Mit speziellen
Hinweisen erhalten auch
die Eltern die
wichtigsten
Informationen, damit sie
das Uben ein wenig
unterstutzen konnen.
Locker formulierte Texte,
frohliche Lieder, farbige
Illustrationen und
Anregungen fur
Improvisation und
Auswendigspiel bringen
Spass am Cellospiel. Band
3 fuhrt nach der
gestreckten 4. Lage
zunachst die 3. Lage,
dann die halbe Lage und
schliesslich die relativ
unstabile 2. Lage ein.
Nach und nach werden dann
anspruchsvollere
cellistische Aufgaben
behandelt: Vibrato,
Doppelgriffe,
Tenorschlussel,
Flageolett-Ton,
anspruchsvollere
Strichtechniken (Saltato,
Spiccato), komplexere
Rhythmen und
Saitenubergange und
vieles mehr. $31.00 - Voir plus => Acheter | | |
| Repertory for recorders (1670-1780) Anne Fuzeau Productions
Recorder, Flageolet, Galoubet SKU: FZ.50501 For recorder, flageolet an...(+)
Recorder, Flageolet,
Galoubet SKU:
FZ.50501 For
recorder, flageolet and
galoubet. Edited by
Patricio Portell.
Mnemosis: The Memory of
Music Collection. Book
and CD. Published by Anne
Fuzeau Productions -
France (FZ.50501).
ISBN 9782841691692.
17.00 x 24.00 cm
inches. Delve into
the memory of music with
the Mnemosis collection
from Anne Fuzeau
Classique. The recorder
enjoyed its golden age
from the late 17th
century to the first half
of the 18th century. Not
only was the instrument
part of the orchestra of
kings and the theatre
companies of major town
in Europe, but it also
contributed to the
enjoyment of small,
intimate performed in the
Chateaux and residences
of the flourishing
bourgeoisie who were
eager to listen to music.
it is mainly for this
public that an enormous
number of scores were
printed in order to
satisfy the growing
circles of music lovers.
Everything was printed,
from erudite to
fashionable music, from
church to chamber music,
to please all tastes and
styles. until now, no
bibliography of music for
the flute, printed during
the period when this
instrument enjoyed so
much popularity, has been
published. This
bibliography helps to
identify over one
thousand titles of works
composed directly or
indirectly for the
recorder. this work makes
it possible to locate
and, therefore, learn all
about a vast musical
repertory that has been
lying dormant on the
shelves of librairies,
just wainting to be
discovered. Summary:
Introduction. Liste des
abreviations. Liste des
bibliotheques avec leur
abreviations. A : Oeuvres
pour la flute a bec. B :
Oeuvres qui peuvent aussi
se jouer sur la flute a
bec. C : Recueils. D :
Oeuvre didactiques. Index
par instrument.
Bibliographie. $35.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Partch H Settings From Finnegans Wake2 Schott
Voice Part (Sopran) and 2 Flutes (Voice And Ensemble) - difficult SKU: HL.490...(+)
Voice Part (Sopran) and 2
Flutes (Voice And
Ensemble) - difficult
SKU: HL.49033024
Text by James
Joyce. Composed by
Harry Partch. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Performance score,
Faksimile-Edition.
Composed 1944. 14 pages.
Duration 3'. Schott Music
#ED9346. Published by
Schott Music
(HL.49033024). ISBN
9790001130479. UPC:
841886029453.
8.5x11.75x0.075 inches.
English. Harry
Partch met soprano Ethel
Luening in 1942 and two
years later composed this
work for her. Initial
performances featured
Luening as soprano with
Partch playing his
kithara, and composer
Henry Brant playing
double flageolet; Partch
would eventually replace
the double flageolet with
two flutes. The use of
the complex text from
James Joyce's Finnegan's
Wake contrasts strongly
with Partch's other works
at the time, which used
texts from Partch's
experiences as a
transient or from authors
like Thomas Wolfe. $11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flageolet Harpe, Flûte (duo) Theodore Presser Co.
Chamber Music Flute, Harp SKU: PR.144404090 Soliloquy-Variations: for ...(+)
Chamber Music Flute, Harp
SKU: PR.144404090
Soliloquy-Variations:
for Solo Flute and
Optional Harp.
Composed by Sydney F.
Hodkinson. Classical. Set
of parts. With Standard
notation. Composed 1984.
Duration 5:30. Theodore
Presser Company
#144-40409. Published by
Theodore Presser Company
(PR.144404090). UPC:
680160538522. $10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| What Is The Word, Kopi Violoncelle Music Sales
Cello SKU: HL.14035889 Composed by Per Norgard. Music Sales America. Clas...(+)
Cello SKU:
HL.14035889 Composed
by Per Norgard. Music
Sales America. Classical.
Book [Softcover]. 9
pages. Music Sales
#KP00672. Published by
Music Sales
(HL.14035889). ISBN
9788759859285.
English-Danish. I -
Lento II - Imposante
III - Andante
Programme Note
In my early
television remembrance I
recall a broadcast with
Samuel Beckett, one of
the fathers of the absurd
play and drama. At one
time Beckett looked the
viewer (the camera) in
the eye and said:'What! -
is the Word'. I have not
since been able to forget
it, obviously, having
borrowed this ambiguous
sentence as title for
this short cello sonata.
The fact that
it is conceived as a
unity is obvious from the
fact that the two outer
movements are closely
related. The long,
immediately recognizable
melodic line which
dominates the first
movement appears in the
third movement aswell,
first in an inverted
version and then almost
identical to its original
appearance, only shorter.
In contrast, the
middle movement is a fast
one, constantly and
intensely on the move,
with many changes of
pulse and meters, as well
as large melodic leaps.
And while the outer
movements each are
composed as a single
melodic line, the middle
movement makes extensive
use of the cello as a
polyphonic instrument
employing lots of chords,
double stops and
flageolet effects.
Per Norgard
(2010). $16.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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