| Dance of the Curlews [Conducteur] Stainer and Bell
Two Harps SKU: ST.Y245 Composed by Rhian Samuel. String music. [Standard:...(+)
Two Harps SKU:
ST.Y245 Composed by
Rhian Samuel. String
music. [Standard:
Advanced]. Score. Stainer
& Bell Ltd. #Y245.
Published by Stainer &
Bell Ltd. (ST.Y245).
ISBN
9790220222245.
Dance of the Curlews
was written at the
request of harpist Skaila
Kanga for her students at
the Royal Academy of
Music, London. It is an
erratic dance in
irregular metres, one
harp answering the other
until a climax in 5/4 is
reached. In a contrasting
central section, the
instruments work together
to create a little
skipping melody as well
as its quiet, steady
accompaniment. This too
rises to a 5/4 climax
before the return of the
first material which
eventually dies away.
Throughout the piece,
each harp has its own
mode or 'scale'; though
the modes are quite
similar, at times they
produce marked harmonic
clashes. This is yet
another way in which the
piece explores
unrelentingly the
relationship of one
instrument to the
other. $15.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Easy Piano Pieces of the Classical and Romantic Eras: volume I (very easy / moderately easy)
Piano seul [Partition] - Débutant G. Henle
Eras - Volume I - Very Easy / Moderately Easy. By Easy Piano Pieces of the Class...(+)
Eras - Volume I - Very
Easy / Moderately Easy.
By Easy Piano Pieces of
the Classical and
Romantic Eras. Edited by
Walther Georgii. Piano
(Harpsichord), 2-hands.
Pages: 52. Urtext
edition-paper bound.
Published by G. Henle.
$20.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Italian Folk Dances from the Viggiano Tradition for Harp Harpe Ut Orpheus
Harp SKU: UT.HS-231 Arranged by Sara Simari. Saddle stitching. Classical....(+)
Harp SKU:
UT.HS-231 Arranged by
Sara Simari. Saddle
stitching. Classical. Ut
Orpheus #HS 231.
Published by Ut Orpheus
(UT.HS-231). ISBN
9790215324558. 9 x 12
inches. Tarascon
e; Tarantella Capuanese;
Valzer; Polka di
Vittorio; Tarantella
Stiglianese
Th
e history of the
Viggianesi, strolling
musicians, winds over a
period of about four
centuries and esprimeun
‘unicum’
musically and
anthropologically. Heirs
of a travelling musical
tradition that from the
late Middle Ages
inhabited more than just
the streets of the
Kingdom of Sicily and
Naples, the harpists of
this extraordinary story
made their first
appearances as early as
the end of the 1600s
engaged in musical
practices at
shrines. Armed with an
urgent need to make a
living together with a
strong musical
inclination, adaptability
and versatility, the
groups of musicians,
almost always belonging
to the same family
circle, became the
promoters of the great
Italian musical tradition
(Southern in particular),
and with their harps on
their shoulders they
became the identification
symbol of a well-defined
and limited area of
Italy: the Agri Valley,
in Basilicata. From
the many documents
examined, a very wide and
varied musical repertoire
emerges mixing the
pastoral tradition with
classical tradition
(mainly opera, devotional
music with songs from the
cities (from the
Neapolitan tradition to
international
production). The pastoral
repertoire, the subject
of this publication,
consists of a strongly
characterized native
repertoire which the
Viggianesi had
consolidated in both
public and private ritual
occasions in their native
land, even if performing
in distant
lands.
This
collection is included
among the compulsory
pieces of The 7th
International Harp
Contest in Italy Suoni
D’Arpa, 2017,
Category A –
Associazione Italiana
dell’Arpa –
www.ass
ociazioneitalianarpa.it
a> $16.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Guide to Early Keyboard Music Clavecin EMB (Editio Musica Budapest)
Piano or Harpsichord SKU: BT.EMBZ20018 France 1. By Szilvia Elek_A...(+)
Piano or Harpsichord
SKU: BT.EMBZ20018
France 1. By
Szilvia Elek_Anikó
Horváth. By Szilvia
Elek. Classical. Book
Only. Composed 2020. 108
pages. Editio Musica
Budapest #EMBZ20018.
Published by Editio
Musica Budapest
(BT.EMBZ20018).
Hungarian-English-Germ
an-French. This
brand-new series is
intended as a guide to
the keyboard music of the
16th to 19th centuries
for pupils of the piano
and the harpsichord, as
well as of other early
keyboard instruments.
Each volume contains
pieces by well-known and
lesser-known composers
from one country or
region. The main purpose
of the series is to
extend the repertoire and
stylistic knowledge of
both pianists and
harpsichordists while
also presenting fine
pieces and typical genres
based on original
sources. Our edition
retains the performance
indications of the
composers' manuscripts
and contemporary
editions. Each volume
includes:- suggestions
for stylistically
appropriate performance
bothon the piano and on
period instruments-
suggested elaborated
versions of some pieces
and excerpts- a fold-out
list of ornamentation
signs and the composers'
own tables of
ornamentation signs-
biographies of the
composers and the sources
of the pieces-
translations of
foreign-language
performance indications.
The two volumes devoted
to French keyboard music
includes close to 50
showy and relatively easy
works - preludes, dances,
suites, rondeaux, and
character pieces - from
the early 16th until the
late 18th century
(ordered
chronologically).This
publication is printed on
high-quality,
age-resistant paper that
is produced in an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials.
Cette
toute nouvelle collection
est un guide de la
musique pour clavier du
XVIe au XIXe siècle
adressé aux
élèves de piano et
clavecin, ainsi que
d'autres instruments
clavier anciens. Chaque
volume rassemble des
Å“uvres de
compositeurs
célèbres et moins
célèbres dans un
pays ou une région
(préludes, danses,
suites, rondeaux et
pièces de
caractère), ainsi que
des suggestions de jeu,
des versions
élaborées
suggérées et
extraits, une liste
dépliante des signes
d'ornement et les tables
des compositeurs, des
biographies des
compositeurs et les
sources des Å“uvres.
Cette publication a
été imprimée sur
du papier de qualité,
résistant au
vieillissement, et
produit dans le respectde
l'environnement et du
climat partir de
matières premières
renouvelables.
Una nuova collana
ideata per offrire una
guida alla scoperta della
musica per pianoforte e
clavicembalo dal
sedicesimo al
diciannovesimo secolo.
Ogni volume include brani
di compositori di una
specifica nazione o area
geografica. L'intento
è amplicare la
conoscenza e il
repertorio di ogni
musicista. Inoltre in
ogni edizione sono
riportati fedelmente i
suggerimenti per
l'interpretazione e le
indicazioni presenti sui
manoscritti originali. I
due volumi dedicati alla
musica francese includono
circa 50 brani
significativi - preludi,
danze, suites, rondò e
altri - che risalgono
all'inizio del sedicesimo
secolo fino alla fine del
diciottesimo secolo,
rigorosamente inordine
cronologico. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The William Bay Collection - Plectrum Guitar Solo Anthology Guitare [Partition + Accès audio] - Intermédiaire Mel Bay
Guitar - Intermediate SKU: MB.WBM58M Traditional, Wire bound, Celtic. Fol...(+)
Guitar - Intermediate
SKU: MB.WBM58M
Traditional, Wire bound,
Celtic. Folk. Book and
online audio. 216 pages.
Mel Bay Publications, Inc
#WBM58M. Published by Mel
Bay Publications, Inc
(MB.WBM58M). ISBN
9781736363058. 8.75x11.75
inches. A
comprehensive collection
of 172 guitar solos for
the flatpick or plectrum
guitarist. All solos are
written in standard
notation with
accompanying online
recordings by the author.
The solos include
beautiful American,
British and Celtic airs
and ballads, Celtic dance
tunes, lute and early
music, popular classical
repertoire and
contemporary etudes.
Includes access to online
audio. $34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 15 Easy Classical Solos Flûte traversière et Piano [Partition + CD] - Facile Anglo Music
Flute and Piano - easy SKU: BT.AMP-297-400 Arranged by Philip Sparke. Ang...(+)
Flute and Piano - easy
SKU:
BT.AMP-297-400
Arranged by Philip
Sparke. Anglo Music
Play-Along Series.
Classical. Book with CD.
Composed 2013. 16 pages.
Anglo Music Press #AMP
297-400. Published by
Anglo Music Press
(BT.AMP-297-400). ISBN
9789043138048. 9x12
inches.
English-German-French-Dut
ch. Part of the
Anglo Music Play-along
Series, Philip Sparkes
15 Easy Classical
Solos is aimed at the
young instrumentalist who
can play just over an
octave. Specifically
tailored to suit the
individual instrument,
this book introduces
thebeginning player to
the world of the classics
by using simple yet
attractive melodies that
fit their limited range.
The carefully selected
pieces include music from
the 16th to the 20th
century and cover a wide
variety of styles, from
Bach to Grieg and from
Purcell to Satie. This
book will provide
invaluable additional
material to complement
any teaching method and
includes both piano
accompaniment and a
demo/play-along
CD.
Philip
Sparkeâ??s 15 Easy
Classical Solos,
onderdeel van de Anglo
Music Play-Along
Series, is bedoeld
voor de jonge
instrumentalist die iets
meer dan een octaaf kan
spelen. Het boek sluit
qua instrumentaal bereik
en gebruikte
toonsoortenaan bij het
Artist Level van Hal
Leonards Essential
Elements ®, maar
kan ook los daarvan
worden gebruikt.De
zorgvuldig geselecteerde
melodieën, die
specifiek zijn
toegesneden op elk
instrument, beslaan een
breed scala van klassieke
stijlen:van Bach tot
Grieg en van Purcell tot
Satie.Het boek bevat
waardevol materiaal ter
aanvulling op elke
lesmethode en wordt
geleverd met
pianobegeleiding en een
cd met demo- en
meespeeltracks.
15
Easy Classical Solos ist
als Ergänzung zur
bewährten Anglo Music
Play-Along Reihe gedacht
und richtet sich an
Schüler, die
ungefähr einen
Tonumfang von einer
Oktave beherrschen. Das
Niveau entspricht dem des
Artist Levels der
Essential Elements
®Methode von Hal
Leonard, kann aber auch
unabhängig davon
verwendet werden.Genau
auf jedes Instrument
zugeschnitten,
ermöglicht die
wohlüberlegte
Stückeauswahl ein
erstes Kennenlernen von
Melodien aus
verschiedenen Epochen der
Klassik von Grieg über
Purcell bis Satie.Jeder
Band bietet wertvolles
Ergänzungsmaterial,
das zu jeder
Instrumentalschule passt
und enthält sowohl
Klavier- als auch
CD-Begleitungen.
1
5 Easy Classical Solos,
de Philip Sparke, est un
ouvrage qui sâ??adresse
aux jeunes musiciens,
maîtrisant un peu plus
dâ??une
octave. Spécifiqueme
nt adapté chaque
instrument, ce volume
rassemble quinze
mélodies écrites
par des compositeurs
aussi variés que Bach,
Purcell, Grieg et
Satie. Comprenant les
parties
dâ??accompagnement de
piano et une version
dâ??accompagnement sur
compact disc, ces
ouvrages représentent
une source
complémentaire
inestimable toute
méthode
pédagogique.
So
mmaire : Waltz (Moritz
Vogel) â?¢ Chorale Now
Praise, My Soul, the Lord
(J. S. Bach) â?¢
Humming Song from Album
for the Young (Robert
Schumann) â?¢
Gymnopédie No. 1 (Erik
Satie) â?¢ Iâ??m
Called Little Buttercup
from HMS Pianoforte (Sir
Arthur SeymourSullivan)
â?¢ Study, op. 37 No.3
(Henry Lemoine) â?¢
Minuet Z649 (Henry
Purcell) â?¢ Theme and
Variation from Sonata No.
3 (Thomas Attwood) â?¢
Northern Song from Album
for the Young (Robert
Schumann) â?¢ Two
German Dances from Twelve
German Dances D 420(Franz
Schubert) â?¢
Watchmanâ??s Song from
Lyric Pieces op. 12
(Edvard Grieg) â?¢
Gavotte (Jan Dussek)
â?¢ Vien qu , Dorina
Bella, op. 7 (Antonio
Bianchi, arr. Von Weber)
â?¢ Minuet from
Notebook for Anna
Magdalena Bach (Christian
Petzold) â?¢ The Prince
ofDenmarkâ??s March from
Choice Lessons for the
Harpsichord or Spinet (
Jeremiah
Clarke)
Il
concetto della collana
Anglo Music Play-Along
Series è quello di
integrare al più
presto nel processo di
apprendimento dei giovani
strumentisti la
possibilit di poter
suonare accompagnati al
piano o con lâ??ausilio
di unâ??incisione su CD.
Ilchiaro vantaggio di
questo metodo è che
gli allievi imparano da
subito lâ??aspetto
fondamentale del suonare
insieme, vale a dire
tenere il tempo in modo
costante. 15 Easy
Classical Solos
consente agli allievi che
hanno una conoscenza
limitatadelle note di
suonare brani di Bach,
Schubert, Purcell, Grieg
e altri, grazie alle
versioni facilitate. Il
livello di 15
Intermediate Classical
Solos permette invece
agli allievi che
padroneggiano
lâ??estensione superiore
a unâ??ottava
dicimentarsi nei
â??primi concertiâ?
con brani di Haendel,
Clementi, Rameau, Glueck,
Beethoven e altri. Il CD
propone una traccia con
lâ??incisione completa e
una con il solo
accompagnamento. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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