| Paint Me Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA choir, piano SKU: CF.CM9585 Composed by Debra Morton. Fold. Pe...(+)
Choral SSA choir, piano
SKU: CF.CM9585
Composed by Debra Morton.
Fold. Performance Score.
12 pages. Duration 2
minutes, 59 seconds. Carl
Fischer Music #CM9585.
Published by Carl Fischer
Music (CF.CM9585).
ISBN 9781491154076.
UPC: 680160912575. 6.875
x 10.5 inches. Key: G
major. English.
Original. Good
friends see the best in
us. They tend to downplay
our faults while
applauding our strengths.
In short, they encourage
us to be the best we can
be, maybe even a little
more. The text of
Paint Me was
born out of the desire to
be that person my best
friend thinks I am. To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love. In setting the
text of Paint Me
to music, I tried to let
the cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so dont
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint
MeA was born out of
the desire to be that
person my best friend
thinks I am. To Mary Jo,
my sister and best
friend. May I really be
that person you see and
love. In setting the text
of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so donat
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
apainta the words, as
well as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me
was born out of the
desire to be that person
my best friend thinks I
am. To Mary Jo, my sister
and best friend. May I
really be that person you
see and love. In setting
the text of Paint
Me to music, I tried
to let the cadence of the
words dictate the rhythm
of the music. Use rubato,
word stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so don't
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me was born
out of the desire to be
that person my best
friend thinks I am. To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love. In setting the
text of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so don't
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me was
born out of the desire to
be that person my best
friend thinks I am.To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love.In setting the
text of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so
don’t be afraid to let
the interior part of a
phrase move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
“paint” the words, as
well as making every idea
understood.Enjoy adding
the color and shading to
make this piece of art
your own. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| By Lantern's Light - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Finger
Cymbals, Flute, Flute 2,
Horn, Mallet Percussion,
Mark Tree, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal and more. - Grade
2 SKU: CF.YPS249F
Three Persian Folk
Songs. Composed by
Michael J. Miller. Yps.
Full score. 20 pages.
Duration 3 minutes, 29
seconds. Carl Fischer
Music #YPS249F. Published
by Carl Fischer Music
(CF.YPS249F). ISBN
9781491161883. UPC:
680160920563. By
Lantern's Light is a
medley of Persian folk
songs. The songs come
from a collection for
voice and piano by Clair
Fairchild in his Twelve
Persian Folk Songs
published by Novello and
Company, London, 1904.
Fairchild's goal was to
capture the spirit and
ambiance of Persia's
music and musicians.
Fairchild took special
care to preserve their
authenticity by limiting
western harmony. Such is
also the case in this
setting for concert band.
Special attention should
be given to replicate
songlike phrasing of the
melodic lines and the
rhythmic integrity and
style of the
accompaniment. Conductors
are encouraged to take
liberties with dynamics
and articulations to help
performers play
expressively. There are
many inflections that
exist beyond what is
printed on the page. For
example, the reeds might
subtly shape the rhythmic
accompaniment in m. 6-7,
as might the trumpets
with the melody in m. 18.
In. m. 23, the wind
musicians other than the
trumpets are a part of
the rhythm section with
the percussion. These
rhythms should fit
together nicely to create
a steady cadence. The
melodic statements
beginning at m. 35 should
be carefully balanced to
speak evenly throughout
the various voices. If an
oboist is not available,
the solo in m. 57 has
been cued in the alto
saxophone. By
Lantern's Light is a
medley of Persian folk
songs. The songs come
from a collection for
voice and piano by Clair
Fairchild in his Twelve
Persian Folk Songs
published by Novello and
Company, London, 1904.
Fairchild's goal was to
capture the spirit and
ambiance of Persia's
music and musicians.
Fairchild took special
care to preserve their
authenticity by limiting
western harmony. Such is
also the case in this
setting for concert band.
Special attention should
be given to replicate
songlike phrasing of the
melodic lines and the
rhythmic integrity and
style of the
accompaniment. Conductors
are encouraged to take
liberties with dynamics
and articulations to help
performers play
expressively. There are
many inflections that
exist beyond what is
printed on the page. For
example, the reeds might
subtly shape the rhythmic
accompaniment in m. 6-7,
as might the trumpets
with the melody in m. 18.
In. m. 23, the wind
musicians other than the
trumpets are a part of
the rhythm section with
the percussion. These
rhythms should fit
together nicely to create
a steady cadence. The
melodic statements
beginning at m. 35 should
be carefully balanced to
speak evenly throughout
the various voices. If an
oboist is not available,
the solo in m. 57 has
been cued in the alto
saxophone. By
Lantern’s Light is a
medley of Persian folk
songs. The songs come
from a collection for
voice and piano by Clair
Fairchild in his Twelve
Persian Folk Songs
published by Novello and
Company, London, 1904.
Fairchild’s goal was to
capture the spirit and
ambiance of Persia’s
music and musicians.
Fairchild took special
care to preserve their
authenticity by limiting
western harmony. Such is
also the case in this
setting for concert
band. Special attention
should be given to
replicate songlike
phrasing of the melodic
lines and the rhythmic
integrity and style of
the accompaniment.
Conductors are encouraged
to take liberties with
dynamics and
articulations to help
performers play
expressively. There are
many inflections that
exist beyond what is
printed on the page. For
example, the reeds might
subtly shape the rhythmic
accompaniment in m. 6-7,
as might the trumpets
with the melody in m. 18.
In. m. 23, the wind
musicians other than the
trumpets are a part of
the rhythm section with
the percussion. These
rhythms should fit
together nicely to create
a steady cadence. The
melodic statements
beginning at m. 35 should
be carefully balanced to
speak evenly throughout
the various voices. If an
oboist is not available,
the solo in m. 57 has
been cued in the alto
saxophone. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| By Lantern's Light - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Finger
Cymbals, Flute, Flute 2,
Horn, Mallet Percussion,
Mark Tree, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal and more. - Grade
2 SKU: CF.YPS249
Three Persian Folk
Songs. Composed by
Michael J. Miller. Yps.
Set of Score and Parts.
8+2+4+4+2+2+5+2+2+4+4+4+3
+3+2+3+2+1+2+6+24 pages.
Duration 3 minutes, 29
seconds. Carl Fischer
Music #YPS249. Published
by Carl Fischer Music
(CF.YPS249). ISBN
9781491161326. UPC:
680160919918. By
Lantern's Light is a
medley of Persian folk
songs. The songs come
from a collection for
voice and piano by Clair
Fairchild in his Twelve
Persian Folk Songs
published by Novello and
Company, London, 1904.
Fairchild's goal was to
capture the spirit and
ambiance of Persia's
music and musicians.
Fairchild took special
care to preserve their
authenticity by limiting
western harmony. Such is
also the case in this
setting for concert band.
Special attention should
be given to replicate
songlike phrasing of the
melodic lines and the
rhythmic integrity and
style of the
accompaniment. Conductors
are encouraged to take
liberties with dynamics
and articulations to help
performers play
expressively. There are
many inflections that
exist beyond what is
printed on the page. For
example, the reeds might
subtly shape the rhythmic
accompaniment in m. 6-7,
as might the trumpets
with the melody in m. 18.
In. m. 23, the wind
musicians other than the
trumpets are a part of
the rhythm section with
the percussion. These
rhythms should fit
together nicely to create
a steady cadence. The
melodic statements
beginning at m. 35 should
be carefully balanced to
speak evenly throughout
the various voices. If an
oboist is not available,
the solo in m. 57 has
been cued in the alto
saxophone. By
Lantern’s Light is a
medley of Persian folk
songs. The songs come
from a collection for
voice and piano by Clair
Fairchild in his
“Twelve Persian Folk
Songs” published by
Novello and Company,
London, 1904.
Fairchild’s goal was to
capture the spirit and
ambiance of Persia’s
music and musicians.
Fairchild took special
care to preserve their
authenticity by limiting
western harmony. Such is
also the case in this
setting for concert
band. Special attention
should be given to
replicate songlike
phrasing of the melodic
lines and the rhythmic
integrity and style of
the accompaniment.
Conductors are encouraged
to take liberties with
dynamics and
articulations to help
performers play
expressively. There are
many inflections that
exist beyond what is
printed on the page. For
example, the reeds might
subtly shape the rhythmic
accompaniment in m. 6-7,
as might the trumpets
with the melody in m. 18.
In. m. 23, the wind
musicians other than the
trumpets are a part of
the rhythm section with
the percussion. These
rhythms should fit
together nicely to create
a steady cadence. The
melodic statements
beginning at m. 35 should
be carefully balanced to
speak evenly throughout
the various voices. If an
oboist is not available,
the solo in m. 57 has
been cued in the alto
saxophone. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| When Hearts Tremble Orchestre d'harmonie Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS75 Composed by Brant Karrick. SW...(+)
Band concert band - Grade
4.5 SKU: CF.SPS75
Composed by Brant
Karrick. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
3+12+12+6+12+12+12+6+6+6+
6+6+6+9+9+9+6+6+9+9+9+9+6
+12+6+9+3+9+9+40 pages.
Duration 6 minutes, 44
seconds. Carl Fischer
Music #SPS75. Published
by Carl Fischer Music
(CF.SPS75). ISBN
9781491147702. UPC:
680160905201. 9 x 12
inches. Key: F
major. When Hearts
Tremble is an emotion
packed piece dedicated to
musician friends lost all
to soon. This beautiful
composition by Brant
Karrick reflects on the
fragility of human
existence, joyous
memories of loved ones
and their effect on
everyone around them, and
maintaining hope for what
the future will hold when
all feels lost. This tour
de force piece perfectly
displays Karrick's
polished compositional
craft with impeccable
scoring, beautiful
melodic writing, and
exceptional
orchestrational
color. While the
day-to-day grind of our
lives can be filled with
overwhelming obligations,
goals and commitments, it
is sometimes very easy to
forget just how precious
and fragile life is . It
is so easy to get caught
up in our own personal
feelings and worries that
we sometimes don’t
realize and appreciate
the many blessings we
have, especially
friendships . On
Wednesday, November 18,
2015 the Jefferson High
School Band in Jefferson,
Georgia lost two of its
members to a fatal car
accident . The victims
were brothers . Music was
a constant part of their
lives, and the boys were
talented percussionists
in the marching band . To
help with the grieving
process the school and
community commissioned
this piece to celebrate
the lives of William and
Alex Trimble .As a
father, I cannot imagine
losing a child, let alone
two, and beginning this
piece was very difficult
as I felt extreme
anguish, especially for
the parents . But it was
decided the piece should
primarily reflect the
enthusiasm, youthful
spirits and positive
influence these two young
men demonstrated as they
were deeply loved by
their band mates,
community and family .
There are four main
themes, each representing
the feelings and emotions
that are certain to occur
after a loss of loved
ones . The first theme is
a short, introductory
fanfare, strong and bold,
to stand for courage . A
second dance-like melody
features a liltingly
mixed meter to portray a
youthful and carefree
innocence . This soon
changes into a third more
song-like, and stately
theme intended to provide
encouragement as we move
forward through life .The
middle of the piece
includes a soft
transition as two snare
drummers give voice to
the boys, allowing them
to thank their friends
and assuring them that it
will be okay . This moves
directly into a slow
melody introduced by the
saxophones (Alex, the
younger brother was also
a saxophonist) and is a
time for reflection and
allows for feelings of
sadness at losing beloved
friends . However, a
second statement of the
same theme, now at full
volume with a strong
percussion cadence,
intends to lift the
spirits and allows all
friends to unite in
joyous celebration of
life . Both the
enthusiastic dance theme
and stately lyrical theme
return, now in different
keys, and work their way
toward the highly
energetic burst of
glorious sound in the
short and wild coda .
When Hearts Tremble was
written to celebrate the
joys of youth and life,
and should remind us that
our friends and loved
ones are precious, and we
should live each day to
bring more joy into the
world and into the lives
of others . $140.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lux et Umbra Editorial de Musica Boileau
String orchestra SKU: BO.B.3292 Composed by Jordi Cervello. Instrumental ...(+)
String orchestra SKU:
BO.B.3292 Composed by
Jordi Cervello.
Instrumental Sets.
Duration 17:35. Published
by Editorial de Musica
Boileau (BO.B.3292).
English
comments: This is
the definitive version of
Biogenesis, a piece that
Cervello had written in
1976, together with his
friend Jorge Wagensberg,
and which was awarded the
First Prize at the
Spanish Ministry for
Education and Science's
Permanent Composition and
Musical Research
Competition. The new
version was made at
1984-85 Lux et umbra is
written for a string
group consisting of four
first and four second
violins, three violas,
three cellos and a double
bass. The conceptual
battle between darkness
and light is represented
by the instability
between the notes B and
C, and by the
compartmentation of the
group of fifteen strings
into divisi that provide
an independent
arrangement for each
instrument, thus
bestowing great substance
upon the texture of the
music. A cello cadence
emerges from a slow and
straightforward
beginning. A process of
contrasts then begins,
culminating in a molto
vivace passage of a
scherzando nature, which
alludes to the Baroque
concerti grossi. The
music once again plays
with chiaroscuro until
reaching its climax, from
which point the
conclusion slowly begins,
establishing itself in
the high register until
fading away. The work was
first performed at
Barcelona's Palau de la
Musica by the English
Chamber Orchestra,
directed by Enrique
Garcia Asensio, in 1987.
That same year, in the
newspaper El Pais, the
observations of the
composer and critic
Francesc Taverna-Bech
paid tribute to the
work's intelligence as
regards the use of and
search for instrumental
resources (in this case,
string instruments, about
which Cervello knows a
great deal), the skill
involved in endowing the
lyrical line with
tension, and a singular
touch that confers formal
essence upon the musical
discourse. In La
Vanguardia, Jordi Llovet
wrote that this is a work
in which, as is the case
with most of Cervello's
compositions, the
listener finds something
covertly religious, a
mysterious secret, a
transcendence linked to
the origins of
communication requiring
more than a single being,
which provides
excitement. In 1990, when
the Orquesta de Granada
(Orchestra of Granada)
performed the work at
Barcelona's Grec
festival, the critic
Cesar Calmell opined, in
the same newspaper, that
inch by inch, surely and
imperturbably, Cervello
built up a perfect world
that reflects the image
of the craftsman who, so
astonished at the
delights of his trade, is
unable to do anything but
turn the very backdrop of
tragedy into something
pleasant. Lux et umbra
was recorded by the
Orchestra Estatal of the
Hermitage, conducted by
Alexis Soriano (CD
SA01210 Fundacion Autor).
--Xavier Casanoves Danes
Music
critic
Comentari
os del Espanol: Se
trata de la version
definitiva de Biogenesis,
obra que habia escrito en
1976 en colaboracion con
su amigo Jorge Wagensberg
y que obtuvo el Primer
Premio, en el ano de su
creacion, en el Concurso
Permanente de Composicion
e Investigacion Musical
del Ministerio de
Educacion y Ciencia. La
nueva version fue
realizada en 1984-85. Lux
et umbra esta escrita
para un grupo de cuerda
integrado por cuatro
primeros violines, cuatro
segundos, tres violas,
tres violoncelos y un
contrabajo. El combate
filosofico entre la
oscuridad y la luz lo
lleva a cabo la
inestabilidad entre las
notas si y do y la
compartimentacion del
grupo de quince cuerdas
en unos divisi que llegan
a una escritura
independiente para cada
instrumento, otorgando
una gran importancia a la
textura sonora. De un
principio lento y
descarnado emerge una
cadencia del violonchelo.
A continuacion da
comienzo un proceso de
contrastes que culmina en
un pasaje molto vivace de
caracter scherzando que
alude a los concerti
grossi del barroco. La
musica juega de nuevo con
el claroscuro hasta
llegar a la cumbre sonora
iniciando el final
lentamente que se instala
en el registro agudo
hasta desvanecerse. La
estreno en el Palau de la
Musica de Barcelona la
English Chamber Orchestra
en el ano 1987 bajo la
direccion de Enrique
Garcia Asensio. Ese mismo
ano, en el periodico El
Pais, el compositor y
critico Francesc
Taverna-Bech reconocia en
sus comentarios la
inteligencia en el uso y
la busqueda de los
recursos instrumentales
-en este caso la cuerda,
de la que Cervello es
profundo conocedor-, la
destreza para revestir de
tension la linea lirica y
un tacto particular para
conferir entidad formal
al discurso sonoro. Jordi
Llovet, en La Vanguardia,
escribia que en esta
obra, se encuentra, como
en la mayor parte de la
produccion de Cervello,
algo secretamente
religioso, un arcano
misterioso, una
trascendencia vinculada a
los origenes de la
comunicacion
impracticable con el ser
unico que resulta
apasionante. En el ano
1990, cuando la Orquesta
de Granada la toco en el
Grec de Barcelona, era el
critico Cesar Calmell
quien, en el mismo
periodico consideraba que
Cervello construyo palmo
a palmo, segura e
imperturbablemente, un
mundo perfecto que
refleja la imagen del
artesano que, de tan
admirado con las delicias
de su oficio, no puede
hacer otra cosa que
convertir en agradable el
fondo mismo de la
tragedia. Lux et umbra
esta grabada por la
Orquesta Estatal del
Hermitage, dirigida por
Alexis Soriano (CD
SA01210 Fundacion Autor).
--Xavier Casanoves Danes
Critico musical. $38.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| With Valor and Brave Heart Orchestre d'harmonie - Intermédiaire FJH
Concert Band Concert Band - Grade 2.5; Grade 3 SKU: FJ.B1462S Score On...(+)
Concert Band Concert Band
- Grade 2.5; Grade 3
SKU: FJ.B1462S
Score Only.
Composed by William
Owens. Concert Band. FJH
Young Band. Patriotic.
Score. Duration 3:30. The
FJH Music Company Inc
#98-B1462S. Published by
The FJH Music Company Inc
(FJ.B1462S).
English. This
heartfelt work was
written for a school in
Texas and remembers the
tragedy at Fort Hood in
November 2009. The
lyrical lines mix with a
whispering military drum
cadence and concludes
with a haunting version
of Echo Taps, which is
followed by a sensitive
harmonic treatment of the
melody. A final
dissonant, soft fanfare
in the trumpets leaves
the audience with a sense
of awe. Extremely thought
provoking. $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| With Valor and Brave Heart Orchestre d'harmonie - Intermédiaire FJH
Concert Band Concert Band - Grade 2.5; Grade 3 SKU: FJ.B1462 Composed by ...(+)
Concert Band Concert Band
- Grade 2.5; Grade 3
SKU: FJ.B1462
Composed by William
Owens. Concert Band;
MakeMusic Cloud. FJH
Young Band. Patriotic.
Score and Part(s).
Duration 3:30. The FJH
Music Company Inc
#98-B1462. Published by
The FJH Music Company Inc
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| Methods & Treatises Jean-Philippe Rameau - 3 Volumes - France 1600-1800 Anne Fuzeau Productions
SKU: FZ.8324 Serie I - France 1600-1800 - Complete theoretical works i...(+)
SKU: FZ.8324
Serie I - France
1600-1800 - Complete
theoretical works in 3
volumes.. Edited by
Bertrand Porot, Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.8324). ISBN
9790230683241. 24.00 x
33.00 cm
inches. These early
music methods are in
facsimile in three books.
Traite de l'harmonie -
Nouveau systeme de
musique. Remarques sur
les differents genres de
musique. Observations sur
la methode
d'accompagnement. Plan
abrege d'une nouvelle
methode d'accompagnement.
Dissertation sur les
differentes methodes
d'accompagnement.
Discours sur l'harmonie -
Demonstration du principe
de l'harmonie. Verites
egalement ignorees et
interessantes. Origines
des sciences - Code de
musique pratique
Generation harmonique.
Observations sur notre
instinct pour la musique
etc. . . Articles from
the Encyclopaedia and
their cristicism by
Rameau. Argument with
Monteclair -
Correspondence. Articles
published in newspapers -
Prefaces to musical
works. Table of contents:
Volume 1: Rameau
Jean-Philippe: Traite de
l'harmonie - 1722. Rameau
Jean-Philippe: Pieces de
clavecin avec une methode
pour la mecanique - 1724.
Rameau Jean-Philippe:
Nouveau systeme de
musique - 1726. Rameau
Jean-Philippe: Lettre de
M. Rameau a Houdar de la
Motte - 1727. Rameau
Jean-Philippe: Remarques
sur les differents genres
de musique - 1728.
[Monteclair Michel
Pignolet de ?]:
Conference sur la musique
- 1729. Rameau
Jean-Philippe: Examen de
la conference sur la
musique - 1729. Rameau
Jean-Philippe:
Observations sur la
methode d'accompagnement
- 1730. Rameau
Jean-Philippe: Plan
abrege d'une methode
nouvelle d'accompagnement
- 1730. [Monteclair
Michel Pignolet de ?]:
Reponse su second
musicien au premier -
1730. Rameau
Jean-Philippe: Replique
du premier musicien a la
reponse du second - 1730.
[Monteclair Michel
Pignolet de ?]:Reponse du
second musicien au
premier musicien - 1730.
Rameau Jean-Philippe:
Replique du premier
musicien a l'ecrit du
second - 1730. Rameau
Jean-Philippe:
Dissertation sur les
differentes methodes
d'accompagnement - 1732.
Rameau Jean-Philippe: Les
Indes galantes, ballet
reduit a quatre concerts
- 1735. Castel R. P.
Louis-Bertrand: Suite et
seconde partie des
nouvelles experiences -
1735. Castel R. P.
Louis-Bertrand: Suite et
troisieme partie des
nouvelles experiences -
1735. Rameau
Jean-Philippe: Lettre de
M. Rameau au R. P. Castel
- 1736. Rameau
Jean-Philippe: Pieces de
clavecin avec une table
pour les agrements -
1736. Rameau
Jean-Philippe: Discours
sur l'harmonie - 1737.
Volume 2: Rameau
Jean-Philippe: Generation
harmonique - 1737. Rameau
Jean-Philippe: Generation
harmonique, ou traite de
musique theorique - 1737.
Anonyme: Le Pour ou le
Contre - Tome XIII -
1737. Rameau
Jean-Philippe: Lettre a
Hans Sloane - 1737.
Anonyme: Le Pour ou le
Contre - Tome XIV - 1738.
Rameau Jean-Philippe:
Lettre a Jean-Pierre
Christin - 1741. Rameau
Jean-Philippe: Pieces de
clavecin en concert -
1741. Rameau
Jean-Philippe: Deux
lettres a Johann II
Bernoulli - 1750. Rameau
Jean-Philippe: Lettre a
Gabriel Cramer - 1750.
Rameau Jean-Philippe:
Demonstration du principe
de l'harmonie - 1750.
Rousseau Jean-Jacques:
Encyclopedie - Articles
Accompagnement, Accord,
Cadence - 1751. Rameau
Jean-Philippe: Nouvelles
reflexions de M. Rameau -
1752. Rameau
Jean-Philippe: Lettre a
Johann II Bernoulli
(copie ancienne) - 1752.
Rameau Jean-Philippe:
Lettre de M. Rameau a
l'auteur du mercure -
1752. Euler Leonhard:
Lettre a Rameau - 1752.
Rameau Jean-Philippe:
Reflexions de M. Rameau
sur la maniere de former
la voix - 1752. Rameau
Jean-Philippe: Extrait
d'une reponse de M.
Rameau a M. Euler - 1752.
Rousseau Jean-Jacques:
Encyclopedie - articles
Choeur, Chromatique -
1753. Rameau
Jean-Philippe: Extrait
d'une reponse de M.
Rameau - 1753. Rameau
Jean-Philippe:
Observations sur notre
instinct pour la musique
- 1754. Rousseau
Jean-Jacques:
Encyclopedie - article
Dissonance - 1754. Rameau
Jean-Philippe: Erreurs
sur la musique - 1755.
Volume 3: Rousseau
Jean-Jacques:
Encyclopedie - Article
Enharmonique - 1755.
Alembert Jean Le Rond d'
et Diderot Denis:
Encyclopedie -
Avertissement du volume
VI - 1756. Rameau
Jean-Philippe: Suite des
erreurs sur la musique
dans l'Encyclopedie -
1756. Rameau
Jean-Philippe: Prospectus
ou l'on propose - 1757.
Alembert Jean Le Rond d':
Encyclopedie : articles
Fondamental - Gamme -
1757. Rameau
Jean-Philippe: Reponse de
M. Rameau a MM. les
editeurs - 1757. Rameau
Jean-Philippe: Lettre de
M. d'Alembert - 1758.
Rameau Jean-Philippe: 2
lettres a J. B. Beccari
1759. Rameau
Jean-Philippe: 2 lettres
au Padre Martini - 1759.
Rameau Jean-Philippe:
Lettre au Padre Martini -
1759. Rameau
Jean-Philippe: Code de
musique pratique - 1760.
Alembert Jean Le Rond d':
Lettre de Monsieur
d'Alembert a Monsieur
Rameau - 1761. Rameau
Jean-Philippe: Reponse de
Monsieur Rameau a la
lettre de M. d'Alembert -
1761. Rameau
Jean-Philippe: Origine
des Modes & du
Temperament par M. Rameau
- 1761. Rameau
Jean-Philippe: Suite de
la reponse de M. Rameau a
la Lettre de M.
d'Alembert - 1761. Rameau
Jean-Philippe: Origine
des sciences - 1762.
Alembert Jean Le Rond d':
Reponse de M. d'Alembert
a une lettre imprimee de
M. Rameau - 1762. Rameau
Jean-Philippe: Lettre de
M*** a M. D**** sur un
Ouvrage Seconde lettre
deM*** a M*** ou extrait
d'une controverse - 1762.
Rameau Jean-Philippe:
Observations de M. Rameau
sur son ouvrage - 1762.
Rameau Jean-Philippe:
Lettre de M. Rameau aux
Philosophes - 1762.
Alembert Jean Le Rond d':
Reponse a une lettre
imprimee de M. Rameau -
1762. Rameau
Jean-Philippe: Verites
interessantes - manuscrit
autographe incomplet -
1763/1764. Rameau
Jean-Philippe: Verites
egalement ignorees et
interessantes tirees du
sein de la nature -
manuscrit avec
corrections de
autographes de Rameau -
1763/1764. Rameau
Jean-Philippe: A. M. de
la Place, auteur du
Mercure sur M. Rameau
(publication posthume
d'une lettre de Rameau) -
1765. Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimiles of
copies from: - Academie
des Sciences, Belles
Lettres et Arts of Lyon
(France). - Conservatory
Library of Dijon
(France). - Inguimbertine
Library of Carpentras
(France). - Municipal
Library of Bordeaux
(France). - Municipal
Library of Grenoble
(France). - Municipal
Library of Lyon (France).
- National Library of
Paris (France). - British
Library of London
(England). - Civico Museo
Bibliografico Musicale of
Bologna (Italy). -
Mariemont Museum of
Morlanwelz (Belgium). -
Nederlands Musiek
Instituut of The Hague
(Netherlands). -
offentliche Bibliothek
der Universitat of Basel
(Switzerland). -
osterreischiche
National-Bibliothek of
Vienna (Austria). -
Stiftelsen Muzikkulturens
Framjande of Stokckholm
(Suede). - Zurich Library
(Switzerland). - In
Private Collection. Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the Jean-Philippe
Rameau. $300.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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