| Ryan's Mammoth Collection of Fiddle Tunes Violon [Partition] Mel Bay
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Son...(+)
Edited by Patrick Sky.
For fiddle. All styles.
Level: Multiple Levels.
Book. Songbook. Size
8.75x11.75. 176 pages.
Published by Mel Bay
Pub., Inc.
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Granger's Fiddle Tunes for Guitarß Guitare notes et tablatures [Partition + Accès audio] - Débutant Mel Bay
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M). ISBN
9781513468792. 8.75x11.75
inches. Adam Granger
self-published the first
edition of
Granger??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book. This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles. There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book. In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read. The tunes in
Granger??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes. The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other. Also included in
Granger??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
<
div> $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Granger Collection Guitare [Partition + Accès audio] - Intermédiaire Mel Bay
Old Time, Wire bound. Vocal. Book and online audio. 248 pages. Mel Bay Publica...(+)
Old Time, Wire bound.
Vocal.
Book and online audio.
248
pages. Mel Bay
Publications,
Inc #31104M. Published by
Mel
Bay Publications, Inc
$45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Son et lumière Merion Music
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clari...(+)
Orchestra Bass Clarinet,
Bass Drum, Bassoon 1,
Bassoon 2, Celesta,
Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Claves, Contrabass,
Contrabassoon, Cowbell,
Crotales, English Horn,
Glockenspiel, Harp, Horn
1, Horn 2, Horn 3, Horn
4, Maracas, Marimba, Oboe
1 and more. SKU:
PR.11641737S Composed
by Steven Stucky. Study
Score. 68 pages. Duration
9 minutes. Merion Music
#116-41737S. Published by
Merion Music
(PR.11641737S). ISBN
9781491136133. UPC:
680160688432. Son
et lumière (“sound and
light,” a kind of show
staged for tourists at
historic sites or famous
buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my attempt, I
suppose, to achieve the
rhythmic vitality of
minimalism, but without
giving in to the
over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“serious” voice,
transcending the external
show of sound and
light.Son et lumière,
commissioned by the
Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony Yaddo,
in Saratoga Springs
(N.Y.). David Zinman
conducted the first
performance in Baltimore
on 18 May 1989; André
Previn gave the West
Coast premiere with the
Los Angeles Philharmonic
on 18 January,
1990. Son et lumière
(“sound and light,” a
kind of show staged for
tourists at historic
sites or famous
buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my attempt, I
suppose, to achieve the
rhythmic vitality of
minimalism, but without
giving in to the
over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“serious” voice,
transcending the external
show of sound and
light.Son et lumière,
commissioned by the
Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony Yaddo,
in Saratoga Springs
(N.Y.). David Zinman
conducted the first
performance in Baltimore
on 18 May 1989; André
Previn gave the West
Coast premiere with the
Los Angeles Philharmonic
on 18 January, 1990. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Natalie MacMaster's - Cape Breton Island Fiddle Violon [Partition] - Intermédiaire Mel Bay
41 Fiddle Solos. by Natalie MacMaster transcribed by Stacy Phillips. Level: Inte...(+)
41 Fiddle Solos. by
Natalie MacMaster
transcribed by Stacy
Phillips. Level:
Intermediate. Book. Size
8.75x11.75. 64 pages.
Published by Mel Bay
Pub., Inc.
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Favorite American Hornpipes for Fiddle Violon [Partition] - Facile Mel Bay
By Stacy Phillips. For Fiddle. Solos. Fiddle Tunes. Level: Beginning-Intermediat...(+)
By Stacy Phillips. For
Fiddle. Solos. Fiddle
Tunes. Level:
Beginning-Intermediate.
Book. Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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