SKU: DZ.DZ-4319
ISBN 9782898522369.
The Suite for guitar aims to blend tradition and modernity through the use of a language with a neobaroque imprint.The canonical utilization of the fixed dances of the Suite (Allemande, Courante, Sarabande and Gigue preceded by an introductory Prelude) serves as a clear reference to the corresponding Baroque model characterized by alternation between slow and fast movements. The style, on the other hand, appears to be moderately dissonant, yet still focused on a well-defined tonal framework. A personal use of both dissonances and modulations is intended to enhance the auditory experience while maintaining a strong connection to a specific tonal center (E), which serves as a stable reference point in the organization of the musical material.La Suite pour guitare vise à mêler tradition et modernité à travers lâutilisation dâun langage à lâempreinte néobaroque.Lâ utilisation canonique des « danses fixes » de la Suite (Allemande, Courante, Sarabande et Gigue précédées dâun Prélude introductif) sert de référence claire au modèle baroque correspondant caractérisé par une alternance entre mouvements lents et rapides.Le style, en revanche, semble modérément dissonant, tout en restant centré sur une structure tonale bien définie. Une utilisation personnelle des dissonances et des modulations vise à améliorer lâexpérience auditive tout en maintenant une forte connexion à un centre tonal spécifique (E), qui sert de point de référence stable dans lâorganisation du matériau musical.
SKU: HL.49018734
ISBN 9790001174503. UPC: 841886015883. 9.0x12.0x0.062 inches.
Traditional form meets modern melody: Raaf Hekkema's 'Suite' is based on the classical form of Bach's French dance suite with Prelude, Allemande, Courante, Saraband, Minuet, and Gigue. Hekkema gives each movement its own modern character: The Prelude is based on a free melody, like the tradition librement opening of a French suite for lute from the 17th century. In the Allemande, an improvisatory melody develops over an ostinato bass whereas the Courante is a fast, softly swinging movement. The Saraband with multiphonic chords resembles a thoughtful etude, and the Minuet plays with the complexity of three long musical eras. The final dance, the Gigue, turns out to be really 'funky'.
SKU: HL.49043977
ISBN 9783795754952. German. Bernhard Mark; Karin Schliehe.
These dance melodies for two treble recorders create an insight into life in the Renaissance and Baroque eras and take us on a musical journey to times long past. Very popular and quite common in their day, the allemandes, sarabands, chaconnes, gavottes, and gigues have remained popular throughout the centuries. Staying true to the historical style, the pieces have been arranged according to dance types and not to the level of difficulty.
SKU: AP.1-ADV7040
ISBN 9783892213796. UPC: 805095070408. English. Transcribed by; ed. Trent Kynaston.
Six Suites for Violoncello Solo by Johann Sebastian Bach has been transcribed and edited by Trent Kynaston. Titles include: Prelude * Allemande * Courante * Sarabande * Minuet I * Minuet II * Gigue * Prelude * Allemande * Courante * Sarabande * Minuet I * Minuet II * Gigue * Prelude * Allemande * Courante * Sarabande * Bourree I Bourree II * Gigue * Prelude * Allemande * Courante * Sarabande * Bourree I Bourree II * Gigue * Prelude * Allemande * Courante * Sarabande * Gavotte I * Gavotte II * Gigue * Prelude * Allemande * Courante * Sarabande * Gavotte I * Gavotte II * Gigue.
SKU: 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 œuvres 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 œuvres. 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.
SKU: LM.GD1320
ISBN 9790231707472.
Alle mande - Le Cousin germain - Courante francaise - Menuet - Courante.
SKU: LM.28712
ISBN 9790230987127.
ALBE NIZ : Prelude - BARTOK : Rhapsodie - Canotage - BEETHOVEN : Valse (Le desir) - BRITTEN : Nocturne - CHOPIN : Mazurka Op.67 n. 2 - DEBUSSY : Berceuse de l'elephant - GODARD : Gavotte - HAENDEL : Allemande - Fuguette - HAYDN : Sonate Hob.XVI.4 (1er mouvement) - IBERT : La promenade en traineau - Romance - LOEILLET : Courante - LULLY : Gigue - MARTINU : Colombine se souvient - MENDELSSOHN : Chanson du gondolier - Romance sans paroles Op.19 n. 2 - PIEPER : Valse - PROKOFIEFF : Attrape qui peut - RAMEAU : Gigue en rondeau - REGER : Presque trop hardi - ROSSI (PADRE M.A.) : Allegro - SCARLATTI : Capriccio - SCHUBERT : Danse allemande - Valse sentimentale - SCHUMANN : Valse - SEIBER : Ap agapak - STERNBERG : Kinderballet - STOCKHAUSEN : Klavierstuck - TCHAIKOVSKY : Chant d'automne.
SKU: LM.28712D
ISBN 9790231701661.
SCHU MANN R. : Valse - RAMEAU J.P. : Gigue en rondeau - PADRE M.A. ROSSI : Allegro - IBERT J. : Romance - SCHUBERT F. : Valse sentimentale - SCHUBERT F. : Danse allemande - HAENDEL G.F. : Fuguette - SEIBER M. : Ap agapak - IBERT J. : La promenade en traineau - MENDELSSOHN F. : Chanson du gondelier - HAENDEL G.F. : Allemande - PROKOFIEFF S. : Attrape qui peut - F. CHOPIN Mazurka Op.67 n. 2 - SCARLATTI D. : Capriccio - DEBUSSY C. : Berceuse de l'elephant - REGER M. : Presque trop hardi - PIEPER M. : Valse - LOEILLET J.B. : Courante - BEETHOVEN L.Van : Valse - ALBENIZ I. : Prelude - BARTOK B. : Canotage - LULLY J.B. : Gigue - TCHAIKOVSKI P.I. : Chant d'automne - STERNBERG C. : Kinderballett - BRITTEN B. : Nocturne - GODARD B. : Gavotte - MARTINU B. : Colombine se souvient - MENDELSSOHN F. : Romance sans paroles op.19 n. 2 - STOCKHAUSEN K. : Klavierstuck - HAYDN J. : Sonate Hob XVI/4 - BARTOK B. : Rhapsody.
SKU: HL.48022607
UPC: 888680019877. 9.25x12.0x0.175 inches.
Heribert Breuer's version of the French Suites for Oboe and Organ gives a festive look to Bach's well-known piano cycle. Contents: Suite No. 1 D-minor BWV 812: Allemande * Courante * Sarabande * Menuett I * Menuett II * Gigue * Suite No. 2 C-minor BWV 813: Allemande * Courante * Sarabande * Air * Menuett I * Menuett II * Gigue.
SKU: IS.G6767EM
ISBN 9790365067671.
This sonata (WeissSW No. 15, London) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata X comes from Weissâ??s middle â??productiveâ?? period, thought to have taken place between 1719 and 1725. The original tablature manuscript is in the British Library (London Ms. Add. 30387). The Sonata has six movements: Allemande, Courante, Paisane, Sarabande, Menuet, and it ends with a Gigue. There is a another copy of this Sonata in the Warszawa Biblioteka Uniwersytecka Poland (in its entirety), and a copy in the Sächsisches Landesbibliothek in Dresden (Suite XXVI), which contains three concordant movements: Allemande, Courante, and the Gigue. The Dresden manuscript displays some differences from the London manuscript. This Edition has taken those differences into account in certain details. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
