Matériel : PartitionLangue : Français
L'album 'Exactement' de Sanseverino arrangé pour piano, chant et guitare (notations standards et tablatures). / Piano/Vocal/Guitare (PVG) / Partition
SKU: HL.48183726
UPC: 888680859145. 9.0x12.0x0.109 inches.
French saxophonist, Jean-Marie Londeix (b. 1932) graduated from the Paris Conservatoire with a First Prize and a Prize of Honour. As a fantastic all-around musician, he has a vast experience which makes his study books, including On the Exactness of Intonation for all Saxophones, very well-informed. His career has taken him all over the world and many composers have written works specially for him. As an accomplished teacher of other famous saxophonists, he has deduced where the gaps in studies for the instrument are, composing six significant books of the kind. Londeix's On the Exactness of Intonation addresses intonation within the context of intervals of octaves, fifths, fourths and major and minor thirds. For all aspiring saxophonists, On the Exactness of Intonation, compiled by renowned, contemporary saxophonist Jean-Marie Londeix, is an essential guide and aid to progression of intonation on the instrument..
SKU: BT.DHP-1216334-215
English-German-French- Dutch.
In late 1950s Brazil, a new music style influenced by jazz arose out of the samba: the bossa nova. This composition by Peter Kleine Schaars sounds just like a bossa nova should sound: catchy, warm, relaxed and with a touch ofsensuality. Starting with a small group of players with only one soloist and minimal accompaniment, this bossa nova leads to a style-conscious grand orchestration for the whole ensemble, in which all voices participate equally. Inaddition to the rhythmic cells 2 and 4 of the Brazilian 2-3 clave, the cells 7 and 10 in particular are featured.Eind jaren vijftig van de vorige eeuw ontstond in Brazilië vanuit de door jazz be nvloede samba een nieuwe muziekstijl: de bossanova. Deze compositie van Peter Kleine Schaars klinkt zoals het een bossanova betaamt: prettig in hetgehoor liggend, warm, rustig en een tikje sensueel. Vanuit een kleine bezetting met slechts één solist en minimale begeleiding mondt deze bossanova uit in een stijlbewuste grootse orkestratie voor het gehele ensemble waarin allestemmen gelijkwaardig aan bod komen. Naast de ritmische cellen 2 en 4 van de Braziliaanse 2-3-clave worden met name ook de cellen 7 en 10 behandeld. In den späten 1950er Jahren entstand aus der Samba ein neuer, vom Jazz beeinflusster Musikstil: der Bossa nova. Diese Komposition von Peter Kleine Schaars klingt so, wie ein Bossa nova klingen sollte: eingängig, warm, entspanntund mit einem Hauch von Sinnlichkeit. Beginnend mit einer kleinen Gruppe von Musikern, die nur aus einem Solisten und minimaler Begleitung besteht, führt dieser Bossa nova zu einer stilvollen großartigen Orchestrierung für dasgesamte Ensemble, an der alle Stimmen gleichermaßen beteiligt werden. Neben den Rhythmus-Einheiten 2 und 4 des brasilianischen 2-3-Clave werden insbesondere die Rhythmus-Einheiten 7 und 10 verwendet. la fin des années 1950, au Brésil, la samba donna naissance un nouveau style de musique influencé par le jazz : la bossa-nova. Les sonorités de cette composition de Peter Kleine Schaars reproduisent exactement celles de labossa-nova : chaudes, accrocheuses, décontractées, avec une touche de sensualité. Débutant avec un petit groupe de musiciens fournissant un accompagnement sobre un unique soliste, cette pièce se métamorphose en une grandeorchestration bossa-novesque pour l’ensemble entier, laquelle participent toutes les voix de manière égale. Outre les cellules rythmiques 2 et 4 de la clave brésilienne 2-3, les cellules 7 et 10 sont particulièrement présentesici.
SKU: BR.OB-5693-03
He re you will find Nudo for piano solo.
ISBN 9790004347232. 10 x 12.5 inches.
A Musical Portrait In 2012 Nicola Campogrande received a rather singular commission when a total stranger asked him to compose a musical portrait of his fiancee. The man knew exactly what he wanted: a concerto for piano and orchestra. After some reflection, Campogrande realised that he would be able to paint with music. It would never be possible, of course, to recognise the shape of the woman's face or the colour of her hair, but the score could evoke the way in which she occupied space and time, and the different movements of the composition would be like the faces on a rotating prism. Campogrande thus accepted the commission and the stranger sent him a few photos of his fiancee, spoke to him about her and, finally, introduced him to her. This is how R (A portrait for piano and orchestra) was born, first performed in April 2013 by Lilya Zilberstein with the Orchestra Verdi in Milan. Subsequently, following other performances and a TV documentary, a number of different pianists asked Campogrande to write a version for solo piano. Hence Nudo emerged, a piece that would be very similar to R, were it not for the fact that, as the title suggests, the pianist is naked, without orchestral clothing.Un portrait musical En 2012, Nicola Campogrande s'est vu proposer une commission fort singuliere ; un parfait etranger lui demandait de composer le portrait musical de sa compagne. L'homme savait exactement ce qu'il voulait : un concert pour piano et orchestre. Apres quelques hesitations, Campogrande s'est rendu compte qu'il pouvait se servir de la musique comme d'un pinceau. Bien entendu, il ne serait jamais possible de reconnaitre la forme du visage de la femme ou la couleur de ses cheveux, mais la partition pourrait evoquer la facon dont elle se deplacait dans l'espace et dans le temps, et les differents mouvements de la piece seraient comme les figures d'un prisme en rotation. Campogrande a donc accepte la commission ; l'etranger lui a envoye des photos de sa compagne, il lui a parle d'elle, avant de les faire se rencontrer personnellement. Ainsi est ne R (Un portrait pour piano et orchestre), interprete pour la premiere fois en avril 2013 par Lilya Zilberstein et l'orchestre Verdi de Milan. D'autres executions ont suivi, ainsi qu'un documentaire televise, apres quoi plusieurs pianistes ont prie Campogrande d'ecrire une version pour piano seul. C'est ainsi que Nudo a vu le jour : un << nu >> tres semblable au premier portrait, si ce n'est que le piano s'y trouve, comme le suggere le titre, depouille de son vetement orchestral. Ritrarre con la musica Nel 2012 Nicola Campogrande ha ricevuto la piu singolare delle commissioni, quando un perfetto sconosciuto gli ha chiesto di comporre il ritratto musicale della sua fidanzata. L'uomo sapeva esattemente cio che voleva: un concerto per pianoforte e orchestra. Dopo qualche esitazione, Campogrande si e reso conto di poter dipingere con la musica; certo, non sarebbe stato possibile riconoscere la forma del viso della donna o il colore dei suoi capelli, ma la partitura avrebbe evocato il modo nel quale lei si muoveva nello spazio e nel tempo, e i vari movimenti del brano sarebbero stati come le facce di un prisma in rotazione. Campogrande ha dunque accettato la commissione e lo sconosciuto gli ha mandato alcune foto della sua fidanzata, gli ha parlato di lei e, alla fine, gliela ha presentata personalmente. E cosi nato cosi R (Un ritratto per pianoforte e orchestra), eseguito per la prima volta nell'aprile 2013 da Lilya Zilberstein insieme all'Orchestra Verdi di Milano.In seguito, dopo altre esecuzioni e un documentario tv, diversi pianisti hanno chiesto a Campogrande di preparare una versione per pianoforte solo. E stato cosi che ha preso forma Nudo, un brano del tutto simile a R tranne per il fatto che, come suggerisce il titolo, il pianista e nudo, senza un abito orchestrale. Information on R on the composer's websiteRecording of the premiere of R in Milano (YouTube).
SKU: BR.EB-8990
He re you will find the concerto R (A Portrait for Piano and Orchestra).
ISBN 9790004187197. 9 x 12 inches.
A Musical Portrait In 2012 Nicola Campogrande received a rather singular commission when a total stranger asked him to compose a musical portrait of his fiancee. The man knew exactly what he wanted: a concerto for piano and orchestra. After some reflection, Campogrande realised that he would be able to paint with music. It would never be possible, of course, to recognise the shape of the woman's face or the colour of her hair, but the score could evoke the way in which she occupied space and time, and the different movements of the composition would be like the faces on a rotating prism. Campogrande thus accepted the commission and the stranger sent him a few photos of his fiancee, spoke to him about her and, finally, introduced him to her. This is how R (A portrait for piano and orchestra) was born, first performed in April 2013 by Lilya Zilberstein with the Orchestra Verdi in Milan. Subsequently, following other performances and a TV documentary, a number of different pianists asked Campogrande to write a version for solo piano. Hence Nudo emerged, a piece that would be very similar to R , were it not for the fact that, as the title suggests, the pianist is naked, without orchestral clothing. Information on Nudo on the composer's website Audio recording of Nudo (YouTube) Un portrait musical En 2012, Nicola Campogrande s'est vu proposer une commission fort singuliere ; un parfait etranger lui demandait de composer le portrait musical de sa compagne. L'homme savait exactement ce qu'il voulait : un concert pour piano et orchestre. Apres quelques hesitations, Campogrande s'est rendu compte qu'il pouvait se servir de la musique comme d'un pinceau. Bien entendu, il ne serait jamais possible de reconnaitre la forme du visage de la femme ou la couleur de ses cheveux, mais la partition pourrait evoquer la facon dont elle se deplacait dans l'espace et dans le temps, et les differents mouvements de la piece seraient comme les figures d'un prisme en rotation. Campogrande a donc accepte la commission ; l'etranger lui a envoye des photos de sa compagne, il lui a parle d'elle, avant de les faire se rencontrer personnellement. Ainsi est ne R (Un portrait pour piano et orchestre) , interprete pour la premiere fois en avril 2013 par Lilya Zilberstein et l'orchestre Verdi de Milan. D'autres executions ont suivi, ainsi qu'un documentaire televise, apres quoi plusieurs pianistes ont prie Campogrande d'ecrire une version pour piano seul. C'est ainsi que Nudo a vu le jour : un << nu >> tres semblable au premier portrait, si ce n'est que le piano s'y trouve, comme le suggere le titre, depouille de son vetement orchestral. Ritrarre con la musica Nel 2012 Nicola Campogrande ha ricevuto la piu singolare delle commissioni, quando un perfetto sconosciuto gli ha chiesto di comporre il ritratto musicale della sUrauffuhrung fidanzata. L'uomo sapeva esattemente cio che voleva: un concerto per pianoforte e orchestra. Dopo qualche esitazione, Campogrande si e reso conto di poter dipingere con la musica; certo, non sarebbe stato possibile riconoscere la forma del viso della donna o il colore dei suoi capelli, ma la partitura avrebbe evocato il modo nel quale lei si muoveva nello spazio e nel tempo, e i vari movimenti del brano sarebbero stati come le facce di un prisma in rotazione. Campogrande ha dunque accettato la commissione e lo sconosciuto gli ha mandato alcune foto della sUrauffuhrung fidanzata, gli ha parlato di lei e, alla fine, gliela ha presentata personalmente. E cosi nato cosi R (Un ritratto per pianoforte e orchestra ), eseguito per la prima volta nell'aprile 2013 da Lilya Zilberstein insieme all'Orchestra Verdi di Milano.In seguito, dopo altre esecuzioni e un documentario tv, diversi pianisti hanno chiesto a Campogrande di preparare una versione per pianoforte solo. E stato cosi che ha preso forma Nudo , un brano del tutto simile a R tranne per il fatto che, come suggerisce il titolo, il pianista e nudo, senza un abito orchestrale. 'Nudo' is a scintillating work that paints a vivid and fascinating sequence of musical portraits of its subject. And the Breitkopf score is simply superb. (www.pianodao.com).
SKU: CF.CM9600
ISBN 9781491154229. UPC: 680160912728. 6.875 x 10.5 inches. Key: G major. English. Traditional.
About the song . . .
This beloved American folk song is set atop a rhythmic vocal ostinato that casts this familiar tune in a new light. The energetic ostinato provides the backdrop for the soaring vocal line. Cued notes provide additional options for performance, based on the needs of the ensemble and the discretion of the director.
About the text . . .
The text for this song dates back to the 19th century when one of its many variants appeared in Harpers New Monthly Magazine in 1882. While there is some debate about the exact origin of the song, it is likely linked to the fur trade that existed along the Missouri river. The song quickly spread along these trade routes and exists to this day as one of the most familiar and beloved American folk songs.
This popular song has been recorded by many artists including Judy Garland, Bruce Springsteen, Bob Dylan, Renee Flemming, the King Singers, Chanticleer and many more.
SKU: CF.CM9638
ISBN 9781491157107. UPC: 680160915668. 6.875 x 10.5 inches. Key: A minor. English, English. Original.
Robinson' s TBB arrangement of this beloved Bennett madrigal, originally published for four voices in 1599, has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices. A wonderful concert or festival staple piece!.Weep, O Mine Eyes is a classic madrigal from the Renaissance period (circa 1400-1650). Although John Bennet's exact birth and death dates are unknown, we know that he was English and composed madrigals (non-sacred a cappella pieces) in the late 16th - early 17th centuries. Although, Bennet was not as prolific as other madrigal writers of the time, such as Thomas Morley, Weep, O Mine Eyes has certainly stood the test of time. Originally published in a book of 17 madrigals for four voices in 1599, this arrangement for TBB voices has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices. The original flavor of Bennet's four-part setting has been preserved, including the counterpoint (independent voices) where each voice is of equal importance. In Renaissance style no parts should over sing; the beauty of the melodic lines and text should come through and over singing will take away from the beauty. The EE vowel is sometimes problematic in the word weep. I suggest that you produce the EE vowel with OO on the lips and EE inside the mouth for better blend and to avoid a horizontal spreading of the vowel. Enjoy this wonderful madrigal!.Weep, O Mine Eyes is a classic madrigal from the Renaissance period (circa 1400-1650). Although John Bennet's exact birth and death dates are unknown, we know that he was English and composed madrigals (non-sacred a cappella pieces) in the late 16th - early 17th centuries. Although, Bennet was not as prolific as other madrigal writers of the time, such as Thomas Morley, Weep, O Mine Eyes has certainly stood the test of time.Originally published in a book of 17 madrigals for four voices in 1599, this arrangement for TBB voices has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices.The original flavor of Bennet's four-part setting has been preserved, including the counterpoint (independent voices) where each voice is of equal importance. In Renaissance style no parts should over sing; the beauty of the melodic lines and text should come through and over singing will take away from the beauty.The EE vowel is sometimes problematic in the word weep. I suggest that you produce the EE vowel with OO on the lips and EE inside the mouth for better blend and to avoid a horizontal spreading of the vowel.Enjoy this wonderful madrigal!
SKU: CF.CPS254
ISBN 9781491159811. UPC: 680160918409.
PROGR AM NOTES As We Search: Legend of the Brown Mountain Lights is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery. The origin of the lights has inspired numerous legends. As We Search: Legend of the Brown Mountain Lights focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTOR The duration of the composition is five minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work. The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5-6, 9-10, 17-18, 21-22, 41-42, 45-46, 76-77 and 80-81. The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman. Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights. Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist As We Search..PROGRAM NOTESAs We Search: Legend of the “Brown Mountain Lights” is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery.The origin of the lights has inspired numerous legends. As We Search: Legend of the “Brown Mountain Lights” focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTORThe duration of the composition is five minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work.The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5–6, 9–10, 17–18, 21–22, 41–42, 45–46, 76–77 and 80–81.The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman.Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights.Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist “As We Search.” .
SKU: CF.PO192S
ISBN 9781491157367. UPC: 680160915927.
Progr am note: Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas. The Composer: Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation. At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee. To the Conductor: You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .Program note:Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas.The Composer:Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation.At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee.To the Conductor:You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .
SKU: CF.PO192F
ISBN 9781491157374. UPC: 680160915934.
