Melodious Preludes, No. 2

SKU: HL.49044195

ISBN 9790001190879. UPC: 840126933604. 9.0x12.0x0.065 inches.

The melodies from George Gershwin's (1898-1937) musicals, from 'Porgy and Bess', from orchestral pieces like 'Rhapsody in Blue' or 'An American in Paris', we all know them! But the career of the young musician started as a pianist in a music publishing house where he was to encourage customers to buy music by playing it. Soon he began to compose music himself and caught the attention of the Broadway, which paved the way to his international career. Inspired by Frederic Chopin's 24 Preludes, he began to write his own 'Preludes' for the piano in the mid-1920s: Of the five preludes composed by him, he used two for the violin composition 'Short Story' and presented the other three at a concert on 4 December 1926. These 'Preludes' combine classical moments and jazz elements into an effective whole and can be played individually or as a little jazz sonata (fast - slow - fast). Thanks to the present arrangement, the charming miniatures are now available in a version for solo instrument and piano accompaniment.

SKU: HL.49044196

ISBN 9790001190886. UPC: 888680784737. 9.25x12.0x0.06 inches.

The melodies from George Gershwin's (1898-1937) musicals, from 'Porgy and Bess', from orchestral pieces like 'Rhapsody in Blue' or 'An American in Paris', we all know them! But the career of the young musician started as a pianist in a music publishing house where he was to encourage customers to buy music by playing it. Soon he began to compose music himself and caught the attention of the Broadway, which paved the way to his international career. Inspired by Frederic Chopin's 24 Preludes, he began to write his own 'Preludes' for the piano in the mid-1920s: Of the five preludes composed by him, he used two for the violin composition 'Short Story' and presented the other three at a concert on 4 December 1926. These 'Preludes' combine classical moments and jazz elements into an effective whole and can be played individually or as a little jazz sonata (fast - slow - fast). Thanks to the present arrangement, the charming miniatures are now available in a version for solo instrument and piano accompaniment.

SKU: MB.WBM70M

ISBN 9781733716949. 8.75 x 11.75 inches.

These 27 short etudes were composed to provide music suitable for study or the concert stage.  The etudes present a colorful palette of moods and musical textures and incorporate various picking techniques and lush harmonies.  They are extremely useful in developing tone and a lyrical feeling to a guitaristâ??s style.  These etudes will work well as concert preludes or encores or may be played in groups to create more extended performance repertoire.  They are guitaristic and highlight the beauty of the plectrum/flatpick guitar style.  The etudes are written in notation and tablature. Includes access to online audio.  

SKU: MN.25-600

UPC: 688670256004.

Ten hymn preludes for piano and treble instrument in C or B-flat. Creative writing for both the instrument and piano means each setting has a unique character and mood, with strong interplay between soloist and accompanist. Hymn melodies are recognizable, but not set in a predictable fashion—be ready for changes in key, meter, and texture—all of which breathe new life into the tunes.

SKU: GI.G-9657

UPC: 785147965763.

Chara cteristic of Powellâ??s writing style, Five Organ Preludes on Plainsong Tunes is very musical and expressive throughout. The melodies flow smoothly in and outâ?? sometimes in a polyphonic texture and sometimes clearly stated with a solo organ stop. The unmeasured notation and beaming of each tune matches the style of the original chants. Most of the sections are written for three manuals, but they can easily be adapted to a two-manual instrument. Registration suggestions are provided.

SKU: HL.14021071

UPC: 884088489700. 8.25x11.75x0.148 inches.

These Carol-Preludes were written in 2008, but the idea was in the composer's mind for many years before this. Essentially, they revive the old style of the Chorale- Prelude, but using carol tunes instead of hymns or chorales. They are derived from German, French and English melodies - some of the German tunes were found in my mother's old school songbook from her schooldays in Germany after the First World War.

SKU: HL.237254

English.

With its extensive and diverse repertoire, this tutorial allows you as a cross flutist to access the best of what classical music has to offer.If you choose to work with this tutorial, you will not only broaden your musical horizon and improve your playing technique, but indeed enjoy performing all kinds of masterpieces on your own cross Flute.All the great composers are featured - with one or even several of their works, with concerts, symphonies and sonatas, with lieder, arias and overtures, with Renaissance dances, orchestral pieces, waltzes and ballets, but also with instrumentals suchas preludes, nocturnes, etudes, marches, gymnopedies and much more. And in order not to lose your enthusiasm while practicing, each score is accompanied by 2 audio-recordings, which you will find on the mp3 CD attached to the tutorial.In the first recording, the cross Flute-part is played along to the corresponding accompaniment. In the second, only the backing track (the accompaniment) can be heard, which gives you the possibility of taking up the score yourself. In total, youare invited to enjoy 174 recordings, which add up to more than 6 hours of musical practice(!).

SKU: GI.G-003035

UPC: 641151030241.

Compo ser Gregory Hamilton make shis debut in the WLP Organ Library with these well-crafted organ pieces based on ten of the most familiar and beloved chant melodies. Accessible for intermediate-level organists, these pieces are useful for the major seasons and feasts of the liturgical year.

SKU: BT.MUSME0294

English.

With its extensive and diverse repertoire, this tutorial allows you as a saxophonist to access the best of what classical music has to offer. If you choose to work with this tutorial, you will not only broaden your musical horizon and improve your playing technique, but indeed enjoy performing all kinds of masterpieces on your own Saxophone. All the great composers are featured – with one or even several of their works, with concerts, symphonies and sonatas, with lieder, arias and overtures, with Renaissance dances, orchestral pieces, waltzes and ballets, but also with instrumentals such as preludes, nocturnes, etudes, marches, gymnopedies and much more. And in order not tolose your enthusiasm while practicing, each score is accompanied by 2 audio-recordings, which you will find on the mp3 CD attached to the tutorial. In the first recording, the Saxophone-part is played along to the corres-ponding accompaniment. In the second, only the backing track (the accompaniment) can be heard, which gives you the possibility of taking up the score yourself. In total, you are invited to enjoy 174 recordings, which add up to more than 6 hours of musical practice(!).

SKU: SU.00220522

This CD Sheet Musicâ?¢ collection brings together over 60 duets for every technical level by twenty-four composers from the 19th and early 20th centuries. Works include: Beethoven (Grosse Fuge, Variations on a Theme of Count von Waldstein); Bizet (Jeux d'enfants, Books IandII); Brahms (Hungarian Dances, Liebeslieder Waltzes); Clementi (Sonata in C major); Debussy (La Mer, Petite Suite); Diabelli (Twenty-eight Melodious Pieces); Dvorák (Slavonic Dances); Fauré (Dolly); Grieg (Norwegian Dances, Waltz-Caprices); Haydn (Il Masstro e Lo Scolare); Liszt (Les Preludes), Mendelssohn (Allegro Brilliant); Moszkowski (Spanish Dances); Mozart (Fugue, Sonatas); Mussorgsky (Sonata); Rachmaninoff (Six Pieces); Ravel (Mother Goose); Rimsky-Korsakov (Sheherezade), Satie (La Belle Excentrique, Parade, Trois Morceaux en forme de Poire); Schubert (Divertissement à la Hongroise, Lebensstürme, Three Military Marches); Schumann (Twelve Pieces for Large and Small Children, Kinderbal); Stravinsky (Five Easy Pieces; Le Sacre du Printemps); Weber (Mazurka, Romanza, Sonata in C), and more Also includes composer biographies and relevant articles from the 1911 edition of Groveâ??s Dictionary of Music and Musicians 1000 pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: CF.H84

ISBN 9781491165539. UPC: 680160924530.

Marce l Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.