First 30 Concert Studies, Op. 123

Play Along Trax - 3-CD Set-Play Along Trax - 3-CD Set. Essential Elements was the major breakthrough for beginning band methods in the '90s. Now Essential Elements 2000 will take band programs into the next millennium! EE2000 features:· A CD featuring a professional soloist in every Student Book 1 · Great performance music with planned first concert. · Even more great tunes motivating students to practice and stay in band. · Special Rubank® Studies · Better pacing sequencing and reinforcement. · Theory history and creativity exercises integrated into each student book.

Since their publication the 60 Concert Studies of Charles De Beriot have been greatly valued as essential stepping-stones to the acquirement of the higher technique of violin playing - the technique that seeks to fuse accuracy with expression and colour.

Par FINE ELAINE. Although the practice of scales is essential to building and maintaining strength, technique, tone, and agility?it is very easy to slip into the habit of playing them automatically, without paying attention to how they sound or even being aware of what scale we are playing. The 29 single-page studies in this book are designed to combat that tendency as they are musically, intellectually, and rhythmically challenging.The first 24 studies proceeded through the circle of fifths and address all minor and relative major keys; the last 5 pieces were individually conceived, i.e., apart from the circle of fifths. Occasional fingerings or position guides are suggested but these are largely left to the student or their teachers. No metronome indications are given so that the etudes can be played at individually comfortable tempos?with or without a metronome, or freely as concert etudes. It is the stepwise motion and octave leaps of the etudes that makes the intervals between pitches easy to hear, even in keys with numerous flats or sharps.Just as in Elaine Fine?s more basic scale etude book, Violin Scale Tales, the names of the etudes herein refer to various animals that have scales, including insects, fish, birds, reptiles, a few species of squirrels with scales on their tails, and the solitary pangolin, the only known mammal whose entire body is covered with scales. Again, the author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing creatures, or even write scale studies of their own. / Date parution : 2022-07-20/ Etude / Violon

comprehensive band method-Bb Bass Clarinet. Essential Elements was the major breakthrough for beginning band methods in the '90s. Now Essential Elements 2000 will take band programs into the next millennium! EE2000 features:· A CD featuring a professional soloist in every Student Book 1 · Great performance music with planned first concert. · Even more great tunes motivating students to practice and stay in band. · Special Rubank® Studies · Better pacing sequencing and reinforcement. · Theory history and creativity exercises integrated into each student book.

Essential Elements was the major breakthrough for beginning band methods in the '90s. Now Essential Elements 2000 will take band programs into the next millennium.Essential Elements 2000 features:Play Along Trax Discs 2 & 3.Great performance music with planned first concert.Even more great tunes motivating students to practice and stay in band.Special Rubank Studies.Better pacing sequencing and reinforcement.Theory history and creativity exercises integrated into each student book.This is the Disc 3 & 3 play-along CD set for EssentialElements 2000: Book 2.

comprehensive band method-Trombone. Essential Elements was the major breakthrough for beginning band methods in the '90s. Now Essential Elements 2000 will take band programs into the next millennium! EE2000 features:· A CD featuring a professional soloist in every Student Book 1 · Great performance music with planned first concert. · Even more great tunes motivating students to practice and stay in band. · Special Rubank® Studies · Better pacing sequencing and reinforcement. · Theory history and creativity exercises integrated into each student book.

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Ensemble Concepts-Introducing the first-ever curriculum for high school band! Essential Musicianship for Band is the perfect tool to assist your ensemble in developing the skills needed to read rehearse and perform band repertoirewith precision and artistry. Using proven methods for superior sound production and ensemble technique your students will transform printed notes into a meaningful musical experience. Fits easily into the traditional concert bandsetting. Ensemble Concepts is designed to help ensembles to acquire maximum performance skills while increasing overall musicianship. Every aspect of ensemble development is introduced individually in developmentalorder then combined for more advanced practice.Also available in the Essential Musicianship curriculum: • Masterwork Studies (HL00960078 – 00960095) focuses on six landmarkcompositions for band (score/parts not included). Two CD-ROMs are included featuring: 1. Exemplary recordings of each work performed by some of the world's finest ensembles 2. Practice “loops” onthe more difficult passages for each individual instrument including tempo adjustment software on-screen assessment and a built-in metronome 3. Scale arpeggio and articulation studies in all keys• Ensemble Concepts – Fundamental Level (HL00960110 – 00960127)• Ensemble Concepts – Intermediate Level (HL00960129 – 00960146)

Grimes David (Edtd And Comp). Par GRIMES DAVID. The studies of Mauro Giuliani (1781-1829) stand alongside those of Fernando Sor, Matteo Carcassi, Dionisio Aguado and Ferinando Carulli as the staples of the didactic pieces by the 'first generation' of classical guitarists. Giuliani was one of the most celebrated guitarists of his age, a brilliant performer and prolific composer. He left a legacy of compositions, and many of his works are heard regularly in recitals and concerts today. His student pieces are considered indispensable by generations of guitarists. The studies and exercises contained in the six opus numbers here provide some of the most effective material in the entire guitar literature for building and refining a superior technical command of the guitar. In this edition, David Grimes has modernized some of the notation and corrected a number of misprints from Giuliani's original publications. / Niveau : Tous Niveaux / Classic - Technic / Etude / Guitare Classique

Prayer to the Power of Love-The Ukrainian Dmitri Bortniansky (1751-1825) received lessons at the local singing school in his hometown of Hlukhiv and soon his extraordinary talent was recognised. He was somewhat of a child prodigy writing his first opera at a young age. Following his studies Bortniansky was appointed court composer and Kapellmeister of the Imperial Chapel Choir. In the period that followed he wrote - in addition to a number of operas instrumental works and a cycle of songs - more than a hundred religious works for a cappella choir in which he combined Russian-orthodox and Ukrainian traditions with late 18th century European music. The appealing melody of Ich bete an die Macht derLiebe (Prayer to the Power of Love) became well-known especially in Germany in combination with German text by Gerhard Tersteegen. This arrangement by Michael Bilkes reflects the atmosphere of the original work very well.

For this centenary publication Professor Peter Dickinson who knew Berkeley and his work for many years has brought together for the first time the complete solo piano output including hitherto unpublished pieces. He hasexmained sources and corrected previously published versions as well as completing the set of 'Three Dances' which the composer left only partly arranged for piano from his unknown ballet score of 1932. Pianists at last have theopportunity for an overview of truly outstanding contribution to piano literature. Includes detailed editorial notes.

SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first published in 1925 by Alphonse Leduc in Paris as No.23 of Edouard Nanny's 'Les Classiques de la Contrebasse'. For many years no one questioned its authenticity, but as more research into Dragonetti's original works for double bass was made, concerns began to arise. Many of Dragonetti manuscripts survive in the British Library, thanks to Vincent Novello who donated them in 1849, three years after Dragonetti's death and on Novello's retirement to Italy, but there is no original manuscript for this work. As bassists began to edit and perform a wide range of Dragonetti's works it became clear that this concerto bore little resemblance to any of his other pieces. The work does, however, have many similarities to Nanny's Concerto for double bass, also to his other solo works and even studies from his Method. Eventually most people came to the conclusion that this work is not an original work by the great Venetian bassist but is by Edouard Nanny, and in the style of the late 18th-century. Having said that, this is still a charming and evocative work which has much player and audience appeal and is very easy on the ears. Many of the challenges for the soloist are technical and, almost a century after its first publication, it is still as popular as ever. Published in 1925, the first movement was performed at London's Wigmore Hall on 15 April the following year by Victor Watson (double bass) and Sidney Crooke (piano), and was described a 'Contrabass Concerto by Dragonetti-Nanny. ERRATA: Piano part: page 8 (1st movement), bar 87 - final chord of bar in right hand should be D/E/G# - a dominant 7th chord in A major Edouard Nanny was an important French double bassist and teacher, also composing and transcribing many works for double bass. He was born in Saint-Germain-en-Laye on 24 March 1872 and he studied at the Paris Conservatoire with Professor Verrimst, also teaching there from 1920-1940. He performed often as a soloist, also working as an orchestral bassist with many orchestras such as the Paris Symphony Orchestra, Concerts Lamoureux and the Orchestra de l'Opera Comique, and in 1901 he founded the Henry Casadeus Society of Old Instruments, chaired by Camille Saint-Saens, and intended to revive the works from the past centuries. Nanny's Method for double bass is still in print, over 90 years since its first publication and both volumes contain a wealth of excellent technical studies and exercises which are as relevant today as they were in the 1920s. His other volumes of studies are mostly out of print and Recital Music plan to reprint some of his orginal works for double bass, transcriptions and educational music to keep alive the name of Edouard Nanny into the 21st-century. Edouard Nanny died in Paris in 1942.

Many violists have grown up on a diet of Violin studies transcribed for Viola and plenty have thrived on them even though the studies are in many cases composed with melodic patterns and fingerings that suit the Violin better than the Viola. Robin Ireland's aim in composing this new study material was to write specifically for the Viola in ways which suit it both technically and tonally.The twelve concert études set out to be musically attractive pieces which in addition to addressing most basic aspects of technique will encourage the development of 'musical' and expressive playing.The set of études is unusual perhaps unique in that it covers a rangeof styles and thus provides a focus for developing an understanding of bowing and articulation appropriate to different periods of music. The first eight études move through baroque classical and romantic styles while the later études include material for developing confidence with metre change and other basic rhythmic skills and with atonality. The last étude introduces an improvisatory style of playing.The concert études should be appropriate for Viola students from Grade 8 upwards. Details of a companion volume of 'technical' études and their availability can be found at www.robinireland.co.uk. These studies are each focused primarily on a single area of technical development in many cases an area not specifically addressed in currently available study material.The new études do not set out to provide a comprehensive alternative to existing study material but rather to complement it and extend its range.