First Division Band Method / Level 2 / Flute

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Steve Gadd Gaddiments. In this, the first drum book he has written, music legend Steve Gadd presents a series of rudimental passages inspired by his experience in drum corps and his love of the rudiments. Each of the etudes is based on a classic or contemporary rudiment, or on Steve's personal variations. He takes the phrases and then displaces them to begin on different subdivisions of the beat, thereby creating new, challenging patterns from the basic sticking. All of the solos are written in musical phrases that reinforce the player's understanding of the importance of phrasing as a key element of musicianship. The book has been painstakingly hand-engraved at Steve's request, to bring a comfortable and classic look to the pages. The layout of each page was also designed specifically by Gadd to create an easy yet musical flow to the reading. The book is also spiral-bound making sure it lays flat. These features are reflective of a man who has read thousands of charts in the studio on some of the most important recordings of our time. Accompanying the book is a full set of videos with Steve demonstrating each etude using the method he used to write the book: Playing with his rubber-tip practice sticks on a piece of wood. Even in this situation, Gadd's legendary groove and musicality shine through. Drum set, drum corps, and classical drummers will find an instant classic in these pages, with elements that will improve your technical ability, musical phrasing, groove, and your rhythmic vocabulary using the challenging technique of displacement that Steve bases the book upon. STEVE GADD is one of the all-time legends of drumming, having appeared on thousands of recordings in every major style in which the drumset is played, with artists who comprise a literal who's-who of contemporary recording artists, including Chick Corea, Paul Simon, James Taylor, Eric Clapton, Frank Sinatra, Al DiMeola, Al Jarreau, Stanley Clarke, Chuck Mangione. He is also an established producer and bandleader of the Gadd Gang and the Steve Gadd Band.