/ Flûte A Bec Soprano Avec Instruments Divers (Flûtes A Bec (SATB), Piano, Guitare, Percussions Et Basse Ad Libitum)
SKU: BT.DHP-1043680-400
ISBN 9789043120647. German.
Recorder World is a new and colourful introduction to recorder playing, particularly suitable for very young children. The Great Wizard and his owl act as guides through the book. New notes and ideas are introduced gradually and reinforced by colourful stickers which can be used as each concept is presented. There are also games and pieces in two and three parts including both original and well known tunes. There is plenty here to keep young musicians interested and amused - an ideal start to a lifetime of musical activity. Book 3 introduces the idea of performing with others. This is done with the use of a play-along CD containing over 75 fantastictracks. All recorder players will have immense fun with this book. Includes a complete fingering chart which makes a great reference tool.English Edition: DHP 1043725-400, vol. 3 Blockflötenland ist eine phantasievolle, kindgerechte Schule in drei Bänden für Anfänger auf der Blockflöte und in der Musik. Hier eröffnet sich den Kindern eine neue, bunte Welt voll Musik, die sie mit ihrer Blockflöte erforschen. Von einem Zauberer und einer weisen Eule an die Hand genommen, machen sie hier ihre ersten musikalischen Schritte. Auf der Reise lernen sie Schritt für Schritt nicht nur, wie man auf der Blockflöte spielt, sondern auch das Noten lesen und wichtige Musikzeichen. Lustige Musikstücke, Rätsel, Spiele, bekannte Abzählreime und Lieder für einen oder mehrere Spieler sorgen für Spaß und Abwechslung auf dem Weg. Bei jedem neuen Griff oder Zeichen dürfendie kleinen Abenteurer in Band 1 den dazugehörigen Aufkleber aus dem mitgelieferten Sticker-Blatt selbst heraussuchen und einkleben. In Band 2 kündigt ein beiliegendes Plakat den Blockflötenzirkus an: Die Akteure sind natürlich die jungen Schüler, die hier allerlei Tricks und Spielereien auf der Blockflöte lernen. In Band 3 können die Schüler schon schwierigere Stücke und Lieder auf der beiliegenden CD anhören und dann zur separat eingespielten Begleitung selbst ausprobieren. Die CD kann auch gut zum Vorspielen der Lieder verwendet werden. Diese zusätzlichen Elemente machen diese Blockflötenschule zu einer echten Mitmach-Schule, die sowohl im Einzel- als auch Gruppenunterricht eingesetzt werden kann.
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: CL.012-4455-01
The Addision Red Line is a popular train stop for the CTA in Chicago. Nearby, Wrigley Field, the home of the Chicago Cubs, hosts games that bring a myriad of people out to enjoy baseball at this historic location. The energy of people passing by, going to restaurants, or meeting with friends, all centered around the passion and fervor that baseball season brings, creates an exciting and unique atmosphere. The Addison Red Line is a fun and challenging, upbeat work that would make a great addition for any concert.
SKU: CL.012-4455-75
SKU: HL.49030465
ISBN 9781902455600. UPC: 841886002982. 8.25x11.75x0.421 inches. English.
Anyone who can pick up a pencil can draw. Anyone who can sing or play an instrument can compose. Following the successful formula of The Composer's Handbook, The Pop Composer's Handbook is a step-by-step guide to the composition of melody, harmony, rhythm and structure and covers styles and song-writing techniques from rock, reggae and salsa to bhangra, club and steel band.The book is aimed at composers aged 11 to 18 and beyond. It includes games and warm-ups, whole-class projects, worksheets and schemes, projects for the more advanced and advice on recording and producing.Bruce Cole studied composition at the Royal Academy of Music with Sir Harrison Birtwistle and has pursued a joint career as a composer and teacher. He has taught at most levels from pre-school to postgraduate, including teacher training, working with young people with special needs and prison education. His work as a composer has included orchestral commissions, scores for film, television, theatre, dance and new circus as well as collaborations with The Rolling Stones, Squeeze, Joan Armatrading and Asian Dub Foundation.Bruce Cole is currently Fellow in Community Music at the University of York and Chief Examiner of a national examination board.