Metal Pieces

SKU: UT.MAG-158

ISBN 9790215309791. 8.26 x 11.69 inches. Transcribed by Robert Nicolas Charles Bochsa.

Piano pianissimo senza parlar; Ecco ridente in cielo; Largo al factotum della città; All’idea di quel metallo

SKU: BT.RSK200047

ISBN 9781912352562. English.

Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals.

For Rockschool's 2018-2024 Guitar series, Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus.

The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock, metal and pop. The tracks were recorded at Real World's acclaimed recordingstudios and feature live instruments and first rate performances for an unrivalled level of feel, authenticity and musicianship.

Featuring:

• Eric Clapton - Lay Down Sally
• Average White Band - Pick Up the Pieces
• The Meters - People Say
• Beyonce - Love On Top
• Eminem - Lose Yourself
• AC/DC - Hell Ain't A Bad Place To Be
• 6 Rockschool Originals

Plus:

• Band and artist fact files with recommended listening
• In-depth walkthroughs of every track
• Easy-access downloadable audio
• Example tests and exercises
• Amp settings and tone advice for each track

SKU: HL.299795

UPC: 846430002203. 4.0x7.0x2.176 inches.

The ER2XR provides impactful bass response while maintaining the clarity in the midrange and highs that Etymotic is known for. The ER2XR offers Etymotic's renowned isolation featuring a variety of eartips to provide 35dB+ of noise reduction so you will hear the detail buried in the mix without raising the volume to compensate for ambient noise. The high performance dynamic drivers in the ER2XR can satisfy the in-ear monitoring needs of musicians, while appealing to more casual listeners who like a bit more presence of bass. Features • True high-accuracy sound with enhanced and extended bass • Metal earpieces with anodized finish • 35+ dB of external noise isolation • Assortment of eartips for the perfect in-ear fit • Detachable cable allows for easy replacement • High performance moving coil driver • Earphones include: • Detachable, 4-foot cable • Foam and 3-flange ear tips • Filter removal tool and filters • Compact storage pouch • Shirt clip.

SKU: CF.YAS13F

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: BT.WH30797

ISBN 9788759815915. Danish.

Listen to Scandinavia er et samarbejdsprojekt mellem tre nordiske konservatorielærere, Brita Bremberg (Stockholm), Gro Shetelig Kruse (Oslo) og Mette Stig Nielsen (Odense), som underviser i hørelære,auditiv analyse og musikpædagogik.

Den nordiske musik fører i al almindelighed et usynligt og uhørligt liv i musikundervisningen - såvel i lærebøgerne som i klasseværelserne.Endvidere mangler der pædagogiske værktøjer og metoder til undervisning i partiturmusik fra det 20. århundrede, næsten al klassisk musikpædagogik er bygget op omkring vesteuropæiskmusikfra 1700- og 1800-tallet.

I denne bog har vi derfor udarbejdet et undervisningsmateriale, der kan bruges på gymnasier, seminarier, MGK- kurser, musikkonservatorier, universiteter og andre steder, hvor derundervises i musik, musikteori, musikhistorie og musikpædagogik. Vi håber, at den nyere og nye nordiske musik vil blive brugt til intensiv lytning, hørelære, formlære, musikanalyse bl.a. gennem detforeliggende materiale, og at musiklærere og studerende vil kunne blive inspireret af vores spørgsmål i opgaverne og vores forskellige ideer til grafisk partitur, fri tegning og improvisation..

Detmusikalske materiale er et rigt udvalg af musik fra Danmark, Norge, Sverige, Finland, Færøerne og Island, og repræsenterer musik fra årene 1900-1919, 1920-1939, 1940-1959, 1960-1979 og 1980-2003.

Det ligger udenfor mulighederne i denne bog at omtale alle de betydningsfulde komponister som de nordiske lande har fostret. Musikeksemplerne er udvalgt, så de tilsammen giver et bredt indtryk af den nordiske musik efterår 1900 og ud fra deres kunstneriske og pædagogiske potentiale.

BOGENS METODE
Bogen er baseret på den idé, at man ved at lytte mange gange med skiftende fokus på et musikstykke kanudvikle evnen til at.

SKU: BT.VOLMB48

ISBN 9788863880465. Spanish.

A method which includes essential links and Bass playing. Contains pieces of rock, blues, heavy metal, blues and jazz. Uses both Tab and musical notation. Audio includes accompaniment for songs and exercises.

SKU: BR.BHM-7817