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Le plus récent titre Hal Leonard célèbre série Facile Clavier électronique Musique vous propose 100 tout-temps favoris des enfants / Ligne De Mélodie, Paroles Et Accords

Kantate Zum 1. Advent. Par TELEMANN GEORG PHILIPP. The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann’s sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 [therefore during the same period as the first performance of Bach’s Christmas Oratorio]. Of the four solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of thechoir, and the tenor recitative can be sung by the soprano soloist./ Répertoire / Solistes S (A) TB, Choeur SATB, 2 Hautbois, 2 Viol

Kantate Zum 1. Advent. Par TELEMANN GEORG PHILIPP. The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann’s sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 [therefore during the same period as the first performance of Bach’s Christmas Oratorio]. Of the four solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of thechoir, and the tenor recitative can be sung by the soprano soloist./ Répertoire / Solistes S (A) TB, Choeur SATB, 2 Hautbois, 2 Viol

Kantate Zum 1. Advent. Par TELEMANN GEORG PHILIPP. The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann’s sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 [therefore during the same period as the first performance of Bach’s Christmas Oratorio]. Of the four solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of thechoir, and the tenor recitative can be sung by the soprano soloist./ Répertoire / Solistes S (A) TB, Choeur SATB, 2 Hautbois, 2 Viol

Kantate Zum 1. Advent. Par TELEMANN GEORG PHILIPP. The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann’s sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 [therefore during the same period as the first performance of Bach’s Christmas Oratorio]. Of the four solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of thechoir, and the tenor recitative can be sung by the soprano soloist./ Répertoire / Solistes S (A) TB, Choeur SATB, 2 Hautbois, 2 Viol

Par DUFOURT HUGUES. Erewhon I image d'un monde-genèse, d'un pur espace en action. Décharges, vrilles, turbulences, saccades. Les formes s'enchevêtrent, s'encastrent, ou s'écrasent mutuellement sous la pression du dynamisme qui les soulève. La violence formelle vise à la concentration la plus dense, à l'imbrication la plus serrée. Elle brise et contracte - un formalisme du heurt et de la fracture. La percussion des peaux se prête tout particulièrement aux métamorphoses brutales - libérée de contraintes d'échelle, elle ne s'attache qu'à l'aspect énergétique du son. Avec un nombre suffisant d'instruments, on dispose d'un véritable clavier d'impulsions dynamiques: attaques sèches et abruptes, ébranlements sourds, secousses avec résonance timbrée, ou impacts mats. Rythmique, métrique, dynamique sont totalement dissociées. L'est leur imbrication forcée qui crée la tension de l'oeuvre. La mise en oeuvre consiste à articuler entre elles ces configurations explosives, en jouant plus ou moins de leurs conflits de structure. Erewhon II est un essai de stéréodynamique fantastique. Qu'adviendrait-il d'un espace brusquement saturé de toutes les figures de l'énergie, comme échappées des mailles de l'univers ? Il en surgirait peut-être un monde de pur mouvement sans limite assignable, une tourmente d'architectures tremblées, la prolifération soudaine d'une flambée d'interférences. Pour traduire l'image de cette complexité effervescente, j'ai tenté de réaliser une architecture mouvante de timbres métalliques (plaques de tôle, cymbales, gongs, tam-tams) où prévaudraient la fluence, l'ambiguïté, l'indéfini des transitions. Un jeu de glissements incessants, le recouvrement mutuel des masses sonores tendent à produire un effet de fuite indéfinie. La superposition ou l'alternance des timbres, qui creusent et soulèvent tour à tour l'onde sonore constituent un élément rythmique. Autre forme de scansion: les blocs de lumière plantés dans la masse (vibraphones, glockenspiels) se dressent dans un mouvement de surrection radicale. Dans cette oeuvre, j'ai tenté de tirer systématiquement parti des ressources spécifiques de la percussion pour métaux: modification du timbre par l'attaque, lente transformation de la couleur du son sous l'effet des roulements de baguettes douces (plaques de tôle, gongs, tam-tams), utilisation des grains de résonance (le scintillement progressif d'une cymbale), modulation des spectres dynamiques de la résonance. La percussion métallique modifie profondément les relations entre la production et la perception du son. Elle remet en question l'équilibre traditionnel (instrumental ou vocal) entre les mouvements articulatoires et les ondes acoustiques qu'ils engendrent. Il faut précisément tenir compte de ce coefficient dynamique propre aux résonances métalliques, qui donne naissance à une nouvelle classe de sons 'fluides'. Erewhon III adagio pour percussion qui traite les instruments comme des voix: gongs, cloches tubes, cloches de vache, timbales, marimba. Dans cette oeuvre, j'ai expressément tenu compte de la dynamique globale du son de percussion. Frapper un gong, ébranler un tam-tam, c'est créer un évènement énergétique avec un foyer (le choc), et une aire d'irradiation (le signal rayonné). Le temps métrique est entièrement subordonné à la durée interne de phases de résonance. De plus, la résonance d'un instrument métallique produit une forme dont le modelé s'anime d'un mouvement interne d'expansion. Elle donne à l'espace sonore une loi de croissance, de courbure, elle lui imprime une allure évolutive. Les propriétés physiques de la résonance des métaux dessinent d'elles-mêmes une géométrie expressive. J'ai tenté de tirer parti de cet alphabet de configurations fugaces, mais nettement différenciées par leur spectre de dispersion. Leur emploi contraint à une organisation spécifiée par des lois d'affinité ou de contraste. Enfin, le traitement des cloches et des gongs pose un problème harmonique particulier: on a affaire à des sons hybrides qui s'entendent tantôt comme des hauteurs définies, tantôt comme des sons complexes (paquets de spectres harmoniques), fixes en tessiture, mais sans degré assignable. D'où l'intérêt des équivoques, des oscillations, des transitions entre ces deux régimes distincts du son. Erewhon III est un paysage imaginaire, à la manière d'Edgar Poe: résurgence lointaine d'un écho rémanent. Erewhon IV avec cette oeuvre, j'ai tenté d'approcher une situation limite. Que resterait-il d'un langage dont la parole s'est retirée, d'un discours sans la communication ? Il ne subsisterait rien sans doute, sinon les indices d'un monde aboli, des traces, un souffle, une illusion sonore. J'ai imaginé à ce propos un fourmillement imperceptible, un état dynamique extrêmement ténu, formé d'une grêle d'attaques sèches et incisives sur les peaux. Cette matière est animée de gonflements très lents, de fluctuations à peine marquées, traversées çà et là de coulées métalliques diffuses. Pour modeler ces volumes accordés à leur propre pulsation, je me suis inspiré des techniques de la gravure. L'art de l'entaille sait, avec des moyens d'une précision aigüe, évoquer un lointain, un ailleurs, traduire le flottement d'un espace sans attache. Quelques traits, un dégradé de points, suffisent à susciter un jeu d'ombres, un mélange de clarté livide et de scintillement noir. Précisément, l'esprit de l'écriture musicale ne me paraît pas étranger à cette économie graphique, qui crée du flou avec de l'acéré. C'est pourquoi je me suis limité, dans cette oeuvre, à une composition de grains, plus ou moins resserrés, plus ou moins dilatés: battuto, roulements, frottements, résonances. Extrait du programme du Centre Beaubourg, Paris, 1989 / contemporain / Répertoire / 6 Percussions

Jorge Cardoso is a recognized performer who has travelled the world over giving hundreds or concerts as a soloist, in duos, and with orchestras. There are innumerable recordings of his performances, and he is a prolific composer whose works have been recorded by other guitarists in more than thirty albums. Cardoso is also a master teacher with followers around the world. This DVD traces the historical path of the guitar, showing the instrument's ancestors and tracing its development to its current form. It includes a visit to the workshops of Manuel Contreras II and Ars Antiqva, Jose Angel Espejo's workshop, followed by a detailed analysis of the factors that contribute to the proper development of classical guitar technique. The DVD covers everything from the seat, the position of the body, and the devices used to improve it 'Aguado's machine?, Sor's support system, the foot-rest, attachments, and an ingenious, simple and practical system created by the author, to the mechanical workings of the hand, its main ways of gripping, and the problems posed by the ring finger. All of these topics are approached through the scientific reasoning of the author, backed up by his knowledge as a doctor. As Jorge Cardoso says in the introduction, this course 'can be useful both to beginners and to more advanced players. . . it can be useful to anyone who plays a plucked stringed instrument.? It includes basic demonstrations and explanations about how the hands work from the moment they are placed on the guitar, as well as exercises and concert pieces of the highest level. There is a discussion of strumming technique, of 'toque mixto? and four complete pieces interpreted by the author. The course will also be useful for electric guitarists and others who have focused on the use of the pick and have neglected other essential guitar techniques. UK product number 8353412233. / Guitare Classique / 125 pages / niveau : Multiple Levels / Dvd - Format: 7,5 X 5,25

Par . The musical appeal of the Blues, as they began to be heard in the early twentieth century, was so infectious that musicians with open minds and ears were drawn to it as soon as they heard it. And that appeal crossed the racial and ethnic divides that characterized American society. So it was, that even before African American guitarists were recorded playing fingerstyle blues guitar, their white neighbors had already begun learning the music?listening to, watching, and imitating the musicians whose music they so admired. And what these white musicians ended up expressing in their own playing and singing was not simply imitation, but their own reconfiguration of what their models did, played in accordance with their own senses of rhythm, phrasing and how to sing the music.In Hillbilly Fingerstyle Blues Guitar, author John Miller offers transcriptions, in tablature and standard notation, of twenty-eight pieces by these white fingerstyle blues players, taken from recordings made in the period 1926?1970. Some of the featured musicians in the book, like Sam McGee, Frank Hutchison, Maybelle Carter, Hobart Smith, and Roscoe Holcomb are pretty well known, but the tunes by more obscure players like Debs Mays, Lake Howard, or Lester McFarland certainly don?t suffer by comparison, and in many instances are spectacular. The pieces have been chosen for variety, too?you?ll encounter pieces played in C, E, and A in standard tuning, as well as songs in Open G, Open D tunings and an exotic offshoot of Open G tuning. Downloadable links to all of the original performances from which the transcriptions were made come with the book, so you can get the sound of the tunes in your head. The musicians in Hillbilly Fingerstyle Blues Guitar gravitated towards the Blues because the music spoke to them so strongly that they felt compelled to make it part of their own musical language. And they did just that. These performances are strong and worthwhile in their own right, but they?ll also show you how you can honor those who have inspired you by singing and playing in your own voice. And that?s an important lesson to learn. Includes access to online audio. / Date parution : 2021-11-03/ Recueil / Guitare

Fiddler Magazine en conjonction avec Mel Bay Publications, Inc. a compilé une merveilleuse collection des mélodies et des entrevues avec les contributions de 36 des violoneux plus grands du monde. Les artistes sont Charlie Acuff, Paul Anastasio, Randal baies, Byron Berline, Kevin Burke, Vassar Clements, Michael Doucet, Jackie Dunn, J.P. Fraley, Johnny Gimble, Bruce Greene, John Hartford, Richard Greene, Ivan Hicks, Jerry Holland, Olav Johansson, James Kelly, Barbara Lamb, Laurie Lewis, Sandy MacIntyre, Natalie MacMaster, Frankie McWhorter, Bruce Molsky, Juan Reynoso, Dale Russ, Oliver Schorer, Pierre Schryer, Bjorn StabiAlicia Svigals, Athena Tergis, and Laura Risk, Jay Ungar, Jean-Marie Verret, Claude Williams, George Wilson et Jennifer Wrigley. / Niveau : Intermédiaire / Acoustic Music - Solos / Recueil / Violon

Open tunings are as old as the guitar itself and they’ve been used to play blues folk country rock and old-timey music. Who’s known for using open tunings? Artists as diverse as Robert Johnson Bob Dylan MaybelleCarter Bo Diddley Blind Willie McTell Keith Richards Doc Watson Muddy Waters Joni Mitchell Ry Cooder Neil Young Fred McDowell Jimmy Page Son House John Renbourn Leo Kottke Ani DiFranco Alex de Grassi and PierreBensusan! In this 92 minute lesson Fred shows you how contrary to what many beginners might think open tunings make it easier to play guitar. You’ll learn songs from all the above musical genres in open D open G andDADGAD tuning. In addition to learning songs you get some tips on how to improvise and play chords in G and D tuning. It’s a great way to expand your range on the guitar and get a whole different sound! Tunes include:Buckets of Rain Statesboro Blues Mean Old World Little Sadie K.C.Jones Stackerlee The Way I Am and I Didn’t See It Coming. Also included are bonus audio tracks featuring recordings from the 1920s to 1940s of some ofthese tunes so that you can hear how these songs can be played and sung.

Passionsoratorium. Par LOEWE CARL. Carl Loewe, who today is known only for his Ballades, left behind an extensive musical opus especially created to meet the rapidly growing needs of the emerging middle class during the Biedermeier period [including 15 oratorios]. In the oratorio Das Sühnopfer des neuen Bundes [The Expiatory Sacrifice of the New Covenant], composed during the middle of the 19th century based on the story of the Passion as a compilation by Wilhelm Telschow of texts drawn from the four Gospels, Loewe merged the stylistic tendencies of this era into a simple, charming whole. In accordance with the demands of that time, the vocal parts can be accompanied solely by a keyboard instrument, by stringswith or without a keyboard instrument, or by a symphonic orchestra. / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Alto, Violo

Passionsoratorium. Par LOEWE CARL. Carl Loewe, who today is known only for his Ballades, left behind an extensive musical opus especially created to meet the rapidly growing needs of the emerging middle class during the Biedermeier period [including 15 oratorios]. In the oratorio Das Sühnopfer des neuen Bundes [The Expiatory Sacrifice of the New Covenant], composed during the middle of the 19th century based on the story of the Passion as a compilation by Wilhelm Telschow of texts drawn from the four Gospels, Loewe merged the stylistic tendencies of this era into a simple, charming whole. In accordance with the demands of that time, the vocal parts can be accompanied solely by a keyboard instrument, by stringswith or without a keyboard instrument, or by a symphonic orchestra. / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Alto, Violo

Passionsoratorium. Par LOEWE CARL. Carl Loewe, who today is known only for his Ballades, left behind an extensive musical opus especially created to meet the rapidly growing needs of the emerging middle class during the Biedermeier period [including 15 oratorios]. In the oratorio Das Sühnopfer des neuen Bundes [The Expiatory Sacrifice of the New Covenant], composed during the middle of the 19th century based on the story of the Passion as a compilation by Wilhelm Telschow of texts drawn from the four Gospels, Loewe merged the stylistic tendencies of this era into a simple, charming whole. In accordance with the demands of that time, the vocal parts can be accompanied solely by a keyboard instrument, by stringswith or without a keyboard instrument, or by a symphonic orchestra. / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Alto, Violo

Passionsoratorium. Par LOEWE CARL. Carl Loewe, who today is known only for his Ballades, left behind an extensive musical opus especially created to meet the rapidly growing needs of the emerging middle class during the Biedermeier period [including 15 oratorios]. In the oratorio Das Sühnopfer des neuen Bundes [The Expiatory Sacrifice of the New Covenant], composed during the middle of the 19th century based on the story of the Passion as a compilation by Wilhelm Telschow of texts drawn from the four Gospels, Loewe merged the stylistic tendencies of this era into a simple, charming whole. In accordance with the demands of that time, the vocal parts can be accompanied solely by a keyboard instrument, by stringswith or without a keyboard instrument, or by a symphonic orchestra. / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Alto, Violo