The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents.The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes:Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762)Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinetTune Book 1 and 2 (ED 21763, ED 21764): piano score of the method's performance pieces, with additional inserted clarinet partDaily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original methodDue to trilingual nature of all editions (German, English, French), they can be used universally.About the revision:The musical text is based on the first edition of the method. Only a few differences concerning the articulation as well as some misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. The content of the text and the performance directions of the original were linguistically modernized and occasionally extended by further ideas from the teaching practice, such as concepts for warming up, breathing exercises, literature suggestions or tips for daily practising. Further additions of scale and triad studies in all major and minor keys make this method a comprehensive and thorough work of study which not only serves as teaching material for young and adult beginners, but is also a valuable compendium of scale exercises and studies for advanced musicians and is ideal for training velocity and dexterity.The Clarinet Method Vols. 1 and 2 contain not only scales and technical fingering exercises but also Baermann's popular performance pieces, like Romanze (No. 14), which are ideal as performance pieces, yet at the same time train both technique and musical expressiveness. The systematic scale, interval and chord exercises in all keys, however, were removed and are published separately in the volume Daily Exercises (ED 21765) for reasons of clarity.The two textbooks are available with or without CDs. The editions with CDs contain two audio CDs each which were recorded live by the editor and which contain a classic audio version of each performance piece as well as a pure piano version for playing along. / Clarinette

Concert Pieces from the Clarinet Method. Par BAERMANN CARL. The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents. The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes: Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762) Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinet Tune Book 1 and 2 (ED 21763, ED 21764): piano score of the method\'s performance pieces, with additional inserted clarinet part Daily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original method Due to trilingual nature of all editions (German, English, French), they can be used universally. About the revision: The musical text is based on the first edition of the method. Only a few differences concerning the articulation as well as some misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. The content of the text and the performance directions of the original were linguistically modernized and occasionally extended by further ideas from the teaching practice, such as concepts for warming up, breathing exercises, literature suggestions or tips for daily practising. Further additions of scale and triad studies in all major and minor keys make this method a comprehensive and thorough work of study which not only serves as teaching material for young and adult beginners, but is also a valuable compendium of scale exercises and studies for advanced musicians and is ideal for training velocity and dexterity. The tune books contain all performance pieces from the Clarinet Method Op. 63 by Carl Baermann for clarinet and piano. Thanks to the revised editions, they are now available as scores with inserted solo part for the first time. Thus, the popular performance pieces and studies can also be used separately from the textbook ? as an addition to the repertoire of music lessons or simply as a collection of attractive performance pieces for pupils and advanced clarinettists. As with the two volumes of the Clarinet Method, the musical text of the tune books is based on the first edition of the method, and only few differences concerning articulation as well as several misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. / Éducatif / Recueil / Clarinette en Bb et Piano

The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents.The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes:Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762)Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinetTune Book 1 and 2 (ED 21763, ED 21764): piano score of the method's performance pieces, with additional inserted clarinet partDaily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original methodDue to trilingual nature of all editions (German, English, French), they can be used universally.About the revision:The musical text is based on the first edition of the method. Only a few differences concerning the articulation as well as some misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. The content of the text and the performance directions of the original were linguistically modernized and occasionally extended by further ideas from the teaching practice, such as concepts for warming up, breathing exercises, literature suggestions or tips for daily practising. Further additions of scale and triad studies in all major and minor keys make this method a comprehensive and thorough work of study which not only serves as teaching material for young and adult beginners, but is also a valuable compendium of scale exercises and studies for advanced musicians and is ideal for training velocity and dexterity.The Clarinet Method Vols. 1 and 2 contain not only scales and technical fingering exercises but also Baermann's popular performance pieces, like Romanze (No. 14), which are ideal as performance pieces, yet at the same time train both technique and musical expressiveness. The systematic scale, interval and chord exercises in all keys, however, were removed and are published separately in the volume Daily Exercises (ED 21765) for reasons of clarity.The two textbooks are available with or without CDs. The editions with CDs contain two audio CDs each which were recorded live by the editor and which contain a classic audio version of each performance piece as well as a pure piano version for playing along. / Clarinette

Book 3-See Elementary Section for Book 1 (Ref. 7761A) and Advanced Section for Book 4 (Ref. 7761D).

See Elementary Section for Book 1 (Ref. 7761A) and Intermediate Section for Books 2 & 3 (Refs. 7761B and C).

Anne Fuzeau Classique vous propose tous les textes théoriques, méthodes, traités, articles, partitions de musique classique concernant la flûte traversière.Ces méthodes anciennes sont reproduites en fac-similé et regroupés en - deux volumes.Volume 1 (Réf. 5822) : ANCELET - Anonyme - BETHISY - Toussaint BORDET - Sébastien de BROSSARD - Michel CORRETTE - Louis Joseph, le neveu FRANCOEUR - - Antoine FURETIERE - François-Alexandre-Pierre de GARSAULT - Jacques Martin HOTTETERRE le Romain - Charles de LUSSE - Antoine MAHAULT - Marin MERSENNE - Valentin ROESER - Pierre TRICHET. Volume - 2 (Réf. 5823) : Anonyme - Giuseppe Maria CAMBINI - François DEVIENNE - Encyclopédie méthodique - Jean-Benjamin de LABORDE - MUSSARD - Othon-Joseph VANDENBROCK - Amand VAN - DER HAGEN.Table des matières : Volume 1 : Mersenne Marais : Harmonie Universelle - 1636Trichet Pierre : Traité des instruments - ca 1640Furetière Antoine : Dictionnaire universel - 1690Brossard Sébastien de : Dictionnaire de musique - 1703Hotteterre Jacques Martin le Romain : Principes de la flûte traversière - 1707Hotteterre Jacques Martin le Romain : L'art de préluder - 1719Béthisy J.L. de : Exposition de la théorie - 1754Bordet Toussaint : Méthode raisonnée pour apprendre - 1755Anonyme : Découverte de l'embouchure - 1756Ancelet : Observations sur la musique - 1757Mahaut Antoine : Nouvelle méthode pour apprendre en peu de temps à jouer de la flûte traversière - 1759Garsault François-Alexandre-Pierre de : Notionnaire ou Mémorial raisonné - 1761Lusse Charles de : L'art de la flûte traversière - 1761Francoeur Le Neveu Louis Joseph : Diapason général de tous les instruments à vent - 1772Corrette Michel : Méthode raisonnée (2e édition) - 1773Roeser Valentin : Gamme pour la flûte traversière - 1777Volume 2 : Mussard : Nouveaux principes pour apprendre à jouer de la flûte traversière - 1778Laborde Jean-Benjamin de : Essai sur la musique - 1780Encyclopédie méthodique : Edition Panckoucke et Plomteux (reprend le texte de l'Encyclopédie) - 1788Anonyme : Principe de flûte pour apprendre à jouer sans maître - ca 1790Vandenbrock Orthon-Joseph : Traité général de tous les instruments à vent - ca 1793Devienne François : Nouvelle méthode théorique et pratique pour la flûte - 1794Cambini Giuseppe Maria : Méthode pour la flûte traversière - ca 1795Van der Hagen : Nouvelle méthode de flûte - 1798Téléchargez le catalogue Anne Fuzeau Classique / Flûte Traversière / 600 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

The clarinet method op. 63 by Carl Baermann from 1867 is still a standard work in classical clarinet education today. The thoroughly revised new edition aims at reviewing the educational concept, which is still valid today, for modern lessons, adjusting the music and texts, and sensibly complementing the teaching contents.The editor who draws on many years of experience as a clarinettist in an orchestra and university lecturer of clarinet has succeeded in adapting the valuable teaching material to the requirements of today while maintaining the basic methodology. The result is a total of 7 volumes:Clarinet Method Vol. 1 and Vol. 2 (ED 21761, ED 21762)Clarinet Method Vol. 1 and Vol. 2, with 2 CDs each (ED 21761-50, ED 21762-50): The CDs contain the piano accompaniment for the performance pieces, with and without clarinetTune Book 1 and 2 (ED 21763, ED 21764): piano score of the method's performance pieces, with additional inserted clarinet partDaily Exercises (ED 21765): systematic scale, interval and chord exercises in all keys, complemented and published separately from the original methodDue to trilingual nature of all editions (German, English, French), they can be used universally.About the revision:The musical text is based on the first edition of the method. Only a few differences concerning the articulation as well as some misprints and typographical errors were revised. By deleting the historical fingering instructions for the German fingering system, the clarinet method not only has a clean and, compared to the original, more clearly structured layout, but can also be used universally. The content of the text and the performance directions of the original were linguistically modernized and occasionally extended by further ideas from the teaching practice, such as concepts for warming up, breathing exercises, literature suggestions or tips for daily practising. Further additions of scale and triad studies in all major and minor keys make this method a comprehensive and thorough work of study which not only serves as teaching material for young and adult beginners, but is also a valuable compendium of scale exercises and studies for advanced musicians and is ideal for training velocity and dexterity.The Clarinet Method Vols. 1 and 2 contain not only scales and technical fingering exercises but also Baermann's popular performance pieces, like Romanze (No. 14), which are ideal as performance pieces, yet at the same time train both technique and musical expressiveness. The systematic scale, interval and chord exercises in all keys, however, were removed and are published separately in the volume Daily Exercises (ED 21765) for reasons of clarity.The two textbooks are available with or without CDs. The editions with CDs contain two audio CDs each which were recorded live by the editor and which contain a classic audio version of each performance piece as well as a pure piano version for playing along. / Clarinette

German composer and violinist Johann Pfeiffer (1697 - 1761) was born in Nuremberg and made a career as concertmaster in various orchestras throughout southern Germany. Much of his life was spent in Bayreuth working for the court of Wilhelmine of Prussia Margravine of Bayreuth teaching her composition and violin. During his lifetime he composed a variety of orchestra and chamber music including this Concerto in B-flat Major in three movements: Allegro ma non troppo Andante and Allegretto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set areparts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass German composer and violinist Johann Pfeiffer (1697 - 1761) was born in Nuremberg and made a career as concertmaster in various orchestras throughout southern Germany. Much of his life was spent in Bayreuth working for the court of Wilhelmine of Prussia Margravine of Bayreuth teaching her composition and violin. During his lifetime he composed a variety of orchestra and chamber music including this Concerto in B-flat Major in three movements: Allegro ma non troppo Andante and Allegretto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set areparts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass

Anne Fuzeau Classique vous propose tous les textes théoriques, méthodes, traités, articles, partitions de musique classique concernant Jean-Philippe Rameau.Ces méthodes anciennes sont reproduites en fac-similé et regroupés en - trois volumes.Traité de l'harmonie - Nouveau système de musiqueRemarques sur les différents genres de musiqueObservations sur la méthode d'accompagnementPlan abrégé d'une nouvelle méthode d'accompagnementDissertation sur les différentes méthodes d'accompagnementDiscours sur l'harmonie - Démonstration du principe de l'harmonieVérités également ignorées et intéressantesOrigines des sciences - Code de musique pratique Génération harmoniqueObservations sur notre instinct pour la musique - etc..Articles de l'Encyclopédie et leur critique par RameauPolémique avec Montéclair - CorrespondancesArticles parus dans les gazettes - Préfaces aux oeuvresTable des matières : Volume 1 : Rameau Jean-Philippe : Traité de l'harmonie - 1722Rameau Jean-Philippe : Pièces de clavecin avec une méthode pour la mécanique - 1724Rameau Jean-Philippe : Nouveau système de musique - 1726Rameau Jean-Philippe : Lettre de M. Rameau à Houdar de la Motte - 1727Rameau Jean-Philippe : Remarques sur les différents genres de musique - 1728(Montéclair Michel Pignolet de ?) : Conférence sur la musique - 1729Rameau Jean-Philippe : Examen de la conférence sur la musique - 1729Rameau Jean-Philippe : Observations sur la méthode d'accompagnement - 1730Rameau Jean-Philippe : Plan abrégé d'une méthode nouvelle d'accompagnement - 1730(Montéclair Michel Pignolet de ?) : Réponse su second musicien au premier - 1730Rameau Jean-Philippe : Réplique du premier musicien à la réponse du second - 1730(Montéclair Michel Pignolet de ?) :Réponse du second musicien au premier musicien - 1730Rameau Jean-Philippe : Réplique du premier musicien à l'écrit du second - 1730Rameau Jean-Philippe : Dissertation sur les différentes méthodes d'accompagnement - 1732Rameau Jean-Philippe : Les Indes galantes, ballet réduit à quatre concerts - 1735Castel R.P. Louis-Bertrand : Suite et seconde partie des nouvelles expériences - 1735Castel R.P. Louis-Bertrand : Suite et - troisième partie des nouvelles expériences - 1735Rameau Jean-Philippe : Lettre de M. Rameau au R.P. Castel - 1736Rameau Jean-Philippe : Pièces de clavecin avec une table pour les agréments - 1736Rameau Jean-Philippe : Discours sur l'harmonie - 1737Volume 2 : Rameau Jean-Philippe : Génération harmonique - 1737Rameau Jean-Philippe : Génération harmonique, ou traité de musique théorique - 1737Anonyme : Le Pour ou le Contre - Tome XIII - 1737Rameau Jean-Philippe : Lettre à Hans Sloane - 1737Anonyme : Le Pour ou le Contre - Tome XIV - 1738Rameau Jean-Philippe : Lettre à Jean-Pierre Christin - - 1741Rameau Jean-Philippe : Pièces de clavecin en concert - - 1741Rameau Jean-Philippe : Deux lettres à Johann II Bernoulli - 1750Rameau Jean-Philippe : Lettre à Gabriel Cramer - 1750Rameau Jean-Philippe : Démonstration du principe de l'harmonie - 1750Rousseau Jean-Jacques - : Encyclopédie - Articles 'Accompagnement, Accord, Cadence' - 1751Rameau Jean-Philippe : Nouvelles réflexions de M. Rameau - 1752Rameau Jean-Philippe : Lettre à Johann II Bernoulli (copie ancienne) - 1752Rameau Jean-Philippe : Lettre de M. Rameau à l'auteur du mercure - 1752Euler Leonhard - : Lettre à Rameau - 1752Rameau Jean-Philippe : Réflexions de M. Rameau sur la manière de former la voix - 1752Rameau Jean-Philippe : Extrait d'une réponse de M. Rameau à M. Euler - 1752Rousseau Jean-Jacques - : Encyclopédie - articles 'Choeur, Chromatique' - 1753Rameau Jean-Philippe : Extrait d'une réponse de M. Rameau - 1753Rameau Jean-Philippe : Observations sur notre instinct pour la musique - 1754Rousseau Jean-Jacques - : Encyclopédie - article 'Dissonance' - 1754Rameau Jean-Philippe : Erreurs sur la musique - - 1755Volume 3 :Rousseau Jean-Jacques - : Encyclopédie - Article 'Enharmonique' - 1755Alembert Jean Le Rond d' et Diderot Denis - : Encyclopédie - Avertissement du volume VI - 1756Rameau Jean-Philippe : Suite des erreurs sur la musique dans l'Encyclopédie - 1756Rameau Jean-Philippe : Prospectus où l'on propose - 1757Alembert Jean Le Rond d' : Encyclopédie : articles 'Fondamental' - 'Gamme' - 1757Rameau Jean-Philippe : Réponse de M. Rameau à MM. les éditeurs - 1757Rameau Jean-Philippe : Lettre de M. d'Alembert - 1758Rameau Jean-Philippe : 2 lettres à J.B. Beccari - 1759Rameau Jean-Philippe : 2 lettres au Padre Martini - 1759Rameau Jean-Philippe : Lettre au Padre Martini - 1759Rameau Jean-Philippe : Code de musique pratique - 1760Alembert Jean Le Rond d' : Lettre de Monsieur d'Alembert à Monsieur Rameau - 1761Rameau Jean-Philippe : Réponse de Monsieur Rameau à la lettre de M. d'Alembert - 1761Rameau Jean-Philippe : Origine des Modes

Ballet héroïque en un prologue et quatre actes-?Za s? was Rameau?s first opera which was entirely devoted to ?la féerie? the enchanted world of myth from the Middle East with its spirits and fantastic creatures. It was first performed on 29 February 1748 at the Paris Opera and was much praised for its expressive power elegance and variety of its music as well as for the charm of its ballet. Although the libretto by Louis de Cahusac was criticised the delightful work proved very popular: it was revived in 1761 and 1769 and for more than two decades received over 100 performances. Like most of Rameau?s operas ?Za s? was extensively revised during the composer?s lifetime and afterwards. Revisions already beganduring the first rehearsals and continued until the first performance. The composer and the librettist Cahusac finally used the Easter period in 1748 to work on those revisions; as well as structural changes and musical substitutions these included some substantial additions to vocal and instrumental movements. The version which was performed after Easter is more convincing both musically and dramatically. In contrast the revivals of 1761 and 1769 the first after Cahusac?s death the second after Rameau?s contained drastic cuts including the entire prologue. For the new volume in the ?Opera Omnia Rameau? the version from Easter 1748 has been chosen as the primary source. For performances a choice can be made between this and the original version; a series of insertions links all the passages with another.

Anne Fuzeau Classique vous propose tous les textes théoriques, méthodes, traités, articles, partitions de musique classique concernant le luth.Ces méthodes anciennes sont reproduites en fac-similé et regroupés en - deux volumes.Jean-Baptiste BESARD (1-2-3) - Encyclopédie méthodique - François-Alexandre-Pierre de GARSAULT - Denis GAULTIER - - Ennemond et Denis GAULTIER - Jean-Benjamin de LABORDE - Marin MERSENNE- Charles MOUTON - PERRINNE (1-2-3) - Pierre TRICHET - Nicolas VALLET.Table des matières : Besard Jean-Baptiste : Thesaurus Harmonicus - 1603Besard Jean-Baptiste : Isagoge in artem testudinariam - 1617Besard Jean-Baptiste : Joan. Bapt Besardi Vesontini Novus Partus - 1617Vallet Nicolas : Paradisus Musicus Testudinis - 1618Mersenne Marin : Harmonie Universelle - 1636Trichet Pierre : Traité des instruments - c.1640Gaultier Denis : Pièces de luth sur trois différents modes nouveaux - 1670Gaultier Ennemond et Denis : Livre de tablature des pièces de luth - 1672Perrine : Pièces de luth en musique - 1680Perrine : Livre de musique pour le luth - 1680Mouton Charles : Pièces de luth sur trois différents modes - c.1698Perrine : Table pour apprendre. Nouvelle addition - 1698Garsault François-Alexandre-Pierre de : Notionnaire - 1761Laborde Jean-Benjamin de : Essai sur la musique ancienne et moderne - 1780Encyclopédie : Encyclopédie méthodique - 1788Téléchargez le catalogue Anne Fuzeau Classique / Luth / 200 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Minuet (Minuetto) was written by William Defesch (Willem de Fesch; 1687-1761) a Dutch composer and conductor who spent most of his career in London. It has been for solo violin with Piano accompaniment by Alfred Moffat. It is a relatively simple piece that would suit any recital. Alfred Edward Moffat (1863-1950) was a Scottish musicologist composer and music editor. Having studied in Berlin he devoted his life to editing and republishing lost works for the Violin by British composers.