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Learning Strategies For Musical Success (GRIFFIN MICHAEL)
26.32
Learning Strategies For Musical Success (GRIFFIN MICHAEL)
Tous Les Instruments
[Partition]
Faber Music Limited
Par GRIFFIN MICHAEL. When it comes to musical skill, why is it that some people ...
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Par GRIFFIN MICHAEL. When it comes to musical skill, why is it that some people achieve so much more than others? We are frequently led to believe this is because of a talent hardwired into their DNA. Now, music educator Michael Griffin dismisses that age-old notion in favour of another known factor: practice. His new book, Learning Strategies for Musical Success illustrates how the quantity and quality of practice is the greatest predictor of musical success so that aspiring musicians of all ages and abilities can best bring about expert performance. This inspiring, accessible guide will equip students, teachers, adult learners, and parents with the methods and mindset to improve the likelihood of learning music successfully. 'Deeply impressive - the breadth of research is fascinating!' - Victorian Music Teachers Association 'Terrific...eminently practical...excellent discussion...I came away inspired and excited.' - The Music Trust, Australia 'This book really does deliver' - American Music Teacher 'I can't think of any other book that draws on so many resources to create a new understanding of learning music. Every serious music student, music teacher, and parent of a music student will find important information in this book. Griffin gives clear examples of how concepts are applied that make for enjoyable reading. This book has a potential for making lifelong differences in the lives of music students, parents and teachers.” - Roy Ernst, PhD, LLD Professor Emeritus, Eastman School of Music of The University of Rochester 'A must buy for every music teacher and music student. Bravo on a most stimulating read. This draws together old wisdom and the latest research. I am re-reading this excellent book for the third time, highlighter pen in hand.' 5 stars (Amazon Rank) - William Bruce, Guildhall UK. 'A most stimulating read that has given me a great deal to think about.' - Nicholas Carpenter, Prebendal, UK. 'Fantastic book...simply brilliant!' - Ian Cooper, Norfolk Music Service, UK. 'A must read for all music educators. Michael Griffin has collected lessons from his own experience - which is extensive, and pertinent, recent research to provide a detailed overview of how we learn, and how students can be empowered and trained to become effective, efficient and independent learners. The book is well documented, making it convenient to go on to further reading about the topics of each chapter. The language is concise and easily understood, yet deeply practical and useful.' - 5 stars Robert Adams, Music Educator, New Haven, USA. 'Don't miss this opportunity!' - 5 stars Mary George, USA./ Méthode / Tout Instrument
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Mozart W.a. - Piano Sonata C Major K. 309 (284b)
11.10
Mozart W.a. - Piano Sonata C Major K. 309 (284b)
G. Henle
Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Mart...
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Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozartâs great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda
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BACH ADAPTATIONS PIANO TRANSC. BY WALTER RUMMEL
17.50
BACH ADAPTATIONS PIANO TRANSC. BY WALTER RUMMEL
Piano seul
[Partition]
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Intermédiaire/avancé
Chester
This collection of Rummel's J.S. Bach 'adaptations' for the Piano...
(+)
This collection of Rummel's J.S. Bach 'adaptations' for the Piano presents twelve titles from the original twenty-five originally published by J & W Chester between 1922 and 1938, demonstrating a range of styles from the contemplative Liebster Jesu, Wir Sind Hier to the uninhibited Sturze zu Boden. A close friend of Debussy, Rummel belonged to a younger generation of leading composers, leading a trend away from previous Keyboard transcribers, established by Busoni, Liszt, Reger and others who concentrated on adapting Bach's Organ works rather than the Vocal music. <br>This vibrant collection is suitable for intermediate to advanced pianists but will be of interest to all who enjoy Bach's music for Keyboard. <br>Born in Berlin to a diversely creative family, Walter Rummel (1887 - 1953) was surrounded by art and music from an early age. He came from a pedigree of distinguished musicians, his family home a favoured meeting place for musicians and artists alike. His great grandfather, Christian Rummel (1787 - 1849) was director of the court orchestra at Wiesbaden for Duke Wilhelm of Nassau and his maternal grandfather, Samuel Morse (1791 - 1892), the American painter and inventor of the telegraph. / [J.S. Bach Adaptions: Piano Transcriptions By Walter Rummel] / Classique / Partition /
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James Whitbourn: A Brief Story of Peter Abelard: Soprano Saxophone: Instrumental
13.99
James Whitbourn: A Brief Story of Peter Abelard: Soprano Saxophone: Instrumental
Saxophone Soprano
Chester
For Soprano Saxophone and Piano accompaniment.'Peter Abelard was a medieval phi...
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For Soprano Saxophone and Piano accompaniment.'Peter Abelard was a medieval philosopher poet and musician born in France in 1079. He taught at Notre Dame Cathedral in Paris lodging with Canon Fulbert whoadmired his work. In time he also became tutor to Fulbert's beautiful seventeen-yearoldniece Helo se.Abelard and Helo se began a passionate love affair (Dance of Peter and Helo se) which resulted in a son Astrolabe.For the sake of Abelard's position they married secretly and Canon Fulbert waspresent at their marriage. But Fulbert later reacted furiously to news that Abelard hadsent Helo se to a convent believing that hehad abandoned her in favour of his owncareer. In revenge he had Abelard castrated (Revenge of Canon Fulbert).After his mutilation Abelard became a monk and he and Helo se remained constantcorrespondents for theremainder of his life. He composed a hymnbook for Helo se who by then was Abbess of the convent of the Paraclete. Among the hymns was avisionary poem of the New Jerusalem set to a beautiful melody in the Dorian mode O QuantaQualia.On his death in 1142 his remains were taken to the Paraclete at Helo se's request andher body was later laid to rest in the same tomb. Finally their remains were taken toParis and in 1817 they were buriedtogether in one sepulchre (In Paradisum).Peter Abelard documented much of his own story in a number of writings includingthe Historia Calamitatum Mearum (The story of mytroubles).' - James Whitbourn
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Jakob Lenz (RIHM WOLFGANG)
102.67
Jakob Lenz (RIHM WOLFGANG)
Piano, Voix
Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...
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Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano
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Charles-Marie Widor: Symphonie For Organ No.6 Op.42 No.2: Organ: Instrumental
15.99
Charles-Marie Widor: Symphonie For Organ No.6 Op.42 No.2: Organ: Instrumental
Orgue
Hamelle
Charles-Marie Widor’s Symphonies for Organ Op.42 No.2. Charles-Marie Wido...
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Charles-Marie Widor’s Symphonies for Organ Op.42 No.2. Charles-Marie Widor (b. Lyons 1844 d. Paris 1937) first began his studies in his hometown but later pursued them in Brussels taking lessons with Nicolas-Jacques Lemmens on the Organ and composition lessons with François-Joseph Fétis. In 1868 he inaugurated the Organ at Notre-Dame Cathedral in Paris. He also deputized for Saint-Saëns at the Organ of La Madeleine and then in 1870 he was provisionally nominated organist at Saint-Sulpice. It was not until 1933 that he relinquished this post in favour of his pupil Marcel Dupré. Followingthe death of César Franck in 1890 it was Widor who was requested to direct Organ studies at the Paris Conservatoire and he followed this by taking charge of the composition class in 1896. Among his very many students were figures such as Louis Vierne and Charles Tournemire. Widor was a founder member of the Casa Velasquez in Madrid and the American Conservatoire in Fontainbleu. He was an exceptional virtuoso who could be heard in concerts in France and throughout the whole world. He left numerous works but it is above all his Organ music that is most performed today.
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77 Rounds And Canons
13.60
77 Rounds And Canons
Voix seule
Novello & Co Ltd.
Kenneth Simpson. This collection is divided into ten sections: music - learning ...
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Kenneth Simpson. This collection is divided into ten sections: music - learning music - times and seasons - Christmas - greetings - gusto - drollery - getting around - birds and beasts - and miscellanea. Most of the items are musically straightforward and of moderate compass. / Voix
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Symphonie N06 Op. 42 (WIDOR CHARLES-MARIE)
24.70
Symphonie N06 Op. 42 (WIDOR CHARLES-MARIE)
Orgue
[Partition]
Hamelle
Par WIDOR CHARLES-MARIE. Charles-Marie Widor 's Symphonies for Organ, Op. 42 No....
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Par WIDOR CHARLES-MARIE. Charles-Marie Widor 's Symphonies for Organ, Op. 42 No. 2. Charles-Marie Widor (b. Lyons 1844, d. Paris 1937) first began his studies in his hometown, but later pursued them in Brussels, taking lessons with Nicolas-Jacques Lemmens on the Organ, and composition lessons with François-Joseph Fetis. In 1868, he inaugurated the Organ at Notre-Dame Cathedral in Paris. He also deputized for Saint-Saë ns at the Organ of La Madeleine, and then in 1870 he was provisionally nominated organist at Saint-Sulpice. It was not until 1933 that he relinquished this post in favour of his pupil Marcel Dupre. Followingthe death of Cesar Franck in 1890, it was Widor who was requested to direct Organ studies at the Paris Conservatoire, and he followed this by taking charge of the composition class in 1896. Among his very many students were figures such as Louis Vierne and Charles Tournemire. Widor was a founder member of the Casa Velasquez in Madrid and the American Conservatoire in Fontainbleu. He was an exceptional virtuoso who could be heard in concerts in France and throughout the whole world. He left numerous works, but it is above all his Organ music that is most performed today./ Répertoire / Orgue
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James Whitbourn: A Brief Story of Peter Abelard: Soprano Saxophone: Instrumental
13.99
James Whitbourn: A Brief Story of Peter Abelard: Soprano Saxophone: Instrumental
Saxophone Soprano et Piano
[Partition]
Chester
For Soprano Saxophone and Organ accompaniment.'Peter Abelard was a medieval phil...
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For Soprano Saxophone and Organ accompaniment.'Peter Abelard was a medieval philosopher poet and musician born in France in 1079. He taught at Notre Dame Cathedral in Paris lodging with Canon Fulbert whoadmired hiswork. In time he also became tutor to Fulbert's beautiful seventeen-yearoldniece Helo se.Abelard and Helo se began a passionate love affair (Dance of Peter and Helo se) which resulted in a son Astrolabe.For thesake of Abelard's position they married secretly and Canon Fulbert waspresent at their marriage. But Fulbert later reacted furiously to news that Abelard hadsent Helo se to a convent believing that he had abandoned her infavour of his owncareer. In revenge he had Abelard castrated (Revenge of Canon Fulbert).After his mutilation Abelard became a monk and he and Helo se remained constantcorrespondents for the remainder of his life. Hecomposed a hymnbook for Helo se who by then was Abbess of the convent of the Paraclete. Among the hymns was avisionary poem of the New Jerusalem set to a beautiful melody in the Dorian mode O Quanta Qualia.On his death in1142 his remains were taken to the Paraclete at Helo se's request andher body was later laid to rest in the same tomb. Finally their remains were taken toParis and in 1817 they were buried together in one sepulchre (InParadisum).Peter Abelard documented much of his own story in a number of writings includingthe Historia Calamitatum Mearum (The story of mytroubles).' - James Whitbourn
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Trinity College Drum Kit Grades 3-5: Drum Kit: Instrumental Tutor
23.95
Trinity College Drum Kit Grades 3-5: Drum Kit: Instrumental Tutor
Batterie
[Partition + Accès audio]
-
Intermédiaire
Trinity College London
2020-2023. Everything a drummer needs to prepare for the performance and technic...
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2020-2023. Everything a drummer needs to prepare for the performance and technical work components of Trinity drum kit exams in 2020?2023. Encompassing a wider range of styles than ever before, the syllabus allows candidates to follow distinct stylistic pathways ? jazz, funk, Latin, musical theatre ? with arrangements of well-known works sitting alongside pieces specifically written for the syllabus by leading drum kit educators and performers. Performance notes are included for each piece, along with new technical work rudiments and exercises for each grade, and backing tracks are included as a free download.
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Guest Spot: Big Film Hits Playalong For Flute: Flute: Mixed Songbook
14.99
Guest Spot: Big Film Hits Playalong For Flute: Flute: Mixed Songbook
Flûte traversière
[Partition + Accès audio]
Amsco Wise Publications
The Guest Spot: Big Film Hits song book allows you to step out of your living r...
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The Guest Spot: Big Film Hits song book allows you to step out of your living room and into the spotlight by playing along with ten top-line arrangements of the most popular contemporary film hits. With theunique download card you'll also be able to listen to specially recorded versions of the tunes before playing along to them yourself. Some of the best of contemporary cinema theme tunes are included here assheet music such as Do You Want To Build A Snowman? from 'Frozen ' Happy from 'Despicable Me 2 ' Everything Is AWESOME!!! from 'The Lego Movie' and Skyfall. With this brilliant bookand download card of film theme sheet music you can recreate those amazing cinematic moments in your own home while also reliving the incredible soundtrack songs that enhanced the thrills and the laughs of your favouriteblockbusters. The innovative Download Card included with the book allows you to hear the tracks exactly as they're meant to be played with professionally-recorded demonstration audio.Not only this but the same song can be listened to again this time with the Flute part removed so that you can slot right in and play as if you were leading a full band. This great feature will ensure that you can play thesongs precisely as they're played in the films giving you an unprecedented level of accuracy and immersion when performing or practising. The theme tunes from films like 'The Hunger Games: CatchingFire ' 'The Fault In Our Stars' and 'The Hobbit' will bring a touch of Hollywood shine to your playing with the fantastic sound of the Flute taking these recognisable melody lines out of mere film fantasy. Alsoincluded is a Flute fingering chart ensuring you get these film themes off the page and through your fingers with ease. The Guest Spot: Big Film Hits is the ultimate in up-to-date film theme sheet music for
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Jakob Dont: Etudes & Capricen Opus 35: Violin
16.50
Jakob Dont: Etudes & Capricen Opus 35: Violin
Violon
Schott
The Austrian violinist and composer Jakob Dont (1815-1888) very early became a m...
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The Austrian violinist and composer Jakob Dont (1815-1888) very early became a member of the Vienna Hofburg Theatre later of the Court Chapel. Although he had made a name for himself as a soloist he decided in favour of a career in education. For his instrument the violin he wrote about 50 works most of them modern opera pot-pourris and character pieces which are forgotten today. Apart from the preliminary exercises for Kreutzer and Rohde his 'Studies and Caprices' (opus 35) however have become an integral part of violin lessons. Praised by Joachim Auer and Flesch these outstanding studies were edited by Max Rostal in consideration of a modern violin technique andcomplemented by preparatory exercises and variants.
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Ernest Doring: The Guadagnini Family Of Violin Makers: Instrumental Reference
18.30
Ernest Doring: The Guadagnini Family Of Violin Makers: Instrumental Reference
Dover Publications
Along with the instruments of Stradivari and del Gesù the violins of Giovann...
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Along with the instruments of Stradivari and del Gesù the violins of Giovanni Battista Guadagnini have long been favoured by professional musicians for their responsiveness tonal quality and projection. Originally published in 1949 in a very limited edition this study remains the most comprehensive account of G. B. Guadagnini's work and the legacy carried on by his descendants.Author Ernest N. Doring conducted painstaking research into eighteenth-century documentation of Guadagnini's itinerant life. He traces the craftsman's progress from Piacenza Milan Cremona and Parma to Turin where Guadagnini created his most prized stringed instruments. A catalogue ofthe family's masterpieces is organized by city and provides a detailed provenance for each instrument. A new Introduction by Stewart Pollens a leading authority on musical instruments offers historical perspectives. Widely available for the first time in an affordable edition this rare and authoritative work provides violinists musicologists and music history enthusiasts with a fascinating resource.Reprint of the William Lewis & Son Chicago 1949 edition.
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John Zaradin: Chorinhos for solo Guitar: Guitar: Instrumental Album
9.95
John Zaradin: Chorinhos for solo Guitar: Guitar: Instrumental Album
Guitare
-
Intermédiaire/avancé
Spartan Press
9 pieces in Latin Style-9 Latin style pieces for both study and performance plu...
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9 pieces in Latin Style-9 Latin style pieces for both study and performance plus notes on the scores & fingering glossary of chord symbols and notes on rasgueados. The A-B-A-C-A Choros form is used as a basic structure for all of the pieces and the styles and moods of the music vary from traditional and classical to Bossa Nova and jazz samba. In Brasil the Choros (diminutive Chorinho) owes its development to musicians performing either solo or in groups who often being obliged to play long hours during functions and festivals would improvise and create variations on popular and traditional themes. The compositions here are all based on this idea of stating a theme andthen creating variations & contrasts. Although the melodic harmonic and rhythmic content of the Choros/Chorinho has evolved greatly over time its underlying beat feel is traditionally 2 per measure and written with a 2/4 time signature. This generally makes comfortable reading for the guitar player because the beamed note groupings define clearly the rhythm patterns to be played. However much music that originally appeared in 2/4 time is now published in 4/4 with a cut time feel and which seems to be favoured by many musicians including guitarists who work in folk and popular idioms. For this edition the time signature which allows a clearer page presentation is chosen for each piece and no musical difference between the 2/4 and the Cut-time signatures is intended.
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Celtic Choirbook: SATB
11.99
Celtic Choirbook: SATB
Chorale SATB
SATB A Cappella
Schott
Celtic music is enjoying a well-deserved revival. This revival may have been in...
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Celtic music is enjoying a well-deserved revival. This revival may have been inspired by historical Hollywood epics by popular dance acts such as â€Riverdance†by Michael Flatley or purely by the emotional power of Celtic melodies. The songs all tell stories that have been passed down through successive generations with more facets than any other kind of traditional music: some are melancholy dirges some playful and lively dance tunes. This book brings together 20 of these traditional melodies in contemporary modern arrangements for mixed chorus. In them you will find homophonic movements sweeping melodic lines vocal imitations of Celtic instruments and rousingrhythms. The irresistible charm of this music will leave no choral singer unmoved and is bound to find favour with audiences.
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Zoroastre - RCT 62 A-B Symphonies (RAMEAU JEAN-PHILIPPE)
78.88
Zoroastre - RCT 62 A-B Symphonies (RAMEAU JEAN-PHILIPPE)
Orchestre
[Conducteur]
Barenreiter
Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the...
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Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre
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Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
522.00
Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
Opéra
Barenreiter
Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Ra...
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Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano
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Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
64.96
Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
Piano, Voix
Barenreiter
Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Ra...
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Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano
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Georg Friedrich Händel: Alessandro: Mixed Choir: Score
233.50
Georg Friedrich Händel: Alessandro: Mixed Choir: Score
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Barenreiter
Oratorio in three parts-In quite characteristic fashion for the times Handel&rs...
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Oratorio in three parts-In quite characteristic fashion for the times Handel’s opera “Alessandro” looks at various episodes in the life and rule of Alexander the Great (356 323 BC). This legendary warrior and military commander conquered large parts of the world before meeting an untimely end at the age of 32. A central conflict in Handel’s opera is Alessandro being in love with two women Lisaura and Rossane who compete for his favour. In addition his claim to be of divine parentage is underlined occasioning him to demand the subservience of his followers which meets with vigorous disapproval.Handel composed “Alessandro” for the Royal Academyof Music to a libretto by Paolo Antonio Rolli in the 1725/26 season. The work was premiered at the King’s Theatre in London on 5 May 1726. “Alessandro” was the first of five operas for the Royal Academy operas which saw Handel compose for three of the most famous singers of his time: Francesco Bernardi (called Senesino) Francesca Cuzzoni and Faustina Bordoni.Ortensio Mauro’s libretto “La superbia d’Alessandro ” which was performed for the first time in Hanover in 1690 in a musical setting by Agostino Steffani and staged again in the city the following year under the title “Il zelo di Leonato” but with numerous alterations served as the source text for Handel’s “Alessandro”. One of the main aspects Rolli had to consider when preparing the libretto for the London performances was to keep the roles of the famous singers of the Royal Academy well balanced yet at the same time to engineer a musical contest between the prima donnas Cuzzoni and Bordoni (Lisaura and Rossane) as well. From a business point of view it made good sense for such rivalry would surely increase public interest in the opera.It is no longer possible to ascertain which changes Handel made during the following performance series of the 1727/28 season. For the performance series of 1732/33 Handel made substantial revisions to the opera: six numbers were deleted in their entirety the finale in part as well and the recitatives were made much shorter with the parts of Cleone and Leonato omitted
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Guest Spot: Big Film Hits Playalong For Clarinet: Clarinet: Mixed Songbook
14.99
Guest Spot: Big Film Hits Playalong For Clarinet: Clarinet: Mixed Songbook
Clarinette
[Partition + Accès audio]
Amsco Wise Publications
This new Guest Spot: Big Film Hits song book allows you to step out onto the st...
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This new Guest Spot: Big Film Hits song book allows you to step out onto the stage and into the spotlight and play along with top-line arrangements for ten of your favourite contemporary film hits. With theincluded download card you'll be able to listen to specially recorded versions of the tunes before playing along to them yourself. Some of the best and most popular film theme tunes are included here as sheetmusic such as Do You Want To Build A Snowman? from 'Frozen ' Happy from 'Despicable Me 2 ' Everything Is AWESOME!!! from 'The Lego Movie' and Skyfall. With this fantastic book of filmtheme sheet music you can recreate those hits of the cinema that were so brilliantly soundtracked by these songs in your own home while also reliving the best moments and scenes from your favouriteblockbusters. The innovative Download Card included with the book allows you to hear the tracks exactly as they're meant to be played with the professionally-recorded demonstrationaudio. Then the same song can be listened to with the Clarinet part removed so that you can slot right in and play as if you were leading a full band. This great feature will ensure that you can play the songs precisely asthey're played in the films giving you an unprecedented level of accuracy when performing or practising. Songs like All Of The Stars I See Fire and Atlas will bring a touch ofHollywood to your playing with the cool sound of the Clarinet making instant classics of these recognisable melody lines. Also included is a Clarinet fingering chart ensuring you get these film themes off the page and throughyour fingers with ease. The Guest Spot: Big Film Hits is the ultimate in up-to-date film theme sheet music for the Clarinet. Featuring the hottest songs from the latest Hollywood blockbusters this is a music
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Eulenburg Audio+Scores - Boxed Set
220.89
Eulenburg Audio+Scores - Boxed Set
Orchestre
[Conducteur d'étude / Miniature + CD]
Eulenburg
The 'Eulenburg Audio Score' series contains the orchestral world's greatest musi...
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The 'Eulenburg Audio Score' series contains the orchestral world's greatest musical treasures from the baroque, classical and romantic repertoire. Each volume is clearly-presented with authoritative scores, informative prefaces detailing the biographical and creative background- - CDs of great performances of each work in full length, from orchestras including the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, and the Philharmonia Orchestra.NEW: This box-set of 25 masterpieces in a handy slipcase containing volumes 51-75 in the series is amazing value: almost 50% cheaper than buying each volume separately!This is the perfect gift for any music-lover. 'Eulenburg Audio Score' is the new way to hear, read and understand music. Eulenburg is the 130 year-old world-famous publishing brand, renowned for its top-quality, reliable study scores at reasonable prices. Focusing on the fields of opera, orchestral music, chamber music and vocal music, it is the favoured by conductors, orchestral musicians, soloists, students, teachers and music-lovers generally. The more you read, the more you hear! / Tout Instrument
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Dora da Costa: Voilà Viola: 35 Duets for Viola: Viola Duet: Score
6.95
Dora da Costa: Voilà Viola: 35 Duets for Viola: Viola Duet: Score
Cramer Music
Doris da Costa and Tom Hedges' Voil Viola Duets was written for Viola and Violi...
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Doris da Costa and Tom Hedges' Voil Viola Duets was written for Viola and Violin players wanting to play duets with friends and teachers or for new Viola pupils swapping from the Violin to the Viola.Changing instruments can be challenging as the alto clef requires completely new reading skills regardless of a player’s standard on the Violin. In this book an alternative Violin part is included to help to familiarise a Violinist with the music and to add instrumental flexibility.A large variety of styles and genres are included: the 16th Century Madrigal the Baroque Concerto dance forms arrangements of traditionalfavourites world music jazz or swing numbers and programmatic 21st century entries.There is much here to challenge the musical and technical demands of the Viola and Violin: string crossing shifting (up to 3rd position) chromatic scales as well as a range of articulation and playing techniques. Time signatures are varied with duets in simple compound and irregular meters. An assortment of key signatures and modes add further challenges.The pieces vary in difficulty: from an easy grade 3 standard to a moderately difficult grade 5. The duets can be used for concert repertoire for GCSE assessments for sight-reading practice to support technical studies or to round off a lesson.
6.95 GBP - vendu par Musicroom GB
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John W. Duarte: Variations On A Catalan Folksong: Guitar: Instrumental Work
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John W. Duarte: Variations On A Catalan Folksong: Guitar: Instrumental Work
Guitare
[Conducteur]
Novello & Co Ltd.
Variations On A Catalan Folksong (Op. 25) were written by John W. Duarte for sol...
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Variations On A Catalan Folksong (Op. 25) were written by John W. Duarte for solo Guitar. They were based on the Spanish folk melody Canco Del Llabre one of the most popular Catalan folk tunes to have survived to this day.John W. Duarte (1919-2004) was a British guitarist composer and music journalist. Having received a degree in Chemistry his fascination with the endless possibilities of the Guitar caused him to abandon science in favour of music. Despite having never formally studied music he is regarded as one of the foremost composers for Guitar of the 20th century.
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L. Marsh: Show Some Pluck String Orchestra: String Orchestra: Instrumental Album
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L. Marsh: Show Some Pluck String Orchestra: String Orchestra: Instrumental Album
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
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Intermédiaire/avancé
Spartan Press
This lively 'Pizzicato' encore brings the house down! A foot-tapping ragtime rhy...
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This lively 'Pizzicato' encore brings the house down! A foot-tapping ragtime rhythm. David Marsh has asked for his royalties to be redirected in favour of The Neurofibromatosis Association (see www.nfauk.org). Double basses are optional.Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.
12.95 GBP - vendu par Musicroom GB
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