/ Tuba
SKU: HL.14006105
ISBN 9788759870624. Danish.
This is the Score edition of Vagn Holmboe's Canto E Danza from Opus 191. Scored for Recorder and Guitar.
SKU: HL.1146759
UPC: 196288117872. 6.75x10.5x0.036 inches.
Commissione d and premiered at the 2023 ACDA National Conference by the SATB honor choir directed by Eugene Rogers. This is an Afro-Puerto Rican folk style ??bomba,? one of the oldest musical traditions of Puerto Rico. ??Canto' E Libertad? is a song of hope with an invitation to free ourselves of hate and prejudice. A detailed IPA pronunciation guide is provided. Pronunciation Guide can be found here.
SKU: HL.859938
ISBN 9781705172292. UPC: 196288088936. 8.75x11.75 inches.
This Recorder Fun!™ pack makes learning to play recorder easy, even if you've never played before! In no time at all, you'll be playing your favorite songs from the hit Disney movie Encanto. The pack includes a high-quality beginner's recorder with the feel and tuning of a pro model, plus a songbook with easy instructions. The book features a fingering chart and easy versions of the following songs: All of You • Colombia, Mi Encanto • Dos Oruguitas • The Family Madrigal • Surface Pressure • Waiting on a Miracle • We Don't Talk About Bruno • What Else Can I Do?
SKU: HL.14001398
ISBN 9780711956544. UPC: 884088435035. 8.25x11.75x0.075 inches.
Cordoba, de cantos de espana by Albeniz, transcribed for the guitar by Ernest Bitetti.
SKU: BR.EB-9240
ISBN 9790004185407. 9 x 12 inches.
Belcanto is a term for the Italian art of singing which took its development from the richly ornamented solo vocalism of the early 17th century (nobile maniera di cantare) and dominated European operatic singing until the first half of the 19th century. Complete control over the voice meant not only legato and messa di voce, but also appoggiatura and portamento, as well as virtuoso ornamentation by means of coloratura (canto fiorito). This development towards utmost virtuosity, emulating instrumental playing techniques, led to a mannered, artificial style on the one hand, but on the other also emphasized the physical aspects of interpretation (castrati were considered the ideal belcanto singers). And today? In his essay The Grain of the Voice, Roland Barthes writes: The grain is the body in the voice as it sings, the hand as it writes and the limb as it performs. Initially, he refers to the friction between language and voice in singing, but then transfers his thoughts to the physicality of instrumental music. In this spirit, I went in search of beautiful singing, a beauty which perhaps results in the very place where the grain, the roughness, meaning also physical resistance, are not smoothed over. The oboe seemed very suitable to me for singing with such a physical expressivity, as a very unruly instrument! The backbone of my piece is one single, quasi endless melodic line, consisting of intervals that are constantly pulled apart and contracted again (breathing). Many different actions attach themselves to these notes: coloratura, trills, chords (multiphonics), double flageolets. However, there are not only sound types, but also impulses, repetitions, rhythmic figures and other elements: composed elements of belcanto. In the opera tradition described above, these were improvised ornaments or additions; here they become composed figures which originate with the notes of the melody, but also pull on them, bend them, and charge them with physicality. (Jorg Birkenkotter).
