Matériel : Partition
Voir toutes les partitions de George Thorogood
SKU: CF.CM9641
ISBN 9781491157138. UPC: 680160915699. 6.875 x 10.5 inches. Key: G major. English, English. Traditional 18th Century French Carol.
Delightfully fresh and fun, this Celtic-style arrangement of the beloved French carol He Is Born, is a lively Christmas anthem. Featuring a driving piano accompaniment and optional Celtic fiddle, it is the perfect piece for any occasion where spirited holiday music is desired. An optional string ensemble accompaniment is also available on demand (CM9503IN). Also available for SATB Voices (CM9503), TBB Voices (CM9636), and SSA Voices (CM9528).A Celtic French Carol (He is Born) is a spirited English arrangement of the traditional French Carol Il est ne', le divin Enfant. One of the most famous songs of the French repertoire, the melody is derived from an Eighteenth-Century Air de Chasse (or hunting tune), entitled La Tete Bizarde (The Bizard Head). The oldest known publication of the tune is an organ arrangement by Romary Grosjean (1815-1888), musicologist and organist of the Cathedral of Saint-Die'-des-Vosges, in an 1862 collection of carols entitled Airs des Noels Lorrains. The French text for the carol was first published in Dom Georges Legeay's collection of ancient carols, Noels anciens (1875-1876). Il est ne', le divin Enfant has been translated into many languages throughout the world. One of the best English translations appeared in Walter Ehret and George K. Evans' collection The International Book of Christmas Carols (1963).A Celtic French Carol (He is Born) is a spirited English arrangement of the traditional French Carol Il est ne´, le divin Enfant. One of the most famous songs of the French repertoire, the melody is derived from an Eighteenth-Century Air de Chasse (or hunting tune), entitled La Tete Bizarde (The Bizard Head). The oldest known publication of the tune is an organ arrangement by Romary Grosjean (1815-1888), musicologist and organist of the Cathedral of Saint-Die´-des-Vosges, in an 1862 collection of carols entitled Airs des Noels Lorrains.The French text for the carol was first published in Dom Georges Legeay's collection of ancient carols, Noels anciens (1875-1876). Il est ne´, le divin Enfant has been translated into many languages throughout the world. One of the best English translations appeared in Walter Ehret and George K. Evans' collection The International Book of Christmas Carols (1963).
SKU: GI.G-10377
ISBN 9781574635324.
A unique resource for both novice and experienced band directors gathering effective teaching tools from the best in the field including more than 40 chapters dealing with every aspect of teaching instrumental music from curriculum to valuable websites. This best-selling and highly praised text has become the method of choice for university methods courses throughout the United States and Canada. What's New in the Revised Edition? Curriculum—updated to 2014 National Music Education Standards, including relevant learning theories, modalities, and music instruction theories. Resources—for concert band, marching band, pep band, jazz ensemble, and chamber groups School Law—learn more about the teacher’s Code of Ethics, music copyright law, and examine common ethical teaching scenarios. Anatomy of Music-Making—presents effective methods for teaching tone quality, balance, blend, intonation, pulse, rhythm, technique, style, articulation, phrasing, interpretation, and expression. STEPS© Method—for creating rehearsal plans and providing a theoretical approach to understanding the ensemble to improve score study and objective assessment. Motivation—surveys current intrinsic and extrinsic methods, and explores the development of leadership and character in the instrumental program, including Social Emotional Learning (SEL). Job Readiness—new teacher assessment and certification requirements, as well as valuable information guiding the new teacher throughout the music practicum and the job interview. Intonation—expanded tools for training the ear in both the individual student and full ensemble. Program Administration— the “nuts and bolts” of managing the instrumental program have been updated with topics on assessment, evaluation, rehearsal planning, score study, repertoire selection, programming, rehearsal facilities, auditions, seating, recruiting and retention, budget planning, music library management, basic instrument repair, booster groups, advocacy, time management, practicing tips, and classroom management and discipline. Mind Your P’s and Q’s—considers the implications and relationships of Professional Growth, Personal Growth, Intelligence Quotient, and Emotional Quotient. Supplementary Website—numerous charts, figures, templates, a balanced instrumentation calculator, teaching tools, recruiting materials, assessment rubrics, various learning activities. Learn more about this new resouce in this short video below: Click here to download Lesson Plan Forms. A wonderful resource for all music educators! Dr. Jagow’s book is comprehensive and impressive in scope. An excellent book! Bravo! —Frank L. Battisti Finally, an exceptional text that offers the depth of understanding our students need in critically important topic areas. Bravo! —Don Harris So many important facets are uncovered and solutions revealed. It’s a must for the library of any serious music educator. —H. Robert Reynolds There are a growing number of fine books dealing with different aspects of the wind band and ensemble, none cover so many essential aspects in so much detail. —Tim Reynish Dr. Jagow's book is a fantastic resource for instrumental conductors, both the young and the more experienced! —George Edge . . . a book which contains a wonderfully diverse wealth of knowledge that is 'hands on' for the informed music educator. . . . an excellent resource for both beginning teachers and veteran music educators. —Dr. Linda R. Moorhouse From creating artistic musical experiences to establishing a first-class organization blueprint, there is no stone left unturned. This is not a book to be recommended, but a book to be REQUIRED. —Tim Lautzenheiser.
SKU: PR.110418370
ISBN 9781491135075. UPC: 680160686247.
Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.
SKU: BA.BA04052
ISBN 9790006495702. 33.1 x 26 cm inches. Nicola Francesco Haym.
Handel began the composition of Tamerlano, one of the supreme masterpieces of Baroque opera seria, on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano, Tragedia per musica, which had been set to music by Francesco Gasparini, and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October, so many alterations and revisions were made that a fresh performing-score had to be writtern very late in the proceedings, to replace an earlier one which is now 1ost.There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once, in 1731, for three performances. For this revival he marked in the performing score a number of cuts in the recitatives, which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA08340
ISBN 9790006521135.
The newly engraved scores and parts for the six op. 4 organ concertos follow the revised volume of the Handel Complete Edition edited by Terence Best and William Gudger [BA 8340 / BA 8341-BA 8346].The new scores and orchestral parts are free from the overediting found in other editions available today. This means performers can play just exactly what Handel wrote and not what others think he meant. In other words, you will not find trills, staccato marks and slurs sprinkled throughout the score, you will find what Handel wrote. In this new Urtext edition all editorial additions are clearly indicated.Additio nal string parts may also be purchased separately.
