Iscariota

SKU: HL.50492344

ISBN 9788875926496. Italian.

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SKU: CF.FE189S

ISBN 9780825877520. UPC: 798408077525. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium” , a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

SKU: CF.FE189

ISBN 9780825877513. UPC: 798408077518. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium” , a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

SKU: BT.MUSMS0376

Spanish.

Nuestro libro tiene como meta la de hacerle descubrir diferentes tipos de acompañamientos tanto en acordes como en arpegios, en el piano. Ud encontrará primero unas r tmicas que abarcan acordes placados y semi-arpegiados, en las que las dos manos se complementan con eficacia, tanto a nivel r tmico como armónico. Luego unos acompañamientos en arpegios, tocados a menudo con la mano derecha y completados con la mano izquierda que toca los bajos. Y por último, una tercera categor a de r tmicas que le brindan la oportunidad de tocar las inversiones (de 3 y 4 sonidos) para que aprenda a optimizar el desplazamiento de las manos en el teclado. O sea, en total, 56 acompañamientos queson unos estándares un poco comunes y corrientes que uno podrá tocar en numerosos contextos musicales, desde la canción hasta la balada pop pasando por las músicas de pel culas... etc. Al principio asequibles para la gran mayor a, dichos acompañamientos se hacen luego poco a poco más complejos para satisfacción de todos. En el disco adjunto al método, Ud encontrará numerosos archivos audios y v deos. Los v deos (mp4) presentan en imágenes los múltiples acompañamientos tales como uno debe tocarlos, mientras las grabaciones audio (mp3), le brindan todos los playbacks correspondientes con, y luego sin piano. Ud podrá por tanto tocar a su vez las r tmicas presentadas o desarrollar sus propios acompañamientos, inspirándose en los ejemplos propuestos al estudio.

SKU: BT.MS0428

Spanish.

Este libro tiene como objetivo hacerle trabajar el control de los cuatros miembros en la bater a. En efecto, sólo con un perfecto control de sus miembros (manos y pies, derechos e izquierdos) el baterista puede tocar todo tipo de grooves, breaks o solos, en todos los estilos musicales. Y por tanto este trabajo resulta primordial… Dividido en dos partes, este método aborda tanto el control horizontal (superior e inferior) como el control vertical (izquierdo y derecho) que permiten vincular las manos y los pies y abordar con más facilidad los múltiples combinados r tmicos que le brinda la bater a. Pero en vez de encadenar un montón de ejercicios técnicos unos detrás de otros, sin verla finalidad musical, se ha privilegiado la práctica con un trabajo espec fico en unos grooves y unos breaks de todos los estilos. As cada parte empieza con los inevitables ejercicios de preparación, antes de encadenar con unas aplicaciones puramente musicales a tocar en unos playbacks. Para cada una de esas aplicaciones musicales, uno tiene cinco grabaciones diferentes en el CD MP3 adjunto, repartidas de la manera siguiente: la bater a sola en aire normal y luego más lento, la misma parte de bater a tocada ahora en su playback, y por último el playback solo, aqu también en aire normal y luego más lento… para que cada uno pueda aprender a tocar a su ritmo, según su nivel y sus capacidades. ¡Son casi 4 horas de música en total!

SKU: BT.MUSMS0324

Spanish.

Nues tro libro quiere hacerle descubrir, trabajar, y sobre todo tocar los arpegios en el piano. Los arpegios, presentes en todos los estilos musicales (blues, rock, jazz, clásico...), tanto en acompañamiento comoen improvisación, tocados con la mano derecha o la mano izquierda, resultan desde el punto de vista técnico y armónico imprescindibles para el pianista. Y por eso todos los estudiantes teclistas los han deconocer y dominar. Nuestro libro trata de los principales arpegios que son el arpegio mayor, el arpegio menor, el arpegio mayor 7 (may7), el arpegio menor 7 (m7), y por último, el arpegio de séptima (7).

Paracada uno de ellos descubrirá su composición, por supuesto, pero también sus digitaciones con tres ejercicios técnicos (para aprender a «manipularlos» ;) y siete aplicaciones musicales(acompaña miento o solo) para tocar en playback. Y para cada aplicación musical le brindamos cinco grabaciones diferentes en el CD MP3 adjunto, presentadas de la manera siguiente: piano solo, en aire normal y luegomás lento, la misma parte de piano tocada ahora en el playback, y por último, el playback solo, primero en aire normal y luego más lento... para que cada uno pueda aprender y tocar a su ritmo, según sunivel y sus capacidades. O sea más de 5 horas de música en total.

SKU: BT.ERBA-8779

SKU: TI.TR00017

ISBN 9788488955166.

SKU: BT.VOLMB59

ISBN 9788863880571. Spanish.

Perfect for beginner blues and rock/blues guitarists. Includes specs on blues theory and left hand techniques. You will also discover style rhythms, Texas swing, slow, minor blues and important blues styles such as those ofMuddy Waters, Buddy Guy and many more.

Covering phrases, introductions and improvisation, this is the best step by step method for blues for the guitar, teaching substance and style.