PIANO PLAY ALONG VOL.113 QUEEN PVG + MP3

SKU: BT.DHP-1135484-400

ISBN 9789043136044. 9x12 inches. English-German-French-Dut ch.

This is a new book in the brand new De Haske Piano Play Along series! Nine favourite songs especially arranged for piano and keyboard players, theres also separate vocal lines and guitar chord diagrams so that singers and guitarists can easily joinin, too. The accompanying audio CD contains quality recordings that exactly match the printed music featuring two versions of each tune: a full demo performance for listening, and a separate play-along track that allows the keyboard player to takethe spotlight!

Uw favoriete songs uit de film- en showwereld komen tot leven in Play Films and Shows!

Mit PLAY FILMS and SHOWS präsentiert De Haske die erste Ausgabe der brandneuen DE HASKE PIANO PLAY-ALONG Serie. Die acht Lieblingssongs, die speziell für Klavier- und Keyboardspieler arrangiert und mit separater Melodiestimme und Gitarrenakkordenausgestat tet sind, können mit Hilfe der beiliegenden Audio-CD von Tastenkünstlern alleine oder mit Begleitinstrumenten problemlos einstudiert werden. Die CD enthält qualitativ hochwertige Demo-Versionen aller Titel zum Anhören sowie Begleitstimmenfür ein authentisches Bühnen-Feeling.

Inhalt : Bella�??s Lullaby / Circle Of Life / Defying Gravity / He´s A Pirate / My Favorite Things / Tomorrow / We Are The Champions / A Whole New World / You´ve Got A Friend In Me

La fameuse collection De Haske Piano Play-Along Series apportera une nouvelle dimension vos séances de travail et interprétations en public. Ce recueil rassemble neuf grands succés comprenant des lignes mélodiques et des diagrammesd'accord pour que chanteurs et guitaristes puissent se joindre au pianiste. Le CD inclus au recueil comporte deux enregistrements de qualité, faits sur mesure et habilement conçus pour chacun des titres : une version de démonstration et uneversion play-along (accompagnement uniquement) qui permet au musicien de se mettre sous les feux de la rampe.

Sommaire: Bella´s Lullaby �?� Circle of Life �?� Defying Gravity �?� He´s a Pirate �?� My Favorite Things �?� Tomorrow �?� We Are the Champions �?� AWhole New World �?� You´ve Got a Friend in Me.

Ampliate il vostro repertorio con questa nuova pubblicazione dedicata al pianoforte.

SKU: CF.W2682

ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.

Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.
The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr” indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “tr”sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper” trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito” is interpretedas faster than the “Allegro” (without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcompo ser imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).

ISBN 9783892211334. UPC: 805095113075. English.

Many different possibilities for harmonizing the same melody are illustrated and analyzed, using techniques by such influential arrangers and composers as Duke Ellington, Billy Strayhorn, Oliver Nelson, Gil Evans, and Clare Fischer. Techniques of melody harmonization are covered, along with linear writing, and counterpoint for 2, 3, 4, and 5 horns. A chapter on writing for the rhythm section clearly illustrates the techniques commonly used by jazz arrangers and composers. Six complete scores in concert key are ideal for analysis, for playing the horn parts on the piano, or for following the performances on the CD. An extensive chapter on form and development deals with extended compositional forms and the use of compositional techniques in writing for the small jazz ensemble. A useful discography is included at the end of each chapter.

Dans ce volume, beaucoup de différentes possibilités pour l'harmonisation de la même mélodie sont illustrées et analysées, en utilisant des techniques d'arrangeurs et compositeurs influents tels que Duke Ellington, Billy Strayhorn, Oliver Nelson, Gil Evans et Clare Fischer.

Contents: Preface * About the Chord Symbols Used in This Book * Melody Harmonization: The Basic Techniques and the Linear Approach * Writing for Two Horns * Writing for the Rhythm Section * Writing for Three Horns * Writing for Four Horns * Writing for Five Horns * Form and Development * Minor D * Blues for Barry * Beautiful Dreamer * Suite for Swee' Pea' * Appendix: I. Ranges and Transpositions of the Instruments Used in this Book * II. Articulations and Jazz Inflections Used in this Book * III. Basic Procedures for Score Layout * Bill Dobbins Discography.