Tangos - Score

Arrangement: Dahl Gary. Par DAHL GARY. Tango : une danse d'origine latino-américaine, caractérisé par longues pauses et stylisés positions du corps. Cette forme musicale a été par la suite adoptée par d'autres pays, principalement en France, en Espagne et en Italie. De nombreux compositeurs éminents ont appliquée à une grande variété de compositions. À l'aide des scores de piano dans les traditions rythmiques de l'Amérique latine et de l'espagnol, Gary Dahl a habilement compilé et arrangé français Tangos pour accordéon. La musique dans cette anthologie a été publiée à l'origine des années 1930 fin à des années 60 et se caractérise par son romantisme, les riches harmonies et mélodies émotives. Ces arrangements sont orchestrales dans la nature, tienne compte de divers timbres et capacités de l'accordéon. Dans la notation standard. / Niveau : Avancé / French - Solos / Recueil / Accordéon ou Clavier

One of the most well-known tangos throughout the world Libertango (as arranged here by Paul Murtha) will give your young players a chance to learn this important and engaging musical style. Solidly scored for the entire ensemble.

One of the most well-known tangos throughout the world Libertango will give your young players a chance to learn this important and engaging musical style superbly arranged for strings by James Kazik.

Par LELOUP DENIS. Comme son titre l'indique, cette tournerie, première de la série, doit être interprétée en mettant l'accent sur la régularité du tempo ainsi que sur une pulsation énergique. Les trombonistes devront jouer sans rajouter d'effets jazzistiques et sans trop de lyrisme. Priorité au groove', un peu comme dans les tangos de Piazzola. ' - Denis LELOUP - Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor de Trombones : 4 Trombones Ténor ou 4 Trombones Ténor and 1 Trombone Basse - Niveau de Difficulté : 6/6 - Avancé - Durée : 5 mn 45 s - Style Musical : Classique, Pédagogique, Jazz - Catégorie : Composition Originale - Compositeur : Denis LELOUP - / Niveau : Avancé / Répertoire / 4 Trompettes

It Is Pain Flowing Down Slowly On A White Wall for Accordion and Strings was composed by Bent Sørensen in 2010-11. Co-commissioned by ULTIMA - Oslo Contemporary Music Festival Trondheim Soloists and Telemark Chamber Orchestra. Programme Note It is pain flowing down slowly on a white wall – the sentence – the title – was given to me by a Hungarian woman in August 2008. She put a note with the sentence in my hand after a festival and told me that my music reminded her of the sentence written by a Hungarian poet. It is music full of slow motion – full of sorrow – full oftangos with no dancers. Maybe I imagined the tears of an accordion player flowing down slowly on the bellow of the instrument. (Bent Sørensen)

Media Type : Book/CD Set Level : Intermediate Musical Genre : Brazilian Number of pages : 32 As one can easily imagine, it would be very hard for a guitar student to start reading the scores of the traditional choro repertoire, most of them with large number of technical difficulties. It would be much better if they could start with some easier pieces â?? of intermediate level â?? in order to be presented to the choro language in a more gradual and appropriate manner. That is the main goal of this book. It has 13 studies (in the 13 more commonly used keys for the choro guitar) written in a reduced form and in the principal stylistic choro variants: besides real choros, there are polkas, maxixes, Brazilian tangos and xotis. The more used and characteristic rhythmical figurations are present in each of the studies as the principal. Also aiming at the simplification of execution, all studies were composed with only two voices (melody and bass) and with no chords (although harmonies are quite evident due to the choro melodic particularities). A CD with all 13 studies is included.

Quoting Nyman: This Concerto was composed during the winter of 1994/95 for Elisabeth Chojnacka who gave the first performance with the Michael Nyman String Orchestra on 29th April 1995 in the Queen Elizabeth Hall London. Itshistory is eccentric and cumulative. I had met Elisabeth in Paris about a year earlier while I was working on the soundtrack for Diane Kurys' film A la Folie (Six Days Six Nights). I was attempting to persuade her to play mysolo piece The Convertibility of Lute Strings (1992) but she expressed a passion only for tangos. As luck would have it one of the cues of the Kurys score was what I fondly called a tango. Elisabeth showed interest in this andI subsequently turned it in to a harpsichord solo. Sadly during the writing of the piece my friend the composer Tim Souster died tragically. Elisabeth's enthusiasm for Tango for Tim encouraged me to write the Concerto forher.The Concerto is shaped as a very simple ABA form - the outer sections derived from The Convertibility for Lute Strings enfold an elaborated version of Tango for Tim. After the first performance Elisabeth decreed thatthe true potential of the Concerto could only be fulfilled by the addition of a cadenza. This was duly composed in the summer of 1995 - a toccata derived from harmonies first heard in the immediate post-Tango for Tim Convertibility material. (Elisabeth subsequently ordained that the cadenza could also have a life outside the Concerto as a concert piece if it had a few extensions added. Hence - inevitably the title of the piece - ElisabethGets Her Way.Duration c. 22mins.