Matériel : Partition + CD
SKU: AP.6-241807
ISBN 9780486241807. English. [Enrico Caruso] By P. M. Marafioti.
(The Scientific Culture of the Voice) A lucid, fascinating treatise illuminating scientific, physiological basis of the great tenor's phenomenal voice. Diagrams, instructions, exercises for a scientific approach to voice culture. 38 illustrations. 352 pgs. 5 3/8 x 8 1/4.
SKU: AP.1-ADV18012
ISBN 9783892211242. UPC: 805095180121. English.
This harmonic system complementary to traditional harmony aims at making the contemporary harmonic language effortlessly accessible to everyone interested. Unlike other harmonic systems or treatises on the same subject, the harmonic system proposed by Orlando Sánchez Cubajazz is made up of chords formed on the basis of one note (bass) plus a perfect major chord. Founded on this extraordinarily simple concept, not only the modes of occidental music---major and minor---can be determined but also seventh chord substitutions, other kinds of chord substitutions as well as inversions of perfect major chords. The harmonic system introduced in this book suggests a new theoretical as well as practical approach to this topic, offering an easily comprehensible system that provides straightforward and practical solutions. A valuable cultural exchange at a global level promotes cultural growth and development; mutual influences are inevitable. The author feels that jazz---on a world scale---represents popular music at its maximum expression; and for Cuba and artists such as Orlando Sánchez himself it does carry very special connotations. Titles: Acknowledgments * Prologue * Theoretical Exercises * Complementary Harmonic System * Exercises * Music: A Dani * Algo Más Para Ti * A Japón * Bachiana A Espirituana * Curiosa y Virtuosa * Danae * Glow * El Pilón de Atenas * Hondo * Kesmet * Nostradamus * Obrigado * Por Las Calles De La Aduana * Pointe Pa`Etio * Samborn de Los Azulejos * To Dexter Gordon * Very D * To Elis Regina * TodavÃa Tres Meses * Wayne And Zawinul * Redommendations * About the Author * CD Contents.
SKU: UT.HS-327
ISBN 9790215327900. 9 x 12 inches.
In 1716, François Couperin published in Paris L’Art de Toucher le Clavecin, that brief and famous method containing eight Preludes, all extraordinarily beautiful, as well as technically very useful. Less than fifty years later, in 1762 in Madrid, Padre Antonio Soler published through Joachin Ibarra a weighty treatise of 272 pages (Llave de la Modulacion), which includes – in the tenth and final chapter – eight Preludes for keyboard instrumentThis kind of Prelude, according to what emerges from the thorny and at times ambiguous language of Padre Soler, while maintaining its undoubted basic executive value, stands on the one hand as a study of composition and on the other as an exercise in improvisation. Both these categories are more than pertinent to the period in which this work was conceived and to its aesthetics. In this sense, the term arbitri itself, so widely used in the musical text, is perhaps the most representative of a type of training that is actually centred more on practice procedure than on merely theoretical study.
SKU: UT.HS-282
ISBN 9790215326446. 9 x 12 inches.
The two-part composition has always been an essential stage in didactic treatises for teaching counterpoint; the Duo has been of fundamental importance, since the early decades of the sixteenth century, in the teaching of singing and in instrumental practice.The interpretation and performance of Scarlatti’s Fughe a Due require on the one hand a correct and prompt interpretation of the chords which are the basis of the movement and the relationship between the two parts, and on the other an indispensable invention of a third or even a fourth part (to ensure, above all, full and significant harmony).An indication of this practice of filling in is offered by the same ms. source containing Scarlatti’s Fughe a Due. In Fugue II in D minor, in the first eleven bars, we find indicated above the Bass a series of numbers showing the interval in relation to the respective upper line. These indications should not be confused with the numerical marking typical of the basso continuo and of the partimento, for they establish a clear sign of the usual practice exercised in the teaching of counterpoint in order to guide the student visually to pass safely and speedily from two to three or more parts; this type of numbering is often found in the counterpoint methods of the time, in particular in the section illustrating the Contrapunto semplice e Diminuito.These fifteen Fughe a Due, unlike the many Duos and Duets which figure in the counterpoint methods, are not a simple display of formulas, but they assert themselves as a calculated sample of characterized styles and genres, a series of pieces conceived with an exquisite sense of form.
