Format : Sheet music + CD
Discovering Violin Book and CD is a revolutionary approach towards learning how to play the violin by Danielle Cummins. This Complete (96 pg) Method is designed to teach a beginning violinist proper technique in a logically progressive manner. The sole objective is to encourage students to develop a passion for music. We have included an instructional performance CD to make practicing fun, rewarding and productive. Each piece is designed to take a student on an inspirational journey by discovering the beauty of music and its purpose. This adventure in learning will benefit both the student and teacher.IntroductionGet ready to begin an exciting adventure. Experience the incredible satisfaction of learning how to play the violin. Begin to see the world from a whole new perspective, the world of musical sound. Gain new skills which will provide the ability to communicate through both visible and invisible means. This is the joy of musical sound.To follow are a few suggestions to make your musical journey both meaningful and enjoyable:Playing violin is a rewarding process that requires diligence, perseverance, creativity and humility.Music is a mirror of beauty, truth, knowledge and imagination.A gradual step by step process is the best approach towards achieving excellence.Practice sessions must occur on a regular basis and follow a daily disciplined schedule.Practice sessions do not need to be long and tedious - they just need to be consistent with focus.Don't be afraid to leave something for tomorrow. The anticipation towards the next day's workout is as beneficial as the work itself. The ultimate goal is to aim for just a little progress each and every day.Be sensitive towards your physical limitations as everyone's tolerance is a bit different. Pay close attention to your body and know when to take a break, preferably before your muscles become sore.Remain as relaxed as possible whenever playing and remember to always breathe naturally.Be generous when playing for an audience and cherish the ability to share the gift of music to all. / Violon
SKU: CY.CC3110
ISBN 9790530110874. 8.5 x 11 in inches.
Albert Robert Mueller (Muller) was a German trombonist born in 1849. He initially received violin lessons and discovered his talent for trombone playing at the age of twelve. He eventually settled in Leipzig and became a member of the Leipzig Gewandhaus Orchestra as well as a teacher at the Royal Conservatory of Music. He wrote the School for Trombone in 1902. (Wikipedia) The School for Trombone (part of our Vintage Brass Series, not to be confused with the Technical Etudes) is a very detailed and comprehensive book in three volumes totalling 208 pages, the text being divided into German, English and Russian languages. * Volume I includes detailed lessons on music theory including all scales and keys, rhythm, time signatures, rests, accents, accidentals, explanations of tempo markings, dynamics, posture, tone, a table of positions and notes. The lessons go through different keys starting very slowly and methodically with short exercises....not going too fast for the beginning student. Along the way Mueller inserts easy duets to perform with teacher and student, including many Bach chorales, etc. to get tuning and tone solidified. * Volume II for the intermediate level student, begins with the first studies of slurs and legato. He introduces simple songs and famous melodies including more duets. The exercises get progressively more difficult and include the entire collection of ornaments. * Volume III, for the more advanced student, introduces tenor and alto clefs in scales and studies including more duets. Compiled by Gordon Cherry.
SKU: PR.114416460
ISBN 9781598067811. UPC: 680160620616. 9x12 inches.
POEM for Flute and PianoKozuch’s POEM is a plaintive elegy, perfect for memorial concerts, in religious services, or as a lyric interlude in recital. Although composed with piano accompaniment, the music is also very effective in performance with organ. Thaddeus Kozuch (1913-1991) was a Chicago-based pianist, composer, and professor at DePaul University and Northwestern University. His beautiful POEM was composed originally for violin and piano in 1937 for his wife-to-be, Jacqueline Frye. He revised POEM for flute and piano in 1988 but the work was discovered only recently in a piano bench by the composer’s daughter, flutist Ann Fairbanks.Although the final pencil manuscript is musically complete, it lacks dynamics, and this publication presents the music as the composer left it.The following performance suggestions are provided by Ann Fairbanks:Many nuances of the work may be left to the discretion of the performer. There are quite a few notes that may be slurred, such as sets of eighth notes or triplet-eighths; if notes are articulated as written, the tonguing should be legato.Dynamics for both flute and piano could be as follows: begin the work p, then crescendo to f in bars 6-7. Decrescendo in 10-11 to a p in bar 12. The most intense section (bars 16-32) should be played with energy and full sonority, including a crescendo in 26 to fin 27. The conclusion, beginning at bar 42, should be played p, with the last measures performed quietly.
SKU: BA.BA04050
ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.
“Almiraâ€, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian.The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to “Almira†by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato†from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Editionâ€. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträgeâ€.Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition†volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar†(no. 71).
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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: SS.50600030
Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor. First performed in 2006. Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet - and bass clarinetists - to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things - he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me - I'm much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment - that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piu mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist's gentle cajoling and supportive commentary, the strings accompany - with pleasure, you might say - the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist's substratum A, accompanied quietly by the strings.
SKU: CA.3550319
ISBN 9790007213480. Text language: Latin.
Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score and parts available separately - see item CA.3550300.