SKU: HL.48184230
UPC: 888680862541. 9.0x12.0x0.073 inches.
Percussionist, Marcel Jorand (b. 1937) studied at the Paris Conservatoire where he won many prizes, including first prize for his instrument. His professional work as a performer and teacher combined produced many well-informed study books for Percussion, including First Book for Xylophone. Following his graduation from the Paris Conservatoire, Jorand worked with the Orchestre Philharmonique de Radio-France as a soloist. In 1978, he went on to teach at the Regional Conservatory of Montpellier and direct the Ecole municipale de Juvignac. Soon after his move to the South of France, Jorand produced First Book for Xylophone. These studies address a wide range of aspects of technique for beginners of the instrument. Marcel Jorand's First Book for Xylophone is imperative to the technical progression of all aspiring Xylophone players..
SKU: HL.48182851
UPC: 888680871864. 9x12 inches.
?Percussionist François Dupin (1931-1994) studied at the Paris Conservatoire where he won many prizes, including first prize for composition. His professional work as a performer, composer and teacher combined produced many well-informed study books for Percussion, including Seventeen Studies for Xylophone. Following his graduation from the Paris Conservatoire, Dupin worked with the Orchestre Philharmonique de Radio-France, and the Orchestre de Paris when it was first founded. He then went on to establish the first Percussion class at the Lyon Conservatoire where he taught until his death. It was during this time that Dupin produced Seventeen Studies for Xylophone. These studies address the difficulties which students are likely to have to overcome in their future, professional lives. Fingerings are helpfully suggested and clear instruction in French, English, German and Spanish creates a highly versatile study book. François Dupin's Seventeen Studies for Xylophone is imperative to the technical progression of all advanced Xylophone players.andrdquo.
SKU: HL.48183542
Percussionist, Francois Dupin (1931-1994) studied at the Paris Conservatoire where he won many prizes, including first prize for composition. His professional work as a performer, composer and teacher combined produced many well-informed study books for Percussion, including Rapid Tutor for the Xylophone. Following his graduation from the Paris Conservatoire, Dupin worked with the Orchestre Philharmonique de Radio-France, and the Orchestre de Paris when it was first founded. He then went on to establish the first Percussion class at the Lyon Conservatoire where he taught until his death. It was during this time that Dupin produced Rapid Tutor for the Xylophone. These studies are suitable for beginners and with instruction in French, English, German and Spanish, Dupin's study book is highly versatile. Covering a range of technical aspects on the instrument, and ensuring gradual progression to a high standard, Francois Dupin's Rapid Tutor for the Xylophone is imperative to beginner Xylophone players..
SKU: HL.14027993
ISBN 9788759811832. English.
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo3 Oboes, 3rd also Cor Anglais in F3 Clarinets in Bb, 3rd also Bass Clarinet in Bb3 Bassoons, 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion, four playersPlayer 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium)Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese CymbalPlayer 3 - TamTam (Large), Java Gong(Large, very low), Bell Lyra (Handheld), Sizzle CymbalPlayer 4 - Bass Drum, Glockenspiel, Xylophone1 Harp1 Piano, also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes, except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical.
SKU: HL.50510290
ISBN 9790080141724. UPC: 073999922905. Bach (23 x 30,2 cm) inches. Hungarian, English, German.
We recommend this volume to those who would like to play the melodic instruments (tubular bells, marimba, vibraphone, xylophone) that are gaining an increasingly important role in the rapidly developing teaching of percussion instruments. Starting from the first steps, familiarization with the notes, it provides varied, colourful musical material sufficient for several years, including not only folk melodies of different nations but also works by many important composers (Beethoven, J.C.F. Fischer, Handel, Kodaly, Lully, Leopold and Wolfgang Mozart, Praetorius, Purcell and Schubert). Together with duets and pieces with piano accompaniment, which are particularly suitable for concert performance, exercises to develop skill in score reading are included in the teaching material, in the compilation of which the author drew on several decades of teaching experience. The textual instructions are provided in three languages: German, English and Hungarian.
SKU: YM.GTW01101395
ISBN 9784636110524. 8.25 x 11.75 inches.
New Sounds in Brass is a series for concert bands that collects arrangements of various musical genres, including Studio Ghibli, Disney, anime titles, and J-Pop, arranged by the best ensemble arrangers in Japan. This collection features four particularly popular pieces composed for Hayao Miyazaki's animated films from the works of renowned Japanese composer and maestro Joe Hisaishi. The first half opens with the delightful and lively The Village in May and the charming stroll of Hey Let's Go from My Neighbor Totoro. The second half transitions into the melancholy and leisurely sounds of Day of the River from Spirited Away and the wistful Departure from Kiki's Delivery Service. Arranged by Kazuhiro Morita Duration: 7 minutes and 30 seconds Difficulty: ★★★ Solos: Oboe, Flute Ensemble: 1st Flute (1), 2nd Flute & Piccolo (1), Oboe (1), Bassoon (1), Clarinet in E-flat (1), 1st Clarinet in B-flat(3), 2nd Clarinet in B-flat(3), Bass Clarinet in B-flat(1), 1st Alto Saxophone in E-flat(1), 2nd Alto Saxophone in E-flat(1), Tenor Saxophone in B-flat(1), Baritone Saxophone in E-flat(1), 1st Trumpet in B-flat(1), 2nd Trumpet in B-flat(1), 1st Horn in F (1), 2nd Horn in F (1), 1st Trombone (1), 2nd Trombone (1), Euphonium (1), Bass in C (1), String Bass (1), Drums (1), Glockenspiel (1), Vibraphone & Xylophone (1)Medley: The Village in May, Hey Let's Go, Day of the River, and Departure.
SKU: HL.48182136
UPC: 888680835514. 7.25x10.75x0.704 inches.
Completed in 1960, Time-Colour by Olivier Messiaen is a famous orchestral piece composed by this author. This edition, published as a book, features the conductor?s score with all the following instruments: 16 First Violins, 16 Second Violins, 14 Violas, 12 Cellos, 10 Double Basses, 1 Piccolo, 3 Flutes, 3 Oboes, 4 Clarinets, 3 Bassoons, 1 Piccolo Trumpet, 3 C Trumpets, 4 F Horns, 3 Trombones, 1 Tuba, Suspended And Chinese Cymbal, 1 Glockenspiel, 1 Xylophone, 1 Marimba. It is written in seven movements: Introduction, Strophe I, Antistrophe I, Strophe II, Antistrophe II, Epode and Coda; and The Epode features birdsong and is played by 18 of the string instruments. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composer of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Bird Catalogue' in 7 volumes..
SKU: PR.11440719S
UPC: 680160011087. 8.5 x 11 inches.
Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary.