Johann Sebastian Bach: The Student Violinist: Violin: Instrumental Album

Besides being an influential and prolific composer Johann Sebastian Bach (1685-1750) was one of the great teachers of his day. He was a dedicated master of the keyboard always exploring and expanding his knowledge of the instrument. Technique was of paramount significance to Bach and he was always developing exercises to improve his students??? playing. Bach developed those exercises into the pieces presented in 18 Short Preludes. However these compositions are more than keyboard exercises. They are light airy fun works that reflect Bach???s love of the short simple prelude form. They provide the beginning student with an excellent introduction to the genius ofJ.S. Bach.This edition was carefully and methodically prepared by Willard A. Palmer. An introductory section offers a thorough explanation of trills mordents appoggiaturas and other proper ornamentation applicable to these preludes. This feature helps make this edition of Bach???s 18 Short Preludes the most practical and attractive one available.

BWV997-The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello. It may also serve as a way for cellists to get close to Bach through works other than the six solo suites and the three gamba sonatas.I first came across the Partita by Johann Sebastian Bach in a version for flute and strings beautifully recorded by Kurt Redel. Since my early teens it has been on my list of special pieces.The four movements show extraordinary variation. In the hands of Bach the key of C minor becomes particularly powerful of limitless weight sometimes even stern. Is there an opening of a movement from the baroqueera which compares with power of the first movement here? It is a magni-ficent example of musical temperament.Three 18th century manuscripts survive. One found among the papers of C.Ph.E.Bach and two by Johann Philipp Kirnberger a student of J.S.Bach. All three are in the form of a keyboard sonata. Because of the choice of register however one may ask whether they are in turn arrangements of an original composition for solo flute or solo violin. The Double is very pianistic and may therefore have been added later. For all movements except the Fugue I have supplied a piano part for the right hand.

Eight Little Three-part Pieces. Par BACH JOHANN SEBASTIAN. Johann Sebastian Bach wrote the present short, three-voice pieces for cembalo. Minuet BWV 929 comes from the collection entitled Small Preludes and Fughettas and was probably written as teaching material. The Minuet and the Polonaise from the Notebook for Anna Magdalena Bach are examples of the Bach family's domestic music. Gavotte II (ou la Musette) and Gavottes I and II come from the English Suites, while a further gavotte was sourced from the French Suite No. 5. The Recorder Trio à la Carte series presents attractive pieces for recorder trio that cover a wide stylistic spectrum encompassing arrangements and original compositions from the classical and entertainment repertoire. It also combines the instruments of the recorder family in various ways. Recorder Trio à la carte opens up new paths that feature high quality, professional-standard recorder literature which motivates young players, sounds good and appeals to listeners. • Spirited dances by J. S. Bach in stylish arrangements for an enjoyable venture into the world of Baroque music • Suitable for students of all ages at intermediate-level and beyond • A beautiful addition to the J.S. Bach recorder repertory/ Recueil / 3 Flûtes à Bec SAB/STB

Learn from the master. Johann Sebastian Bach composed countless pieces specifically for his many students. My First Bach contains many of these educational pieces which are, for the most part, arranged in increasing difficulty. Easy two-part chorales and dances are followed by more demanding little preludes, two-part inventions and the first Prelude from the Well-Tempered Clavier. / Piano

revised edition hard cover-Johann Sebastian Bach’s Inventions and Sinfonias are rightly considered as indispensable to every pianist. In his famous preface to the collection Bach himself called it an“Instruction” which teaches students and keyboard lovers to “treat correctly” both two and three voices to “achieve a singing style in playing” and to “acquire a strong foretaste ofcomposition”. To this end Bach created timelessly beautiful music which has lost nothing of its relevance to us nearly 300 years after its creation. We are now presenting a new edition of this classic collection whichdraws upon all known sources and offers the best in “instruction” especially with respect to the transmitted embellishment variants. 

Learn from the master. Johann Sebastian Bach composed countless pieces specifically for his many students. My First Bach contains many of these educational pieces which are, for the most part, arranged in increasing difficulty. Easy two-part chorales and dances are followed by more demanding little preludes, two-part inventions and the first Prelude from the Well-Tempered Clavier. / Piano

for Strings Score and Parts. Par BACH JOHANN SEBASTIAN. Sinfonia No. 15 by Johann Sebastian Bach, originally for piano solo, is now available for string orchestras because of Shirl Jae Atwell\'s musical arrangement. Sinfonia No. 15 arranged in the original key of B minor, with an altered time signature from 9/16 to 9/8, is much more friendly for student musicians. Bach\'s Sinfonia No. 15, arranged by Atwell, is a great addition to string orchestra programs through dance-like eighth notes and flashy sixteenth-note arpeggiated sections creating an exciting Baroque experience. Teachers will love exploring the key of B minor, arpeggios galore for all instruments, bow distribution with 1/16ths as well as sustained notes, and the overall Baroque style found in this string orchestra arrangement by Atwell. Sinfonia No. 15 treats orchestras and audiences to the allure of the Baroque Era. / Date parution : 2022-07-30/ Répertoire / Orchestre à Cordes

Instrument : organ Nombre de Pages : 62 This School of Organ Playing presupposes a certain technical facility on the piano. The pedal exercises at the beginning are rudimentary and should be practiced in all keys, gradually accelerating the tempo. The studies are graded according to their polyphony, beginning with simple two part exercises, followed by those in three and more parts. This acquaintance with the strict principles of polyphonic music, and the introduction to effective part writing, with a knowledge of harmonic form and architectonic values, provide the essential background for the correct performance of polyphonic music, especialle the fugue. The most important musical forms have been used to illustrate the various possibilites of registration and its relationship to style (colourful, individualistic and smooth playing). The studies are so arranged that earlier technical points, etc. are constantly reviewed, through comparison of style and form, in order to fix, or refreshen, the ideas in the student's mind. It is very important that the evolution of organ music from vocal music should be made clear to the student the very beginning, both musically and intellectually. He will be shown the technical evolution of organ music during the centuries and thus prepared for an artistic execution and interpretation of old and new words, especially for the incomparable art of our great Johann Sebastian Bach. Content : Grundlagen des Pedalspiels - T.L. da Vittoria: Bicinium: Bonum erat - A. Zoilo: Bicinium: Quare fremuerunt - Melius illi - W. Dietrich: Übung in e-Moll - G.P. Telemann: Largo - J.K.F. Fischer: Übung d-Moll - G.P. Telemann: Kanon - J. Pachelbel: Magnificat peregrini toni Meine Seele erhebt den Herrn - T.L. da Vittoria: Accedentes principes - J.K.F. Fischer: Übung in g-Moll - W. Dietrich: Pedalübung - S. Scheidt: Vater unser im Himmelreich VI. Versus Choralis in Basi - H.L. Haßler: Crucifixus - J.K.F. Fischer: Praeludium D-Dur - J. Pachelbel: Übung in a-Moll - W. Dietrich: Übung in As-Dur - R. Schwarz-Schilling: Kanon a 2 - Kanon a 3 - G. Aichinger: Stabat mater - J. Pachelbel: Durch Adams Fall ist ganz verderbt - J.K.F. Fischer: Praeludium fis-Moll - H.L. Haßler: Benedictus - J. Pachelbel: Was mein Gott will, das gescheh' allzeit - T.L.da Vittoria: Exclamans Jesus - S.Scheidt: Warum betrübst du dich, mein Herz IX. Versus. Choralis in Basso - D. Zipoli: Pastorale - J. Pachelbel: Vom Himmel hoch - J.S. Bach: Pedal-Exercitium - J.K.F. Fischer: Fuga g-Moll - J. Pachelbel: Komm, Gott Schöpfer, heiliger Geist - J.K.F. Fischer: Praeludium und Fuga cis-Moll - W. Dietrich: Pedalsolo - Übungen für mehrstimmiges Spiel in einer Hand: J.K.F. Fischer: Praeludium und Fuga e-Moll - H.L. Haßler: Da Jesus an dem Kreuze stund - M. Praetorius: Es ist ein Ros entsprungen - S. Scheidt: Vom Himmel hoch - M. Praetorius: Nun bitten wir den heiligen Geist - B. Resinarius: Nun bitten wir den heiligen Geist - S. Scheidt: Psalmus: Da Jesus an dem Kreuze stund - J.K.F. Fischer: Praeludium und Fuga h-Moll - J.S. Bach: Vom Himmel hoch - O Welt ich muß dich lassen - Herzlich tut mich verlangen - D. Buxtehude: Ach Herr, ich armen Sünder - J.S. Bach: Trio c-Moll - W. Dietrich: Pedalsolo/Trillerübung - J.S. Bach: Allein Gott in der Höh' sei Ehr' - J.K.F. Fischer: Praeludium und Fuga e-Moll - J.L. Krebs: Trio für 2 Manuale und Pedal