20 Melodies - Soprano or Tenor

SKU: HL.48186762

UPC: 888680874414. 9.5x12.25x0.044 inches.

Chausson 14 Melodies No.3 Les Papillons Soprano Or Tenor & Piano Book.

SKU: HL.49047181

ISBN 9783795730666. UPC: 196288151715. 9.0x11.75x0.243 inches.

Sarah Jeffery, known in the recorder world not least through her YouTube channel “Team Recorder”, presents her favourite pieces for descant (tenor) recorder and piano in this volume. From variations on “The Wellerman” to the medieval estampie, Renaissance dances and Baroque movements to Romantic adaptations and modern compositions - 14 original works and arrangements of medium difficulty guaranteeing the player's enjoyment. With audio tracks to listen to and play along with, as well as videos with info and tips.

SKU: AP.1-ADV14721

UPC: 805095147216. English.

Jazz Conception is a new and exciting way for players at all levels to learn the language of jazz! Each book/mp3 set features 21 solo etudes based on chord changes to standards and blues.
The same 21 etudes transposed and adapted for the main jazz instruments.
See and hear how a well known soloist phrases and articulates and play along with or without the soloist on the audio recordings.
Play along with one of today's finest, swinging New York rhythm sections: Mike LeDonne on piano, Dennis Irwin on bass, and Kenny Washington on drums.
Start out fairly easy, then get progressively more difficult.
Use the etudes as a bridge to solos of the masters that are usually more complicated and involved.
Learn melodies and lines that will give you a solid jazz vocabulary and musicality.
Use the book/mp3 set for private lessons, for self-study, or in any combination up to a full jazz ensemble, including flute and clarinet.
If you are more advanced you may want to use the book to develop your sight reading abilities, for transcribing the etudes off the audio recordings (then check against the book) or for just having fun playing along with a great jazz rhythm section.
Use as an improvisation study, learning how to construct a swinging, logical solo - works especially well in combination with the Study Guide.
The Jazz Conception series is also perfectly suited for the class room. It can be used to develop younger students' jazz style in a big band or small group. In an improvisation class the teacher can use the etudes as studies in improvisation. The Study Guide provides an analysis of each etude, along with practice assignments for each etude.

SKU: PR.165001000

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: BT.DHP-1084420-140

9x12 inches. English-German-French-Dutch.

Giacomo Puccini was one of the all time great opera composers andis especially famed for his wonderful, warm-blooded melodies, hiscolourful instrumentations, his compelling dramatics, his musicalfantasy and his power to reflect exotic ambiences in sounds. ForPuccini Highlights, Wil van der Beek has made use of musical materialfrom the tenor aria ‘E lucevan le stelle’ (Tosca), the choral aria ‘Girala cote’ (Turandot) and the soprano aria ‘Un bel di vedremo’ (MadamButterfly). An operatic masterpiece that will go down a storm at anyconcert.

Puccini wordt geroemd om zijn warmbloedige melodieën, kleurrijke instrumentaties, meeslepende dramatiek en muzikale fantasie. Opvallend veel Puccini-aria’s zijn buiten hun eigenlijke context aantrekkelijk gebleken voor de concertpraktijk.Voor Puccini Highlights heeft Wil van der Beek gebruik gemaakt van muzikaal materiaal uit de tenoraria ‘E lucevan le stelle’ (Tosca), de kooraria ‘Gira la cote’ (Turandot) en de sopraanaria ‘Un bel divedremo’ (Madama Butterfly).

Puccini war zweifellos einer der erfolgreichsten italienischen Opernkomponisten aller Zeiten. Viele seiner Arien haben sich auch als beliebte Konzertstücke außerhalb ihres eigentlichen Kontexts bewährt. Für Puccini Highlights verwendete Wil van der Beek musikalisches Material aus der Tenorarie E Lucevan le Stelle aus Tosca, der Chorarie Gira la Cote aus Turandot sowie der Sopranarie Un Bel di Vedremo aus Madama Butterfly.

Giacomo Puccini (1858-1924) est, après Verdi, l’un des plus grands représentants de l’opéra italien. Il reste célèbre pour les teintes sublimes de ses mélodies chaleureuses, ses orchestrations colorées, ses drames envo tants, sa créativité musicale et son incroyable capacité délivrer des ambiances exotiques travers des textures sonores.Parmi les classiques des opéras pucciniens, on peut citer Manon Lescaut, La Bohème, Tosca, Madame Butterfly et Turandot. Il est également frappant de constater que de nombreux airs de Puccini, même sortis de leur contexte d’origine, sont parfaitement adaptés une interprétation en concert.Pour réaliser cet arrangement, Wil van derBeek a puisé dans le tissu musical de l’air pour ténor E lucevan le stelle (Tosca), dans le chœur d’opéra Gira la cote! Gira! (Turandot) et dans l’air pour soprano Un bel di vedremo (Madame Butterfly).

SKU: BT.DHP-1196035-070

ISBN 9789043157629.

Henry Mancini’s theme for ‘The Pink Panther’, as heard in the famous films and animated series, is without doubt one of the most famous melodies in the world. This arrangement was made by the renowned German recorder soloist and teacher Ralf Bienioschek for his special 'Ralf Bienioschek Signature Edition’ series. The arrangement is for a standard quartet of Soprano, Alto, Tenor and Great Bass Recorder, with additional parts provided for Bass Recorder and Sub Bass Recorder. Optional parts for Piano, Cajon (set and score) and Electric Guitar (does not appear in score) are also included.

Henry Mancini’s thema voor The Pink Panther, zoals te beluisteren in de beroemde films en tekenfilmseries, is zonder twijfel een van de beroemdste melodieën ter wereld. Dit arrangement werd gemaakt door de vooraanstaande Duitse blokfluitsolist en -docent Ralf Bienioschek, voor zijn Ralf Bienioschek Signature Edition-serie. Het is geschreven voor een standaardkwartet van sopraan-, alt-, tenor- en grootbasblokfluit, met aanvullende partijen voor basblokfluit en contrabasblokfluit. Er worden ook optionele partijen voor piano, cajon (set en partituur) en gitaar (staat niet in de partituur) meegeleverd.

Henry Mancinis Thema The Pink Panther“ (Der rosarote Panther“) aus den berühmten Filmen und Zeichentrickserien ist ohne Zweifel eine der berühmtesten Melodien der Welt. Dieses Arrangement hat der renommierte deutsche Blockflötist und Lehrer Ralf Bienioschek für seine Reihe Ralf Bienioschek Signature Edition“ erstellt. Das Arrangement ist für ein Standardquartett mit Sopran-, Alt-, Tenor- und Großbassblockflöte gedacht, mit zusätzlichen Stimmen für Bassblockflöte und Subbassblockflöte. Optionale Stimmen für Klavier, Cajon (Stimmen und Partitur) und E-Gitarre (erscheint nicht in der Partitur) sind ebenfalls enthalten.

Tel qu’on l’entend dans les célèbres films et dessins animés, le thème de La Panthère Rose, de Henri Mancini, est sans aucun doute l’un des airs les plus connus au monde. Le présent arrangement a été réalisé par Ralf Bienioschek, célèbre soliste et professeur de fl te bec, pour sa série « Ralf Bienioschek Signature Edition ». Il est destiné un quatuor standard de fl tes soprano, alto, ténor et grande basse, des parties supplémentaires étant fournies pour fl tes basse et soubasse. Des parties facultatives pour piano, cajón (partitions individuelles et de direction) et guitare électrique (absente dans la partition de direction) sont également incluses.