Par SOLOMON PHEIFER JR.. Le troisième épisode de la série de Essentials d'orgue - hymnes et au-delà. Cette heure 7 DVD est pour le débutant et intermédiaire organiste qui s'efforcent d'apprendre des hymnes. Solomon Phifer Jr. donne une pause approfondie et systématique vers le bas des hymnes divers - de simple harmonie avec la main gauche basse pour les joueurs de claviers, à pleine harmonie avec cordes de la main gauche pour l'organiste. Ce DVD est un must pour la construction de la Fondation de l'orgue de base. Ce DVD auront vous jouer des hymnes dans votre service suivant. / Niveau : Débutant à Intermédiaire / Gospel-Black - Methods / Accessoire / Grand Orgue
SKU: CA.2719050
ISBN 9790007171766. Text language: Latin.
Carus published the original version of Bruckner's Te Deum for soloists, choir and large orchestra (Carus 27.190) in the fall of 2015. In order to make this work available for performance by smaller-sized ensembles [und einem weiteren Benutzerkreis zuganglich zu machen] Carus now presents it in an arrangement for brass quintet and organ. The brass parts are orientated essentially towards those in Bruckner's orchestral version, while the organ part follows the original string parts. [Damit kann nun auch unter eingeschrankten Bedingungen dieses grossartige Werk in einer adaquaten, stimmigen Form zur Auffuhrung gebracht werden.] As the voice parts (soloists and choir) in this reduced version are identical with those of the original the vocal score and choral score of the latter version can be used. This work is available (in the original version) in carus music, the choir app! Score available separately - see item CA.2719000.
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.
