Duet for 2 pianos This arrangement has been made from a Soprano recitative and Aria from the Birthday Cantata by Bach. The piece has a fresh and pastoral character and the arrangement for two pianos stays true to Bach's balance between the beautiful melody and tone-painting in the harmonies.

Teach kids how to play the recorder with fun lessons and sheet music for beginners. The recorder is the most widely taught instrument in schools. For the majority of children, it is their first introduction to playing and reading music. This book which is part of a scheme is designed for teaching new notes - D, F sharp and high D. Recorder magic is an acclaimed recorder method for beginners, with fresh new tunes and performance opportunities right from the start. Perfect resources for whole class teaching of recorders in the Wider Opportunities classroom. Suitable for both generalist and specialist teachers.

In Sonata Fragments, Andrew Davis argues that the Romantic sonata is firmly rooted, both formally and expressively, in its Classical forebears, using Classical conventions in order to convey a broad constellation of Romantic aesthetic values. This claim runs contrary to conventional theories of the Romantic sonata that place this nineteenth-century musical form squarely outside inherited Classical sonata procedures. Building on Sonata Theory, Davis examines moments of fracture and fragmentation that disrupt the cohesive and linear temporality in piano sonatas by Chopin, Brahms, and Schumann. These disruptions in the sonata form are a narrative technique that signify temporal shifts during which we move from the outer action to the inner thoughts of a musical agent, or we move from the story as it unfolds to a flashback or flash-forward. Through an interpretation of Romantic sonatas as temporally multi-dimensional works in which portions of the music in any given piece can lie inside or outside of what Sonata Theory would define as the sonata-space proper, Davis reads into these ruptures a narrative of expressive features that mark these sonatas as uniquely Romantic.

for SATB and organ This radiant anthem explores the theme of light, with luminescent harmonies, a virtuosic organ part, and soaring vocal lines. The text is by Dr Marcus Tomalin, after Dante's Paradiso, and Bednall's word painting is highly effective. A compelling climax as the singers tell of the 'pure living light shining' falls away to a powerful unaccompanied moment, before the organ picks up a motif and develops it in a majestic interlude. This is a highly rewarding anthem for performer and audience alike. Pure Living Light was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189).

Written late in his life, J. S. Bach's The Art of Fugue has long been admired-in some quarters revered-as one of his masterworks. Its last movement, Contrapunctus 14, went unfinished, and the enigma of its incompleteness still preoccupies scholars and musical conductors alike. In 1881, Gustav Nottebohm discovered that the three subjects of the movement could be supplemented by a fourth. In 1993, Zoltan Goencz revealed that Bach had planned the passage that would join the four subjects in an entirely unique way. This section has not survived, but, as Goencz notes, it must have been ready in the earliest phase of composition since Bach had created the expositions of the first three subjects from its "disjointed" parts. Goencz then boldly took on the task of reconstructing the original "template" by putting together the once separate pieces. In Bach's Testament: On the Philosophical and Theological Background of The Art of Fugue, Goencz probes the philosophic-theological background of The Art of Fugue, revealing the special structures that supported the 1993 reconstruction. Bach's Testament investigates the reconstruction's metaphysical dimensions, focusing on the quadruple fugue. As a summary of Zoltan Goencz's extensive research over many years, which resulted in the completion of the fugue, this work explores the complex combinatorial, philosophical and theological considerations that inform its structure. Bach's Testament is ideally suited not only to Bach scholars and musicologists but also intellectual historians with particular interests in 18th-century religious and philosophical ideas.

Bruce Springsteen's latest album, Magic, really is magic. The album had already become popular by the time it hit shelves this September, due to fans eagerly awaiting its appearance. The high energy rock album features the favorite hit "Long Walk Home," as well as a multitude of new hits.
Alfred introduces the album-matching folio to Bruce Springsteen's album, Magic. Music includes lyrics and authentic guitar TAB.
Titles: Radio Nowhere * You'll Be Comin' Down * Livin' in the Future * Your Own Worst Enemy * Gypsy Biker * Girls in their Summer Clothes * I'll Work for Your Love * Magic * Last to Die * Long Walk Home * Devil's Arcade * Terry's Song.

This book presents figured harmony as a form of aural training. It seeks to make the student more keenly aware of chord-relationships as actual sound. It will increase the student's power to form an inward realization of what a page of music is going to sound like without having actually heard it.

World Music Pedagogy, Volume IV: Instrumental Music Education provides the perspectives and resources to help music educators craft world-inclusive instrumental music programs in their teaching practices. Given that school instrumental music programs-concert bands, symphony orchestras, and related ensembles-have borne musical traditions that broadly reflect Western art music and military bands, instructors are often educated within the European conservatory framework. Yet a culturally diverse and inclusive music pedagogy can enrich, expand, and transform these instrumental music programs to great effect. Drawing from years of experience as practicing music educators and band and orchestra leaders, the authors present a vision characterized by both real-world applicability and a great depth of perspective. Lesson plans, rehearsal strategies, and vignettes from practicing teachers constitute valuable resources. With carefully tuned ears to intellectual currents throughout the broader music education community, World Music Pedagogy, Volume IV provides readers with practical approaches and strategies for creating world-inclusive instrumental music programs.

Recent scholarship has vanquished the traditional perception of nineteenth-century Britain as a musical wasteland. In addition to attempting more balanced assessments of the achievements of British composers of this period, scholars have begun to explore the web of reciprocal relationships between the societal, economic and cultural dynamics arising from the industrial revolution, the Napoleonic wars, and the ever-changing contours of British music publishing, music consumption, concert life, instrument design, performance practice, pedagogy and composition. Muzio Clementi (1752-1832) provides an ideal case-study for continued exploration of this web of relationships. Based in London for much of his life, whilst still maintaining contact with continental developments, Clementi achieved notable success in a diversity of activities that centred mainly on the piano. The present book explores Clementi's multivalent contribution to piano performance, pedagogy, composition and manufacture in relation to British musical life and its international dimensions. An overriding purpose is to interrogate when, how and to what extent a distinctive British musical culture emerged in the early nineteenth century. Much recent work on Clementi has centred on the Italian National Edition of his complete works (MiBACT); several chapters report on this project, whilst continuing to pursue the book's broader themes.

With Contemporary Piano: A Performer and Composer's Guide to Techniques and Resources, Alan Shockley provides a comprehensive resource for composers writing music that uses extended techniques for the piano, and for pianists interested in playing repertoire that makes use of techniques and/or implements unfamiliar to them. Shockley explains dozens of ways to prepare a piano without damaging the instrument, how to notate every standard technique and many, many obscure ones, and the specific geographies of every common concert hall piano. This will be the standard reference for pianists touring and playing inside-the-piano repertoire, and for composers at all levels of familiarity with the piano hoping to understand the mechanical miracle that is the modern piano.

In this book, Julian Hellaby presents a detailed study of English piano playing and career management as it was in the middle years of the twentieth century. Making regular comparisons with early twenty-first-century practice, the author examines career-launching mechanisms, such as auditions and competitions, and investigates available means of career sustenance, including artist management, publicity outlets, recital and concerto work, broadcasts, recordings and media reviews. Additionally, Hellaby considers whether a mid-twentieth-century school of English piano playing may be identified and, if so, whether it has lasted into the early decades of the twenty-first century. The author concludes with an appraisal of the state of English pianism in recent years and raises questions about its future. Drawing on extensive research from a wide variety of primary and secondary sources, this book is structured around case-studies of six pianists who were commencing and then developing their careers between approximately 1935 and 1970. The professional lives and playing styles of Malcolm Binns, Peter Katin, Moura Lympany, Denis Matthews, Valerie Tryon and David Wilde are examined, and telling comparisons are made between the state of affairs then and that of more recent times. Engagingly written, the book is likely to appeal to professional and amateur pianists, piano teachers, undergraduate and postgraduate music students, academics and anyone with an interest in the history of pianists, piano performance and music performance history in general.

This is the definitive study of the history and music of the traditional British Brass Band. It explores the origins of the brass band, in its unique and exclusive world, whilst demonstrating its relevance to the wider spheres of music and social history.

The viola da gamba was a central instrument in European music from the late 15th century well into the late 18th. In this comprehensive study, Bettina Hoffmann offers both an introduction to the instrument -- its construction, technique and history -- for the non-specialist, interweaving this information with a wealth of original archival scholarship that experts will relish. The book begins with a description of the instrument, and here Hoffmann grapples with the complexity of various names applied to this and related instruments. Following two chapters on the instrument's construction and ancestry, the core of the book is given to a historical and geographical survey of the instrument from its origins into the classical period. The book closes with a look at the revival of interest in the 19th and 20th centuries.

Steel Drums and Steelbands: A History is a vivid account of the events that led to the "accidental" invention of the steel drum: the only acoustic musical instrument invented in the 20th century. Angela Smith walks readers through the evolution of the steel drum from an object of scorn and tool of violence to one of the most studied, performed, and appreciated musical instruments today. Smith explores the development of the modern steelband, from its roots in African slavery in early Trinidad to the vast array of experiments in technological innovation and to the current explosion of steelbands in American schools. The book offers insights directly from major contributors of the steelband movement with sections devoted exclusively to pioneers and innovators. Drawing on seven years of research, repeated trips to the birthplace of the steel drum, Trinidad, and interviews with steelband pioneers, Smith takes readers far beyond the sunny associations of the steel drum with island vacations, cruise ships, and multiple encores of "Yellow Bird." Digging deep into Trinidad's history-a tale of indigenous extermination and African slavery, of French settlement and Spanish and British colonialism before mid-century independence-Smith weaves an unforgettable narrative of talking drums, kalinda stick fights, tamboo bamboo bands, iron bands, calypso, Carnival, and the U. S. military. Together, all played major roles in the evolution of today's steelband and in the panman's journey from renegade to hero in the steelband's move from the panyards of Trinidad's poorest neighborhoods to the world's most prestigious concert halls. The reader will discover how an instrument created by teenage boys, descendants of African slaves, became a world musical phenomena. Steel Drums and Steelbands is the ideal introduction to the steel drum, steelbands, and their history.

This companion volume to The Courtly Consort Suite in German-Speaking Europe surveys an area of music neglected by modern scholars: the consort suites and dance music by musicians working in the seventeenth-century German towns. Conditions of work in the German towns are examined in detail, as are the problems posed by the many untrained travelling players who were often little more than beggars. The central part of the book explores the organisation, content and assembly of town suites into carefully ordered printed collections, which refutes the concept of the so-called 'classical' suite. The differences between court and town suites are dealt with alongside the often-ignored variation suite from the later decades of the seventeenth century and the separate suite-writing traditions of Leipzig and Hamburg. While the seventeenth-century keyboard suite has received a good deal of attention from modern scholars, its often symbiotic relationship with the consort suite has been ignored. This book aims to redress the balance and to deal with one very important but often ignored aspect of seventeenth-century notation: the use of blackened notes, which are rarely notated in a meaningful way in modern editions, with important implications for performance.

Growing up in Huntsville, Alabama, during the first quarter of the 20th century, Alabama-born organist and composer Lee Orville Erwin, like many of the 20th century s great American composers, spent time studying in Paris. From 1930 until 1931 Erwin studied in France with organist Andre Marchal and the harmony teachers Jean Verd and Nadia Boulanger. This formative experience greatly shaped his compositional style and aesthetic. Upon returning to the United States, Erwin began his lengthy career in radio and television working with Arthur Godfrey. In 1967, Erwin was commissioned by the American Theater Organ Society to compose organ music for the Gloria Swanson film Queen Kelly. It was this film that led his career back into the consoles of the great American theater organs. He toured extensively, playing thousands of concerts of organ music during silent film showings. He thus ushered in the silent film revival, continuing the genre of live music performance accompanying film. Erwin, believing that cue sheets originally compiled for these films during the silent film era were full of the musical cliche s of the 1920s, composed new scores to over 100 silent films. An American Organist in Paris presents Lee Orville Erwin's letters from France to his family in 1930-1931. In these letters, Erwin recounts his daily experiences and encounters with some of the 20th century's greatest musicians and teachers. He writes of his lessons with Marchal, Verd, and Boulanger and dinner parties with Olivier Messiaen. Erwin's letters not only provide the singular experiences of a young musician but also reflect the common experiences shared by the multitude of American composers who studied in France during this time. These letters are extensively footnoted to provide clarity and background information of the locations and personalities discussed. A biographical chapter on Erwin, which outlines his extensive musical career and impact on the silent film music revival in the 20th century, is also included. This book will serve as a unique glimpse into the life of one of America's most prolific composers for the theater organ.

Previously available only in three separate books, Howard Shore's award-winning music for The Lord of the Rings trilogy is now available as a deluxe single volume of solo piano sheet music. Adorned with gorgeous color stills from the motion pictures, this is the ultimate musical tour of Middle-earth for intermediate and advanced pianists.

Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement. For the first time, violinists can perform the original solo line as part of a string quartet, while also joining the other players for the longer tutti sections. Perfect as a rehearsal tool in preparation a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.

Conductors John Yaffe and David Daniels have created a one-stop sourcebook for orchestras, opera companies, conductors, and librarians who research and/or prepare programs of vocal excerpts-such as solos, ensembles, and choruses-for concert performance. In this book, readers will find detailed information on a vast repertoire of vocal pieces commonly extracted from operas, operettas, musicals, and oratorios-more than 1,750 excerpts from 450 parent works. Modeled on Daniels' Orchestral Music, Arias, Ensembles, & Choruses includes basic historical details about each parent work as well as extract titles, subtitles, voice types, keys, durations, locations in the original work (with page numbers in both full scores and piano-vocal scores), and exact instrumentation. It also lists the publishers that make available the orchestral materials for just the excerpt being programmed, independent of the full parent work. Until now, conductors and orchestra librarians commonly had to first leaf through full scores, searching for one elusive three-minute aria after another, only to then consult multiple publishers' catalogues to compile crucial information on all the excerpts proposed for a concert or recording. This book constitutes a single source for finding that information. In many cases, the individual entries include valuable insider information on common performance practice, including start- and stop-points, transpositions, and conventional cuts. Searching for repertoire is made easy with the detailed title index and appendixes devoted to ensemble excerpts, all categorized by personnel (e.g., duets, trios, quartets, quintets, sextets, choruses) and language (Czech, English, French, German, Italian, Latin, Russian). This book is the ideal tool for the working conductor and orchestral librarian, as well as music program directors at colleges and conservatories, opera companies, and symphony orchestras. As of October 2015, a new printing of this book has occurred to correct errors in the index. A PDF version of the new index is available to previous purchasers of the volume. Please contact Rowman & Littlefield's music editor for assistance.

As part of Scarecrow Press's Music Finders series, this go-to reference source provides pertinent information about the standard repertoire of works heard today in the great concert halls and recorded by the most prominent professionals. Drawing on extensive research of musical programs performed on the world's stages, Nardolillo selects only those works performed and recorded by great performers and regularly studied in conservatories by students of leading pedagogues. Organized alphabetically by composer, each entry in The Canon of Violin Literature includes the title, date of composition, date and performer of premiere, key, duration, instrumentation, and movements of the work. In addition, entries include brief notes offering historical, technical, and performance information crucial to study of the work. Finally, each entry offers information on the publishers, editions, and editors of the sheet music, concluding with a list of several recordings by famous artists and recommended books for further information about the piece. Appendixes include a chronological listing of the works, a grouping by genre, an index of piece titles, an index of performers, and a bibliography of other reference books for violinists. In addition to hard-to-find information on premieres, commissions, and editions, The Canon of Violin Literature supplies performers and teachers with the name of the violinist who provided fingerings and bowings for each edition, as well as accurate dates for when the work was edited. The Canon of Violin Literature is for performers of violin repertoire; private teachers and college professors in need of a guide to help them assign appropriate works for students' recitals, juries, and competitions; and chamber series directors, musicologists, and editors planning concert seasons, creating programs, and writing liner notes for recordings.