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Books > Music > Musical instruments & instrumental ensembles > Wind instruments
Vaughan Williams fist encountered the old English folk song Dives
and Lazarus when he was 21, and here presents five variants that
are, in his own words, 'not exact replicas of traditional tunes but
rather reminiscences of various versions in my own collection and
those of others'. The work was premiered in Carnegie Hall as part
of the 1939 New York World's Fair, and is a wonderful example of
the sumptuous string textures and modal tonalities that have become
the composer's trademarks.
Beginning by describing 'a sound never heard before', Michael
Segell explores the young history of the saxophone, recalling how
it was once outlawed for its influence before finally being
credited with changing the face of music and popular culture.
This is the first in-depth survey of the oboe during its Golden Age, tracing the history of the instrument from its invention through its many mutations as it adapted to the changing demands of composers. The author describes in detail the instruments, players, makers, and composers, how and where it was played, and who listened to it.
This book by the former Professor of Flute at the Royal Academy of
Music (1945-1985) and Principal Flute of the Philharmonia Orchestra
(1949-1972) is designed for professional and amateur alike. It
contains detailed instructions for sound production, breath
control, intonation, tonguing, and dynamics and offers sound advice
on phrasing, tone, vibrato, and orchestral playing. There are
annotated fingering charts showing normal fingerings, alternative
fingerings, and trill fingerings, and a concise account of the
history of the instrument. There is a useful repertory list and an
appendix by Sebastian Bell (Principal Flute of the London
Sinfonietta and current Professor of Flute at the RAM) describing
avant-garde techniques.
Wind Talk for Woodwinds provides instrumental music teachers,
practitioners, and students with a handy, easy-to-use pedagogical
resource for woodwind instruments found in school instrumental
programs. With thorough coverage of the most common woodwind
instruments - flute, oboe, clarinet, saxophone, and bassoon - the
book offers the most topical and information necessary for
effective teaching. This includes terminology, topics, and concepts
associated with each specific instrument, along with teaching
suggestions that can be applied in the classroom. Be sure to look
to the back of the book for a "Practical Tips" section, which
discusses common technical faults and corrections, common problems
with sound (as well as their causes and solutions to them),
fingering charts, literature lists (study materials, method books,
and solos), as well as a list of additional resources relevant to
teaching woodwind instruments (articles, websites, audio
recordings). Without question, Wind Talk for Woodwinds stands alone
as an invaluable resource for woodwinds!
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The Recorder
(Hardcover)
David Lasocki, Robert Ehrlich, Nikolaj Tarasov, Michala Petri
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R1,102
Discovery Miles 11 020
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Ships in 9 - 17 working days
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The fascinating story of a hugely popular instrument, detailing its
rich and varied history from the Middle Ages to the present The
recorder is perhaps best known today for its educational role.
Although it is frequently regarded as a stepping-stone on the path
toward higher musical pursuits, this role is just one recent facet
of the recorder's fascinating history-which spans professional and
amateur music-making since the Middle Ages. In this new addition to
the Yale Musical Instrument Series, David Lasocki and Robert
Ehrlich trace the evolution of the recorder. Emerging from a
variety of flutes played by fourteenth-century soldiers, shepherds,
and watchmen, the recorder swiftly became an artistic instrument
for courtly and city minstrels. Featured in music by the greatest
Baroque composers, including Bach and Handel, in the twentieth
century it played a vital role in the Early Music Revival and
achieved international popularity and notoriety in mass education.
Overall, Lasocki and Ehrlich make a case for the recorder being
surprisingly present, and significant, throughout Western music
history.
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