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Baba Yaga Children?s Book

Baba Yaga Children?s Book

George Odam. A musical tale for children based on an old Russian folk tale. Baba Yaga is a storybook which will delight young children whether they read it for themselves or it is read to them. Alongside the story and beautiful drawings, George Odam has written simple, attractive music for singing and performing on recorders, chime bars, cymbals and even pots and pans! Baba Yaga contains all kinds of opportunities to make music and create sound effects. First schools and adventurous playgroups will jump at the change of singing, playing and acting out the story, at the same time learning about basic musical concepts in a thoroughly enjoyable way.

SEK 276.00
1

Baba Yaga Teacher?s Book

Baba Yaga Teacher?s Book

George Odam. A musical tale for children based on an old Russian folk tale. Baba Yaga is a storybook which will delight young children whether they read it for themselves or it is read to them. Alongside the story and beautiful drawings, George Odam has written simple, attractive music for singing and performing on recorders, chime bars, cymbals and even pots and pans! Baba Yaga contains all kinds of opportunities to make music and create sound effects. First schools and adventurous playgroups will jump at the change of singing, playing and acting out the story, at the same time learning about basic musical concepts in a thoroughly enjoyable way.

SEK 276.00
1

Classroom Jam - Pop Hits

Classroom Jam - Pop Hits

Classroom Jam titles are now available as hybrid books - using the unique registration code inside the book, you can download individual parts via the website Hybrid Publications. Teachers can now buy one book and print out however many parts are required for the players.Ten ensemble pieces specially arranged for just about any instrument and is ideal for players aged 9-13.Whether you've got Recorders, Keyboards, Guitars, Violins, Glockenspiels, Chimes, Flutes or Tambourines, everyone can play together!Playing together with almost any instrument is the basic idea of the series and with Classroom Jam anyone can take part. An exceptionally useful teaching aid, and valuable introduction to the experience of ensemble playing... and lots of fun besides!

SEK 385.00
1

Lennox Berkeley: Five Pieces for Violin and Orchestra Op.56 (Violin/Piano)

Lennox Berkeley: Five Pieces for Violin and Orchestra Op.56 (Violin/Piano)

Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season.This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked ?allegro?, uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before.

SEK 266.00
1

Classroom Jam

Classroom Jam

Classroom Jam titles are now available as hybrid books - using the unique registration code inside the book, you can download individual parts via the website Hybrid Publications. Teachers can now buy one book and print out however many parts are required for the players.This book features 10 ensemble pieces that have been specially arranged for 9-13 year olds. The unique four-part arrangements have been carefully crafted to suit all instruments and playing abilities so everyone can join in! Playing together is the basic idea, and with Classroom Jam anyone can take part, making this an exceptionally useful teaching aid, a valuable introduction to the experience of ensemble playing and lots of fun! The arrangements will suit just about any instrument, from recorder to glockenspiel to guitar to flute, in addition to the written percussion part.

SEK 385.00
1

Classroom Jam - Classical Pieces

Classroom Jam - Classical Pieces

Classroom Jam titles are now available as hybrid books - using the unique registration code inside the book, you can download individual parts via the website Hybrid Publications. Teachers can now buy one book and print out however many parts are required for the players.Ten ensembles pieces specially arranged for just about any instrument and ideal for players aged 9-13 years old.The unique four-part arrangements have been carefully crafted to suit all instruments and playing abilities so everyone can join in!Playing together is the basic idea, and with Classroom Jam anyone can take part, making this an exceptionally useful teaching aid, a valuable introduction to the experience of ensemble playing and lots of fun!The arrangements will suit just about any instrument, from recorder to glockenspiel to guitar to flute, in addition to the written percussion part.

SEK 385.00
1

Brian Elias: Five Songs To Poems By Irina Ratushinskaya (Score)

Brian Elias: Five Songs To Poems By Irina Ratushinskaya (Score)

Elias: I first came across Irina Ratushinskaya?s poetry when the collection ?No, I?m Not Afraid? was published in England in early May 1986. The poems, the various circumstances in which they were written and the poet?s integrity, commitment and appalling situation (she was still imprisoned) all had a tremendous impact upon me. I was drawn inexorably into the world she describes so vividly. The powerful imagery of resistance, the acceptance of shattering realities and the fantasies of different kinds of escape made poetry of truly universal significance and urgency, and the idea of a setting for voice and large orchestra followed immediately.Each of the settings (in Russian) is self-contained and quite different in mood and orchestration. However, I consider the songs as one piece, and the whole cycle is performed without a break. All the basic musical material, themes and motifs for the entire work are stated in the first few pages, and the order of the poems was chosen to provide an overall musical and dramatic shape that attempts to link them together and to reflect more than the immediate meaning of the individual poems.

SEK 385.00
1

Robert Saxton: Chacony For Piano, Left Hand

Robert Saxton: Chacony For Piano, Left Hand

Written by Robert Saxton in 1988 for piano, left hand only.'The Chacony was commissioned by the Aldeburgh Festival and first performed there in 1988 by the American pianist Leon Fleisher. In rising to the challenge of writing for left hand alone, Saxton has reduced the basic material (the underlying ground bass theme) to the simplest element: a whole tone scale. Thus, the opening section gradually reveals, via a clear indication that D major is the central tonality of the work, the scale through a series of hesitant gestures, the main body of the piece bursting out of the tensions created in the intervals of the scale, especially the tritone (which plays an important part in the melodic version throughout).As with, say, the finest variation sets or grounds of a composer like Byrd, the considerable virtuosity of the keyboard writing always stems from the musical or intellectual stimulus, and is never mere empty show. This is a virtuosic response to the challenge of the imposed limitations, beautifully written for piano and culminating in a final section in which D is once more resoundingly affirmed as the centre of the work, though, with equal resonance, the tritone has the last word.Duration c. 6mins.

SEK 196.00
1

Michael Nyman: Violin Concerto (Violin/Piano)

Michael Nyman: Violin Concerto (Violin/Piano)

The Violin Concerto was commissioned by Stiftung Schleswig-Holstein Musik Festival. It was first performed by Gidon Kremer (violin) and the Schleswig-Holstein Musik Festival Orchester conducted by Dennis Russell Davies at the Musikhalle, Hamburg, Germany on 29 August 2003. Interpolated within this one-minute-one-movement layout is a recurrent refrain where the soloist articulates one of the basic harmonic foundations of a number of the one minute sections (six dominant 7ths - on E, F sharp, C, A, B, D) in an undisguised Bachian fashion. The slow arpeggios in the later variants of the refrain not unexpectedly find themselves sharing a bed with the opening of Berg's Violin Concerto. Nyman has effectively adopted Berg's orchestral template, with two exceptions - the omission of the alto Saxophone, and replaced Berg's Percussion section with Marimba and Vibraphone, mallet instruments which intertwine with the soloist in the Concerto. Alban Berg's Violin Concerto was dedicated to "the memory of an angel", Manon Gropius. Nyman's Concerto was dedicated to the memory of Daniel Toscan du Plantier, a friend and neighbour - in Nyman's words "certainly no angel but a major figure in the recording and film industries". Arranged for solo Violin and Piano accompaniment, the duration of this work is approximately: 25 minutes.

SEK 424.00
1

Nigel Tuffs: The Beginner Guitarist - Book 1

Nigel Tuffs: The Beginner Guitarist - Book 1

The Beginner Guitarist has been born out of 20 years of teaching experience. Although specifically designed as a teacher?s aid, it can also be used for independent study.Topics like posture, tuning and phrasing are not prescribed, being left to the judgement of the teacher. With the exception of right and left-hand fingering advice, this approach is used throughout the series. The entire series has the goal of being a measured and progressive tutor. Ideas are usually introduced one at a time to avoid overloading the student. Basic right-hand technique is the foundation of the early part of Book One. The ability to strike the string effectively and produce a clear sound is paramount. Left-hand technique is then addressed with notes on the top three strings in first position. Use of the thumb is also covered briefly. Light relief comes in the form of small amounts of glissando and percussive work. Dynamics are then introduced onto a stable base of notes, followed by accidentals (key of G). The book is rounded off with chords and arpeggios, giving the student a chance to ?swap seats? with the teacher and play the role of accompanist. Elsewhere the teacher may accompany the pupil with the suggested chords, either playing the root note or the full voicings as notated. A daily practice session for the completion of book one, extra repertoire and other helpful information are all available at www.thebeginnerguitarist.com.About the author: Nigel Tuffs is an instrumental teacher with more than 20 years of experience in all areas of guitar teaching. Originally a member of several rock bands he completed an honours degree at the Colchester Institute, specialising in composition and performance, and has since worked extensively as a chamber musician, in guitar ensembles, as an accompanist and also as an educator.

SEK 117.00
1