eBooks de Instrumentos, página 19 de 28

In 1759 Leopold Mozart compiled a notebook as a present for his daughter Maria Anna (usually called Nannerl), it was intended as a series of instructive exercises and practice pieces. The notebook though wasnt used solely by Nannerl but also by her younger brother Wolfgang, and the talented boy didnt just use it for piano practice but soon started to compose his own little pieces. Either Wolfgang himself or his father wrote them into the remaining empty pages of the notebook. This new edition contains only compositions by Leopold and Wolfgang Mozart. It is a companion volume to The Young Mozart by H. Schungeler, which contains the first and easiest compositions by Wolfgang (ED 9008).A classic of the piano teaching literature, now available in the new Schott Piano Classics series.

Drawn from the 21 Nocturnes composed by Chopin, this selection represents the better-known and more accessible pieces. With fingerings, tempo suggestions and articulation tips from the editor, this collection is ideal for teaching and for enjoying at home.

At about the same time as 1783-85, a version for piano duet was made which rearranged the movements of the five Divertimenti as 6 Viennese Sonatinas.Our new edition is based on the piano version of 1803 but also takes into account the original wind divertimenti and attempts to combine the original phrasing and part-writing with an idiomatic pianistic style.

This collection of easy arrangements for piano of well-known choral, organ and orchestral works by J. S. Bach has enjoyed great popularity since its first appearance. Another easy arrangement has been added to this new edition in response to popular demand: the famous "Sinfonia" from the Christmas Oratorio. Contents also include: Air - Badinerie - I call to Thee, Lord Jesu Christ - Jesus, Thou art still my Treasure - Now comes the Heathens Saviour - Siciliano and plenty more.

"The Seasons" are among the most widely used piano works of Tchaikovsky, as they are equally suitable for advanced piano students and enthusiasts. Revised new edition in the series "Piano Classics" with a preface by Thomas Kohlhase and notes on performance by Lev Vinocour.

The Nutcracker Suite is a piano arrangement of the concert version of the ballet of that name. Tchaikovsky used only part of the music for the ballet in the suite. The Overture and the March, which is the most important of the characteristic dances in the Suite, come from the first act of the ballet. The remaining dances originate from the second act. They are: The Dance of the Sugar Plum Fairy, in which the leading part is, in the original composition, played typically by the celeste almost all the way through; the fiery Russian "Trepak" which reminds us of Tchaikovskys national origins; the Arab Dance tinged with a gentle melancholy; the Chinese Dance with its ostinato triple rhythm; the graceful Dance of the Reed Flutes; and finally the longest piece in the Suite: the Waltz of the Flowers in which Tchaikovsky, writing in the penultimate year of his life, showed his musical affinity with Johann Strauss.The Nutcracker Suite was performed for the first time, with great success, on 7 March 1892 at the Ninth Symphony Concert of the Russian Musical Society in St Petersburg.

This collection of 30 well-loved original compositions and arrangements for piano presents a selection of pieces by Frédéric Chopin that will delight any pianist. Besides the Raindrop Prelude and other popular teaching pieces, the book also contains arrangements of the two famous Piano Concertos E minor and F minor, the Krakowiak and many more. All the pieces are at intermediate level, with fingerings and suggested metronome speeds added. The collection appears in modern and user-friendly print format; it is recommended not only for tuition purposes, but for anyone who enjoys playing the piano as a hobby.

Smetanas Vlatava can be regarded as a prime example of programme music. The composition is a hymn to Smetanas home country of Bohemia, describing the course of the river Vltava from the source to its junction with the river Elbe.The work describes the course of the river Vltava starting from the two small sources of the warm Vltava and the cold Vltava until the two streams merge. The course of the Vltava is through forests and meadows and further through the landscape where many merry celebrations are being held; a dance of the water nymphs in the moonlight, castles, magnificent houses and ruins proudly appearing on nearby rocks; the Vltava forming eddies in the rapids of St. Johann, flowing as a large river toward Prague until the fortress of Vysehrad appear, and eventually disappearing in the distance to flow majestically into the river Elbe. (B. Smetana)

A maioria dos livros que fala sobre ópera sempre exige dos leitores algum conhecimento de música. Mas "A ÓPERA, VOCÊ E EU" não tem esse perfil. Foi escrito de leigo para leigo. Seu objetivo é a abord

Dotzauer études have been part of the standard repertoire in cello lessons for generations. Friedrich Dotzauer (1783-1860) was among the major cellists and cello pedagogues of the 19th century and knew what makes a good etude: it should deal specifically with a certain technical problem and at the same time not be monotonous, but musically appealing. The cellist of the Leipzig Gewandhaus and the Dresden Hofkapelle managed to do that in an exemplary manner. 24 Caprici in tutti tuoni Op. 35 (1816) is Dotzauers masterpiece, wonderfully showing off the varied tone colours and playing techniques of the violoncello. Demanding etudes for lessons and performances, with beautiful melodic and harmonic ideas, some with slow expressive introductions, some with artistic arpeggios or contrapuntal polyphony. Our new edition follows the original sources and contains the original text.

Dotzauer études have been part of the standard repertoire in cello lessons for generations. Johann Friedrich Dotzauer (1783-1860) was among the major cellists and cello pedagogues of the 19th century and knew what makes a good etude: it should deal specifically with a certain technical problem and at the same time not be monotonous, but musically appealing. The cellist of the Leipzig Gewandhaus and the Dresden Hofkapelle managed to do that in an exemplary manner. Our new edition of the 18 progressive etudes Op. 120 follows the original sources and contains the original text. While the Dotzauer etudes are usually only available in selected editions today, opus 120 is edited here in its entirety, as conceived by the composer himself. Notes on studying and on the performance practice (dynamics, vibrato, change of position, ornamentation, bowings) make the new edition an ideal reference edition for music lessons.

Dotzauers études have been part of the standard repertoire in cello lessons for generations. Our new edition of the 12 Études Op. 107 follows the original sources and contains the original text. While the Dotzauer etudes are usually only available in selected editions today, opus 107 is edited here in its entirety, as conceived by the composer himself. Notes on studying and on the performance practice (dynamics, vibrato, change of position, ornamentation, bowings) make the new edition an ideal reference edition for music lessons. The Etudes Op. 107 contain some of Dotzauers best-known etudes of medium difficulty, in the 1st to 4th position and with major technical problems such as arpeggios, velocity, string crossings, slow and fast bowing, double stops, two-part playing, etc.

Christmas Meets Jazz contains 15 popular Christmas carols in jazzy arrangements for the piano and continues the successful Meets Jazz series by the composer-arranger Uwe Korn. The styles of this edition range from jazz ballads to rocking and swinging rhythms to the lively Jingle Bells Samba. Jazz up your Christmas!

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody. He knew, in a unique way, how to implement the principle no music without technique, no technique without music in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece. Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form.Those who prefer Danclas somewhat easier original preliminary exercises will find them in the appendix.A little dictionary of the musical and technical terms in this volume shall make their meaning accessible to young players in particular.

The specific feature of 40 Daily Exercises the extraordinary density of musical examples and specific technical problems in this small edition. In mostly one-bar formulas, Czerny, with his almost inexhaustible didactic imagination, maps out a cosmos of technical training material which virtually condenses the idioms of the classical and early Romantic piano music between Haydn and Czernys pupil Franz Liszt. Each study deals with a particular musical-technical problem which varies in appearance and is usually edited for both hands. All individual expressions expand and deepen the basic skills to be practised so that each individual number offers considerable learning potential.

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody. He knew, in a unique way, how to implement the principle no music without technique, no technique without music in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced etude or concert piece.Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martele, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form. Those who prefer Danclas somewhat easier original preliminary exercises will find them in the appendix.

The Violoncello Studies by Bernhard Cossmann (1822-1910) provide specific exercises for the development of the left hand such as double stop trill studies, finger dexterity exercises, chord, scale and thumb position studies which intensively include the use of the fourth finger in particular. This is what gives these studies their special value and make them indispensable to the training as a cellist. They are aimed at the advanced pupil and student, but also at the professionally trained cellist who wants to improve and maintain the dexterity and velocity of the left-hand fingers by means of short exercises.

There is hardly a violinist who has not dealt with some or even all 42 Kreutzer etudes sometime or other: Études ou caprices form part of the standard repertoire. Rodolphe Kreutzer (1766-1831) has not least remained unforgotten because of Beethovens violin sonata of the same name - a work which had never been played by the violin virtuoso himself and not even been appreciated by him. His lightning career as a violinist led him into Napoleons private orchestra and as a virtuoso across Europe before an accident put an end to his solo career. As a violin teacher, he taught in private aristocratic circles, then at the later Conservatoire and laid the foundations for a comprehensive methodology and didactics. For his teaching activities, Kreutzer wrote his 40 Etudes ou caprices (two were later added by another) in 1796. The present urtext edition is based on the first edition and contains the original, occasionally surprisingly different musical text with the original fingering, with a modern setting being added. Even if Henryk Wieniawski once admitted: They are much more difficult than most violinists think, these studies form an indispensable part of all violin studies.

The studies and study works by Carl Czerny (1791-1857) are part of the standard repertoire of piano lessons. These collections count among the most popular and most important works in piano education.

Czerny has been underestimated as a composer of studies for a long time. In the meantime, however, his studies are used more and more in lessons because he is a real master in tackling technical and musical problems in concise exercises. Against the background of the discussion about practising (How to practise in an efficient and targeted manner), Czernys studies have gained in importance. As a consequence, Schott has included the well-known cycle "100 leichte Ubungsstucke op. 139" in its study series Essential Exercises, with fingerings and didactic information by Wilhelm Ohmen.