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Expédition le jour même. Libraire depuis 24 ans. Envoi soigné avec suivi.

In-8, 23 cm, 1665pp., illustr. et planches en couleurs, Nb-0295,

Symphonic and jazz players have always experimented with ways to create a darker sound by using various mouthpiece add-ons to add weight and mass. ...

Symphonic and jazz players have always experimented with ways to create a darker sound by using various mouthpiece add-ons to add weight and mass. ...

Symphonic and jazz players have always experimented with ways to create a darker sound by using various mouthpiece add-ons to add weight and mass. ...

Symphonic and jazz players have always experimented with ways to create a darker sound by using various mouthpiece add-ons to add weight and mass. ...

Symphonic and jazz players have always experimented with ways to create a darker sound by using various mouthpiece add-ons to add weight and mass. ...

C.P.E. Bach Collection / Various Various Artists - CD 825646349272

Bach's Well-Tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-Tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessments and include information about the sources when details of ornament, notation, and fingerings have a bearing on performance.

These arrangements of many pieces by J. S. Bach make the great composer's works accessible to the mandolinist. The bulk of the music has been adapted from various suites, sonatas, and partitas. Includes: 'Bouree Angloise' from Partita in A Minor for Solo Flute, 'Marche' from The Anna Magdalena Bach Notebook, 'Fantasie' from Partita No. 3 in A Minor; and more. Written in standard notation and tablature. Includes an online audio recording of 13 of the 26 solos in the book.

Bach’s Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach’s various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue.In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach’s novel expansion of them; explains Bach’s instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach’s pedagogical intent when composing the Well-tempered Clavier. Ledbetter’s commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance.

These arrangements of many pieces by J. S. Bach make the great composer's works accessible to the mandolinist. The bulk of the music has been adapted from various suites, sonatas, and partitas. Includes: 'Bouree Angloise' from Partita in A Minor for Solo Flute, 'Marche' from The Anna Magdalena Bach Notebook, 'Fantasie' from Partita No. 3 in A Minor; and more. Written in standard notation and tablature. Includes an online audio recording of 13 of the 26 solos in the book.

Bach’s Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach’s various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue.In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach’s novel expansion of them; explains Bach’s instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach’s pedagogical intent when composing the Well-tempered Clavier. Ledbetter’s commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance.

These arrangements of many pieces by J.S. Bach make a great composer's works accessible to the mandolinist. Since the bulk of the music has been adapted from various suites, sonatas, and partitas, the authors provides an explanation of each dance form and other similar pieces. Includes: 'Bauree Angloise' from Partita in A Minor for solo flute; 'Marche' from Anna Magdalena Back Book; 'Fantasie' from Partita No. 3 in A Minor; and more. In notation and tablature. Includes a CD which contains 13 of the 26 solos.

Bach's Well-Tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-Tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessments and include information about the sources when details of ornament, notation, and fingerings have a bearing on performance.

These arrangements of many pieces by J.S. Bach make a great composer's works accessible to the mandolinist. Since the bulk of the music has been adapted from various suites, sonatas, and partitas, the authors provides an explanation of each dance form and other similar pieces. Includes: 'Bauree Angloise' from Partita in A Minor for solo flute; 'Marche' from Anna Magdalena Back Book; 'Fantasie' from Partita No. 3 in A Minor; and more. In notation and tablature. Includes a CD which contains 13 of the 26 solos.

This new investigation of the Brandenburg Concertos explores musical, social, and religious implications of Bach's treatment of eighteenth-century musical hierarchies. By reference to contemporary music theory, to alternate notions of the meaning of "concerto," and to various eighteenth-century conventions of form and instrumentation, the book argues that the Brandenburg Concertos are better understood not as an arbitrary collection of unrelated examples of "pure" instrumental music, but rather as a carefully compiled and meaningfully organized set. It shows how Bach's concertos challenge (as opposed to reflect) existing musical and social hierarchies. Careful consideration of Lutheran theology and Bach's documented understanding of it reveals, however, that his music should not be understood to call for progressive political action. One important message of Lutheranism, and, in this interpretation, of Bach's concertos, is that in the next world, the heavenly one, the hierarchies of the present world will no longer be necessary. Bach's music more likely instructs its listeners how to think about and spiritually cope with contemporary hierarchies than how to act upon them. In this sense, contrary to currently accepted views, Bach's concertos share with his extensive output of vocal music for the Lutheran liturgy an essentially religious character.

Bach: Sacred Masterpieces / Various Karl Richter - CD 028946370124

J.S. Bach & Mozart Edition Various / Idil Biret - CD 730099120647

Music in Germany from Schutz to Bach Various Artists - CD 5400439001091