Manual Principes Elementaires de la Musique (Keyboard Theory Workbooks), Volume 1 (French Edition)

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Budapest, Edited by Felix Meyer. Eine Publikation der Paul Sacher Stiftung. Beautiful color halftone of the autograph draft score. This publication, with introductory essays by Felix Meyer, Robert W. Herausgegeben und kommentiert von Stefen Drees. Full-color facsimile of the autograph fair copy along with 15 pp of sketch material.

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The sonata was commissioned by Yehudi Menuhin in Nov. Like Bach's Sei solo autograph, it has a clearly-copied text that allows the performer to play directly from it. Hardbound with decorative paper boards. Oblong, 32 x 24 cm, 54, 36 pp. Line-cut of Paris, edition. Musique pour le Piano-Forte, I. Musica Repartita, 61F. Utrecht, Richly illustrated treatise on organ making, with beautifully executed plates addressing the structure of the instrument, methods of building, needs of the organist and characteristics of various instruments.

Handsome binding in half leatherette with printed boards reproducing a Bedos engraving. Cremona, c. Line-cut of the Paris, edition plates only , with accompanying texts in It. With bibliographical references and indices. Oblong, 22 x 16 cm, 4 pp. Halftone of a contemporary ms copy , with title page attribution to Beethoven. Wrappers, in beautiful handmade paper. Faksimile der Handschriften und der Originalausgabe mit einem Kommentar herausgegeben von Sieghard Brandenburg.

Bonn, I: Ms. II presents original edition by B. Color frontis of Beethoven. Includes transcriptions of sketches and full commentary. Coverboards in beautiful green antique paper. Mit einem Geleitwort von Mitsuko Uchida. Herausgegeben und kommentiert von Elisabeth Schmierer. Oblong, 32 x 24 cm, 22, pp. Facsimile, in full-color, of the autograph manuscript preserved in the State Library, Berlin. The piece was composed in and first performed—Beethoven playing from short score—April 5, Beethoven 15].

Meisterwerke der Musik im Faksimile, 7. Oblong, 32 x 24 cm, xxiv, pp. Facsimile, in full-color, of the autograph manuscript preseved in the State Library, Berlin. This tragic break in his performing career caused him to develop a much more detailed autograph of the Fifth Piano Concerto than those of his earlier works.

Herausgegeben von Willy Hess. Februar von Dr. Kurt Eulenberg. The cadenzas—generally fair copies—belong to the Piano Concertos nos. Some believe that Beethoven composed them in for his talented pupil, Archduke Rudolph. Fine bibliophile edition issued on the occasion of the th birthday of Dr.

Handsomely bound with brown linen spine and Ingres marbled paper boards; matching slipcase. Oblong, 31 x 23 cm, 2, 16 pp. This very interesting folio represents a fairly advanced stage of the composition, nearly complete, and partly already in score. There is evidence of 3 separate working phases based on writing implements, corrections, revisions which span the years and Commentary in Ger. For Piano. Reprint of the First Printing, Leipzig Edited by Ulrich Mahlert.

Wiesbaden, Color facsimile of the 1st edition. Biblioteca Classica, 5. Line-cut of the Peters edition, Leipzig, Biblioteca Classica, 6. Oblong, 30 x 21 cm, 11 pp. Edited by Dr. Brian Jeffery. Line-cut of the first or early edition of all the piano sonatas. Contents: Piano sonatas, op. Piano sonata, op. Neu herausgegeben von Janos Cegledy und Laszlo Simon. Tokyo, Line-cut of L. Introduction in Ger-Eng-Jap.

Oblong 30 x 21 cm, 24 pp. Line-cut of the Joseph Eder edition, Vienna, Introduction: Greta Haenen. Peer, Line-cut of the Hoffmeister, edition. Facsimile herausgegeben von Erich Prieger. Oblong, 37 x 28 cm, xi, 31 pp. Beautiful collotype of the autograph, composed The sonata, rediscovered in by Prieger among a pile of medicine and theological books in a private house, is the first major work from a classical composer to appear in facsimile. Prepared by the acclaimed atelier of Albert Frisch. Introduction in Ger. Fine handmade paper. Original black embossed cloth boards, with lettering in gold.

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Extremely rare. Beethoven-Hauses Bonn]. Musikalische Seltenheiten Wiener Liebhaberdrucke, 1. Oblong, 34 x 26 cm, viii, 36 pp. Musicological introduction in Ger. Coverboards with purple textured cloth. Oblong, 32 x 23 cm, 2 vols, 56, 70 pp. The autograph, tidily written and highly legible was composed in ; although a fair copy, Beethoven made many corrections and alterations in the compositional fabric while writing out the score.

The autograph as it comes down to us is missing the first and final leaves including the first 13 bars of the opening movement , a state that was already recorded in Commentary in Ger-Jap-Eng. Wrappers in stiff dark blue paper with silver lettering and matching slipcase. Facsimile of the Autograph, Sketches and First Edition. With Commentary and Transcription by Martha Frohlich.

Oblong, 36 x 28 cm, pp. Monochrome halftone of the autograph fair copy, sketch pages now dispersed among six libraries , and first edition. Wrappers with attractive dust jacket which reproduces an original cover. Oblong, 35 x 26 cm, ix, 64 pp. Superb 3-color collotype on laid paper. Handsome binding with laid paper boards and embossed title on pasted oval label. Mit einem Vorwort in deutscher und englischer Sprache in Neuauflage herausgegeben von Martin Staehelin. Re-issue of the Bonn, edition, together with new introduction in Ger-Eng. Superb 3-color collotype of the autograph fair copy.

Named after the man for whom it was dedicated, the Waldstein Sonata was composed in at approximately the same time as the Eroica Symphony and drafts to Leonora. Paris, []. Oblong, 31 x 22 cm, 44 pp. Fine collotype in full color in the original format. According to a note by Mr. Bigot pasted on the inside board Beethoven gave the autograph to the pianist Marie Bigot , who impressed him by playing it at sight. Original cloth spine, with paper boards. Faksimile der Urschrift. Oblong, 30 x 22 cm, 44 pp. Beautiful 3-color collotype of the autograph.

Paper boards. Mit einer Einleitung von Wolfram Steinbeck. Oblong, 32 x 24 cm, xxiv, 48 pp. The autograph contains a fascinating note written by Paul Bigot husband of the pianist Marie Bigot which sheds light on the provenance of the ms: "During the journey, he [Beethoven] was surprised by a storm and driving rain, which soaked through the case in which he carried the Sonata in F minor which he had just composed. Following his arrival in Vienna he visited us and, laughing, showed the still wet composition to my wife, who took a closer look at it.

Moved by the surprising beginning she sat down at the piano and begin to play it. Beethoven had not expected this and was surprised to see how Mad. Bigot did not let herself be stopped for a moment by the many erasures and changes which he had made. It was the original which he was in the process of taking to the publisher so that it could be engraved. When Mad. Bigot had played it and asked him to give it to her, he agreed and faithfully brought it back for her once it had been engraved".

Hardbound with handsome paper boards. Faksimile des Autographs herausgegeben von Michael Ladenburger. Oblong, 36 x 28 cm, 34 facs, 15 pp. Beautiful 4-color halftone of the autograph fair copy. The ms of this work dedicated to Prince Moritz von Lichnowsky , signed by the composer on 16 August, , has been in private hands for a long time and therefore practically inaccessible to scholars and performers.

The Beethoven-Haus in Bonn has recently acquired the autograph and issued this fine facsimile, a most welcome addition to the literature. Wrappers in white stock with color snippet of autograph in center. Munich, Oblong, 33 x 26 cm, 30, xvi pp. Afterword in Ger-Eng by Siegard Brandenburg. Library of Congress, Washington]. Oblong, 33 x 26 cm, 2, 40 pp. Beautiful 2-color collotype of the autograph. Introduction by Oswald Jonas. Printed in the Netherlands by L. Fine laid paper. Mit einem Kommentar von Siegfried Mauser. Oblong, 31 x 24 cm, xv, 40 pp. This is the first sonata—completed in the fall of —of a trilogy op.

Oblong, 32 x 24 cm, xx, 58 pp. Although the last piano sonatas op. The sonata was ultimately published by Schlesinger in September of Hardbound with handsome boards in grey patterned paper. Berlin mus. Beethoven, Artaria ]. Oblong, 33 x 24 cm, 40 pp. Beautiful collotype of the autograph produced by the photolithographic firm Kunstanstalt J. Obernetter, Munich. Oblong, 32 x 24 cm, xv, 42 pp. Facsimile, in full-color, of the autograph manuscript completed in the spring of Compared to the previous sonatas of the trilogy op.

MS With an Introduction by Alan Tyson. Oblong, 37 x 28 cm, viii, 40 pp. Beautifully printed duotone of the autograph score, completed in the first half of That edition contains additional expression marks and trill indications. As in the case of almost every Beethoven autograph there is evidence in the score reproduced here of compositional changes and improvements carried out after he had already begun to write out the final version. Handsomely bound in blue buckram with gold lettering. Oblong, 35 x 24 cm, 92, 72, c. The Diabelli Variations op.

The facsimile edition makes this important Beethoven autograph—formerly in private hands—accessible to musicians, scholars and music lovers. This unique autograph comprises 86 handwritten pages. Following the leaf with the prescribed Diabelli theme, it contains the complete cycle of 33 variations, and includes several inserted leaves. Wien s. A cura di Laura Alvini. Oblong, 32 x 24 cm, 3 booklets, facs, 16 pp. Line-cut of 2 complete collections of variations printed by Diabelli in Vienna. Introduction in It. Wrappers, with slip cover. Introduction in It by Laura Alvini.

Wrappers in decorative paper with slip cover. Venturini e Sigr. Oblong, 32 x 23 cm, 7 booklets, viii, 66 pp. Line-cut of the Vienna edition. Transcribed, Edited, and with a Commentary by William Kinderman. Beethoven Sketchbook Series, [1]. Champaign, Full-color reproduction. It also preserves Beethoven's work on the Bagatelles Op. Beethoven's sketchbooks were his workshop. Capturing the methods he used to craft his ideas into art, they reveal his complex creativity and offer rich material for examining his revision process.

Variations in his entries reflect the range of his musical moods and offer clues about the circumstances of composition. His notes and shorthand can illuminate the ways he expanded and refined ideas, clarify biographical or musical mysteries, or call attention to deliberate links between compositions.

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Edited by William Drabkin. I: Facsimile; Vol. II: Transcription and Commentary. Color halftone. The sketchbook, well known under the name Artaria , has been edited and published for the first time in a complete historical-critical edition by the Beethoven expert William Drabkin. The sketchbook used by Beethoven in contains drafts of music for prominent later works: to the Missa solemnis and the final two piano sonatas, as well as many hitherto unknown sketches.

The edition has been published in English. Herausgegeben von Julia Ronge. Transkriptionen; 2. Kritischer Bericht; 3. Reproduktionen der Handschriften. Oblong, 31 x 27 cm, 3 vols, xv, ; 93; pp. When Beethoven moved to Vienna in , almost immediately, and likely pre-arranged, he started composition studies with Haydn, who had been freed from his post with the Esterhazys and was now living in Vienna.

In Beethoven then turned to Salieri to learn the technique of setting primarily Italian texts to music, an area not covered in the preceding studies. The present volume reproduces for the first time the surviving manuscripts that record those studies. These are remarkable witnesses showing Beethoven under the watchful eyes of his teachers with illuminating comments, corrections or alternative passages. Facsimile, transcription and commentary, 3 volumes, linen bound. British Museum Additional Manuscript , ff. Edited by Joseph Kerman. Oblong, 36 x 27 cm, I: xxxix, ; II: xxi, pp.

Greatest single repository of sketches and drafts of early Beethoven compositions, Op. Includes 7 fold-out pages. Separate introduction, inventory and transcription vol. Beige buckram cover, title embossed in gold. Gesellschaft der Musikfreunde, Wien]. Publikationen der Sammlungen der Gesellschaft der Musikfreunde in Wien, 2. Oblong, 31 x 23 cm, , x pp. Beautiful halftone of the autograph. Includes parts of Symphony No. Bibliophile edition of copies printed on laid paper and bound with Ingres marbled paper boards.

Oblong, 31 x 23 cm, 2 vols, ; , x pp. Halftone on beautiful laid paper. Separate commentary-edition vol. Edition of copies. A Critical Edition. Beethoven Sketchbook Series, [2]. Beethoven Landsberg 6. This sketchbook documents Beethoven's creative work from sometime late in until early in , a transformative period in his artistic career. Oblong, 31 x 27 cm, 2 vols, 94 facs; 88 pp. Separate commentary-transcription vol. Sketches for the String Quartets Op.

Edited by Richard Kramer. The sketchbook has been reconstructed from manuscripts currently housed in 11 separate collections. Since the original photographs were taken three leaves have been bought by private collectors and are now inaccessible. Edited by Susan Kagan. A , and Vienna, Gesellschaft der Musikfreunde, Ms. Q ]. Music of the Nineteenth and Early Twentieth Centuries, Madison, Beethovens Klaviersonaten und ihre Deutung. This book-conversation outlines some of his experiences and approach to interpreting Beethoven, informed by autographs, early editions and facsimiles.

A cura di Davide Marsano. Prefazione di Sergio Vartolo. This line-cut facsimile provides the same settings in manuscript form. A Facsimile of the Paris Edition. Afterword in Dut by Rudolf Bruhin. Faksimile des Autographs in der Bayerischen Staatsbibliothek. Jahrhundert, 2. Beautiful 2 color line-cut of the autograph fair copy arranged for chamber ensemble. Beautiful 2 color line-cut of the autograph fair copy arranged for chamber ensemble, together with modern edition.

Oblong, 25 x 17 cm, 31 pp. Line-cut of the Giacomo Vincenti edition, Venice, Organographia Hildesiensis specialis. Line-cut of the Hildesheim, edition. Bihler was a German monastic composer; trained in the Minorite monastery in Maihingen, he was a boy soprano at the Benedictine Abbey at Neresheim and in become cathedral organist at Augsburg. Bland edition, London, c. Line-cut of the Berlin, edition. In Telemann began, with Geteuer Music-Meister, a trend in musical editions published by installments that catered to both professional and amateur musicians.

Musikalisches Allerley is the leadingserial and one of the first of such from Berlin, offering the newest works for keyboard instruments and songs with keyboard accompaniment. Compendio musicale, Ferrara Archivum Musicum: Strumentalismo Italiano, 1. Line-cut of the holograph. Bismantova touches on many issues in his little compendium: notation, counterpoint, thoroughbass, and all sorts of wind, string, and keyboard instruments, including instructions for articulation and ornamentation on wind instruments and advice on violin bowing.

Two complementary treatises on the early piano. Associazione Clavicembalistica Bolognese, 6. Rome, Oblong, 30 x 21 cm, 2 parts, xx, 76 pp. Line-cut of a contemporary ms copy, a wonderful transcription for two harpsichoords from the original string version. Line-cut of the Paris, n. Biblioteca Classica, Hummel edition, Amsterdam, Line-cut of the Hummel, n.

Introduction de B. Musique pour le Piano-Forte, XI. Line-cut of the Pleyel edition, Paris, []. Bodin de, [Suites, harpsichord, op. Descriptive pieces arranged as 4 suites, some of which include several couplets. Lisbon, Opera seconda. Roma s. Archivum Musicum: Flauto Traversiere, 2. Oblong, 32 x 23 cm, v, 43 pp. Line-cut of the Rome, c. Introduction in It by Marcello Castellani. Wrappers, in decorative paper. Choro et organo. Primo libro. Line-cut of the Venice, edition. Introduction: Henri Vanhulst. Musica Bruxellensis, VI. Brussels, The first of four publications for clavecin by Boutmy to be published in facsimile.

Preface in Eng-Fr. Oblong, 31 x 23 cm, 4, 26 pp. Oblong, 26 x 20 cm, 78 pp. Three complementary treatises on accompanying with the organ and harpsichord. November Written for a vocal quartet and four-hand piano duo and intended as chamber music for use at home, the Neue Liebesliederwalzer are an eclectic mix of love-poems from many lands, including Turkey, Poland, Latvia, and Sicily trans. The humorous casting of solo parts includes: bass as enraptured paramour, alto as jilted lover, tenor as Lothario, and soprano, a woman repeatedly unlucky in love.

Facsimile printed on fine laid paper with hand-stiched binding after the original , housed with commentary and audio CD in a handsome clamshell case. Oblong, 38 x 30 cm, 21, pp. Beautiful full-color halftone of the autograph fair copy. Since its premiere in Budapest on Nov. The autograph, like the Symphony No. Oblong, 34 x 28 cm, 24 facs, 8 pp. This is the only surviving source for op. Afterword in Ger-Eng by Bernhard Stockmann. Fingering by Christoph Eschenbach. Sammlungen der Gesellschaft der Musikfreunde, Wien].


Halftone of the autograph, with new authoritative edition. Mit einem Nachwort von Friedrich G. Tutzing, Oblong, 30 x 21 cm, 16,pp. This opus composed in Bad Ischl in May and June of was the composer's last composition for solo piano. Although a fair copy of the work with Brahms' annotations survives in the Juilliard School Library, this facsimile reproduces the only known autograph of the E minor and C major Intermezzi.

Wrappers with handsome linen paper with pasted title etikette. Faksimile des Autographs herausgegeben von Margot Wetzstein. Hamburg, Oblong, 35 x 27 cm, 8 facs, 7 pp. Attractive 3-color collotype of the autograph. This is the earliest work of Brahms known to survive in manuscript op. Handsome binding with coverboards in decorative paper. Oblong, 38 x 30 cm, xxii, 36 pp. Its melancholic mood has been recently connected with Brahms' sadness over the deteriorating health and eventual death of his godson, Felix Schumann—son of Clara and Robert—who intermittently strove to become a violinist.

The autograph is teeming with corrections and alterations, most likely made shortly after the first performance of the piece in August given by Brahms and Joachim in a private setting. Beautiful 2-color halftone of the autograph score. Faksimile des Autographs und Werkbericht von Alfons Ott. Sammlungen der Gesellschaft der Musikfreunde, Vienna]. Oblong, 35 x 27 cm, 14, 32 pp. Outstanding halftone of the elegant autograph score. The work premiered on This facsimile represents the publishing debut of the venerable music publisher Dr.

Hans Schneider. Handsome bibliophile edition of copies bound in grey linen with ivory colored boards. Oblong, 32 x 24 cm, xvii, 26 pp. Full-color facsimile of the autograph fair copy dating from September Brahms played the piece for the first time in Hamburg 4 Nov. The first public performance was subsequently given by Clara Schumann on 7 Dec. The imminent music biographer Donald Tovey counts it as among the half dozen greatest sets of variations ever written. Hardbound in decorative paper with faux title etikette. Schriftenreihe zu Musik, 1. Oblong, 35 x 25 cm, xvii, 19 pp.

Line-cut of the autograph. Although it is not known for sure if the piano version op. Wrappers, with reproduction of a woodcut of Tutzing on the cover. Library of Congress, Washington, D. Halftone reproduction together with a new authoritative edition. Herausgegeben von Otto Biba. Beautiful period border decorations. Musica Repartita, 82F. Oblong, 30 x 25 cm. Line-cut of the Offenbach, c. Ring binder. Facsimile Edition Edited by Jan ten Bokum. Dutch Music Facsimiles, 3. Preface in Eng. With a Preface by by J. Williamsburg, Oblong, 31 x 23 cm, vi, 26 pp. Line-cut of the London edition.

A graded collection of pieces including numbers by Nicracci, Lully, Corelli, Larini, Pescatore, and others, together with some rules on playing by Robert Bremner. Wrappers in marbled paper. Eingeleitet von Harald Heckmann. Dictionarium Musicum, 1.

Hilversum, Halftone of the second edition, Paris, Cloth also available in wrappers. Reprint G. With an Introduction by Albert Clement. Exempla Musica Zelandica, 3. Middelburg, Line-cut of the Alsbach editions, Amsterdam, c. Introduction by Rudolf Rasch. Dutch Music Facsimiles, 8. Line-cut of the Leeuwarden, c. Contains 3 keyboard suites, 3 solos with figured bass resp. Introduction in Eng. Kurze Vorstellung von Verbesserung des Orgelwerkes. Line-cut of the Strasbourg, edition. Bilingual text, in Latin and German.

Extremely informative treatise on organology with altogether extended descriptions provided in Italian and French. Bilingual indices. Accompanied by superb woodcuts of scenes of musicians with their instruments. Willy-Burkhard-Gesellschaft, Jahresgabe Bern, Halftone of the autograph score, composed in for the marriage of his brother-in-law Karl Ludwig Schmalz and Vreneli Gerber.

Special limited edition. Halftone of the autograph score composed in for the baptism of Christine Judermuhle. Special limited edition on laid paper. Raccolti da Alessandro Busi. Line-cut of the n. Works by Martini, Santelli, Giovagnoni, G. Colonna, Incerto and Gajani. Herausgegeben von Jutta Theurich. Deutsche Staatsbibliothek, Berlin]. Franzpeter Goebels , Sonderheft. Halftone of the autograph, together with new practical edition. Introduction in Ger by J. Exempla Musica Zelandica, I. Line-cut of the Amsterdam, c.

Edizione della partitura a cura di Liuwe Tamminga. Line-cut of the Venice, edition [Libro primo], with modern transcription. The 1st of the 4 ricerars included in this collection is in fact an intabulation by the composer himself of a work that had already appeared in Il secondo Libro de recercari da cantare et sonare d'organo et altri stromenti a quatro voci A. Gardane, , in which the 4 voices making up the polyphonic texture were printed in partbook format.

Intoduction in It-Eng. Wrappers in handsome portfolio. Edited by Michael Belotti. Critical Facsimiles, 6. New York. Includes apparatus listing all editorial emendations. Opera prima, Opera secunda. Edited by Eva Linfield. Critical Facsimiles, 3. Faksimile und Neuausgabe. Generalbassaussetzung von Dankwart von Zadow. Halftone of a contemporary ms copy, together with a new performing edition. Introduction by Jan ten Bokum. Dutch Music Facsimiles, 7. Line-cut of the Weinberger, edition. Edited by Oliver Neighbour. It was painstakingly compiled by the Windsor-based scribe John Baldwin, who completed work on it on 11 September By Byrd was mid-way through his career as composer of church music and secular vocal and instrumental music.

The MS provides a snapshot of the keyboard music he had composed by that date and is an exceptionally important source for his music. It contains some of his best-known compositions for keyboard, including variations on the popular tunes 'Sellinger's Round' and 'All in a Garden Green'. Her family's coat of arms adorns a leaf at the front of the MS. Commentary in Eng-Ger. Oblong, 32 x 22 cm, 34 pp. Line-cut of the Milan, edition. With 21 short pieces. Faksimile-Edition Theoretica, 4 Suttgart, Oblong, 22 x 17 cm, 48; 74 pp.

Line-cut of the Augsburg and editions. Ars cantandi—after a brief introduction on fundamentals and solmisation—includes an appendix of keyboard pieces preamboli, intermezzi, versetti, toccate, tastate, variazioni, fughe. Hardbound in decorative paper. Venezia Archivum Musicum: Strumentalismo Italiano, Line-cut of the Venice, partbooks canto I, canto II, basso , as well as the full score. Wrappers in decorative paper, with slipcover. Libro secondo, Venezia Line-cut in the original partbook format.

Consists of 17 sonatas for various instrumental combinations.

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Preface in It by Marcello Castellani. Wrappers and slipcover in decorative paper. Die phantastischen Erfindungen des Salomon de Caus. Line-cut of Frankfurt, edition. Kunst der Mechanik also includes a madrigal by Alessandro Strigio, beautifully engraved in keyboard tablature by Pierre Filippe. Afterword by Stefan Gugenhan.

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Introduction and bibliography. Libro primo. A Facsimile of the [Venice, ] Edition. Oblong, 24 x 17 cm, 73 pp. Line-cut of the Bernardus Vercellensis edition, Venice, , from the only complete copy known to exist since the first impression of This collection of organ tablatures was printed with type and metal-block in two impressions, and contains the earliest known use of chords and ties. Gargano y L. Madrid, 23 x 32 cm, 2 vols: pp. Huge synthesis of musical-theoretical topics divided into 22 books. The last book deals with musical enigmas and puzzle canons.

Line-cut of the Naples, edition. Preface in It by Giuseppe Vecchi. Oblong, 31 x 22 cm, 70 pp. The first two books of harpsichord music to be engraved in France. Oblong, 31 x 22 cm, 23, 70 pp. Oblong, 27 x 21 cm, 70 pp. Oblong, 31 x 22 cm, 20, 60 pp. Oblong, 27 x 21 cm, 62 pp. Musica Repartita, 27F. Oblong, 32 x 23 cm, 18, 38 pp.

Line-cut of the Poggiali edition, Florence, c. The only keyboard sonatas by Cherubini. Warsaw, Oblong, 28 x 22 cm, 2 vols, 20, 67 pp. Full-color halftone of the autograph fair copy. The work, in expansive sonata form in "stile brillante", dates from the early s and stands as testimony to the fact that after completing the concertos in F minor and E minor, that Chopin was thinking of composing a third.

Bound in blue linen, with matching slipcase. National, Paris, fonds du Conservatoire Nationale de Musique, mus. Faksymilowane Wydanie Autografow F. Chopina, 3. Krakow, Oblong, 35 x 28 cm, vii, 10 pp. Oblong, 35 x 28 cm, 10, iv pp. Oblong, 28 x 22 cm, 2 vols, 10, 56 pp. No title page. Chopina, 2. Oblong, 35 x 28 cm, vii, 14 pp. Oblong, 29 x 22 cm, 2 vols, 4. Full-color halftone of the incomplete autograph fair copy dropping off at bar , the only known autograph except for another in private hands that ends at bar Nathaniel de Rothschild par F.

Rkp Oblong, 28 x 22 cm, 2 vols, 8, 59 pp. The manuscript has been meticulously notated, with a wealth of performance details, dynamic markings and expression marks. Pelplin, Special OMI price. Oblong, 35 x 29 cm, 2 vols, , 76 pp. Bound in blue linen with matching portfolio. Oblong, 35 x 26 cm, 2 vols, 26, 58 pp. Full-color halftone of the autograph fair copies of six etudes from op. Dated by Jan Ekier c. Halftone of the autograph faircopy, with new authoritative edition.

Oblong, 35 x Full-color halftone of the autograph fair copy Pierpont Morgan call number MA , basis of the French Schlesinger edition. Surviving correspondence between the French and German publishers of the Etudes informs us of the meticulous care with which Chopin prepared his first set of publications following his arrival in Paris Kallberg.

About this Item: Alfred Publishing Co. Progressively teaches the student to sight read through observation and study of phrase shape, melodic outline, harmonic structure and overall rhythmic feeling of the music. Revised ed. Published by Alfred Publishing Company About this Item: Alfred Publishing Company, A certificate of merit is i.

Student, Workbook. Features twenty sets of progressive technical exercises for the piano student. Exercises over technical work for independence and strengthening of the fingers, extension, double notes, four-note chords, octaves, trills, five-finger work, tremolos, triads, arpeggios, and more. Contains all the major, harmonic and melodic minor; and chromatic scales; scales in double sixths and in octaves; all major, minor, dominant seventh and diminished seventh chords, and arpeggios; a table of cadences; and a table of key signatures for major and minor keys.

This book usually ship within business days and we will endeavor to dispatch orders quicker than this where possible. Published by Warner Bros Pubns About this Item: Warner Bros Pubns, Sheet music. Condition: Brand New. In Stock. Seller Inventory zk Published by Fredrick Harris Music About this Item: Fredrick Harris Music, Condition: Good. Ships from Reno, NV. Former Library book. Shows some signs of wear, and may have some markings on the inside. Published by Frederick Harris Music About this Item: Frederick Harris Music, Item added to your basket View basket.

Proceed to Basket. View basket. Continue shopping. United Kingdom. Search Within These Results:. Create a Want Tell us what you're looking for and once a match is found, we'll inform you by e-mail. Create a Want BookSleuth Forgotten the title or the author of a book?