Scoring for Animation, Video Games, and Film

This study guide includes review exercisers, listening questions, activity suggestions and concert report outlines, all designed to guide music appreciation students using any version of The Enjoyment of Music. Seventh Edition, by Joseph Machlis and Kristine Forney.

Music of the Classical Era to the present featuring: new works, improved editions, integrated commentary, improved cross-referencing to text and recordings, and internal trackings keyed to recordings.

This outstanding book treating the three most beloved composers of the Vienna School is basic to any study of Classical-era music. Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in clear and persuasive language.

This superbly produced volume brings together a group of Bach's most performed compositions: nine works that masterfully reveal the deeply resonant glories of the cello and the viola da gamba. Reprinted here from the definitive Bach-Gesellschaft edition published by Breitkopf & Härtel of Leipzig, they include the six suites for unaccompanied cello (BWV 1007–1012) and three sonatas for viola da gamba and harpsichord (BWV 1027–1029), the latter most commonly played today on the cello. Alternative versions of the last two cello suites — providing notation at concert pitch for the scordatura Suite No. 5, and normal cello clefs in place of the original alto and soprano clefs of Suite No. 6 — appear in an appendix. The cello suites, long neglected until Pablo Casals began to perform them early in the twentieth century, richly demonstrate Bach's intuitive feel for the cello, and his technical grasp of this instrument's extraordinary capabilities for musical expression. The three sonatas, among the few duo sonatas Bach composed, exuberantly demonstrate how Bach freed the harpsichord from a mere accompanying role and made it an equal partner in the duo texture. This sturdily bound playing edition features wide margins and large noteheads clearly printed on fine-quality paper. It offers both amateur and professional musicians — along with music lovers who enjoy following a live or recorded performance, score in hand — a lifetime of pleasurable study and intimate enjoyment of a select group of Bach's most universally loved and admired works.

Among the most popular and important modern British composers, Gustav Holst (1874–1934) was a true eccentric, given to odd enthusiasms and mystical musings. His spectacular symphonic suite The Planets, first performed in 1918, established his international reputation and remains a staple of the orchestral repertoire to this day. Scored for huge orchestral forces and a wordless chorus, the work is divided into seven movements, the music of each embodying the astrological and mystical qualities of a different planet. From the ominous, relentless march of "Mars, the Bringer of War" to the robust festivities of "Jupiter, the Bringer of Jollity" and the weird, unearthly hush of "Neptune, the Mystic," the emotional sweep and innovative techniques of the suite have delighted and thrilled its vast audience ever since its spectacular debut. Musicians and music lovers alike will want to own this authoritative, attractively published and inexpensive full score.

(P/V/G Composer Collection). Contains 29 of Gershwin's greatest compositions including: I Got Rhythm * Rhapsody in Blue * Of Thee I Sing * 'S Wonderful * and others. Also includes a biographical sketch and chronology, a complete discography and photos. A beautiful souvenir collection!

The Preludes bear the opus number 28 and are dedicate to J. C. Kessler, a well-known composer of piano studies during Chopin’s time. But it is only the German edition that bears his name, the French and English editions being inscribed by Chopin “à son ami Pleyel.” As Playel advanced the pianist 2,000 francs for these compositions he had the right to say: “These are my Preludes.” Niecks is authority for the remark of Chopin: “I sold the Preludes to Pleyel because he liked them.” This was in 1838, when Chopin’s health demanded a change of climate; he wished to go to Majorca with George Sand and her children, and had applied for money to the piano-maker and publisher, Camille Playel of Paris. He received but five hundred francs in advance, the balance being paid on delivery of the manuscript. The Preludes were published in 1839, yet there is internal evidence that proves most of them had been composed before the trip to the Balearic Islands. This fact my upset the pretty legend of music making at the monastery of Valdemoso. Have we not all read with sweet credulity the eloquent pages by George Sand in which is described the storm that overtook the novelist and her son Maurice! After terrible trials, dangers, delays, they reached home and found Chopin at the piano. Uttering a cry he arose and stared at the storm-beaten pair. “Ah! I knew well that you were dead!” It was the sixth Prelude, the one in B minor, that he played, and dreaming, as Sand wrote.

(Boosey & Hawkes Scores/Books). Full-score of the re-engraved 1967 edition of the revised edition from 1947.