Patrick J Rogers (36 results)

Softcover. xvi, 354 pp. A joint project of the Brookings Institution and the Pew Forum on Religion and Public Life. Softcover. LCC: 2001006142 Very good condition; on covers: touches of wear on edges, and a few light creases; traces of wear on bottom edges of papers, and tiny losses of black color on covers.…

Soft cover. Condition: Fine. 1st Edition. Trade Paperback Sized Literary Journal With illustrated cover. First Printing. Staple bound with black tape spine. 68 pages. FINE. All corners pointed. Binding tight, without stress creases and square. Without tears, creases, bumps or chips. Very clean and bright. All books carefully wrapped and sent boxed.…

Paperback. Condition: Near Fine condition. 2010 edition. Rochester, New York: University of Rochester Press, 2010. Near Fine condition (only light shelfwear to the cover). NO chips, tears, creases or fading. Flat, uncreased spine. Square and tight. NO owner's name or bookplate. NOT a library discard. NOT a remainder. Pages are crisp, clean and unmarked. Illustrated with musical notation. List of chapter notes. Bibliography. Index. Bound in the original dark green wraps. From the publisher: "This pioneering study examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. Contemporary treatises, Handel's manuscripts, original performance material, and other early sources provide clarification and guidance for the modern performer. Part one is an overview of figured bass in Handel source materials: autograph manuscripts, performing scores, original keyboard parts, 18th century scribal copies, and early editions. Part two treats in depth continuo realization problems that are often overlooked and can be troublesome in modern performances. The author defines the most common bass patterns, or formula-progressions, in Handel's music, together with the precise harmony the composer intended. The author attempts to show that continuo figuring can serve different functions depending on context. Much of the figuring that comes down to us in secondary sources may derive from the composer, or it may reflect valid contemporary practice. Modern editions, in the main, are too selective in this regard: they only include bass figuring from primary sources, leaving the modern performer frequently without sufficient guidance in the continuo part to improvise a stylistic accompaniment. Appendices include brief examples of continuo realization by Handel. Patrick J. Rogers is an active keyboard player and former Fulbright Scholar who studied Handel under Theodor GÃ llner, Roland Jackson, Terence Best, and the late J. Merrill Knapp.". 2010 edition. Softcover. Near Fine condition. Illus. by NOT a library discard. xvi, 271pp. Great Packaging, Fast Shipping. NOT a library discard (illustrator).…

Condition: New.

Paperback or Softback. Condition: New. Continuo Realization in Handel's Vocal Music. Book.

Condition: New.

Paperback. Condition: New. Examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel.This pioneering study examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. Contemporary treatises, Handel's manuscripts, original performance material, and other early sources provide clarification and guidance for the modern performer. Part one is an overview of figured bass in Handel source materials: autograph manuscripts, performing scores, original keyboard parts, 18th century scribal copies, and early editions. Part two treats in depth continuo realization problems that are often overlooked and can be troublesome in modern performances. The author defines the most common bass patterns, or formula-progressions, in Handel's music, together with the precise harmony the composer intended. The author attempts to show that continuo figuring can serve different functions depending oncontext. Much of the figuring that comes down to us in secondary sources may derive from the composer, or it may reflect valid contemporary practice. Modern editions, in the main, are too selective in this regard: they only include bass figuring from primary sources, leaving the modern performer frequently without sufficient guidance in the continuo part to improvise a stylistic accompaniment. Appendices include brief examples of continuo realization by Handel. Patrick J. Rogers is an active keyboard player and former Fulbright Scholar who studied Handel under Theodor Göllner, Roland Jackson, Terence Best, and the late J. Merrill Knapp. …

PAPERBACK, very good BUT green cover surface is chipped away to top rear corner near spine with a light bruise, light wear along top edge. ROGERS, PATRICK J. Continuo realization in Handel's vocal music. Rochester, NY: University of Rochester Press, 2010, transferred to digial printing 2010, xiv, 269pp., . Series: Studies in music (Ann Arbor, Mich.), 104 This study examines aspects of figured bass notation and continuo realization in the high baroque, especially with respect to the operas and oratarios of G.F. Handel - CONTENTS: Introduction. The importance of continuo figuring - Bass figuring in Handel source materials. Bass figuring in Handel's autographs ; Bass figuring in Handel's conducting scores ; Bass figuring in opera and oratorio continuo parts ; Bass figuring in scribal copies of the operas and oratorios ; Bass figuring in the Royal Academy opera editions, 1720-1728 - Realization problems. Unisono textures ; Plain recitative ; Short rests in the bass ; Pedal points ; Continuo harmonization - Appendixes. Aylesford Cembalo/Organo parts for Handel's operas and oratorios ; Manuscript scores of Handel's operas, oratorios, and odes with supplementary figuring ; Unpublished autograph figuring ; Rinaldo, Ouverture; Ottone, "Falsa imagine"; Duetto X, "Tacete, ohimé, tacete" ; Unpublished compositions. Radamisto, "Cara sposa"; [Amen, alleluja], HMV 275. ISBN 9781580463614. …

Condition: As New. Unread book in perfect condition.

Plastic Comb. Condition: Very Good. First Edition; First Printing. EX-LIBRARY spiral-bound paperback about 8½x11 inches. 114 pages + appendices. Various Ex-Library markings. Text unmarked. ; ECOL OV14; Ex-Library; 11 X 8.50 X 0.65 inches; 114 pages.

Paperback. Condition: Near Fine. First Edition. Paris: Paris Voice offices at Shakespeare and Co.1978. Copy #44/100 copies "numbered and reserved for friends and patrons of PARIS VOICES". Magazine. Pictorial wrappers [about 6" x 8.25"], side-stapled 68 pages, illustrated. Light wear and creasing to spine ends,a one inch tear to heel of spine. whb11E. cover drawing by Garry Apgar (illustrator).…

Paperback. Condition: New. Examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel.This pioneering study examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. Contemporary treatises, Handel's manuscripts, original performance material, and other early sources provide clarification and guidance for the modern performer. Part one is an overview of figured bass in Handel source materials: autograph manuscripts, performing scores, original keyboard parts, 18th century scribal copies, and early editions. Part two treats in depth continuo realization problems that are often overlooked and can be troublesome in modern performances. The author defines the most common bass patterns, or formula-progressions, in Handel's music, together with the precise harmony the composer intended. The author attempts to show that continuo figuring can serve different functions depending oncontext. Much of the figuring that comes down to us in secondary sources may derive from the composer, or it may reflect valid contemporary practice. Modern editions, in the main, are too selective in this regard: they only include bass figuring from primary sources, leaving the modern performer frequently without sufficient guidance in the continuo part to improvise a stylistic accompaniment. Appendices include brief examples of continuo realization by Handel. Patrick J. Rogers is an active keyboard player and former Fulbright Scholar who studied Handel under Theodor Göllner, Roland Jackson, Terence Best, and the late J. Merrill Knapp. …

Paperback. Condition: New.

Condition: New.

Paperback. Condition: Brand New. 269 pages. 9.25x6.00x0.75 inches. In Stock.

Condition: New. In English.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New.

Soft cover. Condition: Fine. 144 pages : illustrations (chiefly color), color maps ; 26 cm ; ISBN 9781845379162, 1845379160 ; OCLC 172984655 ; color photographic stiff paper wrappers ; Contents: Traditional Japanese gardens -- The elements of a Japanese garden -- Plant directory -- Resources ; Originally published: 2000 ; An introduction to the traditions of Japanese Zen gardens, using natural materials. Emphasizing the value of shape in trees and shrubs with the subtlety of colour through the varied greens of foliage and moss, it explains how western plants and materials can be used to achieve the natural, minimalist look so beloved by Japanese garden designers. ; YOKO KAWAGUCHI was born in Tokyo and educated in the United States, Canada and Japan. She has lived in the UK for the last twenty years. The author of Serene Gardens: Creating Japanese Design and Detail in the Western Garden, she lectures on Japanese garden history, and has appeared on BBC Radio Four's Woman's Hour and the BBC World Service. ; FINE. Book. …

Paperback. Condition: New. Examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel.This pioneering study examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. Contemporary treatises, Handel's manuscripts, original performance material, and other early sources provide clarification and guidance for the modern performer. Part one is an overview of figured bass in Handel source materials: autograph manuscripts, performing scores, original keyboard parts, 18th century scribal copies, and early editions. Part two treats in depth continuo realization problems that are often overlooked and can be troublesome in modern performances. The author defines the most common bass patterns, or formula-progressions, in Handel's music, together with the precise harmony the composer intended. The author attempts to show that continuo figuring can serve different functions depending oncontext. Much of the figuring that comes down to us in secondary sources may derive from the composer, or it may reflect valid contemporary practice. Modern editions, in the main, are too selective in this regard: they only include bass figuring from primary sources, leaving the modern performer frequently without sufficient guidance in the continuo part to improvise a stylistic accompaniment. Appendices include brief examples of continuo realization by Handel. Patrick J. Rogers is an active keyboard player and former Fulbright Scholar who studied Handel under Theodor Göllner, Roland Jackson, Terence Best, and the late J. Merrill Knapp. …

Couverture souple. Condition: bon. R300280419: 1993. In-12. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Papier jauni. 224 pages - quelques illustrations en noir et blanc dans le texte. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon.

Condition: NEW.

Paperback. Condition: New. Examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel.This pioneering study examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. Contemporary treatises, Handel's manuscripts, original performance material, and other early sources provide clarification and guidance for the modern performer. Part one is an overview of figured bass in Handel source materials: autograph manuscripts, performing scores, original keyboard parts, 18th century scribal copies, and early editions. Part two treats in depth continuo realization problems that are often overlooked and can be troublesome in modern performances. The author defines the most common bass patterns, or formula-progressions, in Handel's music, together with the precise harmony the composer intended. The author attempts to show that continuo figuring can serve different functions depending oncontext. Much of the figuring that comes down to us in secondary sources may derive from the composer, or it may reflect valid contemporary practice. Modern editions, in the main, are too selective in this regard: they only include bass figuring from primary sources, leaving the modern performer frequently without sufficient guidance in the continuo part to improvise a stylistic accompaniment. Appendices include brief examples of continuo realization by Handel. Patrick J. Rogers is an active keyboard player and former Fulbright Scholar who studied Handel under Theodor Göllner, Roland Jackson, Terence Best, and the late J. Merrill Knapp. …

Hardcover. Condition: Near Fine. Near Fine. Hardback in near fine condition with near fine dust jacket. Inscribed by author, William J. Cairns. Inscribed by Author(s).

Hardcover. Condition: Very Good. Very Good .Ships From Multiple Locations. book.

Hardcover. Condition: New.

Hardcover. Condition: New.

First Edition. Octavo. Cloth boards (hardcover); 209pp. Fine and unmarked, without dustwrapper (as issued?).

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Condition: New. Print on Demand.