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Aucipetel ‘oifpn: To npUiro Epos avawpépetal OTIG OPKNOTPIKES opadec, om pehwdia, oTHY apuovia, oT aevBean KaL OTA Ep | ‘9é mE opyTIoTPAG, oT cUVSYAGUS avEpUTHUNG OurTig Kat |S Dopytiorpag Kat Téhos, oT quvés (OATES Kat xopWAIER). §) To Seutep0 iépog nepAauBaver artoondquara andra épya ‘rau, To U6VO apyrTIRS onWzio, oe oxéON Ue Ta To{a TPO mem van Jt Ta napaselypara efvar rapt ~ swvoagéa.TT | russe cancun te rots! range Cons (rteton Muse Coporton, WRoresstontt {New York). To nepiexduevo tou BiBNou Sev éxet kayld Oxéon weeny MoWTITA extETcrG ‘ R ‘Tou, Eivat x0 BIBNIo exeivo nou, Kara Ta TeABUTata 40 xpéma, GvoiEp TOUS Spsjious ov yvs= es : ‘on, eveBdpouve Ty nepiépyerd Kat Tm pedérn Kat Bor}ONce doug TOUS p— a \ evO1aoeDsusvOUG va excuyyponaBoy Ain MumeecENGnoTe AT'S | on 00 BtaBaveic 0” Guts 70 BiBKio, wEXEL va To enekepyaabeis oto [yc \ AO GOU Kal TO SoKIdaEIG THY TPAEN». ‘Ero apxife: 0 Npdoyos, “| To 1979 urdogéonoe to Beirepo BBNO (-The Professional Ar- ranger Composer / Book Il») oe Kavovint} ExtUrwon —dyxt MOAU- ‘anniv énag 70 mpre— wat us Aéyora eupérepou evBia- | rs pépovtos, To onoio cuvodetsral and éva Sicko 33 1/3 oTpo- ‘Gv jKpOS oXfuATOC, SrlOU TeMKExOvTEH HEpIKG NapABetyHe- ‘ra TOU BiGNOU. To BNO auTd cite BoUNake> yiori napar epi” | Tey novonmutvo ett onosdosnxe and ry Kuopopia ct sd ‘e fav kal Mapayeve: efaiperud Suaedpero. 7. JOHN CACAVAS: «Music Arranging and Orchestration» (Belwin Mils / Warner Bross, Publications Inc. Miami Florida), To BiBNio efvat yoouEve ané rov ~ npopewtig ER Anwutig Katayiytig- ouv8em rou wouaKoU BévaTog Tm BpUAKC'G BBipdg «KErGaK>. Pap’ ed Teplepyn Sof rou xat my apy} EveGMwon NOU pOKAAE n avayvacn Tay npdrwv eNGwy, FaKooubet va eivat éva apKerd ] evBiagépov BPAio, dv mg MepiexTIKéMTTES TOU Kat TS MPU “rérumMMg MpodEYNONG KaNoWwY BELETAN. @ GORDON JACOB: «Orchestral Technique» (Oxiord University Press). Flapéu aurorirAopopettat «amouBaoTKG ey xe1piB10», efvat éva onouBa‘o Kat OucLaTTKS Por|EN}1a TIOU LO pet va dtaBaoTe! soa 0’ éva aréyeupa. Elvat to PiBAio Mou rat det om BiBNOBHIE Tou KABe HOUGLOS, 9. HENRY MANCINI: «Sounds and Scores» (Northridge Music, Inc. / Warmer Brass, Publications Inc. Miami, Florida). 'Eva enwueAn- évo Kat KaAoypayijiévo BIBNO anté To yyavra THg KwNHLATOYpAG fig Houausg. Ot aUvroues Kat nieplexmiKég Teprypapéc Taw WOUO Kav opydve, or avagopég Tou Ge CuyKExpijéva BEGG Kt Ot Mpa- rkés OUUBoUAES Tou eivar croKXe(a apKETG Via va BewpNBet TO PIBNO noAttivo. EuvoSederar ané kagéra HCD (n dagopa Ths elvat 3 So- Adpig) Le crlooréquata wv8écewW Tou H. Mancini nou xonoyonor } odveat cay napabetypara oto fABAio. 10. SAMUEL ADLER: «The Study of Orchestration» (W.W. Norton & om- F_pany, New York-London). ewpefrat naryxdgnia cav n Kopuavida TaN BIBAIUW. Tépa and to mpoceypiévo, ctyxpOvO Kal OUDIGOTIKG KejLevo, népa and TIS fuovabués emouépres kay avorap vouow opecypagio, népa ar | ae ae 7 | ta xara 7péno cogs emzyuéva napadetyuara, urdpxowy Bd axSuarne- | ovexciyara: To BiBNio ovvodederax and 540 npoaipenuc Bonfjara, é- Ba}. varnaxéro pe § CDs x va axSua ppd PIANO aoxr}oewy (“Workbook "O00 ose uotdza v0 BipMO aoxrjoeun ~ agod anaret qubtorTES eg pehémg Ka ypayiarog —, 7600 edxuOTIKS paiveTaL TO TaKETO TOW F} 8 CDs, énou nepisyovrat dha ta napadetyuare tou BiBAiou, ra onoia iver anoonéayara épywv Siapdpay ouviersv, To Tpirtuxo TOU S. BEE Adler (BiBNio - BiBNo aowiceww - CDs) Beu- petra ofjuepa cay 6,11 roAUNSTEpO ia TO MENETT TMS evopxfotpwons, Weivovrag aut ty r800 rex avarpopé o’ Eva tEc0 WeyEUTIS Ki O- népavro KepaAato, 6a rrav (ows Xprioio va Tous Eavaduyndoue: Henry Mancini «tia svopxtjarpwon kpiverat ar ro rida Kad nxel x. 6x. an t0 R60 BUoKORO eivat va rexBEt. 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