| Rise Again Songbook Lyrics and Chords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(31)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Little Ultimate Fake Book - 3rd Edition (C Edition) [Fake Book] Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, chord names, leadsheet notation and guitar chord chart. Series: Hal Leonard Fake Books. 813 pages. Published by Hal Leonard.
(4)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Fake Book - 3rd Edition Fake Book [Fake Book] Hal Leonard
Eb Edition. By Various. Fake Book (Includes melody line and chords). Size 9x12 i...(+)
Eb Edition. By Various. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(2)$49.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Bb Instruments [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(8)$49.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Buskers Fake Book All Time Hit Piano solo Music Sales | | |
| Bach: Major Choral Works Vocal Scores (Version 2.0) Choral [CD Sheet Music] Subito Music
By Johann Sebastian Bach. For Choral. (Vocal Scores). CD Sheet Music (Version 2....(+)
By Johann Sebastian Bach. For Choral. (Vocal Scores). CD Sheet Music (Version 2.0). PDF file on CD. 2500 pages. Published by Subito Music.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Best Rock Pop Fake Book C Instruments [Fake Book] Hal Leonard
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pa...(+)
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pages. Published by Hal Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Suzuki Viola School MIDI Disk Acc./CD-ROM, Volume 1 Viola [CD-ROM] Alfred Publishing
Suzuki Viola School MIDI Disk Acc./CD-ROM, Volume 1. For Viola. CD-ROM; MIDI Dis...(+)
Suzuki Viola School MIDI Disk Acc./CD-ROM, Volume 1. For Viola. CD-ROM; MIDI Disk; Method/Instruction; String - Viola (Suzuki). Suzuki Viola School. Beginner. Published by Alfred Music Publishing
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Fiddler's Fakebook
Violin [Fake Book] Oak Publications
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.
(7)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Lightning Catcher - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS181 Composed by Peter Terry. Young String Orchestra. Set of Score and Parts. With Standard notation. 8+8+5+5+2+2+5+12 pages. Duration 2 minutes, 3 seconds. Carl Fischer Music #YAS181. Published by Carl Fischer Music (CF.YAS181). ISBN 9781491151464. UPC: 680160908967. 9 x 12 inches. Key: B minor. Peter Terry's The Lightning Catcher celebrates youth and the mysteries of summer nights. The wonder of lightning bugs and the hours spent chasing, catching, and releasing them back are childhood staples for many. With bold gestures and textures, this dramatic piece takes the audience back in time to the days of their youth. The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naive wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018 . The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naA-ve wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018 . The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naA-ve wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018 . The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naive wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018 . The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naive wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018. The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naïve wish that this too could be caught in a glass jar for later release.The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.Peter Terry, 2018. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Appalachian Fiddle Music Violin Mel Bay
Fiddle - Beginning; Intermediate; Advanced SKU: MB.30091 Featuring 43 ...(+)
Fiddle - Beginning; Intermediate; Advanced SKU: MB.30091 Featuring 43 Fiddlers and 188 of Their Tunes. Perfect binding. Folk. Book. 212 pages. Mel Bay Publications, Inc #30091. Published by Mel Bay Publications, Inc (MB.30091). ISBN 9781513466378. 8.75 x 11.75 inches. Appalachian fiddle music, based on the musical traditions of the people who settled in the mountainous regions of the southeastern United States, is widely-known and played throughout North America and parts of Europe because of its complex rhythms, its catchy melodies, and its often-ancient-sounding stylistic qualities. The authors explore the lives and music of 43 of the classic Appalachian fiddlers who were active during the first half of the 20th century. Some of them were recorded commercially in the 1920s, such as Gid Tanner, Fiddlin? John Carson, and Charlie Bowman. Some were recorded by folklorists from the Library of Congress, such as William Stepp, Emmett Lundy, and Marion Reece. Others were recorded informally by family members and visitors, such as John Salyer, Emma Lee Dickerson, and Manco Sneed. All of them played throughout most of their lives and influenced the growth and stylistic elements of fiddle music in their regions. Each fiddler has been given a chapter with a biography, several tune transcriptions, and tune histories. To show the richness of the music, the authors make a special effort to show the musical elements in detail, but also acknowledge that nothing can take the place of listening. Many of the classic recordings used in this book can be found on the web, allowing you to hear and read the music together. $24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| RandB Fake Book - C Instruments - 2nd Edition
Fake Book [Fake Book] - Intermediate Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Randb and classic soul. Series: Hal Leonard Fake Books. 437 pages. 9x12 inches. Published by Hal Leonard.
(9)$44.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Country and Western Gospel Hymnal - Volume 1 (Book)
Choral [Vocal Score] Brentwood-Benson
For voice. Format: vocal score (spiral bound). With vocal score and chord names....(+)
For voice. Format: vocal score (spiral bound). With vocal score and chord names. Gospel and Country. 9x12 inches. Published by Brentwood-Benson Music Publishing. Click for Split Trax Cassette (2)$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Piano Course - Book 1 Piano solo Schirmer
Piano Technique. By Howard Kasschau. Piano Method. Size 9x12 inches. 64 pages. P...(+)
Piano Technique. By Howard Kasschau. Piano Method. Size 9x12 inches. 64 pages. Published by G. Schirmer, Inc.
(3)$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Uke'n Play Ukulele For Kids Ukulele [Sheet music + Audio access] - Beginner Amsco Wise Publications
Ukulele - Grade 1 SKU: BT.MUSAM1011626 Composed by Mike Jackson. Uke'n Pl...(+)
Ukulele - Grade 1 SKU: BT.MUSAM1011626 Composed by Mike Jackson. Uke'n Play Ukulele. Tuition. Book with Online Audio. Composed 2016. 48 pages. Wise Publications #MUSAM1011626. Published by Wise Publications (BT.MUSAM1011626). ISBN 9781785582554. English. This updated Kids  edition of the bestselling Uke'n Play Ukulele  series will get young beginners strumming, singing and playing easy songs that only feature 3 chords. Written by professional player and educator Mike Jackson , the book features his unique instant play method, some simple songs that are familiar to all children, together with downloadable play-along audio. The book opens with how to tune up, before detailing Jackson 's innovative instant play method, which kids are guaranteed to love. Once they've mastered this, Uke'n Play Ukulele For Kids teaches 25 simple songs that are instantly-recognisable and well-known. The first few songs use justone chord, before introducing two more. Each features chord diagrams, lyrics and chord symbols, helping children learn to play the Ukulele by practising strumming the chords and getting used to finger positions, while also playing fun tunes. Songs include Row, Row, Row Your Boat, The Lion Sleeps Tonight, Jingle Bells , and many more. The accompanying audio downloads will help you tune up, get familiar with the songs, then play along with a full backing band. Some songs also feature Mike 's handy hints so learning the Uke goes as smoothly as possible. Uke'n Play Supa Easy Ukulele  is a fantastic resource for the classroom, or other groups of young beginners. Featuring valuable advice for introducing children to music through the Ukulele, the book will enable them to start making music straight away. With well-known songs like My Darling Clementine  and Michael Finnegan , this is a beginner's instant play method for kids that truly does work. Mike Jackson  is a professional Ukulele player and multi-instrumentalist who has sold over 250,000 albums and performed extensively across Australia and the rest of the world. $15.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Hymns of the Church Marimba [Sheet music] Innovative Percussion
Hymns of the Church by Various. Arranged by Blaine Locheed. Marimba Solo - Unacc...(+)
Hymns of the Church by Various. Arranged by Blaine Locheed. Marimba Solo - Unaccompanied. For marimba solo (1 marimba low A (optional low F and c parts)). Level 3. Book. Duration various time durations. Published by Innovative Percussion
$16.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Folk Songs North America Sings (Kodaly Collection) Piano, Voice [Sheet music] E.C. Kerby
Voice and Piano. By Richard Johnston. (resource book). Vocal Collection. Size 8....(+)
Voice and Piano. By Richard Johnston. (resource book). Vocal Collection. Size 8.5x11 inches. 400 pages. Published by E.c. Kerby.
$50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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