SKU: HL.48186305
UPC: 888680838645. 9x12 inches.
“Born in 1970, Eric Ledeuil is a versatile musician, working as a flautist, composer, conductor and teacher. All his expertise combined have created the sublime The Meander of Vivian for Flute and Harp or Piano accompaniment. Suitable for grade 2 standard flautists, The Meander of Vivian is made up of four sections which tell the story of the fairy, Vivian. The Meanders of Vivian is an exciting and varied addition to the young flautist's repertoire, with a typical performance lasting around three minutes. Ledeuil's The Meanders of Vivian is essential to beginner flautists seeking to improve and expand their repertoire for performances.&rdquo.
SKU: A3.9781860966989
ISBN 9781860966989. 9 x 12 inches.
The five volumes of Keyboards Together provide a wealth of enjoyable repertoire for keyboard players. Containing arrangements and original pieces in two, three and four parts, they are perfect for classroom use as well as for smaller groups. All pieces selected for ABRSM's Music Medals.
SKU: HL.1364415
Catalyst® CX 200 is a dual-channel 2x12 combo amplifier that performs like a traditional guitar amp – while providing the increased versatility of a modern amp. The flagship of the Catalyst CX family of three guitar amplifiers, the 200-watt Catalyst CX 200 is capable of holding its own on nearly any stage, while also sporting studio-friendly features such as a USB audio interface. The sturdily constructed Catalyst CX 200 amplifier offers 12 Amp Voicings – ranging from pristine clean to modern high-gain – derived from the Helix® amp and effects processor. Each Amp Voicing is matched with a custom Boost type, and there are also 24 HX®-quality effects spanning four effects categories. Additional features include a Tap/Tuner button, an XLR line output, an effects loop, a Power Amp input for using the Catalyst CX as a powered speaker, MIDI functionality, a 2-channel USB recording interface, and power output options. The free Catalyst Edit app for desktop and mobile devices provides deep editing capabilities. Add an optional LFS2 footswitch for even more flexibility, and an optional cover to protect your combo. • 200-Watt, dual-channel 2x12 combo amp (with optional LFS2 footswitch) • 12 Amp Voicings derived from Helix processors • Dedicated Boost circuit with boost types optimized for each amp • 24 Effects derived from Helix processors • Tap Tempo/Tuner button • XLR line output for pro connection to P.A. or recording devices • Effects loop and Power Amp input for integrating external devices • 2-Channel audio interface, MIDI, and Mac®/iOs®/PC/Android™ connectivity via USB • MIDI In via DIN connector • Free Catalyst Edit app for desktop and mobile devices.
SKU: BT.DHP-1185780-400
ISBN 9789043153836. English-German-French-Dutch.
For over three hundred years, great opera singers have held entire audiences under their spell. In so doing, they can call on an etensive repertoire of arias by many important composers. Live at the Opera now makes this precious treasure trove available to instrumentalists, too. Twelve of the most beautiful operatic melodies of all time have been specially arranged for violin and are performed by the renowned violinist Maximilian Lohse. The accompanying audio is performed by an authentic opera orchestra, which also includes a play-along version without soloist. Additionally, this unique collection also includes background info and tips on performance for theindividual arias. Al meer dan driehonderd jaar weten grote operazangers en -zangeressen hun publiek te betoveren. Wanneer ze voor ons op het podium staan, vertolken ze melodieën die behoren tot de allermooiste van de klassieke muziek. Live at the opera maakt deze schat aan melodieën nu ook toegankelijk voor instrumentalisten: twaalf Italiaanse opera-ariaâ??s zijn speciaal gearrangeerd voor viool en opgenomen door de gerenommeerd violist Maximilian Lohse. Een echt operaorkest neemt de begeleiding voor zijn rekening, die op de meespeelversie ook zonder solo-instrumentalist beschikbaar is. Verder zijn in deze unieke collectie muziekhistorische achtergrondinformatie bij iedere aria entips voorde uitvoering opgenomen. Schon seit mehr als dreihundert Jahren ziehen groÃ?e Opernsängerinnen ein ganzes Opernpublikum in seinen Bann. Dabei können sie sich aus einem umfangreichen Arienrepertoire aus der Feder zahlreicher bedeutender Komponisten bedienen. Live at the Opera macht diesen kostbaren Melodienschatz nun auch Instrumentalisten zugänglich: 12 der schönsten Opernmelodien aller Zeiten wurden hier eigens für Violine eingerichtet und werden von dem renommierten Geiger Maximilian Lohse vorgespielt. Ein echtes Opernorchester übernimmt dabei die Begleitung, welche zusätzlich auch in einer Mitspielversion ohne den Solisten zur Verfügung steht. Hintergrundwissen undAusführungstipps zu den einzelnen Arien sind weitere Pluspunkte dieser einzigartigen Sammlung. Les grandes chanteuses lyriques nous captivent depuis plus de trois siècles. Lorsque nous les voyons sur scène, nos oreilles se délectent de mélodies qui comptent parmi les plus belles de tous les temps. Live at the Opera permet aux instrumentistes dâ??accéder également ces trésors : 12 arias dâ??opéras ont été individuellement arrangées pour le violon et enregistrées par le violoniste de renommée internationale Maximilian Lohse. Interprété par un authentique orchestre dâ??opéra, lâ??accompagnement est également fourni sous forme de playback, sans le soliste. Cette collection unique sâ??accompagne dâ??informations sur lâ??histoire des opéras sélectionnés, ainsi que deconseilsdâ??interprétation.
SKU: BT.DHP-1175777-400
ISBN 9789043151801. English-German-French-Dutch.
Great opera singers have enthralled us for over three hundred years. When we see them on stage our ears are filled with some of the finest classical melodies of all time. Live at the Opera makes this precious treasure trove accessible to instrumentalists, too: 11 Italian operatic arias have been individually arranged for clarinet, recorded by the world-renowned / clarinettist Matthias Schorn. The accompaniment is supplied by an authentic opera orchestra, and it is also available as a play-along version without the soloist. A historical background to each piece, along with performance tips, is included in this unique collection.Al meer dan driehonderd jaar weten grote operazangers en -zangeressen hun publiek te betoveren. Wanneer ze voor ons op het podium staan, vertolken ze melodieën die behoren tot de allermooiste van de klassieke muziek. Live at the opera maakt deze schat aan melodieën nu ook toegankelijk voor instrumentalisten: elf Italiaanse opera-ariaâ??s zijn speciaal gearrangeerd voor klarinet en opgenomen door de wereldberoemd klarinettist Matthias Schorn. Een echt operaorkest neemt de begeleiding voor zijn rekening, die op de meespeelversie ook zonder solo-instrumentalist beschikbaar is. Verder zijn in deze unieke collectie muziekhistorische achtergrondinformatie bij iedere aria entips voor de uitvoering opgenomen. Schon seit mehr als dreihundert Jahren ziehen groÃ?e Opernsängerinnen und -sänger uns in ihren Bann. Wenn sie auf der Bühne stehen, bringen sie einige der schönsten klassischen Melodien aller Zeiten zu Gehör. Live at the Opera macht diesenkostbaren Melodienschatz nun auch Instrumentalisten zugänglich: 11 italienische Opernarien wurden individuell für Klarinette eingerichtet und werden von dem weltweit renommierten Klarinettisten Matthias Schorn vorgespielt. Ein echtes Opernorchesterübernimmt dabei die Begleitung, welche zusätzlich auch in einer Mitspielversion ohne den Solisten zur Verfügung steht. Musikhistorisches Hintergrundwissen und Ausführungstipps zu den einzelnen Arien sind weitere Pluspunkte dieser einzigartigenSammlung. Les grandes chanteuses lyriques nous captivent depuis plus de trois siècles. Lorsque nous les voyons sur scène, nos oreilles se délectent de mélodies qui comptent parmi les plus belles de tous les temps. Live at the Opera permet aux instrumentistes dâ??accéder également ces trésors : 11 arias dâ??opéras ont été individuellement arrangés pour la clarinette et enregistrés par le clarinettiste de renommée internationale Matthias Schorn. Interprété par un authentique orchestre dâ??opéra, lâ??accompagnement est également fourni sous forme de playback, sans le soliste. Cette collection unique sâ??accompagne dâ??informations sur lâ??histoire des opéras sélectionnés, ainsi que de conseilsdâ??interprétation. Da oltre tre secoli i grandi cantanti di opera entusiasmano il pubblico con performance che fanno rivivere le melodie classiche più amate. Live at the Opera d la possibilit ai musicisti di cimentarsi con questo repertorio grazie a 15 ariedellâ??opera italiana arrangiate per flauto, clarinetto e tromba.
Disponibili inoltre le basi orchestrali e la versione play-along senza la parte solista di ogni traccia. Arricchiscono lâ??edizione unâ??introduzione storica per ciascun brano e utili consigli per lâ??interpretazione.
SKU: OU.9780193574533
ISBN 9780193574533. 10 x 7 inches.
For SABar and piano This upbeat work sets a text by the Malaysian singer Bihzhu celebrating the collective excitement in exploring the unknown. The supportive piano accompaniment brings a hint of the Malaysian soundworld in its use of fourths, and minimal divisi in the vocal parts makes the piece accessible to a broad range of choirs.
SKU: BT.DHP-1175761-400
ISBN 9789043151795. English-German-French-Dutch.
Great opera singers have enthralled us for over three hundred years. When we see them on stage our ears are filled with some of the finest classical melodies of all time. Live at the Opera makes this precious treasure trove accessible to instrumentalists, too: 15 Italian operatic arias have been individually arranged for flute, recorded by the world-renowned flautist Walter Auer. The accompaniment is supplied by an authentic opera orchestra, and it is also available as a play-along version without the soloist. A historical background to each piece, along with performance tips, is included in this unique collection.Al meer dan driehonderd jaar weten grote operazangers en -zangeressen hun publiek te betoveren. Wanneer ze voor ons op het podium staan, vertolken ze melodieën die behoren tot de allermooiste van de klassieke muziek. Live at the opera maakt deze schat aan melodieën nu ook toegankelijk voor instrumentalisten: vijftien Italiaanse opera-ariaâ??s zijn speciaal gearrangeerd voor fluit en opgenomen door de wereldberoemd fluitist Walter Auer. Een echt operaorkest neemt de begeleiding voor zijn rekening, die op de meespeelversie ook zonder solo-instrumentalist beschikbaar is. Verder zijn in deze unieke collectie muziekhistorische achtergrondinformatie bij iedere aria en tipsvoor de uitvoering opgenomen. Schon seit mehr als dreihundert Jahren ziehen groÃ?e Opernsängerinnen und -sänger uns in ihren Bann. Wenn sie auf der Bühne stehen, bringen sie einige der schönsten klassischen Melodien aller Zeiten zu Gehör. Live at the Opera macht diesenkostbaren Melodienschatz nun auch Instrumentalisten zugänglich: 15 italienische Opernarien wurden individuell für Flöte eingerichtet und werden von dem weltweit renommierten Flötisten Walter Auer vorgespielt. Ein echtes Opernorchester übernimmt dabeidie Begleitung, welche zusätzlich auch in einer Mitspielversion ohne den Solisten zur Verfügung steht. Musikhistorisches Hintergrundwissen und Ausführungstipps zu den einzelnen Arien sind weitere Pluspunkte dieser einzigartigen Sammlung. Les grandes chanteuses lyriques nous captivent depuis plus de trois siècles. Lorsque nous les voyons sur scène, nos oreilles se délectent de mélodies qui comptent parmi les plus belles de tous les temps. Live at the Opera permet aux instrumentistes dâ??accéder également ces trésors : 15 arias dâ??opéras ont été individuellement arrangés pour la fl te et enregistrés par le fl tiste de renommée internationale Walter Auer. Interprété par un authentique orchestre dâ??opéra, lâ??accompagnement est également fourni sous forme de playback, sans le soliste. Cette collection unique sâ??accompagne dâ??informations sur lâ??histoire des opéras sélectionnés, ainsi que de conseils dâ??interprétation.Da oltre tre secoli i grandi cantanti di opera entusiasmano il pubblico con performance che fanno rivivere le melodie classiche più amate. Live at the Opera d la possibilit ai musicisti di cimentarsi con questo repertorio grazie a 15 ariedellâ??opera italiana arrangiate per flauto, clarinetto e tromba.
SKU: HL.50499696
ISBN 9790080149010. UPC: 196288083900. 8.25x11.25x0.063 inches. Miklos Kocsar.
ECHOES NO. 1 (for solo horn) and ECHOES NO. 2 (for two horns) are contemporary pieces by Miklos Kocsar, worldwide celebrate and prizewinning composer of chamber music and choral works. The volumes ECHOES NO. 3 (for three horns) and ECHOES NO. 4 (forfour horn) are in preparation. ECHOES NO. 1 (fur Horn solo) und ECHOES NO. 2 (fur zwei Horner) enthalten zeitgenossiche Stucke von Miklos Kocsar, dem weltbekannten und gefeierten Komponisten von Kammermusik- und Chorliteratur. Die Bande ECHOES NO. 3 (fur drei Horner) und ECHOESNO. 4 (fur vier Horner) sind in Vorbereitung.
SKU: BT.DHP-1053797-140
340 X 250 inches. English-German-French-Dutch.
At last the bass clarinet can shine in this major new solo work for bass clarinet and concert band. This composition begins with a rather mysterious opening passage with atmospheric sounds and effects. The soloist plays-preferably backstage- a number of fragments and melodic patterns, without actually starting the piece. After this somewhat hesitant introduction, a lively, cheerful allegro entitled Con Giocondita (with joy) bursts out. It isswarming with irregular meters, changing tempos, and polyrhythm, through which the listeners (and sometimes also the musicians) constantly get the feeling that they are being tossed around. The second movement brings rest andpeace making careful use of sound colours. The upbeat finale, titled Con Allegria (with cheerfulness), is the most significant movement for the soloist. This is a challenging piece of music that demands great virtuosity, but withthe correct performer it will be a real highpoint in any concert..In een mysterieuze openingspassage zijn atmosferische klanken te horen. Dan barst er een vrolijk allegro los: Con Giocondita (met vreugde). Een intiemer tweede deel, Con Tristezza (met droefheid), brengt rust. Het orkestspeelt hier een belangrijke rol en laat allerlei klankkleuren horen in de dialoog met de solist. De onstuimige finale getiteld Con Allegria (met vrolijkheid) vraagt grote virtuositeit van de solist, het orkest doet opnieuwmeer dan alleen begeleiden. Na een korte cadens worden de drie voorafgaande thema’s in omgekeerde volgorde herhaald en een spannend slot beëindigt dit contrastrijke werk.Freude, Traurigkeit und Fröhlichkeit sind die drei Stimmungen, die Jan Van der Roost in diesem Werk für Bassklarinette und Blasorchester in ebenso vielen Sätzen vertonte. Während die Freude in einem rhythmischen, energiereichen und lebhaften Allegro zum Ausdruck kommt, setzt der zweite, langsamere Satz lyrische und melodische Akzente. Das schnelle Finale ist eine große Herausforderung an den Solisten. Auch das Blasorchester spielt in diesem musikalisch erfinderischen Werk eine weit mehr als begleitende Rolle.Tre Sentimenti (Trois sentiments) pour Clarinette Basse et Orchestre d’Harmonie est un carrefour inédit de sentiments contrastés (l’exubérance, la tristesse, l’allégresse) et d’idées musicales captivantes.
SKU: MN.50-3029
UPC: 688670530296.
Fourchoral pictures suitable as introits or short anthems. Palm Sunday: patient, plodding donkey carrying Jesus into Jerusalem; Maundy Thursday: prayerful petition; Good/plaintive melody with mournful accompaniment; Easter: women trudging to the tomb only to discover that Christ has risen! Most pieces SATB, some a cappella. Good Friday piece is Solo or Unison Voices and Organ.
SKU: BT.DHP-1053797-010
9x12 inches. English-German-French-Dutch.
At last the bass clarinet can shine in this major new solo work for bass clarinet and concert band. This composition begins with a rather mysterious opening passage with atmospheric sounds and effects. The soloist plays - preferably backstage - a number of fragments and melodic patterns, without actually “starting†the piece. After this somewhat hesitant introduction, a lively, cheerful allegro entitled Con Giocondita (with joy) bursts out. It is swarming with irregular meters, changing tempos, and polyrhythm, through which the listeners (and sometimes also the musicians) constantly get the feeling that they are being tossed around. The second movement brings rest andpeace making careful use of sound colours. The upbeat finale, titled Con Allegria (with cheerfulness), is the most significant movement for the soloist. This is a challenging piece of music that demands great virtuosity, but with the correct performer it will be a real highpoint in any concert.. In een mysterieuze openingspassage zijn atmosferische klanken te horen. Dan barst er een vrolijk allegro los: Con Giocondita (met vreugde). Een intiemer tweede deel, Con Tristezza (met droefheid), brengt rust. Het orkestspeelt hier een belangrijke rol en laat allerlei klankkleuren horen in de dialoog met de solist. De onstuimige finale getiteld Con Allegria (met vrolijkheid) vraagt grote virtuositeit van de solist, het orkest doet opnieuwmeer dan alleen begeleiden. Na een korte cadens worden de drie voorafgaande thema’s in omgekeerde volgorde herhaald en een spannend slot beëindigt dit contrastrijke werk.Freude, Traurigkeit und Fröhlichkeit sind die drei Stimmungen, die Jan Van der Roost in diesem Werk für Bassklarinette und Blasorchester in ebenso vielen Sätzen vertonte. Während die Freude in einem rhythmischen, energiereichen und lebhaften Allegro zum Ausdruck kommt, setzt der zweite, langsamere Satz lyrische und melodische Akzente. Das schnelle Finale ist eine große Herausforderung an den Solisten. Auch das Blasorchester spielt in diesem musikalisch erfinderischen Werk eine weit mehr als begleitende Rolle.Tre Sentimenti (Trois sentiments) pour Clarinette Basse et Orchestre d’Harmonie est un carrefour inédit de sentiments contrastés (l’exubérance, la tristesse, l’allégresse) et d’idées musicales captivantes.
SKU: BT.GOB-000917-010
Trimbeka can be translated as “three streams,” and refers to the streams that once flowed around a market town in Holland called Georredijk. Opening with the sinister sounds of the moorland on the edge of the town, we then hear the hustle and bustle of the market itself. A slower middle section is an ode to the beautiful surrounding scenery. Trimbeka. Dat is de historische naam van de Noord-Nederlandse plaats Gorredijk. In het gebied rondom Gorredijk stroomden vroeger drie beken, Trimbeets of wel Trimbeka. Wittrock verwoordt muzikaal de levendigheid van het dorp,de onheilspellendheid van het nabijgelegen moeras en de vrolijkheid van de jaarlijkse markt. Hij schreef dit fascinerende werk ter gelegenheid van het jubileum van muziekvereniging De Vlecke in Gorredijk.Der Titel Trimbeka erinnert an den alten Namen des heutigen Dorfes Gorredijk in Holland, das dieses Werk in Auftrag gab. Trimbeka bedeutet so viel wie drei Bäche“, die einst rund um den Ort flossen. Außerdem lag der Ort an einer wichtigen Wegkreuzung und war damit Marktort. Nach unheilvollen Klängen, die von der Moorlandschaft am Rande des Dorfes zeugen, ist die Geschäftigkeit des Marktes zu hören. Der langsame Mittelteil ist eine Ode an die schöne Landschaft.Trimbeka est une composition qui doit son existence la date anniversaire de l’Orchestre d’Harmonie de Vlecke (Gorredijk - Pays-Bas). Autrefois, Gorredijk était une ville florissante, un grand village vivifiant, situé au carrefour d’importantes routes de liaisons. Des sons inquiétants font allusions aux dangers des tourbières et des marécageux qui parcourent la région, tandis que résonne des rires et cris de joies : la foire annuelle ouvre ses portes. Le mouvement central lent est une ode la beauté du paysage entourant le village.Trimbeka è l’antico nome della cittadina di Gorredijk (Olanda), che ha commissionato il brano. Trimbeka significa “tre ruscelli”, che scorrevano nelle vicinanze della localit . La posizione di Gorredijk erano molto strategica e punto d’incontro dei commerci. La musica è all’inizio vivace, nel segno delle attivit degli abitanti cittadini. La parte centrale, caratterizzata da musica più lenta, è un’ode allo splendido paesaggio di questa parte dell’Olanda.
SKU: FG.55011-832-4
ISBN 9790550118324.
Romantic modernist - or modern romanticist - Lars Karlsson (b. 1953) composed his Clarinet concerto (2013-2015) for Christoffer Sundqvist. Connections with Nordic mythology and clarinettist as a shaman turned to a more traditional concerto concept in three movements. Harmonic and melodic use of fourths and fifths forms an important basis for the musical material.This product includes a solo part and a piano reduction (B4 sized).Orchestral material available on hire from the publisher.Instrumentation:1(+picc).1.1(+cl picc).1−1.2.1.0−1.2−strPercussion: Timpani, gong, piatto sospeso, tamburo piccolo, silofono, campanelli.
SKU: BT.GOB-000917-140
SKU: HL.49030568
ISBN 9790001142588. 9.0x12.0x0.092 inches.
'Stucke fur die Jugend' intends to carefully introduce the piano pupils to new music. At the time that the piano pieces were created in 1927, Joseph Haas sat on the jury at the Donaueschingen Music Festival together with Paul Hindemith. In his typical manner, the pieces looked forward to the future without burning bridges to the past. The stylistic elements to be mentioned in particular are the sparing use of harmonies which give special emphasis to the linear, the staccato, the arpeggios, and the frequently used progressions of fourths. The influence of his teacher Max Reger can be noticed as well from time to time.The rhythmic energies running through the pieces are of great appeal and educational value.This new edition combines the pieces originally published in two volumes in one volume.
SKU: CA.5280400
ISBN 9790007139384.
The fourth volume of the section of the Reger Edition devoted to his organ works comprises, in chronological order, the chorale preludes composed between October 1893 and November 1914 in Wiesbaden, Weiden, Munich, Leipzig, and Meiningen. The composition of chorale preludes accompanied Reger throughout his entire career, even though they were composed primarily in the years from 1900 to 1902 and 1914 (Opus 135a). As almost no other composer at the turn of the century, he dedicated himself to the chorale prelude, composing around 100 works in this genre. Since January 2008, the first scholarly, critical edition of the works of Max Reger (RWA) is being produced at the Max-Reger-Institute, Karlsruhe. Its design as a hybrid edition breaks new ground in the methods of editorial practice. It comprises three areas of Reger's compositional output: Organ works, Lieder and choruses and, for the first time, Max Reger's arrangements of works by other composers. To begin the series, the first seven volumes have been published and contain the organ works, which have been eagerly awaited by many.
SKU: MN.56-0108
UPC: 688670221255. English, Latin. Psalms 142; Jeremiah 3:48, 52, 56.
Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This excerpt is scored for soprano solo, SATB choir and piano. This fourth movement of the larger work is inspired by the extraordinary story of Irena Sendler née Krzyżanowska, a Polish nurse and head of Å»egota, the Polish Council to Aid Jews in the Second World War, whose personal interventions saved the lives of approximately 2,500 Jewish children in the Warsaw Ghetto, smuggling them to safety, acts of humanitarian bravery that eventually caused her arrest and torture by the Gestapo. She is honoured as Righteous Amongst the Nations at Yad Vashem, Jerusalem. The Latin texts of this movement are taken from the Book of Lamentations (“My eye hath run down with streams of water, for the destruction of the daughter of my people. My enemies have chased me and caught me like a bird, without cause…â€) and from Psalm 142, the Old Testament being the meeting-point of Sendler’s Catholicism and the Jewish tradition of those whose lives she saved. Duration 6:19.
SKU: HL.48180798
UPC: 888680852580. 7.0x10.5x0.143 inches.
Etude du Rythme is an educational tool proposed by Georges Dandelot (1895-1975), a French composer, agreeing with the concept that rhythm is the foundation on which melody and harmony are then layered. It was conceived to progressively teach musicians how to deal with complicated rhythms such as those used by Bartok or Ravel. This volume is the fourth out of five composing a step-by-step method to learn and master rhythm in music. It follows on the knowledge acquired in the three first volumes and uses complex combinations of rhythms and melody with binary and tertiary tempos.
SKU: SP.TS71612
ISBN 9781585606924. UPC: 728941716124.
Teach Yourself Guitar published by Santorella Publications is the first in a series including CD that was initially created as an impulse product for a typical independent Guitar & Amp shop. In a market flooded with similar products, we swiftly learned that our edition was more than just a quick fix for the beginner. Although titled, Teach Yourself Guitar, it contains much more than basic instruction. Accordingly, Teach Yourself Guitar has become the standard for countless educators as a private lesson study guide.There are numerous products on the market that falsely proclaim incomprehensible results in just minutes. Unfortunately, none of these products cultivate permanent advancement. Becoming a better musician is only possible through hard work, discipline and dedication.Our challenge was to create an approach to guitar that was easy to understand and followed a logical step by step progression. To truly master the guitar, one must have their eyes set on short-term goals in order to achieve long-term results. We are proud to say that we have met this challenge by providing a proven curriculum to learning the many facets of playing the guitar in this one of a kind guide.Topics covered include:
SKU: HL.14027822
ISBN 9788759877579. English.
Roses Are Falling - 5 songs for Mezzo-Soprano and Piano by Bent Sorensen (1998) with lyrics by Selima Hill. Programme note: Roses are Falling had its origin in a small opera sketch I created with the English poet Selima Hill in just under a week during an opera workshop in the south of England in the autumn of 1998. After the workshop I was asked to make a song cycle out of the material. The opera sketch begins with a woman and a man sitting alone in a room. They have drawn aside from the rest of a large party and they have just decided to finish their love affair. The other guests at the party come into the room, and amidst the crowd the man leaves the room. The women is leftthere alone among all these inconsequential people: alone, singing her own thoughts and torment. The first three songs were all taken from this part. In the fourth song, which was written late, the text is taken from one of Selima Hill's poetry collections. The fifth and last song comes partly from the beginning of the opera, where the man and the women sit alone (she knows what is coming), partly from the end of the story, where despite the gab in time and space they touch each other with their dreams. His voice is heard as a whisper that merges with hers: He takes me in his arms like the moon that turns and take the evening from the sun. Roses are Falling was premiered in 2000 in London by Lore Lixenberg and Domenic Saunders.
SKU: PR.114422520
ISBN 9781491134788. UPC: 680160683833.
After decades as a renowned oboe virtuoso, Katherine Needleman was improvising at the piano during the quarantine summer of 2020 when her ideas congealed in a powerful way. Within a week she completed a 16-minute oboe sonata inspired by the world’s overlapping crises. This riveting three-movement sonata bears the title qua resurget ex favilla, drawn from the Dies Irae text referring to rising back from ashes. Needleman won the International Double Reed Society’s Inaugural Commissioning Competition by entering her own recording of this work, performing as both oboist and pianist from her living room. As a result, IDRS commissioned her to compose a new work for English horn and piano which was premiered at their 2021 Virtual Symposium and programmed for the live 2022 convention.I’m not exactly sure how, in a life consumed by music, I never put anything on paper between the time I stopped at age 10 and the age of 42. I mean, I have some ideas why, but that could easily dissolve into a feminist manifesto or a condemnation of my musical education and the overwhelming culture of American oboe playing, the vehicle through which I’ve made a living my entire adult life. Rather than go there, I will just say this is the first piece I put on paper in my adult life.Six months into COVID-19 lockdown in the US, the world was feeling pretty weird. I had familiarized myself with the music notation program, Sibelius, for recent arranging projects. I had written some mockeries of A.M.R. Barret oboe etudes in response to an assignment I was given (and did appropriately first). When I descended into a dark chorale in the middle of the fourth mockery, I realized I needed a new vehicle. I wrote a short, ridiculous piece for my husband’s birthday, and then, the next night, when improvising at the piano, like I’ve done since I was seven years old, this piece came to me. However, this time, I sketched it out into Sibelius. Over the course of the next week, I found notating and picking permanent, official notes to enter into the computer challenging. But it was all done on paper in seven days, and I took another few for dynamics and articulations thinking they might be useful for someone else, if I would ever be lucky enough for someone else to play it.I don’t have much to say about the music of qua resurget ex favilla itself. It’s a personal statement couched in the feelings of that time. The US presidential election was looming large and ugly in my mind, well, that and the end of life as we knew it, but I also had some bizarre feeling that everything would be okay.
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