| D.R.U.M. Percussion [Classroom Materials] Alfred Publishing
Other Percussion SKU: AP.BMR08009 Discipline, Respect, and Unity Throu...(+)
Other Percussion SKU: AP.BMR08009 Discipline, Respect, and Unity Through Music. Composed by Jim Solomon. Classroom/Pre-School; Orff; Orff School Orchestra. Book. 56 pages. Alfred Music #00-BMR08009. Published by Alfred Music (AP.BMR08009). ISBN 9780769268385. UPC: 029156954913. English. Kids love drums! The sight, sound, power, and feel are tremendous motivators for many students. D.R.U.M. is an acronym for Discipline, Respect and Unity Through Music. The original D.R.U.M. group was formed at author Jim Solomon's elementary school in 1995 to provide an ensemble experience for students not involved in any of the regular music groups. The group concept is designed to stress teamwork and self-discipline while learning these intensive percussion ensembles built on music from the United States, Brazil, Africa, and China. Useful for general music classes and special groups, this book is a terrific learning tool with unlimited potential! $19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Language of the Masters Percussion Sher Music Company
Transcriptions and Etudes of 10 Great Latin Percussion Artists. Composed ...(+)
Transcriptions and Etudes of 10 Great Latin Percussion Artists. Composed by Michael Spiro and Michael Coletti. Method book (spiral-bound) and online audio. 127 pages. Published by Sher Music Company (SR.LOTM).
$26.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| World Beat Rhythms: Beyond the Drum Circle - Cuba Percussion [Sheet music + CD] Hal Leonard
For Drummers, Percussionists and All Musicians. By Maria Martinez and Ed Roscett...(+)
For Drummers, Percussionists and All Musicians. By Maria Martinez and Ed Roscetti. Percussion. Book and CD Package. Size 9x12 inches. 64 pages. Published by Hal Leonard.
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| World Beat Rhythms: Beyond the Drum Circle - Brazil Percussion [Sheet music + CD] Hal Leonard
For Drummers, Percussionists and All Musicians. By Maria Martinez and Ed Roscett...(+)
For Drummers, Percussionists and All Musicians. By Maria Martinez and Ed Roscetti. Percussion. Book and CD Package. Size 9x12 inches. 72 pages. Published by Hal Leonard.
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Larry Neeck: Concerto for Drum Set and Concert Band Concert band, Percussion [Score and Parts] - Intermediate C.L. Barnhouse
By Larry Neeck. Solo. Concert Band. Spotlight. Level: Grade 3.5. Score and set o...(+)
By Larry Neeck. Solo. Concert Band. Spotlight. Level: Grade 3.5. Score and set of parts. Composed 2005. Duration 0:06:10. Published by C.L. Barnhouse.
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| Prelude #3 [Textbook] Innovative Percussion
By Christopher Deane. Timpani Solo. For timpani solo with percussion (4 Timpani,...(+)
By Christopher Deane. Timpani Solo. For timpani solo with percussion (4 Timpani, Gongkagui, Songba, Djun-Djun (or sub Cowbell, Small Tom-tom, Kick Drum respectively)). Book. Published by Innovative Percussion
$17.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Murray Spivack: A Lesson with Louie Bellson Drums [DVD] Alfred Publishing | | |
| Step & Stomp 2 [Sheet music + CD] Hal Leonard
Choral (Book and CD pak) SKU: HL.9971567 Building Character and Self E...(+)
Choral (Book and CD pak) SKU: HL.9971567 Building Character and Self Esteem One Step at a Time. Composed by John Jacobson. ExpressiveArts. Choreography, Classroom Resources, Collection, Elementary, Motivational. Softcover with CD. 48 pages. Published by Hal Leonard (HL.9971567). ISBN 9781617807275. UPC: 884088558857. 8.5x11 inches. Build character and self-esteem with raps and percussive dance that will inspire and motivate! The Master of Moves - John Jacobson is back with more groovin' step and stomp moves, designed for upper elementary and middle school fun! Learn about good citizenship, and what it takes to show courage and respect. Show others the importance of fairness and taking responsibility, and sticking up for one another. Be the kind of person others can count on, and show them you care - all while groovin' to the beat! The Book/CD provides the character raps in printed format and hip recordings on the enclosed CD, with and without the rappers! For additional visual learning, a separate DVD features John Jacobson demonstrating all the moves - sometimes all at once! For extra value, purchase all this great material in one Classroom Kit! Let's get movin' - one step at a time! Available separately: Book/CD, DVD, Classroom Kit (Book/CD & DVD). Suggested for grades 4-8. $24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Hobbit: An Unexpected Journey, Selections from String Orchestra [Score] - Easy Alfred Publishing
(I. The Adventure Begins / II. A Very Respectable Hobbit / III. Erebor). By Howa...(+)
(I. The Adventure Begins / II. A Very Respectable Hobbit / III. Erebor). By Howard Shore. Arranged by Michael Story and Michael Story. Orchestra. Score; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Movie. Grade 2.5. 20 pages. Published by Alfred Music Publishing
$9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Hobbit: An Unexpected Journey, Selections from String Orchestra [Score and Parts] - Easy Alfred Publishing
(I. The Adventure Begins / II. A Very Respectable Hobbit / III. Erebor). By Howa...(+)
(I. The Adventure Begins / II. A Very Respectable Hobbit / III. Erebor). By Howard Shore. Arranged by Michael Story and Michael Story. Orchestra. Part(s); Score; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Movie. Grade 2.5. 160 pag
$61.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gannin Arnold: 5 World Class Drummers Drums [DVD] Alfred Publishing
(Featuring Taylor Hawkins, Jimmy Chamberlain, Simon Phillips, Terry Bozzio, and ...(+)
(Featuring Taylor Hawkins, Jimmy Chamberlain, Simon Phillips, Terry Bozzio, and Gary Novak). By Gannin Arnold. For Drumset. Artist/Personality; DVD; Method/Instruction; Percussion - Drum DVD. Pop; Rock. Published by Alfred Music Publishing
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Stadium Hit Mix Marching band [Part] Hal Leonard
Aux. Percussion. Easy Contemporary Marching Band. 16 pages. Published by Hal Leo...(+)
Aux. Percussion. Easy Contemporary Marching Band. 16 pages. Published by Hal Leonard.
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| Rockschool Drums Grade 4 Drums [Sheet music + Audio access] - Intermediate Rock School Limited (RSL)
Book/Online Audio. By Various. Percussion. Instruction, Method. Softcover Au...(+)
Book/Online Audio. By Various.
Percussion. Instruction,
Method. Softcover Audio
Online. 64 pages. Rockschool
#RSK200064US. Published by
Rockschool
$26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Magnificat Choral SATB [Vocal Score] Carus Verlag
(The Groovy Version of OX). By Christoph Schonherr. Edited by Klaus Konrad Weige...(+)
(The Groovy Version of OX). By Christoph Schonherr. Edited by Klaus Konrad Weigele. For Solo, SATB Choir, 2 Trumpet/Flugelhorn, Sax/Flute, 2 Violin, Viola, Cello, Pianoforte (Keyboard), Electric Bass (Contrabass), Percussion. Magnificats, Advent, Christmas. Choral score. Language: Latin. Composed 2004/2005. 28 pages. Duration 40 min. Published by Carus Verlag
$12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Alfred's Beginning Drumset Method - Book and CD
Drums [Sheet music + Audio access] - Beginner Alfred Publishing
Book and digital audio. Artist/Personality; Method/Instruction; Percussion - Dru...(+)
Book and digital audio. Artist/Personality; Method/Instruction; Percussion - Drumset Method or Collection. Alfred's Drumset Method. Instructional and Play Along. Instructional book and digital audio. With drum notation, instructional text, instructional photos and illustrations. 48 pages. Alfred Music #00-16926. Published by Alfred Music
$21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bach to the Future - Intermediate Wilhelm Hansen
Score Orchestra; Percussion - Grade 4 SKU: HL.14003062 Percussion and ...(+)
Score Orchestra; Percussion - Grade 4 SKU: HL.14003062 Percussion and Orchestra Score. Composed by Per Nø, Per Norgard, rd, and rgå. Music Sales America. Classical. Set. 134 pages. Duration 1200 seconds. Edition Wilhelm Hansen #KP00615. Published by Edition Wilhelm Hansen (HL.14003062). ISBN 9788759870075. 12.0x16.5x0.7 inches. Danish. Per Norgard BACH TO THE FUTUREFor many years I have been specially fascinated by three of the preludes of Bach's Well-tempered Piano, and I wish with this concerto-version for percussion-duo and orchestra to highlight some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history, that makes it possible to let certain germs in an earlier period unfold into new, but not heterogenious, dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several years collaboration with Uffe Savery and Morten Friis (Safri-Duo), as well in original compositions - (Resonances, Repercussion, Resume in EchoZone I-III) as in arrangements of the 3 Bach preludes, preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code, allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a 'palimpsest' containing as well the old as the new musical tale simultaneously. Later in the movement, this singleline is multiplied by the, till then discrete, but permanently pervading, proportion - throughout the piece - very close to the 'Golden Section'(= 3:5:8.t.i:8 before repetition, 5 before starting anew from the deepest tone, 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages, but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic pattern = 6:4:3:2:3:4:6 - as an hourglass-shaped timeshape - inspired me by the closeness of this pattern to a shape within the infinity-drumming of my invention, called Wide-Fan and Narrow-Fan , referring to pattern consisting of 8:4:2:1:2:4:8, the familiarity with the above - quoted one being obvious. New and old elaborations of this pattern-pair permeates the movement, especially since the Safri-Duo by their performance of my Repercussion had augmented my appetite for including this idiom in a wider context:III Movement: Without the existence of the d-minor-prelude I doubt that I would have dared to write a work like this, since it is the inexhaustible, rare quality and pecularity of this piece, which has stimulated my feeling of wonder and 'modernity' (or: eternity!) of this piece, of which I know of no equal in its special respect: the perpetual ambiguity of melodic foothold in the rhythmic ostinato of a broken descending triad, co. $82.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto For Flute And Orchestra Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flu...(+)
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone 1, Trombone 2, Trombone 3, Trumpet 1, Trumpet 2, Trumpet 3 and more. SKU: PR.41641515L Composed by Behzad Ranjbaran. Premiered by the Philadelphia Orchestra, Yannick Nezet-Seguin, Music Director, Jeffrey Khaner, flute; Verizon Hall, Philadelphia. Contemporary. Large Score. With Standard notation. Composed 2013. Duration 28 minutes. Theodore Presser Company #416-41515L. Published by Theodore Presser Company (PR.41641515L). UPC: 680160621750. The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice. In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions. In writing my flute concerto, I aimed not only to highlight the modern flautist's ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages. Two prominent characters permeate the first movement of my concerto. They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively. The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra. Apart from these two characters there are moments of mystery, comedy and the grotesque, among others. In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors. The solo flute is left out in an agitated middle section that references the first movement. In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp. The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute. Some of the materials from the earlier movements are presented again with joyous character. The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy. The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy. $160.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 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 | | |
| Okuyama Ni Shawnee Press
Choral, Flute, Percussion (Studiotrax CD) SKU: HL.35028248 (In the Mou...(+)
Choral, Flute, Percussion (Studiotrax CD) SKU: HL.35028248 (In the Mountains Deep) Together We Sing Series. Composed by Ruth Morris Gray. Choral. Concert, Contest, Festival. CD only. Published by Shawnee Press (HL.35028248). UPC: 884088635084. 5x5 inches. This elegant 12th-century Japanese text is set to original music with respect to the Japanese sound and culture. Ethereal and refined with flute and percussion, the singer sings of a wandering stag, deep in the mountains, stepping through crimson leaves of autumn. Available: 3-Part Mixed; 2-Part; StudioTrax CD. $26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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