SKU: CF.FPS60F
ISBN 9780825864445. UPC: 798408064440. 9 X 12 inches. Key: C minor.
Featuring a lovely and appropriate use of mallet percussion instruments, especially bells and other delicate members of the percussion section, Northern Lights is evocative, melodically distinguished and cleverly scored to help a young band sound its best. The contrast between the natural minor of the woodwind melody at the beginning and the grander, major mode brass theme introduced later is nicely maintained throughout this very effective piece.
SKU: HL.755810
UPC: 888680091835. 4.0x5.5x0.99 inches.
The word castanet got its origins from castaina, the Spanish word for chestnut. Castanets are a percussion instrument with a long history in Roman, Latin American and Spanish cultures. They were popularized and most often used by Flamenco dancers; castanet performances usually included pairs of the shell-like instruments being played together. The rhythmic clacking sounds created by each pair and the dancer's movements along to the clicks and snaps made watching of these performances very delightful. IQ Plus Castanets are excellent instruments for use by children in the classroom to contribute to a musical situation, especially involving rhythm and dance. They will teach your child about creating the rhythmic foundations on which any type of music is formed. The castanet is often and most effectively played in pairs. This simple, yet sturdy instrument produces bright clapping sounds, a perfect instrument for your child's first experience and experiments in music.
SKU: CF.CM9717
ISBN 9781491160961. UPC: 680160919567. Psalm 91:4-5.
The Lord will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart. What a blessing it is, especially during times of distress or uncertainty, to know that we aren't alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, It's okay. I've got you. It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong. The first word - scapulis - is translated as pinions. On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section - mm. 1-20 - encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort. In mm. 21-30 we have a new section where uncertainty grows. At this point the text - and you will find refuge under his wings - is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs: Alto I - Measure 22 the Ab in pennis, m. 26 the Bb in sperabis Soprano II - Measure 23 the A natural in pennis, m. 29 the C in sperabis Soprano I - Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress. The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase. The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance - Felix Mendelssohn's Lift Thine Eyes.The Lord will overshadow you with his pinions,and you will find refuge under his wings.His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart.What a blessing it is, especially during times of distress or uncertainty, to know that we aren’t alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, “It’s okay. I’ve got you.†It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong.The first word – scapulis – is translated as “pinions.†On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section – mm. 1-20 – encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort.In mm. 21-30 we have a new section where uncertainty grows. At this point the text – and you will find refuge under his wings – is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs:Alto I – Measure 22 the Ab in pennis, m. 26 the Bb in sperabisSoprano II – Measure 23 the A natural in pennis, m. 29 the C in sperabisSoprano I – Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress.The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase.The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance – Felix Mendelssohn’s Lift Thine Eyes.
SKU: HL.1117963
UPC: 847986002044. 6.75x10.25x4.0 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Two switchable sound characteristics, AIR and FLAT The 140 AIR has two sound characteristics, AIR and FLAT. AIR delivers an open, sparkling character which is the right choice if you need great sound without spending time on post-production. FLAT provides a linear frequency response for âÂÂas-it-isâ reproduction of drums, strings, acoustic guitars, and choirs. It is perfect if you aim for realistic sonic images. Excellent transient response to capture the natural sound of your instruments. Transients are the DNA of your instrument's sound. To retain the natural musicality of your instruments, the LCT 140 AIR delivers an excellent transient response. Durable and light aluminum housing The LCT 140 AIR is very durable yet lightweight thanks to its CNC'ed aluminum housing. Positioning and setup become easy tasks. What's in the box? The 140 AIR comes with a snap-in mic clip, a transport bag, and a windscreen.
SKU: HL.1753725
UPC: 850035900017. 7.25x12.0x5.5 inches.
In studios and on live stages around the world, the R-121 is the sound of electric guitars... and so much more! The R-121 is Royer's flagship microphone â the iconic, radically engineered ribbon mic that put modern ribbons on the map in the 1990s has changed the meaning of ânatural soundâ for engineers and musicians around the world. The undisputed #1 first-call ribbon microphone for electric guitars, R-121s are equally well suited for trumpets and all brass instruments, drum rooms, percussion, piano, and much more. The R-121 delivers a warm, extremely natural sound pickup in a compact, light-weight, high-output package that's easy to position, and it handles massive SPLs famously (160dB #1kHz). R-121s are built to use on guitar ramps from small combos to wide open high-wattage heads, trumpets from close-up muted to blow-your-hardest blaring, drums, and other high SPL applications. But its nuanced, natural sound pickup is also beautiful on quiet instruments like fingerpicked acoustic guitars, harp, flute, light percussion and others. The R-121 is warm, smooth and musical, giving phenomenal results on a wide variety of instruments.
SKU: AP.40411S
UPC: 038081449883. English. Traditional British Folk Song.
A delightful arrangement of this captivating tune that is easy to play! Teaching opportunities abound, including reinforcing C natural on the A string, F natural on the E string, and contrasting staccato and legato playing. This title is available in MakeMusic Cloud.
SKU: AP.47838
ISBN 9781470641696. UPC: 038081548166. English.
Teach voice with the popular Suzuki Voice School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Voice School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki voice teacher to develop their potential as a musician and as a person.This Suzuki voice method book, Volume 1 features: Engravings in a 9 x 12 format * Songs for children * Songs for parents.Titles: Twinkle, Twinkle Little Star (Folk Song) * Cindy Went to Shower (Folk Song) * Circle Song (Folk Song) * Honeybee (Folk Song) * Mary Had a Little Lamb (Folk Song) * Cuckoo (Folk Song) * The Bunny Family (M.R. Väkevä) * Lightly Row (Folk Song) * A Cat and a Giant (Folk Song) * Long, Long Ago (T.H. Bayly, Lyrics by M. Louhi) * The Fox is Crying (Folk Song) * Cradle Song - Mozart's Lullaby (F. Fleischmann) * Squirrel Song (P.J. Hannikainen) * A Guess (Folk Song) * Wild Mice Song (Folk Song) * Baking Song (Folk Song) * Traffic Lights (Folk Song) * The Ski Jumping Bunny Boy (G. Malmstén) * Goodbye Song (Folk Song) * Rockabye Baby (Folk Song) * Zulu Lullaby (Folk Song) * Iroquois Lullaby (Folk Song) * All the Pretty Little Horses (Folk Song).
About Suzuki Method
The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.
SKU: AP.47837
ISBN 9781470641689. UPC: 038081548159. English.
Teach voice with the popular Suzuki Voice School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Voice School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki voice teacher to develop their potential as a musician and as a person.This Book and CD is integral for Suzuki voice lessons. This new Volume 1 features: * Engravings in a 9 x 12 format * Songs for children * Songs for parents * CD with piano accompaniments performed by Marjaana Merikanto.Titles: Twinkle, Twinkle Little Star (Folk Song) * Cindy Went to Shower (Folk Song) * Circle Song (Folk Song) * Honeybee (Folk Song) * Mary Had a Little Lamb (Folk Song) * Cuckoo (Folk Song) * The Bunny Family (M.R. Väkevä) * Lightly Row (Folk Song) * A Cat and a Giant (Folk Song) * Long, Long Ago (T.H. Bayly, Lyrics by M. Louhi) * The Fox is Crying (Folk Song) * Cradle Song - Mozart's Lullaby (F. Fleischmann) * Squirrel Song (P.J. Hannikainen) * A Guess (Folk Song) * Wild Mice Song (Folk Song) * Baking Song (Folk Song) * Traffic Lights (Folk Song) * The Ski Jumping Bunny Boy (G. Malmstén) * Goodbye Song (Folk Song) * Rockabye Baby (Folk Song) * Zulu Lullaby (Folk Song) * Iroquois Lullaby (Folk Song) * All the Pretty Little Horses (Folk Song).
SKU: AP.47842
ISBN 9781470641702. UPC: 038081548180. English.
Teach voice with the popular Suzuki Voice School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Voice School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki voice teacher to develop their potential as a musician and as a person.This Suzuki voice method, Volume 1 accompaniment book features: * Engravings in a 9 x 12 format * Songs for children * Songs for parents.Titles: Twinkle, Twinkle Little Star (Folk Song) * Cindy Went to Shower (Folk Song) * Circle Song (Folk Song) * Honeybee (Folk Song) * Mary Had a Little Lamb (Folk Song) * Cuckoo (Folk Song) * The Bunny Family (M.R. Väkevä) * Lightly Row (Folk Song) * A Cat and a Giant (Folk Song) * Long, Long Ago (T.H. Bayly, Lyrics by M. Louhi) * The Fox is Crying (Folk Song) * Cradle Song - Mozart's Lullaby (F. Fleischmann) * Squirrel Song (P.J. Hannikainen) * A Guess (Folk Song) * Wild Mice Song (Folk Song) * Baking Song (Folk Song) * Traffic Lights (Folk Song) * The Ski Jumping Bunny Boy (G. Malmstén) * Goodbye Song (Folk Song) * Rockabye Baby (Folk Song) * Zulu Lullaby (Folk Song) * Iroquois Lullaby (Folk Song) * All the Pretty Little Horses (Folk Song).
SKU: BT.AMP-340-010
9x12 inches. English-German-French-Dutch.
Philip Sparke entitled this descriptive work in honour of America’s natural wonders with lines from the hymn America the Beautiful: O Beautiful the Spacious Skies is as light as a spring sky, From Sea to Shining Sea describes calm,flowing and bubbling waters, while in the third movement, For Purple Majestic Mountains, the glowing hues of the mountains are set to music.Philip Sparke ontleende de titels van de drie delen van dit progrmamatische werk over Amerikas natuurschoon aan regels uit het lied America the Beautiful: O beautiful for spacious skies is licht als een lentehemel, From sea to shining seaverklankt het stromende water in beken, rivieren en meren, terwijl in het derde deel, For purple mountain majesties, beelden worden opgeroepen van een indrukwekkende bergketen.Philip Sparke betitelte sein deskriptives Werk zu Ehren von Amerikas Naturwundern mit Zeilen aus dem Lied America the Beautiful: O Beautiful for Spacious Skies ist leicht wie ein Frühlingshimmel, From Sea to Shining Sea beschreibtruhende, fließende und sprudelnde Gewässer, während im dritten Satz, For Purple Mountain Majesties, die Erhabenheit der purpurrot leuchtenden Berge vertont ist.Écrite comme un triptyque, Of Skies, Rivers, Lakes and Mountains s’ouvre avec des figures en filigrane jouées par les bois pour recréer la lumière et la légèreté d’un ciel printanier. Plein de vivacité, le deuxième tableau évoque lesfrémissements de l’eau des ruisseaux, des rivières et des lacs. Le dernier mouvement, lent et majestueux, dépeint une impressionnante chaîne de montagnes.Philip Sparke ha intitolato la sua opera descrittiva in onore delle meraviglie naturali dell’America rifacendosi a versi della canzone America the Beautiful. O Beautiful the Spacious Skies è leggera come il cielo di primavera. From Sea toShining Sea descrive le acque silenziose, i corsi d‘acqua zampillanti, mentre nel terzo movimento della sinfonia For Purple Majestic Mountains, viene tradotta in musica la maestosit delle montagne.
SKU: 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).
SKU: CF.FAS21
ISBN 9780825853067. UPC: 798408053062. 8.5 X 11 inches. Key: B minor.
Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. -Larry Clark New York, NY 2003.Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. -Larry Clark New York, NY 2003.Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece.As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.-Larry ClarkNew York, NY 2003.
SKU: BT.AMP-340-140
Of Skies, Rivers, Lakes and Mountains was commissioned by the Northern California Band Directors' Association to honour their 50th Anniversary in 2012. The first performance was given by the Association’s 2012 Honor Band, conducted by Dr Royce Trevis, in the Harlen Adams Theater, California State University, Chico, California, on 4th February that year.The brief for the commission asked for a piece that celebrated the United States’ natural resources and composer Philip Sparke turned to Katharine Lee Bates’s lyrics for the song America the Beautiful, of which the first and last verses are:O beautiful for spacious skies,For amber waves of grain,For purplemountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaThe three movements each take their title from these verses:1. O Beautiful for Spacious Skies: Opening with filigree woodwind figuring, this movement aims to recreate the light and lightness of a spring sky, birds and blossoms floating on gentle breezes.2. From Sea to Shining Sea: A vivacious celebration of water bubbling in streams, rivers and lakes.3. For Purple Mountain Majesties: A slow final movement representing an awe-inspiring range of mountains Of Skies, Rivers, Lakes and Mountains is geschreven in opdracht van de Northern California Band Directors' Association, ter gelegenheid van het vijftigjarig jubileum van deze organisatie, dat in 2012 werd gevierd. De première werd op 4 februari van dat jaar onder leiding van dirigent Royce Trevis uitgevoerd door de Association’s 2012 Honor Band, in het Harlen Adams Theater, California State University, Chico, Californië.De componist kreeg het verzoek een werk te schrijven dat een lofzang zou zijn op alles wat de natuur van Verenigde Staten te bieden heeft. Philip Sparke gebruikte de tekst van Katharine Lee Bates voor de song America the Beautiful, waarvan heteerste en laatste couplet als volgt luiden:O beautiful for spacious skies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDe titels van de drie delen van de compositie zijn ontleend aan deze coupletten:1. O Beautiful for Spacious Skies: Dit deel, dat opent met verfijnde figuren in het hout, is een poging om het licht en de lichtheid van een lentehemel te herscheppen, met vogeltjes en bloesems die wiegen in een milde bries.2. From Sea to Shining Sea: Een levendige ode aan water dat stroomt in beken, rivieren en meren3. For Purple Mountain Majesties: Een langzaam laatste deel waarin het beeld wordt opgeroepen van een indrukwekkende bergketen Of Skies, Rivers, Lakes and Mountains wurde von der Northern California Band Director’s Association (Dirigentenverband Nord-Kaliforniens) zum 50-jährigen Jubiläum im Jahr 2012 in Auftrag gegeben. Die Uraufführung mit dem Ehrenorchester 2012 des Verbands fand am 4. Februar desselben Jahre unter der Leitung von Dr. Royce Trevis im Halen Adams Theater an der California State University, Chico Kalifornien) statt.Der Kompositionsauftrag verlangte ein Stück zu Ehren der Reichtümer der Natur Amerikas. Der Komponist Philip Sparke wählte daher die erste und letzte Strophe aus Katherine Lee Bates’ Text zum Lied America the Beautiful, die da lauten:O beautiful for spaciousskies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDie Titel der drei Sätze stammen alle aus diesen Strophen:1. O Beautiful for Spacious Skies (O wunderschön, der weite Himmel): Mit filigranen Figuren im Holz beginnend, will dieser Satz das Licht und die Leichtigkeit des Frühlingshimmels, die Vögel und von einer sanften Brise getragene Blüten zum Leben erwecken.2. From Sea to Shining Sea (Vom Meer zum strahlenden Meer): Mit lebhafter Musik wird hier in Flüssen, Bächen und Seen sprudelndes Wasser zelebriert.3. For Purple Mountain Majesties (Die Erhabenheit der purpurrot leuchtenden Berge): Der langsame Schlusssatz richtet den Blick auf ehrfurchtgebietende Gebirge. Of Skies, Rivers, Lakes and Mountains est une commande de la Northern California Band Directors' Association pour marquer son 50e anniversaire, en 2012. Cette œuvre a été créée par le Honor Band 2012 de l’Association sous la direction du Dr Royce Trevis au thé tre Harlen Adams de l’université de Californie Chico, Californie, le 4 février de cette même année.La commande stipulait que la pièce devait célébrer les ressources naturelles des États-Unis. Le compositeur Philip Sparke s’est donc inspiré des paroles de Katharine Lee Bates pour la chanson America the Beautiful, dont voici les premier et dernier couplets :O beautiful for spacious skies,For amberwaves of grain,For purple mountain majestiesAbove the fruited plain!(Oh belle pour tes vastes cieux,Tes vagues de grains ambrés,La majesté de tes montagnes violettesDominant des plaines fruitées !)America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining sea(Amérique ! Amérique !Dieu t’a donné sa gr ceCouronnée de la fraternité des hommesDe la mer la mer étincelante)Les trois mouvements empruntent chacun leur titre ces couplets :1. O Beautiful for Spacious Skies: S’ouvrant avec des figures en filigrane jouées par les bois, ce mouvement cherche recréer la lumière et la légèreté d’un ciel printanier, d’oiseaux et de fleurs flottant au gré d’une douce brise.2. From Sea to Shining Sea: Plein de vivacité, ce mouvement évoque les frémissements de l’eau des ruisseaux, des rivières et des lacs.3. For Purple Mountain Majesties:Le dernier mouvement, lent et majestueux, dépeint une impressionnante chaîne de montagnes.
SKU: PR.114418850
ISBN 9781491113981. UPC: 680160667895.
Originally for Clarinet and Piano, Robert Schumann’s deep yet delightful set of three FANTASIESTÜCKE, Op. 73 has long been a staple of the repertoire, with transcriptions occasionally seeping into other instruments’ libraries as well. The work has been elegantly adapted (into a new key) for Flute and Piano by Mark Sparks, principal flutist of the Saint Louis Symphony.Notes on the Edition, by Mark SparksThe remarkable and imaginative Fantasiestücke, Op. 73, were originally composed for clarinet and piano during 2 days in February 1849. Schumann indicated that the pieces could also be played on cello or viola. This arrangement for flute and piano has been transposed from the original key of A major to C major in order to limit octave transfer and facilitate performance, while still preserving the original, rather darker-hued timbral character of the work.Flutists will delight in the extremely lyrical and evocative nature of the writing, especially the capricious middle section of the second piece, “Lebhaft, leicht (Lively, light),†and the brilliant, effusive third piece, “Rasch und mit Feuer†(Quick and with fire). The virtuosic practice of repeating the eighth-note in the opening melody of the final piece, adopted from editions for cello, is also well-suited to the flute.Phrases of appropriate length, relatively few potential balance problems, and the accessibility of the pieces for all levels of performers and audiences make the Fantasiestücke a natural, pleasant, and versatile addition to the flutist’s recital repertoire.
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