| Basic Chromatic Harmonica Harmonica [Sheet music + Audio access] - Beginner Mel Bay
Full-Size Edition. Composed by Phil Duncan. Saddle- stitch. Qwik Guide. 36 pag...(+)
Full-Size Edition. Composed
by Phil Duncan. Saddle-
stitch. Qwik Guide. 36
pages. Published by Mel Bay
Publications, Inc
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fun with the Harmonica Harmonica - Beginner Mel Bay
Harmonica - Beginning SKU: MB.93305M Composed by William Bay. Saddle-stit...(+)
Harmonica - Beginning SKU: MB.93305M Composed by William Bay. Saddle-stitched, Harmonica Diatonic, Harmonica: Diatonic, Children and Young Beginner, Tunebooks, Method, Folk. Fun With. Style. Book and online audio/video. 32 pages. Mel Bay Publications, Inc #93305M. Published by Mel Bay Publications, Inc (MB.93305M). ISBN 9780786689736. 8.75 x 11.75 inches. A great beginners book for learning diatonic harmonica performance. Contains 42 songs, all easy and fun to play. Diatonic, Blues, and Chromatic harmonica stylings are all contained in this book. Also includes a section teaching the rudiments of music. The book teaches tone variance, bend, vibrato, and tremolo techniques. Includes access to online audio and video. Video is 67:23 minutes in length. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Basic Chromatic Harmonica Harmonica [Sheet music + CD] - Easy Mel Bay
by Phil Duncan. For chromatic harmonica. Qwik Guide Series. All styles, method. ...(+)
by Phil Duncan. For chromatic harmonica. Qwik Guide Series. All styles, method. Level: Beginning. Book/CD Set. Method. Size 5.5x8. 32 pages. Published by Mel Bay Pub., Inc.
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Make Your Harmonica Work Better Harmonica Centerstream
(How to Buy, Maintain and Improve the Harmonica from Beginner to Expert) Written...(+)
(How to Buy, Maintain and Improve the Harmonica from Beginner to Expert) Written by Douglas Tate. Instructional book. 53 pages. Published by Centerstream Publications.
$9.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Favorite Harmonica Songs Harmonica [Sheet music + Audio access] - Easy Mel Bay
Composed by Phil Duncan. Saddle-stitched. Qwik Guide. Book and online audio....(+)
Composed by Phil Duncan.
Saddle-stitched. Qwik Guide.
Book and online audio. 40
pages. Published by Mel Bay
Publications, Inc
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Hal Leonard Complete Harmonica Method - Chromatic Harmonica (Harmonica) Harmonica [Sheet music + Audio access] Hal Leonard
Composed by Bobby Joe Holman. Instructional. Instruction. Softcover Audio Online...(+)
Composed by Bobby Joe Holman. Instructional. Instruction. Softcover Audio Online. 64 pages. Published by Hal Leonard
(1)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fun with the Harmonica (Book CD DVD) Harmonica [Sheet music + CD + DVD] - Easy Mel Bay
By William Bay. For Harmonica (All). Method. Fun With. All Styles. Level: Beginn...(+)
By William Bay. For Harmonica (All). Method. Fun With. All Styles. Level: Beginning. Book CD DVD. Size 8.75x11.75. 32 pages. Published by Mel Bay Publications, Inc.
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Alfred's Teach Yourself to Play Harmonica Harmonica Alfred Publishing
(For Beginners of All Ages). By Steven Manus. For Harmonica. Method/Instruction;...(+)
(For Beginners of All Ages). By Steven Manus. For Harmonica. Method/Instruction; Miscellaneous Instrument - Harmonica. Teach Yourself Series. Beginner. Book and Harmonica. 160 pages. Published by Alfred Music Publishing
$16.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Basic Blues Chromatic for the Diatonic Player Harmonica [Sheet music + CD] - Intermediate Mel Bay
Level 3, Complete Blues Harmonica Lesson Series. By David Barrett. For Harmonica...(+)
Level 3, Complete Blues Harmonica Lesson Series. By David Barrett. For Harmonica (Chromatic). Method. Harmonica Masterclass Lesson. Blues. Level: Intermediate. Book/CD Set. Size 8.5x11. 44 pages. Published by Mel Bay Publications, Inc.
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Basic Blues Chromatic for the Diatonic Player, Level 3 Harmonica [Sheet music + Audio access] - Easy Mel Bay
Complete Blues Harmonica Lesson Series. Composed by David Barrett. Saddle- sti...(+)
Complete Blues Harmonica
Lesson Series. Composed by
David Barrett. Saddle-
stitched. Book and online
audio. 44 pages. Published
by Mel Bay Publications, Inc
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 100 Authentic Blues Harmonica Licks Harmonica [Sheet music + Audio access] Hal Leonard
Harmonica. Instruction, Blues Instruction. Softcover Audio Online. 80 pages. Pub...(+)
Harmonica. Instruction, Blues Instruction. Softcover Audio Online. 80 pages. Published by Hal Leonard
$21.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Exploring 3rd Position, Level 2 Harmonica [Sheet music + Audio access] - Intermediate/advanced Mel Bay
(Complete Blues Harmonica Lesson Series). Composed by David Barrett. For harmoni...(+)
(Complete Blues Harmonica Lesson Series). Composed by David Barrett. For harmonica. Saddle-stitched. Harmonica Masterclass Lesson. Intermediate-Advanced. Book and online audio. Published by Mel Bay Publications, Inc
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Exploring 3rd Position Harmonica [Sheet music + CD] - Intermediate/advanced Mel Bay
Level 2, Complete Blues Harmonica Lesson Series. By David Barrett. For Harmonica...(+)
Level 2, Complete Blues Harmonica Lesson Series. By David Barrett. For Harmonica (Diatonic). Method. Harmonica Masterclass Lesson. Blues. Level: Intermediate-Advanced. Book/CD Set. Size 8.5x11. 40 pages. Published by Mel Bay Publications, Inc.
(1)$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Alfred's Basic Piano Course - Fun Book Complete Levels 2 and 3 Piano solo [Sheet music] - Easy Alfred Publishing
For the Later Beginner. By Willard A. Palmer, Morton Manus, and Amanda Vick Leth...(+)
For the Later Beginner. By Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Piano Method. Alfred's Basic Piano Library. Book. 48 pages. Published by Alfred Publishing.
$8.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 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 | | |
| Jazz Dream Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Perform...(+)
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Performance Score. 4 pages. Duration 4 minutes. Theodore Presser Company #144-40729. Published by Theodore Presser Company (PR.144407290). ISBN 9781491135150. UPC: 680160687008. Jazz luminary Ali Ryerson traces a unique and personal artistic path in this solo work. With an engaging form reminiscent of jazz charts (a dreamy introduction, a catchy, swinging head, and improvisatory-feeling 12-bar choruses), Ryerson’s music pays deeply-felt homage to Charlie Parker and other jazz greats, while maintaining an organic connection to the lineage of unaccompanied woodwind music in the classical tradition. Classical players will gain insight into jazz harmony, rhythm, and expression as they learn this knockout recital piece, while Ryerson fans in the jazz world gain an image of her musical mind in this fully-notated composition. Jazz Dream, a jazz-inspired solo flute piece, was commissioned by Claudia Anderson for her Glass Ceilings project. Claudia once told me that playing jazz flute has been one of her musical ambitions. I daresay her performance of JD could very well break a glass ceiling of her own!Moved by the events of 2020, composing Jazz Dream became my way of honoring my musical heroes from the Black community, namely the jazz musicians who created this music and truly broke glass ceilings. As jazz shares its origins with the blues, both genres having originated in the African-American community, I decided on a 12-bar blues form as the framework for the piece.The opening theme gently draws us into a dream-like state, with a melody in slow motion and lines that linger. When the REM cycle kicks into gear, there’s an abrupt rhythmic shift that leads straight into a swingin’ blues. Idiomatic jazz rhythms abound, with blue notes galore – the tension notes that virtually define the sound of both the blues and jazz (i.e. the flatted third, fifth, and seventh notes of a scale in place of the expected major intervals).After several groovin’ choruses of a 12-bar blues in B(, often played as if the soloist is improvising, the blues modulates to the key of E(, and as a tribute to the great Charlie Parker (AKA Bird), I harmonically suggest the more complex set of bebop changes that Parker introduced in his composition, Blues for Alice. Often referred to as Bird Changes or Bird Blues, instead of the basic I - IV – V chord progression commonly used in the blues, Parker used a series of sequential ii-V progressions (and secondary ii-V progressions). With the addition of some tritone substitutions, a chromatically descending bass line deftly replaces the original I-IV-V root movement. This is the harmonic background I was hearing as I wrote this particular chorus.After my 12-bar nod to Bird’s changes, the introductory dream theme returns, now in tempo and with a straight-ahead swing feel. Variations on this theme follow, again to be played as if improvising, with the soloist once again bringing their own personality into the performance. This section builds to a climax, the music pauses, then modulates to C, with a return to the original blues theme. The energy and groove increase through the final flourish, where a blues line ends on the idiomatic flatted fifth. $9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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