SKU: LB.243
Composer Jeanie Murrow writes, My mother, Mary Helen Novak, died 3 days before Christmas in 2016; it was unexpected. My father Daniel Novak, died a year later on December 26, the day after Christmas. In this piece, the opening motif is Mom calling to Dad from Heaven, to come join her; throughout the piece she continues to prod him with that starting motif. Her Christmas song is Silent Night. He answers her with The First Noel, indicating that he would like just one more Christmas with loved ones. Finally, they both sleep in Heavenly Peace..
SKU: FJ.FJH2114
ISBN 9781619281967. UPC: 241444381540. English.
The season's familiar tunes sound fresh and new in these pianistic arrangements by Kevin Costley. Most of the pieces are three pages with lyrics included. The creative intros set the style for each carol that varies from perky to lyrical. Some titles are: I Saw Three Ships, Jingle Bells, O Christmas Tree, Silent Night, Up On the Housetop and more.
SKU: FJ.FJH2314
ISBN 9781619282391. UPC: 241444394656. English.
Playing Piano with Three Chords is an introduction to basic chord playing and hands-together playing written for the late elementary pianist. This collection features seasonal favorites that are harmonized with no more than three chords in easy key signatures. Titles include Snow Lay On the Ground; O Christmas Tree; Jingle Bells; Deck the Halls; Up On the Housetop; Silent Night; and eight others. A diagram of the basic chord progression is shown in the root position and then in the inversions used in the arrangement. Lyrics included.
SKU: HL.48016562
UPC: 073999656831. 8.5x11.0x0.234 inches.
Contents: Andante from Symphony No. 104 (Haydn) * Larghetto from Concerto Grosso No. 12 (Handel) * Adagio from Symphony No. 3 (Mendelssohn) * Andante from Symphony No. 5 (Schubert) * Largo from New World Symphony (Dvorak) * Songs My Mother Taught Me (Dvorak) * Andante from Symphony No. 4 (Schubert) * Largo from Symphony No. 88 (Haydn) * Silent Woods (Dvorak) * Melody from Violoncello Concerto (Dvorak) * Andante from Violin Concerto (Mendelssohn) * Adagio from Symphony No. 97 (Haydn) * Finale from Symphony No. 5 (Dvorak) * Andante Cantabile from Symphony No. 5 (Tchaikovsky).
SKU: FJ.FJH2284
ISBN 9781619282353. UPC: 241444393734. English.
Titles include: O Christmas Tree; God Rest Ye Merry, Gentlemen; Silent Night; Joy to the World; Deck the Halls; Away in a Manger; Jingle Bells; Angels We Have Heard on High; and I Heard the Bells on Christmas Day. Seven activity pages with colorful, holiday themes engage students and reinforce concepts. Includes a music dictionary.
SKU: HL.49015424
ISBN 9790001083218.
The cat wants to catch the bird * On an out-of-tune church organ * The Cuckoo is hiding * Silent keys sound * Computer Games * Water Games * Thunderstorm * Box of Bricks * Frightening Story * Chimes * Stones fall into the water and draw circles * spiritual on black keys * cluster Song * on the intercity -.
SKU: BT.MUSJC72199
English.
Handel’s opera Tolomeo from 1728 was premiered at the King’s Theatre in London. Exactly two hundred years later, the celebrated art song composer Arthur Somervell adapted the tune of one of the arias, Non lo dirò col labbro,withEnglish words for the British drawing room. The theme of unrequited love remained intact, but the two composers’ handling of theme was naturally different.This arrangement has been created for two-part Voice, SA, withPianoaccompaniment that respects Handel’s original setting. More modern audiences may have become acquainted with the song from the 1990’s film Emma.
SKU: HF.FH-2354
ISBN 9790203423546. 9 x 12 inches.
1. While Shepherds watched their flocks; 2. Good King Wenceslas; 3. God Rest Ye Merry Gentlemen; 4. O Little Town of Bethlehem; 5. Silent Night; 6. Once in Royal David's City; 7. The first Nowell; 8. See Amid the Winter's Snow; 9. Away in a Manger; 10. Hark! The Herald Angels Sing.
SKU: HL.49004282
ISBN 9790001044363. UPC: 884088108434. 9.0x12.0x0.124 inches. German - English - French.
Repeating notes • Broken chords • Thirds • Chromatic exercises • Chords- and Staccato-Exercises • Shake • Broken thirds and sixths • Octaves • In florid counterpoint • Broken chords • Silent change of fingers • Smoothness in velocity • Exercises in skips • Scales in thirds • Exercises with notes held down • Chromatic exercises • Fouths and sixths • Broken chords • Change of positions • Skipping accompaniment chords • Accuracy in striking with the 5th finger and the thumb • Stretching exercises.
SKU: HL.1115752
ISBN 9781705180136. UPC: 196288106036.
Each work serves a specific purpose in the educational process of the student, while the music itself bursts with romantism, creativity, fun, and easy to grasp a little more advanced concepts (irregular time signatures, silently depressed notes, etc). ABRSM grades 3-5.
SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: ST.H480
ISBN 9790220223846.
Timed to exploit the centenary of his best pupil, Benjamin Britten, Frank Bridge's reissued Capriccios for Piano Nos.1 and 2 of 1905 come up fresh as paint: Stainer & Bell's front cover alone - reproducing Panini's elaborate 1758 painting Capriccio of Rome - is worth long study. No 1 sounds like Moszkowski; No 2 (a better piece) is more typical, recalling Bridge's own Rosemary and The Sea, and contains some chords silently depressed and exposed by re-pedalling. ***** Showy and effective, and most recommendable.
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