SKU: AP.1-ADV11305
ISBN 9783892210061. UPC: 805095113051. English.
Many different possibilities for harmonizing the same melody are illustrated and analyzed, using techniques by such influential arrangers and composers as Duke Ellington, Billy Strayhorn, Oliver Nelson, Gil Evans and Clare Fischer.Techniques of melody harmonization, linear writing and counterpoint for 2, 3, 4 and 5 horns.A chapter on writing for the rhythm section clearly illustrates the techniques commonly used by jazz arrangers and composers.Six complete scores in concert key are ideal for analysis, for playing the horn parts on the piano or for following the performances on the audio download.An extensive chapter on form and development deals with extended compositional forms and the use of compositional techniques in writing for the small jazz ensembleA useful discography is included at the end of each chapter.
SKU: BT.EMBZ20004A
English-German-Hungarian.
Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832; the second a copy in an unidentified hand from the same period or slightly later; and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes.
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