| 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 | | |
| A Recital Anthology - Piano Solo Piano solo Trinity College London
Edited by Steven Osborne. Classical. Textbook. Trinity College London #TCL0240...(+)
Edited by Steven Osborne.
Classical. Textbook. Trinity
College London #TCL024091.
Published by Trinity College
London
$43.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Playing on the Changes Tenor Saxophone [Sheet music + DVD] - Intermediate Belwin
(B-flat Tenor Saxophone and Soprano Saxophone). Composed by Bob Mintzer. For B-f...(+)
(B-flat Tenor Saxophone and Soprano Saxophone). Composed by Bob Mintzer. For B-flat Tenor Saxophone and Soprano Saxophone. Book; DVD; Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Grade 3.5. 60 pages. Published by Belwin Music
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Playing on the Changes C Instruments [Sheet music + DVD] - Intermediate Belwin
(C Instruments). Composed by Bob Mintzer. For C Instruments. Book; DVD; Instrume...(+)
(C Instruments). Composed by Bob Mintzer. For C Instruments. Book; DVD; Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Grade 3.5. 60 pages. Published by Belwin Music
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Playing on the Changes Eb Instruments [Sheet music + DVD] - Intermediate Belwin
(E-flat Instruments). Composed by Bob Mintzer. For E-flat Instruments. Book; DVD...(+)
(E-flat Instruments). Composed by Bob Mintzer. For E-flat Instruments. Book; DVD; Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Grade 3.5. 60 pages. Published by Belwin Music
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Playing on the Changes Bass Clef Instruments [Sheet music + DVD] Belwin
Bass Clef Instruments. Composed by Bob Mintzer. Instrumental Series; Play...(+)
Bass Clef Instruments. Composed by Bob Mintzer. Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Book; DVD. 60 pages. Belwin Music #00-43727. Published by Belwin Music (AP.43727).
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Guitar Picking Tunes - Melodious Etudes Guitar notes and tablatures - Intermediate Mel Bay
Guitar - Intermediate SKU: MB.WBM70M Saddle-stitched. Etudes. Ebook and o...(+)
Guitar - Intermediate SKU: MB.WBM70M Saddle-stitched. Etudes. Ebook and online audio. 48 pages. Mel Bay Publications, Inc #WBM70M. Published by Mel Bay Publications, Inc (MB.WBM70M). ISBN 9781733716949. 8.75 x 11.75 inches. These 27 short etudes were composed to provide music suitable for study or the concert stage. The etudes present a colorful palette of moods and musical textures and incorporate various picking techniques and lush harmonies. They are extremely useful in developing tone and a lyrical feeling to a guitaristâ??s style. These etudes will work well as concert preludes or encores or may be played in groups to create more extended performance repertoire. They are guitaristic and highlight the beauty of the plectrum/flatpick guitar style. The etudes are written in notation and tablature. Includes access to online audio.  $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 12 Medium-Easy Jazz, Blues and Funk Etudes Tenor Saxophone [Book + CD] - Easy Alfred Publishing
(B-Flat Instruments). By Bob Mintzer. For B-Flat Tenor Sax. Book; CD; Instrument...(+)
(B-Flat Instruments). By Bob Mintzer. For B-Flat Tenor Sax. Book; CD; Instrumental Series. Belwin Play-Along Series. Blues; Funk; Jazz. Grade 2.5. 56 pages. Published by Alfred Music Publishing
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| Mr. Clementi Goin on Holidays Piano solo - Easy Schott
Piano; Piano/Keyboard - easy to intermediate SKU: HL.49006522 Short Ex...(+)
Piano; Piano/Keyboard - easy to intermediate SKU: HL.49006522 Short Exercises for Piano in Blues and Rock Style. Composed by Eduard Pü and tz. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 20 pages. Schott Music #ED 6662. Published by Schott Music (HL.49006522). ISBN 9790001070805. UPC: 073999462876. 9.0x12.0x0.108 inches. Many students lead an independent musical life apart from their normal piano lessons; they play jazz or pop music and make some attempts at improvisation without it being possible for the teacher to intervene and to supervise matters of technique, fingering , phrasing etc. The purpose of this volume is to create an additional link between teacher and pupil by making avaliable some small exercises in current jazz and blues styles. An additional stimulus should thus be given to the pupil who has a liking for musical forms of this kind, but not at the expense of the teacher's supervision of the necessary technicalside of piano playing. A hort holiday from Classical sonatinas and studies should help him to get over a time of boredom, so that he will eventually return to tratitional material with even greater enthusiasm. And in several pieces there is an opportunity to improvise above the harmonic pattern in the left hand. Blues-Rock Number one * Funny Scales * Mixolydian Etude * Alberti-Blues * Triads * Blue Waltz * Zirkus-Rag * 5/4 Boogie * Daddy's Bop Rhythm * Sleep Well Blues. $19.99 - See more - Buy online | | |
| 12 Medium-Easy Jazz, Blues and Funk Etudes Eb Instruments [Book + CD] - Easy Alfred Publishing
(E-Flat Instrument). By Bob Mintzer. For E-Flat Instruments. Book; CD; Instrumen...(+)
(E-Flat Instrument). By Bob Mintzer. For E-Flat Instruments. Book; CD; Instrumental Series. Belwin Play-Along Series. Blues; Funk; Jazz. Grade 2.5. 56 pages. Published by Alfred Music Publishing
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 12 Medium-Easy Jazz, Blues and Funk Etudes Bass Clef Instruments [Book + CD] - Easy Alfred Publishing
(Bass Clef Instrument). By Bob Mintzer. For Bass Clef Instruments. Book; CD; Ins...(+)
(Bass Clef Instrument). By Bob Mintzer. For Bass Clef Instruments. Book; CD; Instrumental Series. Belwin Play-Along Series. Blues; Funk; Jazz. Grade 2.5. 56 pages. Published by Alfred Music Publishing
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Essential Jazz Lines in the Style of Joe Pass - Guitar Edition Guitar notes and tablatures [Sheet music + Audio access] Mel Bay
Composed by Corey Christiansen. Perfect binding. Essential Jazz Lines. Book and ...(+)
Composed by Corey Christiansen. Perfect binding. Essential Jazz Lines. Book and online audio. Published by Mel Bay Publications, Inc (MB.99560M).
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Playing on the Changes Trumpet [Sheet music + DVD] Belwin
B-flat Trumpet and Clarinet. Composed by Bob Mintzer. Instrumental Series...(+)
B-flat Trumpet and Clarinet. Composed by Bob Mintzer. Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Book; DVD. 60 pages. Belwin Music #00-43723. Published by Belwin Music (AP.43723).
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 12 Medium-Easy Jazz, Blues and Funk Etudes Trumpet [Book + CD] - Easy Alfred Publishing
(Trumpet). By Bob Mintzer. For B-Flat Trumpet and Clarinet. Book; CD; Instrument...(+)
(Trumpet). By Bob Mintzer. For B-Flat Trumpet and Clarinet. Book; CD; Instrumental Series. Belwin Play-Along Series. Blues; Funk; Jazz. Grade 2.5. 56 pages. Published by Alfred Music Publishing
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mayka Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.114423620 Composed by Jovana DamnjanoviÄ...(+)
Chamber Music Flute(s) SKU: PR.114423620 Composed by Jovana Damnjanović. Performance Score. Theodore Presser Company #114-42362. Published by Theodore Presser Company (PR.114423620). ISBN 9781491137321. UPC: 680160690053. MAYKA (Serbian for “motherâ€) is a fascinating collection of 10 short recital pieces, each inspired by Serbian folk-music traditions, enriched through a broad variety of non-traditional techniques. Serbian-born flutist Jovana Damnjanović created these teaching etudes in conjunction with her doctoral thesis introducing Eastern European traditions to Western flutists. Along with its 10 fresh and dazzling concert works, this publication includes a thorough preface on performance techniques and instructions for each etude. MAYKA attempts to represent the sounds of traditional Serbian music and also make them more familiar and accessible to flute players around the world. The overarching inspiration for the sound is one of the most popular instruments in Serbian traditional music: the frula. Inspirations from the tone colors of other instruments such as duduk, cevara, dvojnice, and kaval are also present. To read more about these instruments, refer to Chapter 1: Introduction (pg. 13-16) in the online dissertation.My intention was to create an original work exclusively for flute that holds characteristics of Serbian traditional music. An imitation of one of the Serbian traditional song forms can be found in “ČоÄek;†irregular time signatures can be found in “Igra,†“ČоÄek,†and “Vez.†The style is mostly present through trills, ornaments, and tonality, which are ubiquitous characteristics of Serbian traditional music.Each of the concert etudes has a narrative. The reason for narrative is to bring the style closer to the performer, and to help with understanding each etude’s expressive significance. Some etudes were inspired by people and events, some by specific dances, music, and literature from Serbia. As the etudes are of programmatic nature, they are a great choice for themed recitals. The idea was to write pieces short enough to be good program-fillers, not too hard to put together yet effective, and also suitable for short performances in venues that do not have a piano. To read more about each etude’s narrative, refer to Chapter 3: Performance Guide (pg. 24-75) in the dissertation.The book is titled MAYKA, Serbian for mother, to honor my mother, my mother’s mother, and my Motherland, Serbia. Motherland is represented through the style and tonal language of all of the concert etudes, and my mother and grandmother have been the biggest inspiration for the narrative of “Svila,†“Nana,†and “Uspavanka.â€. $24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Tower Of Babel Sc/pts Full Score Concert band [Score and Parts] - Intermediate De Haske Publications
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44007209 Composed by Haya...(+)
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44007209 Composed by Hayato Hirose. De Haske Concert Band. Concert Piece. Set (Score & Parts). Composed 2007. De Haske Publications #1074199. Published by De Haske Publications (HL.44007209). UPC: 884088239725. 9x12 inches. English-German-French-Dutch. Based on the Old Testament biblical story of the building of the Tower ofBabel, a tower built to reach the heavens, composer Hayato Hirose hascreated this dramatic programmatic work in seven movements that areplayed without interruption. With skilful detail each movement portrays an aspect of the story of the tower and its ultimate destruction. A magnificent epic work!
Op basis van het bekende verhaal over de toren van Babel uit het Oude Testament schreef componist Hayato Hirose een indrukwekkend programmatisch werk in zeven delen - uit te voeren zonder pauzes. De delen zijn getiteld: Tower ofBabel (De toren van Babel) - Settlers from the East (Kolonisten uit het oosten) - Building the Tower (Het bouwen van de toren) - Hope (Hoop) - God's Worry (De zorgen van God) - Confusion (Verwarring) - en Dispersion (Verspreiding).
Auf der Grundlage der biblischen Geschichte vom Turmbau zu Babel aus dem Alten Testament schuf Hayato Hirose ein dramatisches programmatisches Werk in sieben Satzen, die ohne Unterbrechung zu spielen sind. Sie erzahlen kunstvoll und detailreich die Geschichte vom Beginn des Turmbaus uber den Zorn Gottes bis hin zur Verwirrung der Sprachen und der Zerstreuung der Menschen uber die ganze Welt. Ein grossartiges Werk!
En 2006, Hayato Hirose compose Tower of Babel (La Tour de Babel), une œuvre dediee a son professeur et maitre, le compositeur belge Jan Van der Roost. L'œuvre a ete donnee en creation mondiale, le 20 septembre 2006 a Louvain en Belgique, par l'Orchestre d'Harmonie de l'Institut Lemmens place sous la direction du compositeur.Apres le Deluge, les rescapes de l'Arche de Noe eurent une descendance nombreuse. Partis de l'orient, ils trouverent une vallee au pays de Shinear et ils s'y etablirent. Afin de ne pas etre disperses sur toute la surface de la terre, ils deciderent de batir une ville et une tour - la Tour de Babel - dont le sommet toucherait le ciel.Inquiet du dessein des fils des hommes, l'Eternel descendit pour voir la ville et la tour qu'ils batissaient. Il confondit leur langage afin qu'ils ne se comprennent plus les uns les autres. Ainsi, ils cesserent de batir la ville, et de la L'Eternel les dispersa sur toute la surface de la terre. (Genese 11 : 1-9) Hayato Hirose s'est inspire du celebre recit biblique selon l'Ancien Testament pour composer cette œuvre a programme dramatique en sept mouvements, qui s'enchainent sans interruption.1. La Tour de Babel2. Venus de l'orient3. La construction de la tour4. L'espoir5. Les inquietudes de l'Eternel6. La confusion7. La dispersion. $49.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jorgen Jersild: 30 Polyrhythmic Etudes - Intermediate Wilhelm Hansen
Piano and Ensemble - Grade 5 SKU: HL.14017075 Composed by Jorgen Jersild....(+)
Piano and Ensemble - Grade 5 SKU: HL.14017075 Composed by Jorgen Jersild. Music Sales America. Tuition. Set. Composed 2002. 24 pages. Edition Wilhelm Hansen #WH29294. Published by Edition Wilhelm Hansen (HL.14017075). ISBN 9788759860908. 8.25x11.75x0.133 inches. English. A superb collection of thirty exercise and studies for both Keyboard Instruments and Ensembles, this book helps develop a practical musician's skill at confronting music with polyrhythmic structures, for example, a division of 7 against 4. When polyrhythmic structure is perceived and executed, it creates striking effects with nuances and intricacies within the rhythm. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 30 Polyrhythmic Etudes [Score and Parts] - Intermediate Wilhelm Hansen
Piano and Chamber Ensemble - Grade 5 SKU: BT.WH29294 Composed by Jorgen J...(+)
Piano and Chamber Ensemble - Grade 5 SKU: BT.WH29294 Composed by Jorgen Jersild. Tuition. Set (Score & Parts). Composed 2002. 24 pages. Edition Wilhelm Hansen #WH29294. Published by Edition Wilhelm Hansen (BT.WH29294). ISBN 9788759853924. English. A superb collection of thirty exercise and studies for both Keyboard Instruments and Ensembles, this book helps develop a practical musician’s skill at confronting music with polyrhythmic structures, for example, a division of 7 against 4. When polyrhythmic structure is perceived and executed, it creates striking effects with nuances and intricacies within the rhythm. $14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Uncommon Bebop from Common Bebop Practices & Concepts Advance Music
SKU: AP.1-ADV14277 Developing a Chromatic Language from Common Bebop C...(+)
SKU: AP.1-ADV14277 Developing a Chromatic Language from Common Bebop Concepts and Scales. Composed by Mike Rossi. All Instruments Method or Collection; Improvisation; Method/Instruction. Advance Music. Jazz. Book. Advance Music #01-ADV14277. Published by Advance Music (AP.1-ADV14277). ISBN 9783892218425. UPC: 805095142778. English. Uncommon Bebop from Common Bebop Practices & Concepts demonstrates how to develop a colorful language for improvisation from common bebop practices and devices. Learn how to alter melodic lines beyond their fixed state to create a wealth of material for improvisation while learning to hear and treat all twelve pitches equally. The numerous lines, etudes, and compositions illustrate how to: 1. Create lines from various steps of common bebop scales. 2. Contrast set lines and phrases. 3. Expand 8-note bebop scales. 4. Develop multi-coloured variants from common major, minor, and dominant bebop scales. 5. Use the above techniques to create etudes and chromatic compositions that travel through all twelve keys. $34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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