SKU: BT.GOB-000284-120
Jamaica is an island in the Caribbean. In 1494 it was discovered by Christopher Columbus, who used it as private property until 1509. After some skirmishes it fell under British rule and the sugar trade on the island flourished. After the abolition of slavery in 1834 it was only granted Home Rule in 1944, but it remained a member of the British Commonwealth of Nations. Whereas the export of cane sugar used to be Jamaica’s main export product for many years, nowadays music has taken over this role. At first American music used to be very popular on the island. Later, however, Jamaican musicians started to experiment and thus in the end created their ownmusical style called Reggae. Well-known Reggae musicians are Bob Marley and Peter Tosh. The most important instruments used in Reggae are the bass and the drums. Together they form the base for the style: the riddim. A bass drum accent on the second and fourth beat are characteristic of a typically reggae drum beat. To this syncopic patterns are often added. The rhythm guitarist plays chords in a characteristic Reggae rhythm, not on, but between the beats. Jamaica is een eiland in het Caribisch-gebied. Het werd in 1494 ontdekt door Christoffel Columbus, die het tot 1509 als privé-eiland gebruikte. Na enige schermutselingen viel het onder Britse heerschappij en bloeide de suikerhandel.Na afschaffing van de slavernij in 1834 kreeg het uiteindelijk pas in 1944 volledig zelfbestuur. Jamaica is lid van het Britse Gemenebest. Jaren na de suikerexport is op dit moment de muziek misschien wel het bekendsteexportproduct. Eerst was de Amerikaanse muziek erg populair op het eiland. Later begonnen de Jamaicaanse muzikanten zelf te experimenteren en ontstond uiteindelijk de Reggae. Bekende reggea artiesten zijn Bob Marleyen Peter Tosh. De belangrijkste instrumenten bij reggae zijn de bas en de drums. Samen leggen zij de basis voor de stijl neer. de riddim. Een bassdrum-accent op de tweede en de vierde tel, in plaats van de eerste enderde, zijn kenmerkend voor een typisch reggae-drumritme. Dit wordt vaak aangevuld met syncopische patronen. De slag-gitarist speelt de akkoorden in de kenmerkende reggaeslag, niet op maar tussen de tellen.
SKU: BT.GOB-000675-130
SKU: BT.GOB-000300-140
SKU: BT.GOB-000050-030
Commissioned by the Norwegian Band Federation and Tom Brevik. Composed in 1991. The composer:Elegy and March was one of my first original compositions (no quotations, no folk-tunes) and it was one of my earliest attempts to experiment with form. The elegy-part is quite obvious, but the march is not quite a march. If the elegy-part tells a sad story, then the march should tell a happy story. My problem is that I don¬?t think life is like that. Result: the march collapses! De liefhebbers van de muziek van de Scandinaviër Aagaard-Nilsen kunnen hun hart ophalen bij dit bijzondere werk. In de tweedelige compositie zijn de delen thematisch aan elkaarverwant. De Elegy is een verstild werkje met prachtige klankvelden. Alle instrumenten komen aan bod maar nooit tegelijk. Hoe anders is dat in de mars waarbij ragfijn orkestspel wordt gevraagd. De componist: Elegy and March was een van mijn eerste originele werken (geen citaten, geen volksliedjes) en het was een van mijn eerste pogingen om te experimenteren met vorm. De elegie deel is vrij duidelijk, maar de mars is niet helemaal een mars. Als het elegie-deel een triest verhaal vertelt, dan zou de mars een gelukkig verhaal moeten vertellen. Mijn idee is dat dat in het echte leven ook niet zo is. Resultaat: de mars stort totaal in!Weer iets totaal anders van de Noorse meester! Gobelin Music Publications.
SKU: BT.GOB-000284-020
SKU: BT.GOB-000300-010
SKU: BT.GOB-000050-130
SKU: HG.PE-2071
ISBN 9790202840511.
Nach der Neuausgabe der Kinderszenen von Robert Schumann fur Violoncello und Klavier, legen die beiden Herausgeber, Guido Schiefen und Markus Kreul, nun Liedtranskriptionen fur dieselbe Besetzung vor. Die Auswahl der 6 Lieder ist eine personliche der beiden Kunstler: sie haben diese bereits im Konzert erprobt und auf Tontrager eingespielt. In Anlehnung an Mendelssohns ,,Lieder ohne Worte haben sie hier das Experiment gemacht, bei originalen Liedern den Text wegzulassen und mit Instrumenten, die zum Cantabile fahig sind, ,,den Ausdrucksmoglichkeiten des Gesangs nachzueifern (Guido Schiefen im Vorwort). Die vorliegende Ausgabe mochte zu dieser Experimentierfreude anregen.
SKU: CF.CPS240F
ISBN 9781491157879. UPC: 680160916474. 9 x 12 inches.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, itas like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it's like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it’s like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
SKU: CF.CPS237
ISBN 9781491157923. UPC: 680160916528. 9 x 12 inches.
Angels Will Come is a very lyrical ballad. The piece should be played with expression. The director is encouraged to experiment with the tempos by using rubato, ritardandoA and accelerando throughout the piece. The composition must be played in a legato style. Melodies and countermelodies should be heard when they occur.Angels Will Come is a very lyrical ballad. The piece should be played with expression. The director is encouraged to experiment with the tempos by using rubato, ritardando and accelerando throughout the piece. The composition must be played in a legato style. Melodies and countermelodies should be heard when they occur.Angels Will Come is a very lyrical ballad. The piece should be played with expression. The director is encouraged to experiment with the tempos by using rubato, ritardando and accelerando throughout the piece. The composition must be played in a legato style. Melodies and countermelodies should be heard when they occur.
SKU: CF.CPS240
ISBN 9781491157862. UPC: 680160916467. 9 x 12 inches.
SKU: BT.EMBZ7055
Contorni, written in 1970, comes from the experimental period of Pál Károlyi (1934-2015). 'Outlines, contours' suggests the title, and accordingly the duo of bassoon and piano experience different modes of sounding the instruments, often putting extreme contrasts side by side in tempo and dynamics. The work is dedicated to József Vajda and Zoltán Kontra.
SKU: MB.30105M
ISBN 9780786691692. 8.75 x 11.75 inches.
The Art Of Lutherie offers a glimpse into the mind and craft of luthier Tom Bills, whom many consider to be one of the most talented luthiers today. In this beautifully written and enjoyable read, Tom elegantly and clearly shares his best-kept secrets and methods of custom guitar making - those which make his guitars favorites among top collectors and players. Toms unique approach to The Art Of Lutherie will empower and inspire you to create more than just a guitar, but a truly unique work of art. The information that is generously shared within this insightful and timeless work is both practical and applicable. It contains the same hard-won wisdom that only comes from years of experience and experimentation that Tom uses in creating his inspiring instruments. Over the years, he has produced instruments considered to be some of the best sounding guitars ever made. Learning the steps of how to build a guitar is important, but understanding why master luthiers take those steps and make those decisions can empower you to make your own educated choices. This will allow you to create unique guitars, and the world needs your art, your guitars - your important contribution. The Art Of Lutherie, a truly unique and inspiring guide, can prepare you to reach new heights when designing and creating unique guitars.It is not often I heap such lavish praise on people; however, Tom is in this case more than deserving: I know of no other luthier whose work I respect more. Tom knows his craft inside and out; he pours his soul into every guitar he makes; he uses cutting-edge science to guide his work, and it shows...as head of Artist Relations and Product Development at Mel Bay, it gives me great pleasure to publish Toms work, which will no doubt take the art of lutherie to a new level. I hope youll spend some time soaking in this book - it will certainly augment your musicality - Collin Bay. Includes access to online video.
SKU: GI.G-9937
ISBN 9781622773923.
 Without a spontaneous forward movement of sound by singers, inspired by breath, musical expression becomes stilted, fake, dishonest, and does little to touch us deeply in ways we cannot explain. — From the Introduction James Jordan’s The Ensemble Movement Warm-Up explores how to organize and sequence movement activities in a choral setting to increase artistry and help raise the performance level of any ensemble, regardless of age. Building on the ideas of Rudolf von Laban and Edwin E. Gordon’s Music Learning Theory, James Jordan creates an exciting new rhythm/movement pedagogy. This volume: Introduces simple movements—stepping and clapping—to help the ensemble explore kinesthetic feeling connected to harmonic rhythm, not meter Teaches fundamental principles of artistic phrasing Revolutionizes ensemble teaching to focus on how sound moves forward, and not on rhythm notation Demonstrates how to teach Laban Efforts in Combination through life experiences Teaches the important distinction between rhythm and tempo, and harmonic rhythm Builds legato and sense of line Introduces the new concept of “projection†to teach and conceptualize phrase shape The Ensemble Movement Warm-Up is the culmination of 40 years of experimentation, thought, and study using the wealth of ideas provided by Laban and is a major contribution to the choral art.  .
SKU: HL.49033012
ISBN 9790001130356. UPC: 888680077488. 9.0x12.0x0.929 inches. English.
Now, one of most unusual works of our time is available as study score in a facsimile edition: 'Delusion of the Fury'. At the time of creation, the great experimenter and sound researcher Harry Partch had fully developed his special scale system. By having specially designed instruments made, he created the prerequisites to bring his ideas of sound and harmony onto the stage. Using 25 of these special instruments, 'Delusion of the Fury' provides the opportunity to experience the musical universe of one of the most extraordinary American composers of the 20th century in all its nuances and hypnotic power.1. Small Hand Instruments: Alpha - Ugumbo, copy of a Zulu instrument * Beta - Bolivian double flute * Gamma - Rotating drum * Delta - First waving drum * Phi - Second waving drum * Epsilon - Six bamboo claves * Zeta - First bamboo ceremonial pole * Eta - Second bamboo ceremonial pole * Theta - Third bamboo ceremonial pole * Iota - First pair of eucal claves * Kappa - Second pair of eucal claves * Lambda - Third pair of eucal claves * Psi - Fourth pair of eucal claves * Xi - Thumb piano * Omicron - First belly drum * Pi - Second belly drum * Rho - Gourd drum * Sigma - Fiji rhythm boat * Omega - Gubagubi - 2. Stage Left and Center: Harmonic Canon I * Adapted Guitar I und II * Koto * Kithara I und II * Chromelodeon I und II * Blo-Boy * Castor & Pollux (Harmonic Canon II) * Blue Rainbow (Harmonic Canon III) * Surrogate Kithara * Crychord * Cloud-Chamber-Bowls * Spoils of war * Gourd Tree * Cone Gongs - 3. Stage Right: Mazda Marimba * Zyno-Xyl * Diamond Marimba * Quadrangularis Reversum * Eucal Blossom * Boo (Bamboo Marimba) * Bass Marimba * Marimba Eroica * Bass Drum.
SKU: HL.1060545
UPC: 888938086101. 3.0x4.75x0.75 inches.
The KM-1 Key Bundle Muffler was developed in collaboration with development with Takashi Kashikura-based on his deep experience as a pro drummer. It is often observed that muting a snare drum often reduces its power and sound. Over the years, drummers have used commercially available mufflers, as well as other items around them-and, through experimentation, have created different sounds. The KM-1 is a handy item that provides a unique, exciting sound, and also saves the inconvenience and expense of making a bunch of regular keys. Key features: - Comes with an adjustable chain length - Comes with a strong magnet, so it can be turned on and off quickly - Easy to add or remove key hoop.
SKU: AP.36-52703425
ISBN 9781628761757. UPC: 679360720424. English.
Experience adventures in 3rd position for Violin 1 with experimentation in easy flat keys, 6/8 time and mixed meters! With thematic material in all parts, this set is a technique-builder for intermediate players. The score is included with the parts. Contents: Skye Boat Song, Marie's Wedding, She's Like the Swallow, Greensleeves, Dashing White Sergeant, Amazing Grace, Blow the Wind Southerly, Country Dance, Hornpipe, In a Manger He is Lying, Zither Carol.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: CF.CM9700
ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).ÂÂ.
SKU: CF.CM9624
ISBN 9781491156971. UPC: 680160915538. 6.875 x 10.5 inches. Key: G minor. English, English. Adapted from NKJV.
With a variety of musical elements reminiscent of Eastern European and Middle Eastern folk songs, Tompkins aptly utilizes the cultural background of Biblical poetry in this dance-like setting for the emerging treble chorus. Mood shifts in the piano part, chorus, and text make this an excellent piece for experimenting with a variety of timbres, vocal colors, and expression. Highly suitable for year-round programming needs.Adonai, My Shepherd (Psalm 23) is an English translation* of a song taken from the Tehillim (Psalms), an ancient Hebrew text which is also part of a larger collection of sacred writings, called the Ketuvim. The book of Psalms can also be found in the Bible's Old Testament. Designed to recognize the cultural background of the poetry, the musical elements of this piece are reminiscent of Eastern European and Middle Eastern folk songs. The tambourine has been added as a rhythmic device, appropriate to some types of Middle Eastern folk music, and to suggest a dance-like atmosphere. Mood shifts in the piano, chorus and text make this an excellent piece for experimenting with a variety of timbres, vocal colors and expression. For ensembles looking to incorporate added artistic dimension to performances, choirs are encouraged to make use of the performance space through creative blocking and/or movement appropriate to the style of each section. *English translation is adapted from The Complete Jewish Bible, (tr. Stern, used with permission) and The New King James Version (ed. Farstad). https://www.britannica.com/art/tambourine.Adonai, My Shepherd (Psalm 23) is an English translation* of a song taken from the Tehillim (Psalms), an ancient Hebrew text which is also part of a larger collection of sacred writings, called the Ketuvim. The book of Psalms can also be found in the Bible’s Old Testament.Designed to recognize the cultural background of the poetry, the musical elements of this piece are reminiscent of Eastern European and Middle Eastern folk songs. The tambourine has been added as a rhythmic device, appropriate to some types of Middle Eastern folk music, and to suggest a dance-like atmosphere.Mood shifts in the piano, chorus and text make this an excellent piece for experimenting with a variety of timbres, vocal colors and expression. For ensembles looking to incorporate added artistic dimension to performances, choirs are encouraged to make use of the performance space through creative blocking and/or movement appropriate to the style of each section.*English translation is adapted from The Complete Jewish Bible, (tr. Stern, used with permission) and The New King James Version (ed. Farstad).https://www.britannica.com/art/tambourine.
SKU: BR.EB-8675
Music theory from the Keyboard Crocodile team: a student's book with many assignments and ideas for experimenting, understanding and participating, as well as a teacher's book with 2 CDs.
ISBN 9790004183472. 9 x 12 inches. German.
A music theory method for children that's easy to understand? Who could better accomplish this task than Keyboard Crocodile experts such as Martina Schneider and Elisabeth Haas? They have joined music educator Wolfgang Heissler in putting together this half step project: a student's book with many assignments and ideas for experimenting, understanding and participating, as well as a teacher's book with 2 CDs. These CDs also contain music examples, copying masters as pdf files and a wealth of music examples from all of music history. The student's book is designed to arouse young people's curiosity about what is in the music, to open their ears and lead them in an entertaining manner to a comprehension and concept formation of music theory, and to the written depiction of the fundamental elements of music. The half step is a wonderful symbol, since it is in the middle of musical activity and surrounded by notes and tones, intervals, scales, triads, rhythms and many more elements that are essential to music.Music theory from the Keyboard Crocodile team: a student's book with many assignments and ideas for experimenting, understanding and participating, as well as a teacher's book with 2 CD s.
SKU: BR.EB-8819
Traveling all over the world. Whoever wants to join needs a basic knowledge of music theory and harmony, and should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations.
ISBN 9790004183847. 9 x 12 inches. German.
Trinidad & Tobago, Hungary, Argentina, the U.S., Japan, Spain Andreas Hirche takes us all over the world with his traveling piano. Whoever wants to come on board must have at least a basic knowledge of music theory and harmony, and, above all, should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations which chiefly orient themselves on ostinato forms.Technically, the palette ranges from short, simple pieces to lengthier, more demanding works that can be played with or without the improvised sections. Broadly speaking, the Piano World Music School truly has a style and a sound for everyone. Hirche has recorded all the pieces on CD with exemplary improvisations. The disc also offers play-alongs in mp3 format, which should help players achieve their first successes with pieces of their own design, and in no time at all.Traveling all over the world. Whoever wants to join needs a basic knowledge of music theory and harmony, and should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations.
SKU: M7.ELLI-3610
ISBN 9781559614818. UPC: 052296361020.
Nach dem Überraschungs-Erfolg der ''Gravikords''-Compilation (die bewiesen hat, daß man mit experimenteller Musik ein großes Publikum begeistern kann) gibt ellipsis arts eine zweite Folge mit schrägen und faszinierenden, selbstgebauten Musikinstrumenten heraus. Dies 96-seitige Buch mit CD (oder umgekehrt) nimmt den Hörer mit auf einen weiteren Streifzug durch die Werkstätten der Erfinder und Erbauer neuer und / oder ungewöhnlicher Musikinstrumente. Diemal sind sogar einige echte Stars mit von der Partie, wie z.B. Ambient-Ikone Aphex Twin, Tom Waits (mit einem Ensemble aus Nähmaschinen), John Cage und das viel-gefeierte Tanz- und Percussions-Ensemble Stomp. (ZGA - Collin Offord - Tom Waits - Bill Colvig & Lou Harrison - Arthea - Aphex Twin - Les Phones - Peter Whitehead - Ela Lamblin - John Cage - Stomp - Sharon Rowell - Bradford Reed - Ellen Fullman - Uakti - Leonard Solomon).
SKU: HL.44001460
UPC: 073999520781. 6.75x10.5 inches.
The recent passing of pop icon David Bowie led to a wave of sadness and disbelief worldwide. Bowie's music and personality influenced the music industry internationally over several decades. His thought provoking experiments and continuous search for innovation made him a respected figure around the world. This song Life on Mars is one of the hits that made Bowie immortal. Het recente overlijden van popicoon David Bowie leidde wereldwijd tot een golf van droefheid en ongeloof. Zijn muziek en persoonlijkheid hebben de internationale muziekindustrie gedurende een paar decennia beinvloed. Zijn tot nadenken stemmende experimenten en blijvende zoektocht naar vernieuwing maakten hem een gerespecteerde figuur over de hele wereld. De song Life on Mars is een van de hits die Bowie onsterfelijk hebben gemaakt. Der Tod der Pop-Ikone David Bowie fuhrte weltweit zu einer Welle von Trauer und Fassungslosigkeit. Bowies Musik und Personlichkeit beeinflusste uber mehrere Jahrzehnte hinweg die internationale Musikbranche. Seine provozierenden Gedankenexperimenteund seine unaufhorliche Suche nach Innovation machten ihn weltweit zu einer angesehenen Personlichkeit. Das Lied Life on Mars gehort zu den Hits, die Bowie unsterblich machten.Le deces recent de l'icone du pop David Bowie a provoque une vague de tristesse et d'incredulite dans le monde entier. La musique et personnalite de Bowie ont influence l'industrie musicale internationale pendant plusieurs decennies. Ses experiences suscitant a la reflexion et sa recherche continuelle a l'innovation l'ont rendu respecte partout au monde. Cette chanson, Life on Mars, est l'un des tubes qui ont rendu Bowie immortel. La recente scomparsa del Duca Bianco ha gettato nello sconforto il mondo intero. Icona pop tra le piu influenti dello scorso secolo, Bowie e stato uno dei pochi grandi artisti capaci di sperimentare e di sorprendere fino all'ultimo giorno dellapropria vita. Per celebrare la sua camaleontica capacita di esplorare una quantita impressionante di generi e stili, proponiamo una delle sue piu note ed emozionanti ballate.
SKU: HL.44001461
UPC: 073999014617. 6.75x10.5 inches.
SKU: CF.YPS240F
ISBN 9781491159644. UPC: 680160918232.
An Ankh is an ancient Egyptian hieroglyphic representing the word Life. The Ankh of Eternity depicts an epic journey through ancient lands to find the mythical Ankh of Eternity amulet promising eternal life. The piece journeys through the desert in a caravan, with a stop for a Kaff celebration, an Arabic hand-clapping folk art. The discovery of the tomb is spine chilling and eerie with special percussion effects. After the Ankh is discovered, swarms of locusts descend and our travelers run for their lives. They may have found eternal life, but will they be forever cursed? The Ankh of Eternity uses an Arabic or double harmonic-major scale. Performers have multiple soloing and improvising opportunities. Complex but repeating rhythms offer players a chance to practice getting in the groove. Players and audiences alike will be invigorated by the many celebratory moments and thrilled at the eerie and downright scary moments! The Ankh of Eternity offers cultural and historical inclusion opportunities, improvisation, unique scales, rhythmic challenges, and a thrilling story. Conductor Notes: Measures 45-61: Kaff is the ancient Arabic art of hand clapping over improvised poetry. The Kaff Celebration section represents this art form. The improvising soloists should be designated by the conductor and should each be four measures long . Alternatively, soloists may copy the phrase in the second ending as a solo. The AYE! should be shouted joyously. The repeat may be omitted for performance time concerns, or, of course, repeated multiple times for more solos. Measures 64-73: Experiment with different cymbal noises, such as scrapes with a nail or coin, taps with triangle beaters, bowed cymbals, etc. Water-cymbal techniques should also be used. Fill a storage tub with water, and with the suspended cymbal still on the stand, hit the cymbal a couple times with a soft mallet, and lower the cymbal into the water for a glissando effect. The overall effect should be creepy cave-like echoes bending around corners.An Ankh is an ancient Egyptian hieroglyphic representing the word Life. The Ankh of Eternity depicts an epic journey through ancient lands to find the mythical Ankh of Eternity amulet promising eternal life. The piece journeys through the desert in a caravan, with a stop for a Kaff celebration, an Arabic hand-clapping folk art. The discovery of the tomb is spine chilling and eerie with special percussion effects. After the Ankh is discovered, swarms of locusts descend and our travelers run for their lives. They may have found eternal life, but will they be forever cursed?The Ankh of Eternity uses an Arabic or double harmonic-major scale. Performers have multiple soloing and improvising opportunities. Complex but repeating rhythms offer players a chance to practice getting in the groove. Players and audiences alike will be invigorated by the many celebratory moments and thrilled at the eerie and downright scary moments! The Ankh of Eternity offers cultural and historical inclusion opportunities, improvisation, unique scales, rhythmic challenges, and a thrilling story.Conductor Notes: Measures 45–61: Kaff is the ancient Arabic art of hand clapping over improvised poetry. The Kaff Celebration section represents this art form. The improvising soloists should be designated by the conductor and should each be four measures long . Alternatively, soloists may copy the phrase in the second ending as a solo. The AYE! should be shouted joyously. The repeat may be omitted for performance time concerns, or, of course, repeated multiple times for more solos. Measures 64–73: Experiment with different cymbal noises, such as scrapes with a nail or coin, taps with triangle beaters, bowed cymbals, etc. Water-cymbal techniques should also be used. Fill a storage tub with water, and with the suspended cymbal still on the stand, hit the cymbal a couple times with a soft mallet, and lower the cymbal into the water for a glissando effect. The overall effect should be creepy cave-like echoes bending around corners.
SKU: CF.BPS143
ISBN 9781491161241. UPC: 680160919833.
Alchemy is usually defined as the Medieval search for the means of transmuting base metals, such as lead into gold and silver. The alchemist hoped to find the mysterious combination of words or elements to attain the goal. Our scene begins with a dramatic invocation to the spirits of the metals, followed by a chant to empower the energy necessary for the change. A procession of the alchemist's apprentices is heard as they add their presence to the effort and a final surge as the transformation is realized. Or is it? Careful execution of the dynamic variations within the work is essential to realize the desired effect. A metal plate can be substituted for the break drum. The tap on stands instruction in mm. 46 - 52 should be performed with a metallic beater on a metal stand. Experiment with mechanical pencils, small screwdrivers, portions of coat hangers, etc. Additional metallic percussion instruments could be added to enhance the effect or in place of the music stands. Volume is not as important as timbre.Alchemy is usually defined as the Medieval search for the means of transmuting base metals, such as lead into gold and silver. The alchemist hoped to find the mysterious combination of words or elements to attain the goal. Our scene begins with a dramatic invocation to the spirits of the metals, followed by a chant to empower the energy necessary for the change. A procession of the alchemist’s apprentices is heard as they add their presence to the effort and a final surge as the transformation is realized. Or is it?Careful execution of the dynamic variations within the work is essential to realize the desired effect. A metal plate can be substituted for the break drum. The “tap on stands†instruction in mm. 46 – 52 should be performed with a metallic beater on a metal stand. Experiment with mechanical pencils, small screwdrivers, portions of coat hangers, etc. Additional metallic percussion instruments could be added to enhance the effect or in place of the music stands. Volume is not as important as timbre.
SKU: CF.BPS143F
ISBN 9781491161623. UPC: 680160920303.
Alchemy is usually defined as the Medieval search for the means of transmuting base metals, such as lead into gold and silver. The alchemist hoped to find the mysterious combination of words or elements to attain the goal. Our scene begins with a dramatic invocation to the spirits of the metals, followed by a chant to impower the energy necessary for the change. A procession of the alchemist's apprentices is heard as they add their presence to the effort and a final surge as the transformation is realized. Or is it? Careful execution of the dynamic variations within the work is essential to realize the desired effect. A metal plate can be substituted for the break drum. The tap on stands instruction in mm. 46 - 52 should be performed with a metallic beater on a metal stand. Experiment with mechanical pencils, small screwdrivers, portions of coat hangers, etc. Additional metallic percussion instruments could be added to enhance the effect or in place of the music stands. Volume is not as important as timbre.Alchemy is usually defined as the Medieval search for the means of transmuting base metals, such as lead into gold and silver. The alchemist hoped to find the mysterious combination of words or elements to attain the goal. Our scene begins with a dramatic invocation to the spirits of the metals, followed by a chant to impower the energy necessary for the change. A procession of the alchemist’s apprentices is heard as they add their presence to the effort and a final surge as the transformation is realized. Or is it?Careful execution of the dynamic variations within the work is essential to realize the desired effect. A metal plate can be substituted for the break drum. The “tap on stands†instruction in mm. 46 – 52 should be performed with a metallic beater on a metal stand. Experiment with mechanical pencils, small screwdrivers, portions of coat hangers, etc. Additional metallic percussion instruments could be added to enhance the effect or in place of the music stands. Volume is not as important as timbre.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version