SKU: CN.R10004
A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.
SKU: HL.14047451
ISBN 9788850725182. English.
A big advantage with open tunings is that you'll be able to play chords and melodies more easily, letting the strings ring and getting richer sounds that would be really hard to get with a standard tuning. This is true at the beginning, but later onthings will become more challenging and rewarding even for seasoned professionals. Using different tunings from time to time you'll often find new ideas when you compose your music, either studying new positions or merely by chance, because you'll be forced to think outside your usual frame of mind. Some players employ a particular open tuning as their own standard tuning, like Pierre Bensusan with his DADGAD, giving hismusic a distinctive sound. This book will try to bring you into different sonic landscapes, hopefully leading you to quickly learn new tunes and having fun in the process.
SKU: ST.B847
ISBN 9780852498477.
Let's Make Tudor Music was runner-up in the 1999 Times Educational Supplement Award for Primary Music. This publication contains 88 pages packed with ideas, including drama and dance as well as music making. The beautifully produced CD has 35 tracks for listening and for teaching. Books for the pupils are also available... An exciting new Key Stage 2 education product brings a unique role to early music in the classroom. Produced in association with the Early Music Network, Let's Make Tudor Music enables pupils to discover the joy of early music through a lively exploration of Tudor history and lifestyles, in the context of composing, improvising, appraising and performing targets set out in the National Curriculum. The 23 themed classroom projects contained in the Teacher's Book and Pupil's Book are filled with real Tudor songs, dances and drama, listening games and other things to do. Children and adults with no previous experience gain the confidence to be performing genuine early music in minutes, using ordinary classroom instruments, but guided by the expert, authentic performances and unique Learning Tracks contained on the integral CD. For teachers, Let's Make Tudor Music contains clear and practical instructions, plus authoritative attention to detail and historical accuracy. For pupils, the lively Tudor atmosphere created in the recorded performances and illustrations gives them the chance to discover early music through the active enjoyment of participation and performance, and the exciting sounds of period instruments. Flexible in format, Let's Make Tudor Music can be used in a comprehensive manner to meet Key Stage Two music targets. But its step-by-step guidance makes it no less suited to non-specialist teachers wishing to broaden the scope of classroommusical activity, and use its stimulating materials in the context of a range of curriculum subjects. The authors, Lucie and Roddy Skeaping, are leading early music and folk performers with the ensembles The City Waites and The Burning Bush. In addition, their celebrated workshops for schools, The Musical Mystery Tour, have introduced young audiences to early music and period performance in Britain, the USA and the Far East. The Early Music Network is the national early music development agency, and is supported by the Arts Council. It promotes the understanding and enjoyment of early music and historically informed performances, and seeks to increase the understanding, appreciation and enjoyment of early music by an audience of increasing numbers. George Pratt, Professor Emeritus of Music at the University of Huddersfield and board member of the Early Music Network comments: 'The authors combine musical professionalism with sensitivity both as teachers themselves and to their unknown colleagues in the classroom - a rare mix, and one which teachers will find deeply reassuring.'
SKU: CF.CPS142F
ISBN 9780825892899. UPC: 798408092894. 9 x 12 inches. Key: Eb minor.
Sean O'Loughlin's The Ides of March is pulse-pounding and haunting; a dramatic composition for band. This work celebrates the composer's love of modern film music and is an exercise in economy of musical material while remaining wonderfully melodic and elegant.
SKU: HP.C6269C
UPC: 763628962692.
Contemporary classic by Ed Cash, Kristyn Getty, & Keith Getty This dynamic Easter hymn from the Getty writing group offers a truly impactful Celtic style for the celebration of Christ's resurrection. Joel Raney creatively sets up the opening with a hint of the traditional spiritual 'He Never Said A Mumblin' Word' leading into the opening statement, 'How can it be, the one who died, has borne our sin through sacrifice to conquer every sting of death? Sing, sing hallelujah!' The optional rhythm section and violin part brings it all to life in a lilting 6/8 high-energy presentation! Perfect for Easter or Eastertide.
SKU: HP.C6269
UPC: 763628162696.
SKU: HP.C6269R
UPC: 763628262693.
SKU: GH.GE-11464
ISBN 979-0-070-11464-6. A4 inches.
Work note by the composer: When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone. The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work. Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line. The work is divided in three parts. I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other. The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end. II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere. III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible! Benjamin Staern
SKU: TL.TCL014689
ISBN 9780857364418.
Selected pieces for Trinity College London violin exams for 2016-2019, expertly graded and edited by leading music educators. This item contains both the full score and violin part.
SKU: TL.TCL015259
ISBN 9780857364838.
Selected pieces featured on Trinity College London's plectrum guitar syllabus, Initial-Grade 2, valid from 2016. Expertly graded and edited by leading music educators.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version